When a box of plums lands on his lap, inspector Hati Ram Chowdhary doesn’t believe his luck. This may be his only chance to get the flooded creatures out of Delhi under his jurisdiction. The main character is Paatal Locke, the latest crime novel on Amazon Prime, in fact a vulnerable man.
You get so close, you read so much about a character. But in the end it’s always a reflection of the character by you.
Because if you don’t get a chance to prove yourself or feel better about your life, you feel like a loser. And it even affects your personal and professional relationships, explains actor Jadeep Ahlawat, who plays a bad detective. But if he gets this case, he stands up because he knows he can do it, even if others don’t know. He is determined to solve the case at all costs, so that he is no longer called a failure, and that is his motive. The inner and outer journey of the character made it a very interesting role for me.
Father is the word.
This is the first time that Alawat writes an essay on an important role, although its enormous potential has long been a secret. The inner journey of the character is of the utmost importance to this actor.
You get so close, you read so much about a character, the whole process is an attempt to understand his psyche. But at the end of the day, it’s always a reflection of your character. It comes from the inside, he says, trying to explain how it gets in your face. If you’re normally quiet when you’re angry, you don’t have to treat a character who reacts very differently. But if you see that someone is taking risks, as you do, you immediately identify with them. It is these little things that penetrate your psyche and force you to act on a deeper level.
Pictures of Patall Locke, where Jadeep Alawat plays the role of the bad detective Hathi Ram Chowdhary.
An actor can do well if the script is well written. The advantage of a good font is that the hieroglyphs are well maintained. And that depends on how an actor can make a character more interesting by including small nuances, Ahlavat explains.
Many aspects of Hathi Rama reminded her of her father. So I used some of his manners… little things like his relaxed walk where one hand doesn’t move much but stays close to the body. And the way he reacts in a relationship. These are things only those who know him will know.
The element of poetic irony is that the greatest role in the life of an actor’s father has nuances. Indeed, her father, a teacher and educator, liked his children to come home on time every night, which meant that Ahlawat could not watch movies late at night like his friends.
The advantage of a good font is that the hieroglyphs are well maintained. Then the actor has to make a small nuance.
As a child, in the village of Kharkhara in Kharyan, he could only watch films three or four times a year on the improvised screens of a mobile cinema. Or, if there has been a marriage or if someone has had a child, the family celebrates by bringing a VCR to watch movies. His first memory of a film he saw in a cinema was when he was in the sixth grade. He saw Pyar Ka Mandir Mittoun Chakraborty (1988) with an older cousin.
I didn’t understand anything about cinematography, but the impact of this experience was enormous! The size of the screen, the number of spectators, the sound… It was amazing. And because children display very well what they see, the numbers stay with them. So the next two days I was Mitchen and I walked around in my village. When I saw Dharmendra’s movie, I was in his place, screaming my dialogue… – he laughs when he remembers those years.
Only later, when he went to the University of Rohtak, Ahlawat was free to make films to his liking. I was a big fan of Akshai Kumar. After seeing Hiladion Ka Hiladi (1996) running to catch a bus, my friends and I wanted to recreate that excitement. When we took the public transport buses back to our village, we waited at the depot with our bags and watched how our bus was filling up. Then, as soon as she started and moved a certain distance, we ran and grabbed her! He remembers.
When Akhlavat finally met his teen hero on the set of his first film (Hatta-Meta 2010) and shared this memory with them, Akshai Kumar laughed and wished that one day a new generation of boys would miss their bus home because of him.
Since both parents and both siblings are teachers, it is not surprising that Mrs. Ahlawat also holds a teaching certificate. But he wanted to join the army at an early age because of the respect and lifestyle that such a career brings. When I myself failed after three attempts, Hathi Rum felt useless, he smiled deadly. After that he focused on literature and theatre. You’re on stage, you can shout and express yourself. Their negative energy is depleted, he explains.
Two and a half years later he joined the Film and Television Institute of India (FTII) in Pune. It was exciting, but also pretty scary. The IITF had people from all over India and abroad, and they had a different way of thinking. They talked about world cinema and I was there – the only foreign films I had ever seen were probably Arnold Schwarzenegger’s, and they were baptized in Hindi! He’s smiling.
With the increased visibility of [good] movies, our understanding has changed: The spectator doesn’t have to scoop out everything anymore!
From the end of FTII and the move to Mumbai in 2008, to the auditions, to the signing of the contract with Priyadarshan for Akrosh and Hatta Metekh and several other films, Akhlavat’s journey has been an eventful one. He’s been very busy lately. After the web series Bard out of blood, I worked on the series Destiny with Fate, which recently won the Best Film Game at the Tribeca Film Festival. I shot for Paatal Lok, then Baaghi, and a short film with Shashank Haytan. Then I shot for Kaali Peli, and then Baagi let go. Immediately after that the lockdown started. Now let’s see how it goes, he says.
In all these roles, a common theme was the inner journey of the character. The ability to interpret each character so deeply that the actors’ acting is more sensual than it seems at first glance. Ahlawat is one of those actors for whom a subtle action is worth a thousand words. Whether he plays RAW curator Khalid Mir in Raazi or patriarch Shahid Khan in the Wasseipur gangs, his acting talent manifests itself in meaningful glances or twisted lips.
He’s noticing: I think that with the increase of our presence as spectators, filmmakers and actors, our understanding of filmmaking has changed. There is no need for the viewer to get a spoon for every story. Today’s actors want the characterization to be plausible. Even a normal movie is satisfied with a strong plot.
This happens in silence, is part of his thinking and also manifests itself in his personal research. It collects experiences in layers of silence. He prefers to spend his time in his quiet and comfortable home or with a select group of friends. During this forced break, he admits that he only devours the satisfaction of the true hunger of a man who loves (and lives) his art.
From 31 May 2020