It would have been too Bollywood to have a dalit hero: Anubhav Sinha, director of "[9 [[[[ Article 15 & # 39; & # 39;

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Article 15 of director Anubhav Sinha's latest film takes place in Lalgaon, a fictitious village in Uttar Pradesh in perpetual darkness and half-darkness. Here, contemporary caste atrocities converge. The film, exceptionally for Bollywood, refers to the alleged rape and murder of two girls in Badaun and the flogging of Dalits at Una. This is reminiscent of Chandrashekhar Azad & Ravan & # 39; of the army of Bhim and Rohith Vemula. The film was hailed by critics, critics and protests from peripheral organizations representing upper castes. Although "Article 15" focuses on caste privilege and discrimination, questions arise as to the look and question of whether there are superior castes that speak to each other. to higher castes. Sinha, 54, answers a question about why a Brahmin policeman is the hero and about whether the Dalits became blurry and without any action in his film even as they make visible the atrocities committed in against them, as well as Charmy Harikrishnan. Edited excerpts:

Can I ask a question to everyone, Ayan Ranjan, protagonist of Article 15?

What is my caste? I am a Kayasth.

Your film takes a severe look at caste in contemporary India. Why a caste?

When I was 10 or 11 years old, at home and around me, I realized that people were judged by their last name. Even now, headlines that seem insignificant in the newspapers speak of Dalits, rapes, badbadinations, torture and discrimination against Dalits. This movie came out of a lot of anger.

Is it difficult or complicated to consider the atrocities committed against Dalits as non-Dalits?

I do not think so. I think it's good or bad people. I do not look at people as a subset. I do not consider myself a subset. I saw this as a human being horrified by society.

Why did you have a brahman as a hero?

The privileged must question their privilege. I find it more rewarding. This is not fun when the underdog asks why this is happening. I did not conceive it this way, however: to have a brahman as a hero. But I saw it and recognized it and let it go. For me, it's a good human being. The privileged must speak. Even in my previous film "Mulk", it is the Hindu stepdaughter who pleads in favor of the Muslim family (accused of terrorism).

Will you accept the argument that article 15 is more about Savarna's confrontation with caste atrocities than about the visceral experience of Dalit caste?

I'm sure some people can see it that way. You know, when writing the script, I had to choose between placing the "main script camera" inside of us to look at us or Ayan's shoulders to watch them. Both had a movie. Legitimate movies. I chose to place this camera on Ayan's shoulder because I wanted to emphasize our complicity of ignorance / inadvertence. Or, even completely advised complicity and inertia.

During the process, did you transfer the agony of suffering Dalit to the horrified Brahmin?

One does not give up the other. I do not see Ayan as a horrified Brahmin. I see him as a privileged man horrified. I wanted him to be privileged on both scales, social and structural, and then he had to take a stand, the burden being on him. Hence the final credit song "Shuru Karein Kya".

2 "title =" 2 "/> <figcaption/> </figure> </p> <p><strong> The case of Badaun, where two girls were found hanging from a tree, is at the heart of the story. </strong><br /> <br /> This is the case – and this is not the case. It is one of the catalysts. This image has bothered me a lot. Una too. So the suicide of Rohith Vemula. They stayed with me. </p> <p><strong> The Nishad character recalls Chandrashekhar Azad 'Ravan' of the Bhim Army. You have also merged some aspects of Rohith Vemula into Nishad. </strong><br /> <br /> I did not want Nishad to be entirely Chandrashekhar because I did not know his name well enough. I did not meet him. I liked his position during the elections. When Mohammed Zeeshan Ayyub (who plays Nishad) came to meet me, he came from Hansal Mehta's film set. He had that mustache. He asked me if he should keep it. I said yes. I realized the similarity with Chandrashekhar. But I wanted the audience to enter the movie as Ayan.<br /> </p> <figure clbad= 3 "title =" 3 "/> <figcaption/> </figure> </p> <p><strong> Lalgaon, the village of your film, is the gathering place for contemporary badaults against Dalits – including a woman who is fired from her cook work for lunch because she is dalit. </strong><br /> <br /> In January 2017, when I started writing the script, he called himself "Kanpur Dehat". I wrote this before "Mulk" but people said it did not happen anymore. I changed the name because I did not want people to badume that it only happens at one particular place. I did not want it to be specific to a place. I wanted to use those pictures that you may have watched. And I wanted to take you back there and make you see them. Caste is everywhere. </p> <p><strong> In your film, you criticize the line "We are all Hindu" when the society is so divided. You make fun of the mahant's attempt to eat alongside a Dalit. </strong><br /> <br /> When you share your food with everyone, it's fantastic. It's part of my thinking and my life. At the moment you sell it, it's wrong. It happens in politics – politicians eat at a Dalit's house to score political points. </p> <p><strong> In your WhatsApp profile picture, you have a Sita-Ram shawl wrapped around you. </strong><br /> <br /> I wish to recover this color because it was wrongly designated. This color was worn and accepted by those who believed in equality. It is the color of dawn, of knowledge. Now, when people protest against my film, they wear that color. He spoke something else. My religion does not tell me to beat someone to sing Jai Shri Ram. </p> <p><strong> We have a right-wing government with a huge majority in the center. </strong><br /> <br /> It's a fact. We must accept it. But am I in agreement with them? No, a lot of things are happening in this country that I do not agree with. Lynching has replaced riots, but never before has it seemed that people would not be protected. In Patna, where some protested against my film, asking that it not be screened, there was no police presence. But when the Dalits of Bhim's army said that they wanted to watch the movie, they were<br /> <em> lathi </em> – charged. Which side are we on? Was the previous group protected? </p> <p><strong> Why are upper castes angry with your movie? </strong><br /> <br /> Not even 1% of them are against the film. These organizations (who oppose the film) simply do not want their privilege to be questioned.<br /> </p> <figure clbad= 1 "title =" 1 "/> <figcaption/> </figure> </p> <p><strong> You said in an interview that the audience is an accused party. Who are you pointing at? Upper castes? </strong><br /> <br /> I point everyone. The idea is to make a company that does not exploit the identity. I am pointing out someone who is exploiting caste identity to gain benefits. And that includes the bad Dalit policies. Identity should not be used only for electoral purposes, but for the progress of the population. The defense mechanism of a discriminated people is to stick together – and a leader emerges. But if the leader starts selling his position or using caste politics to defend his own interests, I also point them out. My film contains a sentence: "When you are in power, you make statues; when you are in opposition, you become dalit '. </p> <p><strong> But making statues is also part of the Dalits' affirmation and policy. If higher castes can, why not Dalits? </strong><br /> <br /> It does not matter who does it, the act is bad. </p> <p><strong> Even as your film sheds light on crimes against Dalits, have Dalits become blurry, without agency or victim? </strong><br /> <br /> I do not think so. Gaura has an agency. I like the bow of (the policeman) Jatav – of 'Jatav but zero hain' at the beginning, he stops and slaps (the Thakur circle officer) Brahmadatt Singh at the end. In an ideal world, Dalits should have enough to defend their causes. But they were rendered powerless. There is no water to drink. There is no food to eat. In this kind of society where Dalits are systematically oppressed, it would have been too Bollywood to have a Dalit hero. It would have been incredible. </p> <p><strong> What is caste? </strong><br /> <br /> Caste is a plot. Humans are designed to create a clbad break. Here it is caste. It is designed so that the majority of people remain well under the minority. It is a question of law. It is a cheap labor force. It is a free and exploitative job. Caste is a clbad affair. It is a discrimination based on power. In my building, housekeepers and drivers are not allowed in a particular elevator. When I ask the security guard why they are not allowed, he answers: "Saheb log naaraz ho jaayega". </p> <p> <iframe clbad=

And what did you do about it?

Sometimes I take them to the elevator. Sometimes I'm too busy to do it. I am a part of that. I point at myself.

But is not the caste much more insidious and rooted than the clbad where mobility is possible?

I do not think so. If you sit next to a billionaire, you probably do not think about his caste.

I am sure yes. But caste considerations are often subordinated to commercial concerns.

The film confirms the primacy of the Constitution

Yes, it is the primacy of the Constitution. This is an article in particular forgotten for a long time. I respect this book. These are rules that are supposed to govern us. These have not been implemented and they are already considering modifying them. I wanted everybody to know about clause 15. That's why I kept my focus on what's in clause 15 in the movie just before the interval.

The film also quotes Ambedkar: "I will be the first to burn the Constitution".

Yes, he said that and he was right. What is the point of having the Constitution if it is misused, if the rules are not followed?

In Mulk and in Article 15, you solve religious prejudice and caste discrimination by law. Do you think that only due process can save us?

I used this process to elucidate a problem. It is when you, as an individual, do not respect the rules of the procedure.

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"Mulk" and "Article 15" mark a change from your previous movies such as "Dus" and "Ra.One". How did the change happen?

"Mulk" and "Article 15" are from anger. Previously, I had a sense of success misplaced. For me, the success was the one whose photo is the biggest – mine or that of Sanjay Gupta or Rohit Shetty. In the last five years, I have started reading again. I felt liberated. I have read "The discovery of India". That has me a lot talked about the country. That's why I showed this book in the movie. Then I read Gandhi's autobiography. I realized that he was so fallible – he did not stop making mistakes and he continued to correct himself. I read Joothan of Om Prakash Valmiki and Caste Republic of Anand Teltumbde. I gave a copy of Joothan to (the actor) Ayushmann Khurrana (who interprets IPS officer Ayan Ranjan) because I wanted him to know who he was defending and what he was doing. he defended.

Do you think that a movie can change attitudes about caste and change mentalities?

No, movies can only raise questions. In the broader scheme of things, they have a point. After the publication of "Mulk", I received a message. He said: "I always thought I was secular. But I was not there. If a movie can make you look inside, that's all it can do. The only idea is to make people see. We must become better human beings. We must learn to coexist. Because to tell you the truth, this world is screwed up.

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