Akshat Ajay Sharma’s Haddi has left audiences spellbound, largely owing to the breathtaking transformation of Nawazuddin Siddiqui into the character of a transgender, who serves as the linchpin of this gritty noir revenge drama. While Nawaz’s appearance in the film is undeniably astonishing, one specific facet that radically touches our hearts is the poignant on-screen romance between him and Mohammed Zeeshan Ayyub. Within the narrative of the film, Zeeshan adeptly steps into the role of Nawaz’s life partner, a relationship that holds the promise of being both evocative and dynamically powerful. Intriguingly, one of the standout elements that define Zeeshan’s illustrious career is his unparalleled ability to infuse life into the portrayal of negative characters. When probed about his methodology for approaching such roles, he fervently underscores the paramount importance of keen observation and compelling presentation. He believes in adding depth to his characters and portraying them as fully-developed individuals rather than one-dimensional antagonists. Our interview with Zeeshan provides a window into his distinctive viewpoint regarding the ever-evolving cinematic landscape as he thoughtfully delves into his role in the crime drama. When the discussion veers towards the portrayal of the LGBTQIA++ community in cinema, his passionate advocacy for inclusivity resounds vividly. Zeeshan tells us that each and every individual should be embraced as who they are, their existence acknowledged, and the freedom to live their lives, upheld.
Transgender representation in cinema has been a topic of discussion. How do you think Haddi contributes to this conversation?
Generally, we have seen the LGBTQIA++ community used as a source of comic relief in cinema. It is as if, they are not part of the main narrative and are mostly laughed at. Films like Haddi change that perspective and talk about a more inclusive society where everyone is welcome, and has the right to live and their own way of life. That’s why the film becomes relevant.
Working alongside Nawazuddin Siddiqui must have been an enriching experience. How did both of you approach your roles to create a compelling dynamic on screen?
It was definitely fun working with him. We caught up on theatre and performances. That really clicked! There was also a sense of mutual admiration for each other’s work. From the very first scene, we started to improvise on reacting to each other’s actions. Suddenly, we found comfort and the whole performance became a cakewalk.
How do you ensure that your characters, especially the negative ones, have depth and significance, even when they aren’t at the forefront of the story?
We need to understand how a character is presented and for that, observation is a must. It’s about two things — preparation and presentation. You need to find truth in your character. What you are saying should get communicated while you keep adding layers that intrigue the audience. You don’t have to justify all the characters that you portray but you need to give the audience a perspective in which your characters can be seen: First, like human beings, and then a negative one and the like.
How does your working relationship with directors and actors evolve over multiple projects? How do you keep the creative process fresh?
I share a great chemistry with almost all of them. Because I am in the industry, I feel the freshness every time I approach a new character. It is always a new life that I am approaching. I am not stuck in a profession where I have to bring freshness. The whole discipline is about freshness and that is what keeps me alive and active.
If you had to choose one aspect from your theatre experience that has been the most valuable in shaping your approach to acting, what would it be?
The other day, a co-actor asked me about my creative process. I had no answer! My process has been developing for the last 23 years since I started working on stage. It is growing and adding more layers to my skillset. So right now, it’s my subconscious that gets me to act.
How do you ensure you have a strong support system in an industry that can sometimes be isolating?
I think it’s a very personal journey. Most of us in the industry are already going through complexes and tensions. I keep myself at a correct distance from the industry. I meet my friends from the industry professionally. When we are meeting outside work, we don’t talk about our careers. I create a balance and not get absorbed into the politics of it. I don’t like to attend parties as it is not me. Truth is the only thing that sets me apart from most of the actors. For me, preserving my truth and honesty is most important.
With an ever-evolving film industry, what are some aspirations or types of roles you haven’t explored yet but would like to take on in the future?
There is a whole world! I think I have just scratched the surface and can do much more. I get upset when I receive the same offers. Then, I see that most of the people make the same kind of shows and scenes. So, I understand it. I would love to explore more negative roles. I like playing a righteous and kind-hearted person as well as exploring the other side of them.
In acting, is there a specific instance where you took a creative risk that paid off remarkably?
Taking up the role of Nishad (Article 15). I played a small character and appeared in only two scenes — especially in the last scene where I cried in front of Sayani (Gupta), who played the character of Gaura — that was a creative risk that I took. Revolutionaries are shown in a light that they are strong and don’t have emotions. But they are also human beings. Nishad also wants to fall in love, despite being a revolutionary. He wants to sit around by the lake with his girlfriend. But he was never able to do it because of the tough circumstances. The scene where he broke down in front of her paid off beautifully. Just that scene, in particular, got people to pen down articles about it.
Also, is there a particular role that you found unexpectedly challenging?
I would say, Tanu Weds Manu: Returns. The problem was that my character, Advocate Arun ‘Chintu’ Kumar Singh was bad and yet, a loving person. He had to come across as charming, yet as an anti-hero. You can’t stop watching him and want to watch more of him. During the web series, Scoop — in which I had to bring about an easy-going body language into my character while also rendering it natural — that took a bit of an effort.
How do you prioritise relaxation and downtime, and what advice would you give to individuals dealing with stress in their own lives?
If you think that it is becoming medical, please seek help. You should not be ashamed of who you are. Our bodies react differently to different situations. I always say this: Stop writing that book which you are writing about yourself. The day you cease writing that book about your tragedies, life will become great.
Haddi is streaming on Zee5. — chokita@newindianexpress. com @PaulChokita