“I attended many protests requesting the government to revamp rape laws!” - Writer-Director Manish Gupta
Thrillers based on real-life incidents are usually a bit risky since filmmakers often find it difficult to ‘keep viewers on the edges of their seats’. But few have mastered this art, and one such name is Writer-Director Manish Gupta.
His latest success as a Writer is Akshaye Khanna and Richa Chadda starrer SECTION 375, a Courtroom drama which has become one of the most important and must watch films in today’s times. Be it writing or directing, Manish knows the art of turning real-life stories into classic suspense films that are hard-hitting, clear, transparent, real and equally entertaining!
Manish began his journey in films by writing Amitabh Bachchan starrer ‘SARKAR’ (2005), which became a cult film, an all-time hit! Later, he directed four movies - ‘DARNA ZAROORI HAI’ (2006), ‘THE STONEMAN MURDERS’ (2009), ‘HOSTEL’ (2011) and ‘RAHASYA’ (2015).
Apeksha News Network had an exclusive chat with the ace filmmaker Manish Gupta about his latest success, upcoming projects and a lot more!
Your latest film ‘SECTION 375’ has become a movement for Human Rights. Please comment.
Since the release of ‘SECTION 375’, Human Rights Activists have been inviting me to support them in their demands for gender-equality in law. So I attended many protests requesting the government to revamp rape laws. Rape is a rampant crime in India. Sadly, the conviction rates are very low. But the number of fake rape cases is also alarmingly high. Shockingly, 80% of all rape cases filed in India are filed by the man’s ex-girlfriend/live-in partner/fiancée. Motives vary from revenge for a relation gone sour, to the parents wanting to get their daughter rid of her boyfriend, or parents wanting to escape the embarrassment of their daughter having eloped or plain extortion. Such fake cases cast a shadow of doubt over the testimonies of genuine rape survivors who land up not getting the necessary attention from the judiciary and the police.
Is it true that you based the film’s script on the Shiney Ahuja case?
Yes. I personally knew Shiney and his wife Anupam. Back in 2009, I used to visit their residence where I had met their 20-year old domestic help Madhuri Joshi too. One evening, I heard that Shiney has been arrested for the rape of this girl. I rushed to the Oshiwara police station and somehow managed to meet the DCP who said, “We have established intercourse, but we are not sure if it is consensual or forced.” I replied to the DCP, “If by your own admission, you are not sure if it is consensual or rape, then at least give Shiney the benefit of doubt. Why have you arrested him? You can complete your investigation, form a conclusion and then take appropriate action.” The DCP explained that according to Section 375 & 376 of the Indian Penal Code, if a woman files a complaint of rape against a man, then solely on the basis of her verbal statement, the police is compelled to arrest the man. That is when the idea of the film entered my mind.
Does your film undermine the #MeToo movement?
No. The #MeToo movement was much needed in our country where the concentration of power rests with a privileged few who can make or break anyone’s career. While the movement’s intention was good, the movement was handled in a random and ad hoc manner. Sexual harassment is a serious crime. Anyone affected by it (female or male, since homosexuals and bisexuals abound in our industry) must approach the police, lodge a complaint, and then a court of law will decide a verdict. But instead, sadly Twitter became a courtroom and the public of India started playing the role of judge, jury and executioner. In the West, where this movement originated, Harvey Weinstein faced multiple sexual assault cases in various courts of law. Such stringent legal action did not take place in India. That is why, tragically after some time the country stopped taking the movement seriously.
You have created a genre of your own, wherein you take a real incident and fictionalize it into a compelling suspense film. For e.g. Section 375, Rahasya, The Stoneman Murders, they all seem to be part of this genre.
Research forms the crux of all my scripts. For SECTION 375, I put in three years of research. I attended 160 court hearings at the Sessions Court, Kala Ghoda. I interviewed lawyers, cops, rape survivors and accused men. On the creative side, I have learnt the craft of intricate plotting from author Agatha Christie. As a Director, I am influenced by the craft of Alfred Hitchcock, Christopher Nolan and David Fincher. I wrote and rewrote the script of SECTION 375 twenty-nine times over the period of three years, until the script became worthy of my idols.
We have heard that you are directing three films now. Can you please tell us more about these projects?
At this time, I can only reveal that all three are suspense films. That is the genre I specialize in. All three scripts are loosely inspired by real events.
