Boman Irani has spoken of himself as a 10-year-old child, walking around with his father Rollei, pretending to shoot a film. With The Mehta Boys, the veteran actor completes that childhood dream.
The Mehta Boys, which will be premiered on Prime Video on February 7, marks 65-year-old Irani’s debut as a screenwriter and director. The intimate drama about a father-son relationship stars Irani as the septuagenarian Mehta, with Avinash Tiwary playing his son Amay. The film also stars Shreya Chaudhry and Puja Sarup. In an interview, Irani discussed his journey since his first film Let’s Talk and his experiences making The Mehta Boys.
You have years of acting experience, but it takes a different talent to become a screenwriter and director. What did you do to reskill?
You think you know, because you spend so many years giving suggestions to scenes. Sometimes, I have written scenes, and you may say I have the chops to write a lovely scene. But do you know how to structure a film? No. Do you know how to use motifs in a film, or make sure there’s character revelation to conflict? Of course not.
Writing one scene doesn’t mean anything. You have to learn and train. It takes years to understand what even a single prop can do to a film, like the envelope Zara drops off with Amay or the sari Shiv packs in his bag. That’s writing, that’s skilling up. Otherwise, you’re just writing pretty scenes of emotion that you say are relatable.
Every single thing should be accountable. It’s the Chekhov Gun narrative principle: don’t put a gun on the stage if you aren’t going to shoot it later. In order to learn the craft, I read every single book that needed to be read. I attended workshop after workshop. I even went to New York and found my teacher, Alexander Dinelaris. He was critical, and gave me lots of guidance and ideas.
What was the genesis of The Mehta Boys?
Sujoy Ghosh shared an idea with me about a father and son who have a tense relationship and how they have a classic airport moment. I loved it. He said, let’s do this film, but I said I wanted to direct it, and Sujoy gave it to me. I lived with it for a while and then I started writing one scene and another scene. I wrote 10 scenes, but they weren’t quite gelling together.
Then I found Alex and without him knowing, I made him my guru and became his student. When I first met Alex, he had written just one film, which was an arthouse film. Two years later, that arthouse film, Birdman, won him an Oscar. I thought I had lost my friend to another orbit of success.
But he said he was with me. I went to New York a few times a year to jam with him. We wrote it together. He corrected some of my scenes, removed a lot of the fat and he wrote some scenes too.
What was it like directing yourself?
If the writing is in place, then even a dumb-dumb director will make a half-decent film. Also we had prepped the film months in advance, so it became easy. It’s works if you are clear about the objective of the scene.
The detail in the writing of The Mehta Boys was very strong. For example, when the boy comes to the house and opens the door, the swollen wood makes a creaking sound. That’s there because it is saying something about the house, and it is disturbing because we’re getting into a tender scene. If the writing is tight, it becomes easier and it comes down to reacting.
As an actor on the set, I was on the side of my co-actors. We would fool around and say, there’s an old man sitting in the director’s chair and we would gang up against him. Then, once the scene was done, I would ask the actors, what do you think, should we go and ask the old man? Then I would sit in the director’s chair, watch the shot together and ask if it is good or if we needed another take.
I could be objective about my performance. If you are not truthful at this point in your life, you’re doing a disservice to the film.
Is this the 10-year-old Boman’s wish fulfilment?
I am a big believer in fulfilling wants. I don’t want any regrets. No matter how long it takes.
People say it took you so long to direct a film, but I say no, it did not. This is the perfect time to make a movie. It took a long time, but I think this is the sweet spot.
I don’t think I would have made this movie the way I wanted at 50. You need to get a little more out of life and experience some frustration too. It took me time to write it, cast it, make it.
Some might say this is a beautiful movie. A lot of people may not get it, and that’s fine. I have learned never to take offence. I love how the story unfolds so simply, following two flawed people who are awkward with each other. Characters and their layering really attract me to tell a story in a particular way, using motifs.
You’re best known for your comic roles. How do you see your more serious work?
I am known for comic work, and that’s absolutely fine. I went into it with my eyes open. But when it comes to wanting to make your own film, where the creative control is in your hands, then I want to do a film that will make me feel good about myself as an actor.
When Let’s Talk came out, a few editorials said, let’s hope he doesn’t sell out. I thought, okay, but who’s paying the bills? Entertaining the guy on the street is not a sell-out. It’s doing a job and getting paid for it. Go and do it with open arms. Commit to it without fear. Don’t be apologetic or shy.
Having said that, here was an opportunity to make a film that I wanted to make. It’s my voice. The characters and arcs are in my control, the tonality is my voice. I wanted to make a film that speaks to the way I understand cinema.
Which of your roles are you most proud of?
I’m Not Bajirao, from the stage. As for movies, Let’s Talk, Well Done Abba, Jolly LLB and maybe The Mehta Boys. From the more popular films, Munnabhai MBBS and 3 Idiots.
