Here to steal hearts

Creative exchange

He is the common link between Indian and Pakistani girls — Fawad Khan is heartthrob material for both. Set to debut in India in Anil Kapoor’s production Khoobsurat, Fawad is cool, gentle and soft-spoken, qualities that any woman would adore in their partner, dream-man or icon. Fawad is no stranger to India, though, for he is known through his television serials now broadcast on the Zindagi channel.

But there is much more to him than being one of Pakistan’s highest paid actors, who made his debut in 2000 in the serial Jutt And Bond and then became a household name on television with Dastaan, Humsafar and Zindagi Gulzar Hai. Fawad also starred in the acclaimed film, Khuda Kay Liye, and has also been a popular singer who started off in his teens in a band called Entity Paradigm and released his first album, Irtiqa, in 2003.

A placid smile is almost settled permanently on his countenance when we meet. While raving about the hospitality and warmth of Indians, the actor admits that he also has a fan following here and that he has to live up to their expectations.
“My shows on Zindagi have brought a lot of appreciation to my limited body of work, which is a great, positive feedback,” he smiles, adding, “I am grateful to have this privilege even with limited work.”

Fawad accepts that being known to Indian audiences is a definite boon that has helped boost interest in his maiden Indian film. We go straight to the tough one: while India has been known to welcome artistes from Pakistan, what is their status back home when they work in Indian films?

Wryly, Fawad replies, “Well, there are always people who feel that there is no necessity to import talent when there is an abundant local supply — this is true on both sides. But we should end this straitjacketed thinking that has been there for decades now. Look at the US that is almost like a settlement for different races that have migrated there, and see the quality of work that this amalgamation is bringing about. The same is true of Europe. So such integration does boost productivity, right?”

The actor adds with soft conviction, “Naseer-saab (Naseeruddin Shah) too has worked in our films, and any deterrent to exchange of talent, I think, would be giving in to an uneducated approach. I will not mind if my career meets its demise if I do not measure up, but this intolerance in the field of arts will not benefit either side. After all, cinema and music must be bridges between us.”

So, how did he land his role in Khoobsurat? “In January 2013, the film’s casting director who had seen my work shared it with the Kapoors. I spoke to the team here and was told about the film. I read the script that was a kind of remake of the cult classic, Hrishikesh Mukherjee’s Khubsoorat.”

The next step was coming down to Mumbai and having readings with Sonam Kapoor and director Shashanka Ghosh. “Just half an hour into our meeting, Anil-saab was discussing my schedules and other details. In that sense, it was a straightforward process,” he admits.

Fawad also points out that the film is a complete reinvention and only draws inspiration from the original 1980 hit: “The Rajput prince I play is thus a new character. The anatomy of the family is also different from the older film — there are just four people — parents and a brother and sister. And a girl from outside comes and makes a huge impact on the family. It is like a Disney fairytale that repeats the premise but breaks boundaries.”

Fawad confesses that he is not familiar with Hindi films. “I watched Khubsoorat only after I signed this film,” he smiles. “But my parents would watch Hindi films in the ‘80s and ‘90s, and I especially enjoyed the films of Amitabh Bachchan and Anil-saab. Four films I remember watching repeatedly are Woh 7 Din, Satte Pe Satta, Do Aur Do Paanch and Mr Natwarlal. I was also familiar with the work of Rishi Kapoor, Shatrughan Sinha, Dharmendra and Jeetendra among others. Mr India was another favourite.”

Fawad’s top favourite actor, however, is an unconventional choice — the late Amrish Puri. “I felt sad when he passed away,” he recalls. “His performances and powerful screen presence would make my hair stand on end. And it’s not just in Mr India, but in many other films, including his Hollywood film Indiana Jones, in which I feel he ate up everyone else.”

Fawad would rather not compare the film industries at home and here because the volume of the Indian film world makes for streamlined and clockwork efficiency, he feels. Television is more comparable. But no, he would not like to do television in India at all. “It’s not my cup of tea,” he says simply.