'Mukhbiir a spy film blended with emotions' | regional movies | Hindustan Times
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'Mukhbiir a spy film blended with emotions'

Director Mani Shankar, known for his techno-savvy films like 16 December, is ready with his fourth Hindi movie Mukhbiir which releases on Friday.

regional movies Updated: Aug 28, 2008 17:54 IST

Director Mani Shankar, known for his techno-savvy films like

16 December

, is ready with his fourth Hindi movie

Mukhbiir

which releases on day. Unlike his earlier films, he says he has been able to blend plot, characters, research and emotions really well.



Excerpts:



From the outside it seems

Mukhbiir

enters a world we've never seen before.

The world of Indian espionage is a very grey zone. No one knows much about it. When I did my other film

16 December

about the Indian intelligence services, I had taken the active support of the intelligence departments. Again for

Mukhbiir

I went into rigorous research. When you make a film about verifiable branches of the government service you'd better get your facts right. In

Mukhbiir

we've actually used information about the Indian espionage service from the fields.



You started your Hindi film career with a bang...

You could say that. Business Today ranked

16 December

in their Top 10 grosser list of 2002. It grossed Rs.142 million when it was made at a budget of Rs.20 million. In fact, my two subsequent films

Rudraksh

and

Tango Charlie

also economised way beyond what people saw on screen. It's a filmmaker's biggest concern to deliver the biggest bang for the buck. So the producer can laugh all the way to the 'bang'.



You're the guru of techno-savvy cinema. How did that happen?

I'm a qualified engineer. In fact, a filmmaker should be knowledgeable about every department of filmmaking. For many of my music videos, I was the cinematographer. Now I know in one glance if a frame needs correction. Such across-the-board knowledge speeds up the process of filmmaking.



Hw did

Mukhbiir

originate?

The story started in my mind in 1996 when I was in Kashmir shooting for an anti-militancy music video for the Intelligence Bureau. I encountered a young Intelligence recruit who had been captured by militants and tortured non-stop. He had cigarette burn marks all over his back and shoulder. This boy was left on the streets by our government because it had no more use for him. This boy wandered on the streets of Kashmir waiting to be shot. That's where my story for

Mukhbiir

originated.



I wanted to make a film about a boy standing in the last line in the game of politics, who never gets the credit but finally gets the bullet.



Your earlier films were guilty of too much research too little emotions?

I admit to this. There was an overt focus on plot. One lives and learns. I like my other films too, though audiences couldn't follow

Rudraksh

. But in

Mukhbiir

, I've been able to create a fine blend of plot and characters, and research and emotions.

Mukhbiir

is a biographical story of a boy's journey. All that Sammir's character wants is to have an identity, have a girlfriend and a normal life. But he can't do these things.



I believe cultural and religious identities are crucial to the hero's character in

Mukhbiir

.

Yes, Sammir's character holds the mother goddess close to his heart and yet he has to convert himself totally to Islam. The character even undergoes a circumcision. He finally believes in the oneness of god and dies a Muslim. When he converts, he converts with his whole heart.



Do you foresee a controversy?

Sammir's character does what has to be done... just like I made the film that had to be made. I'm totally excited by the journey into the unknown. Tomorrow I don't want to make what someone, including me, made yesterday. I like to go to unexplored territory, like Ulysses.