Gulzar on daughter Meghna's 'Filhaal': 'Would have been very shy to talk about surrogate motherhood'

Veteran poet-lyricist and filmmaker Gulzar is known for his deeply human stories and lyrical sensitivity. When his daughter Meghna Gulzar made her directorial debut with 'Filhaal,' which was released in 2002, a film that explored female friendship and surrogate motherhood, it marked the arrival of a distinct new voice in Hindi cinema. In this exclusive conversation with ETimes, Gulzar reflects on Meghna’s first film, her independent creative identity, her training under Saeed Mirza, and why he be lieves she has carved her path as a filmmaker, unburdened by his towering legacy.Gulzar Saab, how do you look back on your daughter’s directorial debut?I think Bosky (Meghna) has categorically proved that she is her own person. I don’t think I could have made 'Filhaal.' The sensibility, mood, dialogues, and even the subject reflect a young aesthetic sense. As a filmmaker, I would have been very shy to talk about surrogate motherhood. But Bosky draws a fine line between handling a sensitive theme and sturdy storytelling. I think she proved herself to be a filmmaker who should be taken seriously.Everyone was comparing her to you?And why not? If we are related, there are bound to be similarities. Kahin aapka rang ek jaisa milega, to kahin aapki muskaan ek hogi. Since we belong to the same family tree, why shouldn’t there be similarities in our creativity?However, Bosky deliberately trained under my colleague Saeed Mirza to avoid overt comparisons between father and daughter. And now the results are there for everyone to see. I genuinely don’t think I could have handled Filhaal.Why do you say that?The relationships in the film are handled in a way that is not my style. I would have been too shy to talk about many of the things Bosky discusses so openly. Essentially, men in our society shy away from discussing such issues—and even women are often inhibited. Bosky dealt with this sensitive subject with gentle honesty.The film communicates directly with younger viewers. Despite touching upon delicate themes, she never allows any awkwardness to enter the narrative.Films about female bonding are still rare in our cinema, aren’t they?You know, our generation of filmmakers missed out on portraying the bonding between friends. Films like Dil Ek Mandir and Dostana over-dramatized conflicts between friends. Watching Filhaal, I’m filled with admiration and affection for the younger generation, which can express its emotions so fluently and naturally.I feel very proud of this new generation. In comparison, the way friendship was portrayed earlier now seems outdated and overdone.Your comments on Sushmita Sen and your favorite, Tabu?Sushmita toh badi hi spontaneous hai. I told her, ‘Tumne toh acting ki hi nahin. Tum toh bas yun hi kar gayi.’ (laughs) Kahin toh acting ka effort dikhna chahiye. She laughed it off. But honestly, she’s very good, very natural. She’s a pleasant surprise. Full marks to her.And Tabu?With Tabu, the difficulty is that such brilliance is expected. She has performed the more complex sequences beautifully. There’s a strange, hazy quality she maintains throughout, which is very effective.Meghna will inevitably be compared with you. Does that burden her?I don’t think she is weighed down by expectations. She admits she is bound to be influenced by me, having watched my films closely. But people forget she has also been deeply influenced by Saeed Mirza’s cinema. He is her guru, not me.Some may presume she is purely a product of my cinematic sensibilities, but that’s a misconception. Saeed gave Meghna a sense of direction. She absorbed her motivations as a filmmaker from him. She worked as his chief assistant on Naseem. That was not an honorary position; it meant she went through the entire filmmaking process.She learned scriptwriting during Naseem. At times, she even wrote and edited scenes for Saeed Mirza. These experiences truly matured Meghna as a filmmaker.She rejected some of your lyrics for Filhaal?(Proudly) Yes, she did—and I respected her for it. It feels good to know she has a mind of her own. I’ve always welcomed constructive criticism from people I work with.Even my music composer, Vishal Bhardwaj, questioned some of my lyrics during his first (unreleased) film, Burf. He would say, ‘No, I have another image in mind. I want it this way.’ I enjoy working with youngsters who think independently. Constructive criticism is essential for any creative person, and I respect it deeply.