There is a warm and diffused feeling of anticipation around the upcoming film Manisha Koirala, Dear Maya, directed by debtor Sunaina Bhatnagar. And it has little to do with the fact that this is the first version of the actress after six years. The writer of the 1990s has emerged from a long battle against cancer and other personal crises. In the June 2 version, Koirala plays a solitary who is the object of a joke without thinking and then disappears.
Considered one of the best actors of his generation, Koirala played in films defining decades Mehhak Ghai, Shekhar Kapur, Mani Ratnam, Vidhu Vinod Chopra, Sanjay Leela Bhansali and Manoor Khan. Despite a series of outstanding films and career decisions, Koirala still remembers its generation capacity personal life, the ability to dominate the screen, even if associated with Shah Rukh Khan or Aamir Khan, and demonstrates convincingly one Heroine Bhansali and a suicide bomber.
Noisy and positive, Koirala talked about the art of flirting with the camera and why she is happy to choose paternity to get married. You had some tumultuous years outside the spotlights. What I wanted to get back to the sets of ‘Dear Maya? I just wanted to do it. I was not sure of myself and I was very excited at the same time. I repeated it earlier, so it goes, I suppose. I think it was a scene with dogs. Maya Devi, my character has a few dogs. It was pretty scary actually.
Even in some of your early movies, you do not have the impression of having good or bad angles. What kind of relationship did you have with the camera?
At the beginning, when I had just started my career, Shekhar Kapur directed me to Dushmani. He said, “Manisha, flirting with the camera,” had absolutely no idea what he asked me to do. I was totally lost and know for sure whether I did it right or wrong. Over the years, I began to understand what I really meant by that.
The relationship with the camera has evolved over the years. When I see myself on the screen now, I know how I came. Fortunately, whatever confusion I have in my head does not appear on my face. I love being in the camera, I love to play. I am also anxious and nervous while doing so.
Before, it used to be much more spontaneous. My first shots were always the best. Over the years, I became a little more methodical. I come to a set prepared. I guess it’s also that the way the industry works has also changed. I shot a short film with Dibakar Banerjee and said, “Manisha, they’re meant for the camera.” It was very comforting and heartening to listen to someone as he says.
Basically, the whole concept of finding love and hope when everything is far from you. The idea that no matter how much hatred is presented to you or shock, you do not suffer, you should not lose hope because you never know what will happen later in life – it caught my eye. It’s a beautiful movie.
“Dear Maya” is an independent film. He also made the biopic film Sanjay Dutt Rajkumar Hirani, Nargis Dutt game. Two films on two very different scales.
At the end of the day, the movie account. And whatever the scale, the intention is to make a good film, giving priority to everything else ….