An award-winning paean to the Army, from Haryana
A state with an enviable presence in the Indian Army, a country which falls way short of recognising the services of its defence personnel and a friend’s story of valour and sacrifice. Amid a sea of these mixed sentiments was born Haryanvi film ‘Fouja’. As things stand today, the makers have every reason to feel proud of the film as not one, not two, but three National Film Awards have come its way. Pramod Kumar Punhana, the director who has won the Best Debut Film National Award, calls it a “validation of our hard work and persistence”.
Since the genesis of the film lay in a personal story — a dear friend’s martyrdom in the Kargil war — he agrees that close proximity to the subject can often be overwhelming and can lead to an overtly emotional statement. Thus, to gain an objective distance, he sought the help of writer Pravesh Rajput. Net result: ‘Fouja’ not only salutes Haryana’s long-cherished martial tradition, but also motivates youth to join the armed forces. The obsession of Fouja, the protagonist, with joining the Army and his inability to do so due to a physical affliction has undertones of Pramod’s own life story.
For a debutant director, making a film can only come with its own set of challenges. Pramod recalls how during the writing stage itself, he had envisioned no one else but actor Pavan Malhotra in the titular role. However, casting him was a different ballgame. Though the veteran actor, who has won the National Award for Supporting Actor for the film, his second after ‘Fakir’ (1998), says “the film is close to my heart, for my respect for the Indian Army borders on reverence”, he did not sign on the dotted line instantly. Pramod’s emotional blackmail managed to prevail over Pavan’s initial reluctance. “Either you are Fouja or no one else; otherwise, I am going to tear my script rightaway,” he had told the actor.
Today, Pramod swears by not just the actor that Pavan is, but also the human being. “Despite his stature, he was eager for retakes, helped his co-actors willingly and was forever ready to listen. It was a learning not just for fresh actors like Karthik Dammu, who plays his son in the film, but for me as well.” Pavan may not be as effusive, but lauds the sensibility of the director that comes from Pramod’s theatre background and work with noted theatre personality Barry John. “The film may not have been mounted on a lavish scale, but it captures the soul of its subject with heartfelt intensity,” Pavan adds.
Apart from the emotive connect, Pramod is only too aware of how attention to detail is paramount in a film like this. While shooting the Army portions, he had Brig AL Sandal (retd) on board to oversee that they don’t err on the count of authenticity. All praise for the defence forces, Pramod laments, “Those who spew venom in the name of freedom of speech don’t realise what could happen if our forces are not as disciplined and ready to die for our nation with all their might and zeal.”
He asserts that in Haryana, the land of ‘Mahabharata’, “there is no dearth of stories”. Movies like ‘Dangal’, ‘Sultan’ and ‘Tanu Weds Manu 2’ have shown how subjects rooted in this land can work magic at the box-office as well. Alas, a Haryanvi film goes begging for audiences. Even after winning National Awards, Pramod wonders aloud whether making ‘Fouja’ in Haryanvi was a sagacious decision. Interestingly, among the three Awards, one is for debutant lyricist Naushad Sadar Khan’s inspirational song ‘Salaami’.
Though Pramod’s next is a crime thriller in Hindi, the idea of a Haryanvi film is brewing too. Both are message-driven and based on true stories. “Real incidents,” feels Pramod, “make the film relatable and when you watch ‘Fouja’, you will feel the characters truly come alive.” Pavan rues, “Martyrs often become just figures in newspaper reports and we don’t realise the ultimate sacrifice they and their families make. That’s why the film is a must watch.” To ensure that it reaches audiences, the makers are eying OTT platforms, and a special show in Chandigarh is on the anvil.
Honours can certainly bring attention to cinema from the state, so far in the limelight only for its sporting feats, but real change can only be ushered in with tangible government support. Pramod observes, “As of now, Haryanvi cinema is a mere toddler and needs handholding and media patronage.” He was lucky enough to find a producer in friend Ajit Dalmia, but even for small-budget films, the going is never easy. Indeed, when the going gets tough, the tough get going. Who knows this better than hardy Haryanvis whose ‘do or die’ spirit has been captured by Pramod in ‘Fouja’.
If purpose makes a martyr, meaningful cinema too can’t be rudderless. ‘Fauladi se lava se, teri har baat nirali se, chod ke duniyadaari, seene mein desh ki baati baali se…’ (We’re steely, we’re fiery, everything about us is unique; leaving worldly affairs behind, our hearts burn with patriotism) — the award-winning lyrics of Naushad Sadar Khan sum up the sentiments of the entire team of ‘Fouja’.
