‘This is a phase of empowerment’ – The Hindu

Kangana Ranaut is in a pleasantly reflective frame of mind as she looks back at Julia, her character in Vishal Bhardwajs upcoming Rangoon , set during the Second World War. The fictional character isnt the legendary Mary Ann Evans a.k.a. Fearless Nadia alone. But, as Ranaut puts it, shes an amalgamation, a celebration of several women action stars of the Indian film industry of the 40s. The outspoken, free-spirited actor, known for her own unconventional choices personal as well as professional is forthright about how the liberated, enlightened ways of the early female leads, and, in turn, the industry back then, left her surprised. It was a revelation to learn that a lot of the stunt women were central to our filmmaking; [they] were the reigning superstars, she says.

What also stoked her interest and posed a challenge as a performer was the fact that Julia is actually supposed to be a bad actor. Ranaut had to work hard to be good at being bad. Complicated? There are these actors in every era, those who can dance very well and can do action but cant act, she simplifies. They have to live with that image and the prejudices that come with it. I had to draw humour from that, work on my dialogue delivery. So, her Julia is a bad actor, yet one who has star appeal. She is insecure about her craft, seeks the mentorship of a sugar daddy, carries baggage of her own, but, at the same time, is successful at what she does, which isnt acting but dancing and stunts.

Ranaut spent considerable time abroad and learnt dance, from ballet to Kathakali, and even Kalaripayattu. It is obvious that she has given quite a lot of time, space and thought to the film. This is not just a personal take on the character, but also on the period the story is set in. India was a very confused place. There was a British influence on the upper class. It was about confused cultures, races and nationalities, and art also reflected that.

It was exciting for her to revisit those muddled-up times, and even more so to go back to the early days of filmmaking, to be able to see our cinema evolve over the years. She hasnt gotten over how there were no monitors on the sets, how the director used to sit atop the crane with the director of photography (DoP) to monitor a shot. In its own way, the film also helped her revisit the nations freedom struggle days more closely. These are things that dont go beyond the history chapters for you, she says.

The man to bring it all alive for Ranaut has been director Vishal Bhardwaj. It has been her first time making a film with him, and she has lots to say. He is aspirational, inspirational, struggles hard to bring the best out of you, and has a great process in place. He is a multi-faceted artiste, very likeable as a person and also very sensitive; he can get upset as well.

It has been Ranauts first time shooting in Arunachal Pradesh as well. (In the film) we are meant to be stranded near the border, lost in a virgin place with no sign of civilisation around, she says. It is meant to be an untouched place. So, they shot in Kabang. There were no hotels. We had to drive into the jungle. It was beautiful, but you also have to pay a price for the beauty, she says, with a touch of innate philosophy and wisdom. Life there can be pretty arduous.

Vishal Bhardwaj is aspirational, inspirational, struggles hard to bring the best out of you, and has a great process in place