Interview – Mehran Amrohi

1. What was it like growing up in the house of a famous poet?

I would be about 4-5 years old when I saw Nasim Amrohvi for the first and last time. I didn’t know much, but it became evident that he was a very important personality because my father used to hold him in high regard. Nasim Amrohvi stayed with us for quite a few days, and I would see my father, Azeem Amrohvi, and Naseem Amrohvi sitting and discussing literature all day. Maybe that was the time when I first realised that the people I admire have a liking for literature. 

Almost the same story was repeated two or three years later when a short-statured poet with dishevelled hair and a kurta pyjama stayed with us. I had no idea that this poet was so tall in stature. “Mamu Jaun! Aap kursi pe aaraam se baith jaiyye,” my father said. “Main itne qayede ka aadmi nahi hun jo kursiyon par baithun. Miyan mujhe palang par hi rehne do,” said Jaun Elia while tossing pomegranate seeds soaked in chaat masala and reciting some verses of Nazeer Akbarabadi, which I don’t remember. 

The dinner table at my home was my first classroom of poetry. Almost every great poet, every literati, was introduced to me there. My father often engaged us (my siblings, mother, and me) in literary discussions. Sometimes, he would encapsulate his thoughts in a single point; sometimes, he would spread his thoughts like undulating fields, and the literary ambience at home continued to explain the boundaries of literature. In the 90s, the verses of ghazals and marsiyas were etched in my memory just like A.R. Rahman’s songs were.

2. Did you ever consider taking up Urdu poetry full-time?

I presume that by “full-time,” you mean commercially! In that case, the answer is no. During the 90s and 2000s, I would accompany my father to Mehfils and Mushairas, but I never felt a connection with how those events happened.

3. How did this idea of formally entering the film business happen?

Undoubtedly, the film industry in India is a highly alluring business. We often visited Mumbai (then Bombay) during my school days for our summer vacations. Tajdar Amrohi (my uncle) would take us to Kamal Amrohi Studio, where I had the opportunity to meet Sunny Deol and other film and TV stars. (I mentioned Sunny Deol’s name because it was a fanboy moment.) I believe that was when the idea of entering this industry began to take shape in my mind.

4. Which aspect of filmmaking fascinates you?

I have always believed that films are a powerful medium for conveying ideas. Writing was my only entry point into filmmaking because it was the only aspect I knew about. My father taught me how to hold a pen, so I started writing down whatever came to my mind. I turned my writing into my first source of income, later venturing into direction and production. 

Writing is like wandering in the valleys of imagination within the confines of a closed room, while direction is about bringing those thoughts to life and capturing them on a hard drive. It’s a tricky question to answer, but I would say writing is my answer simply because I started with writing.

5. As a young artist in a highly competitive city, how difficult is it to focus on only one area and create your own space?

Any statement would be an understatement to express how difficult it is to stay focused during challenging times, and that’s where family steps in to provide support. My wife, Sakina Kamal, has been an incredible pillar of strength throughout. She consistently encourages my work and pushes me to strive for excellence. In this overcrowded city, your work carves out your space, and so far, I don’t believe I’ve carved out any space for myself.

6. Which projects have you worked on or are you currently involved in? Has any of your work brought special recognition?

Upon arriving in Mumbai, I began working in the TV industry. However, my mind was always filled with the shadows of various films, so I decided to venture into filmmaking. That’s how I directed a children’s movie called ‘Chidiya’, which gave me a sense of ecstasy that I had never experienced before.

Chidiya flew and took me to many countries worldwide, returning with accolades and honours. I never imagined my film would be appreciated in various countries across Europe, America, Russia, Iran, and more; it was all a bonus to me. The Government of India’s film festival, ‘Golden Elephant’, also awarded the film, adding to its success.

Following Chidiya, I created a mini-series called ‘Teen Do Paanch.’ Through it, I found my name listed as a producer for the first time. Disney Hotstar acquired this series, which is available on their platform.

For the past four months, I have been working on a new film I plan to shoot by the end of 2024. It’s my first time writing a psychological drama, so I’m feeling a bit nervous about it.

7. What significant lessons learned so far helped you as a director?

Filmmaking is a team game; no director can make a good film with the wrong crew. For me, striking a balance is key: a balance between self-doubt and self-trust, projection and emotion, music and the ambience, light and shadow, and so on. Achieving harmony and equilibrium is essential in various aspects of filmmaking.

8. Who are your favourite film directors?

I don’t know; the list is always different when I think about my favourite films. I feel a unique sense of joy (and sometimes envy) whenever I watch a good film. Satyajit Ray holds a special place in my heart. His mastery of storytelling and poignant portrayal of human emotions left an indelible mark on cinema. Orson Welles, Martin Scorsese, Majid Majidi, Alejandro Inarritu, and so on, all of them are my favorite filmmakers. Lately, the films I’ve been in love with are ‘Poor Things’ and ‘The Boy Who Harnessed the Wind’.