Grand Masti writer says I am not here to win awards but to deliver hits

Sep 20 2013, 12:20 IST
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Grand Masti scriptwriter Grand Masti scriptwriter "As long as the audience enjoys my films, I don’t care about others. I am not here to win awards. I want my directors to have hit films." (Still)
Summary'Grand Masti' screenwriter prefers a commercial script than seeking critical appreciation.

'Grand Masti' screenwriter Tushar Hiranandani prefers a commercial script than seeking critical appreciation.

A scene in 'Grand Masti' likens a woman's breasts to a milk factory while in another one, one of the protagonists, at the mention of rape, remembers his wife.

Balaatkar se yaad aaya, meri biwi kahan hai? If the film was deemed obscene, tasteless and irresponsible just by its promos, a huge opening day weekend — over Rs 40 crores in 3 days — and its downright rejection by critics have shown the chasm that exists between the "intelligentsia" and the "mass". The film's screenwriter Tushar Hiranandani seems to have an answer.

"If the balaatkar scene, described through a five-minute monologue in one of Hindi cinema’s highest grossing film '3 Idiots' could get away from being accused of being sexist, and 'Grand Masti' because it’s touted as a so-called "crude film", is attacked, then it shows double standards," he says.

Incidentally, the film he chooses as an example is the same one that he idolises. Rajkumar Hirani's knack of weaving his stories around the most commonplace problems struck Hiranandani as his biggest screen-writing lesson.

"I can say that '3 Idiots' changed my life. Raju Hirani is the baap of all screenwriters in India. He made me change my stance as a writer. I realised this man is picking up common subjects and making great movies out of them," says Hiranandani, who made his foray into screenplay writing with 'Masti' (2004).

He tries to incorporate elements that people will readily identify with, such as the sagging male ego of Vivek Oberoi’s character in 'Grand Masti', which comes under threat with having his wife as his boss in office, or minute traits like the gurgling habits of Paresh Rawal’s character in 'Atithi Tum Kab Jaaoge'.

He divides his career into two halves, a messy first one that included films such as 'Naksha, Pyaare Mohan' and

'Daddy Cool' — a phase he isn’t too proud of — and the bountiful phase with hits such as 'Housefull 2, Faltu' and 'ABCD (Any Body Can Dance)'.

"I used to lift scenes straight from English movies and cut and pasted them into my screenplay. There was no writing involved. It was like a job and I wasn't enjoying it. I hadn’t seen enough of life, and it showed in my writing, which was immature."

Falling in love, and eventually marriage changed everything.

"I was a miser

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