It’s because of her affinity towards films with a historical or real angle that director Swati Bhise decided to make one on the queen of Jhansi. By Team Viva

• Why did you choose Rani Laxmibai’s story for your direction?

It is the story of a strong woman, which should be told to the world. She was an iconic figure and a story of victory at a young age like hers is a perfect tale to tell the world. She is an inspiration to especially all the young women and I think there is not much thinking as to why I would chose only her story because it is so amazing. She is a wonder woman except that she is real.

• What were the onground challenges while shooting?

We had to face challenges in three different countries and weather conditions. It transitioned from extremely hot to damp to cold to freezing cold. While deserts like Rajasthan and Morocco had extreme weather conditions, both hot and cold, England was extremely cold and damp. We shot in extreme temperatures, with three different currencies, exchange rates and three line producers. All these were challenging. Then the crew and actors came from all parts of the world, which also turned out to be challenging as putting so many people from different cultures together is naturally tough. We had an eight-week shoot, which had to be completed within the turn around time schedules of six days and 13 hours. So definitely, it was quite tough. In some ways, it is also good to start a project and finish it rather than extend it for a long duration as it brings out the best in actors and the crew.

Well, despite the challenges, we were able to finish the project as planned and successfully.

• What was the research work involved? Where did you source your information from?

The research is from history books and journals from British Libraries. There was also research in Marathi done by Vishnubhat Godse, a contemporary of Rani Laxmibai. He has documented the battle, the letters which were sent back and forth and his observations. Along with the Indian and the British history, I had innumerable sources of literature to read in Marathi on Rani Laxmibai’s life.

• A number of films have been made on the queen of Jhansi, the recent one being Manikarnika... What is different about this one? Does it bring out a new, unheard angle in her story?

I do not agree that a number of films have been made on the queen of Jhansi. There has only been one in 1952 by Sohrab Modi in English. Post that, there were only a few serials and but no films. I know about the recent Bollywood film Manikarnika...  However, when we were shooting for our film, it hadn’t released. It came out only this year. I have not watched the film but I will definitely try to do so after my film is out.  Currently, my single-minded focus is to watch or read nothing on the queen except my research and go with the flow. I just want to keep my focus clear on my project, which is very singular as our film is not influenced by any past work done to showcase the Rani’s story so far.

As far as different angles are concerned, I believe that Manikarnika... is a Bollywood film and they wouldn’t have talked about Queen Victoria, which we have. I am sure the angle is different. We also have Sir Hugh Rose, Elis, which do not exist in any other film. I am sure that the angle would be different as no two minds could work in a similar way or think the same. Our story is more about British history and these characters, had their own thoughts on attacking Jhansi. It has a different angle on how the East India Company dealt with the queen. Every storyteller has his/her own narrative. I am excited and eager to differentiate between the story angles in our film and in Manikarnika.

• What do you think is the relevance of her story today?

Well, it’s pretty obvious that the story is relevant today because every women has to look at the spirit of the Rani within them. Women play various roles as a mother, daughter, sister, friend but above all, they are a Virangana — a warrior. And a warrior is not necessarily someone who goes into war but is the one who fights on the battlefield of life and is able to deal with the ups and downs, having the strength to deal with, especially the lows, efficiently. It is very easy to deal with the ups because they sustain you through life.

It is really important that we have the Rani’s story to look at and be inspired from when the world is in turmoil. We want to inspire women to look at themselves like the Rani. She was not born with a silver spoon. Hence, there are no excuses on to why could she do it so fiercely while we cannot. I believe that is a lesson which most women should read, absorb.  If we emulate even one percent of her then we would all be survivors.

I think it was important to be told for all the above reasons because the more stories of strong women we share, the more we celebrate their spirits. They have played traditional roles yet have been the backbones of society, family, and country. They stand as role models. Women for years to come can look back at their stories and learn that anything is possible if we support each other.

• How have you conceptualised the film in a way that it is more understandable for the international audience? Do you think they will be able to connect with something that is coming from the pages of Indian history?

I hope that the global audience relates to the film and understands it. People who like history and inspiring stories, question gender issues, look at action films as a beautiful production, would definitely enjoy it. And as far as the Western audience’s reaction is concerned, I think we have told the story in a language that the West would understand well and shown it in a manner that would make it palatable and easy to follow history. A lot has been explained which is isn’t obvious for the Indian audience too.

• Your previous film, too, The Man Who Knew Infinity, was inspired by a real life. Do you have an affinity towards such subjects?

Yes. I do actually have an affinity to anything which is historical or is leaning towards heritage because the story of Ramanujan also is from South India. I am very familiar with the culture because of Bharatanatyam, which is from Tamil Nadu. I could visualise Ramanujan and his Iyengar background, his culture, music and the kind of lifestyle he was used to, including his food, culture, the manner of speaking and Janaki. Tamil Nadu has retained its pristine culture over the years and they value tradition very much. I follow it because they are very seeped in arts and culture and literature, poetry and temples.

• How would you describe your transition from being a choreographer, Bharatnatyam expert to being a filmmaker?

I would not really call it a transition because I continue to go back and forth and each one has so many layers. Whether you’re a choreographer, a Bharatanatyam dancer, a storyteller, a scriptwriter or a director, it is your vision of what angle you want to bring in your story or which aspect you want to highlight. I do agree though that a historical piece is far more challenging than a contemporary story because of the precision of the time frame and the facts. Even the sets are supposed to take the audience to that era. It is an exciting new phase and I would love to do something new within filmmaking.

At this point, I have many such stories based on history and I have just finished a script to one such story called, Servants of Gods, which is based on the Devadasis and I hope I get to finish that film as well.

(The film releases across the US on November 15 and in India on November 29.)