• Home
• /
• Entertainment

Fahadh Faasil: I became a better man with Diamond Necklace

In an exclusive interview with City Times, Fahadh Faasil talks about early setbacks and how he lives his life on his own terms.

Deepa Gauri finds out more about the ‘new generation’ actor who has enriched Malayalam cinema with his multi-faceted roles

Fahadh Faasil could soon be your neighbour in Dubai. The award-winning actor and his wife Nazriya are speculating about moving to the city, which he says gives an “awesome feeling of togetherness even when you are alone.”

There is a certain nonchalance to this award-winning actor, a certain detachment that makes him totally unconventional.

Indeed, if there is infinite wisdom in Bob Marley’s words that ‘every man gotta right to decide his own destiny,’ it cannot be truer than in the life of Malayalam cinema’s first ubersexual star Fahadh Faasil.

From being one among the child artists in a house-party scene in Pappyude Swantham Appos, directed by his dad, veteran filmmaker Fazil, Fahadh has evolved as an actor who constantly surprises viewers with his intensity, involvement and inspired performances.

The journey to success, fame and recognition, however, has not been easy. But then, perhaps, it is precisely his early failure to capture the limelight as ‘Shanu,’ the screen-name he chose for his real debut, Kaiyethum Doorathu, also directed by Fazil, that has made Fahadh the man he is today.

Often described as the face of the ‘new generation,’ Fahadh has successfully outgrown image traps, playing villain, selfish anti-hero, self-serving hero, brooding rebel, fisherman, metro boy, social activist and a maverick with OCD, all with effortless ease and conviction. But then, as he says, he only does roles that he loves.

Fahadh was in Dubai for the shoot of a commercial by Oneness Media Mill for UAE Exchange. Excerpts from an exclusive interview:

First things first: How was it to shoot the UAE Exchange commercial in Dubai, where you did Diamond Necklace, which was a defining movie in your career?

I have always had this beautiful connection with Dubai. And it began much before Diamond Necklace happened to me, right from my student days when I would spend a couple of days in Dubai enroute to America. I think it is important that people don’t make you feel alone even when you are in a crowd. Dubai gives that awesome feeling of togetherness even when you are alone. And most of my travel to Dubai before marriage was alone and I have felt wanted here. Post-marriage my wife and I are speculating on moving here. With Diamond Necklace, I would like to believe that I became a better man. Diamond Necklace was loosely based on a true life incident. I met one person (who went through a similar experience) before the movie and I met a few after it. They identified with the character Dr. Arun Kumar, rather I identified with them. Lal Jose and Dr. Iqbal Kuttippuram made it real. And Dubai became a part of me.

Why did you choose to be a part of this particular commercial set in Dubai?

Shooting the commercial was an awesome experience. ... a few days with friends like Aashiq Abu, Amal Neerad, Syam Pushkaran and Jayasurya for a brand that people back home identify with, doing what we love doing. And truly the commercial identified with the person I am. It was my respect for the folks who are away from home trying to make ends meet. You do what makes you happy. And here I did something that makes me proud. It was a pleasure working with UAE Exchange and Oneness Media Mill, who were very dedicated and passionate about their work.

Amal Neerad has said he’s thankful that you stepped in as a friend to co-produce Iyobinte Pusthakam. Would you venture into production again? Despite its success and acclaim, do you feel the film did not get the recognition it deserved at award functions?

Amal and I were discussing a lot of scripts together and it took us a year to get to Iyobinte Pusthakam and another year to plan the film and get it on the floors. The film was very expensive and time-consuming; since we were the producers, it made the process convenient and easy. Amal is like a brother to me and I would do anything for him. Iyobinte Pusthakam was indeed different. I have not seen a movie like that in Malayalam and that’s the reason I wanted to be a part of it. There were many more good movies made across the country and there were a few which were better than ours and the jury handpicked five out of the 25, which is fair I guess. Personally I think Iyobinte Pusthakam is a kind of film that grows on you and gives you a better understanding after each viewing. I know this for sure because the script was bigger than the moments and the film was bigger than the script. Such films stay, I would like to believe. And that is my high.

After a fantastic 2014, this year has been a bit of a rough start for you with both Mariammukku and Haram gaining mixed reports from critics and at the box office. Has this made you reconsider future projects?

Movies happen to me more than I have made it happen. There are a lot of things that need to be in place for a movie to work with the majority. And I don’t follow a format. I would like, in the process of filmmaking, to arrive at a format. So there is always this experimental process attached with the kind of narrations or scripts I choose for myself. I shuffled a few projects of mine and in the process had to opt out of a few and let go a few others. I will update my fans about my releases when I am ready with them.

What do you look for in a role when you sign up for a movie?

I don’t look for a role. I look for a movie with a role. I follow the screenplay, and not just the role. The process is simple and you just need to be open to play a role and not a hero. I believe every character in my movie is different and only a good cast can pull it off. I always look at every option in the cast before I pick mine or the role that is offered to me. Sometimes I am wrong and most of the times I maybe, but I have only done what I have loved.

You are often portrayed as the Bermuda-clad new generation hero. How do you react to this perception? Have you ever consciously tried to change it, like say with movies such as Oru Indian Pranayakatha and Mariammukku?

Am I still portrayed that way? I did Annayum Rasoolum, Amen, Artist, North 24 Kaatham, Aami (5 Sundarikal) and Iyobinte Pusthakam after 22FK and Diamond Necklace.

It is reported that you were to do OK Kanmani with Mani Ratnam. Why did you reject the project?

Yes I was. But I don’t know if it was for OK Kanmani. I don’t think I am an actor for other languages. I think in Malayalam and my command on other regional languages is very minimal. So yeah, I have never taken the prospect to work outside Malayalam ahead. Every time I interact with a maker from outside Kerala, the first and the only thing I ask is, “Can you do a film in Malayalam?”

Have you ever re-watched Kaiyethum Doorathu of late? From that Shanu to the Fahadh today, how do you see your journey as an actor?

The fact is I have never watched it, and actually [never watched] most of my movies. I only see my mistakes. The closest I get to my films after the shoot is while I dub for it. But I am always there to watch the rushes at the end of the shoot every day. That’s when most of my discussions happen with the maker and editor. But going back to it after things are locked at the table frightens me for some reason. You always go through a cycle while you make a film. First, is this the kind of film you want to make; second, is this the way it should be made and thirdly, is this how the audience likes to see it? And after that it’s always about, ‘I could have made this and that better.’ So my preview happens at the dubbing studio and then the affair is to move on. Similarly, with Kaiyethum Doorathu I only see the mistakes and perhaps 10 years from now, when I watch the films I did now, I might find myself outdated. It’s the cycle of cinema, or maybe life. Only when life changes, cinema changes. When people change, cinema changes. When emotions change, again cinema changes. Cinema grows and lives with people.

What did your stint in the US teach you (not academically), more so because it was after the failure of Kaiyethum Doorathu? Were you a bitter young man then and were you raring to come back one day and prove your detractors wrong?

I have read somewhere or someone has told me this, ‘if you have a home leave it.’ I left home when I was 19. I did not leave in the exact sense of the word, but I was away from home, all by myself. Failures affect me but don’t grow in me. I forget things very fast - good things and the bad things. I only remember what I want to remember. I tried to do a lot of things with my life. But my life was not an answer or revenge to anyone. I lived it. And that’s just what I wish for others.

Mammootty has said he always tries to bring in some different mannerisms to his roles, even if they are repetitive. Do you prepare extensively for each role to try to bring in new nuances? Or are you a foolproof director’s actor?

I absolutely depend on my directors when I perform. It is easier that way. Sometimes I might fail to see the film and just focus on the character. But directors tend to see the film as a whole and they will know for sure what is best for the movie. It’s a treat to work with makers who know their actors. And I have been fortunate to work with many like that. I only listen to the director as I am not sure about a lot of things in cinema. I would have been in a better place if knew what I did.

What is the biggest lesson you have learnt from your father? Will you make a movie with him?

The biggest lesson my father has taught me is or rather his life has taught me is to do what I love doing. Be it cinema or anything in life. We have never sat across a table and discussed working on a film together. Maybe we should.

Of all the young actors of your generation, who impresses you the most?

I have quite a few favourites. Everyone has been making films they believe in and it is all absolutely functioning well. It’s a good time for cinema and there are a lot of new faces.