Actor Prakash Belawadi has made an impact in the theatre and film world with his acting prowess over the years. The actor who stumbled into acting with his debut English film Stumble, won him the Indian National Film Award for Best feature film in English. After that there was no looking back for Bangalore-based stalwart who has acted in many movies since then and won many accolades too. He is also a mentor with the founding team of BISFF (Bengaluru International Short Film Festival) since 2010. His most recent film after Airlit with Akshay Kumar was the much talked about Kashmir Files. He has been conferred with various awards like the Pratibha Bhushan by the Government of Karnataka, Karnataka Nataka Academy Award, Pride of Karnataka, Varshada Kannadiga, Helpmann Award, Australia besides many more. In between shoots for his other projects, the humble actor, director, theater, film and television personality, teacher, motivational speaker at events and TEDx conferences and an activist Prakash Belawadi takes out time to speak to Provoke Magazine in a candid interview.

1. What would be justice … for all that Kashmiris went through? This keeps coming back as a question in the movie as well.
Three steps:
Firstly, an official inquiry by a Truth and Reconciliation Commission established by Parliament, which clearly chronicles the events from 1984 to 2003 in the state of Jammu & Kashmir, makes a record of all those — Kashmiri Pandits and other communities, including Kashmiri Muslims — who were, injured, driven out or deprived of their properties due to violence in the state; and clearly identifies everyone responsible for the violent acts, by commission or omission — militants, their backers, collaborators and officials at the state and Centre.

Secondly, put the accused on trial by a special court, which shall decide the nature of punishment.

Finally, work out a scheme for the victims, which gives them back the equivalent of properties they lost due to the violence, monetary compensation for the three decades of suffering and facilitates their return to Kashmir with adequate protection by the state.

That is justice
2. With the overwhelming response to the movie… has the director and production team achieved what they ought to?
The director’s primary intent was to bring to light the sufferings of Kashmiri Pandits and to encourage young and idealistic Indians to look hard at actual events of history and decide what is just and unjust rather than get swayed by fake constructs. I think the response suggests that the public wants to know what happened. They are asking questions. That is gratifying.

3. What is their success measure for this movie?
The public response, counted in box office returns, wide and sustained discourse in regular and social media, and a reckoning at the political level too, for and against the movie.

4. You have played an important part in the film. What preparation did you have to make for your role in the movie?
Reading the script, debating at the table readings on the treatment, pitch and pace, working on back stories of the characters… But, mainly, the preparation was in the four years of research and recordings of testimonials done by Vivek Agnihotri and Pallavi Joshi to develop the script.

5. What is your personal take on the Kashmir issue?
It made me very emotional. The arguments, apologies and excuses that are being offered after the release are often annoying and exasperating, but it is also exciting because it shows interesting films can now be made with modest budgets and that subjects of near history are low hanging fruits.

6. Millions of people have been moved and have emotionally been touched by the film. Personally for you what has been the most touching part in the movie?
The line by Mithun da – “But no Kashmiri Pandit ever lifted a gun, right?” It not only settles the question on who the victims are, in this case, but also offers a moral and model code for communities claiming victimhood.

7. What was the general sentiment on the set while filming some of the very intense scenes?
A lot of us are politically engaged… so, it was quite intense. The presence of two Kashmiri pandits – Anupam Kher and Bhasha Sumbli – made it more poignant.
8. What in your opinion was the injustice done to the Kashmiri pandits and what can be done to give them justice?

Simply put, they have been made refugees in their own country. This needs to be reversed.

9. There are statements that this film is a propaganda film. Is this true? If yes, how? If not, how and why?
In the past, films and filmmakers have been given numerous awards by state-nominated juries for even mediocre and boring works for merely supporting the ideologies and slogans of the ruling political establishment. Such films have been showcased on what was state-owned monopoly television, whether the public wanted to watch these award-winners. That is what propaganda is. An agenda is being ‘pushed’. When people queue up to buy tickets, they are ‘pulling’ the film to them. Anybody with common sense would know the difference.

10. I read somewhere that you were also sorry for not talking about this issue earlier? Can you elaborate?
I was a journalist in 1989-90. I never bothered to look into the events in Jammu and Kashmir then. It’s true I didn’t know what really happened. It’s also true that I didn’t care enough.

11. On another note, we would also like to hear your views on the hijab controversy?
It’s a sad and disturbing issue. In my view, it was not for a court to decide it. Typically, a court decides in favour of one side and leaves the other bitter. It shouldn’t have gone to court. There should have been a negotiated compromise at the institute level, the local community level…decided by representatives of students, PTAs, college management, community elders and local political leadership.

12. Would you also like to share your personal opinion on the Russia Ukraine situation?
I don’t know enough. But NATO too is always invading other countries. It is a European trait. It seems they can’t help themselves.

13. What are your views on the films being made in today’s times?
The two Covid years have changed how middle- and upper-middle classes view moving image media. A new technological environment for distribution is emerging. I think cinematic content is changing dramatically.

14. What kind of films would you like to be seen in the future?
I like these near-history films. I’m lucky to get roles in them; even they are of modest importance.

15. What are you working on next? What’s in the pipeline for you?
Some web series projects in Hindi, a few films in Kannada and Hindi, a long international tour with two Australian stage plays — Sydney, Edinburgh, Birmingham, London and Melbourne. I’m all covered till June 2023.