In the recent Netflix show, Selection Day (adapted from Aravind Adiga's book), that dropped on the platform on Friday, actor-director-producer Mahesh Manjrekar reprises the role of Tommy sir, a cricket coach. The show revolves around fourteen-year-old Manju, who despises cricket and his older brother Radha, a cricket star. Their father, overbearing and cricket-obsessed, is a hard taskmaster. When the family shifts to Mumbai, the father finds a coach for the guys in Tommy sir, known for finding talent.
THE WEEK spoke to Manjrekar a couple of weeks back about the role, cricket and its part in his life, and what the signing up a show for a digital medium means to him.
How did the role come to you?
I went for an audition. I heard about the novel being adapted for a series. I knew which role I wanted to do. I love cricket. Between movies and cricket, I would probably choose the latter. I would usually not go for auditions. Almost never. But the idea of playing a cricket coach excited me a lot. I saw a lot of potential in that character. I have played a lot of cricket. In fact, under Ramakant Achrekar (a prominent coach in Mumbai). I am mentioning his name not because he coached Sachin Tendulkar but because he was my coach much before that. Somewhere, that image of my [cricket] coach was always there. He was not like what Tommy sir is in Selection Day, rather he was stricter. But the passion for cricket in him was unmatched. He used to train the inmates of a remand home in Matunga during those days. Since I was one of his favourites, he used to take me along with him on his scooter to play multiple matches in a day and asked me to ball. For all these years, cricket has stayed very close to me. And when this role came, I couldn't resist myself.
Did you read the book to understand the character of Tommy sir in a better way?
No, I didn't read the book on purpose. If you read the book, you start preparing for the role. At times what happens is that the director's vision about the role might differ. And at the end of the day, it is a director's medium. I put myself into the hands of the director. I never prepare for a role because then the spontaneity dies, and it becomes a little mechanical. Otherwise, every day is new for me.
The book's portrayal of most of the characters is docile or may be confused, except for Tommy sir, who has an individuality or takes a stand very often. What was your takeaway when you first read the script?
He is one of the strongest guys in the script because he is facing some very critical situations. His wife is suffering from cancer. He needs money to support her treatment. Despite of that, she stands tall. And he refuses to give in to the circumstances too.
As a director, you have shown different facets of Mumbai, especially the underbelly of the city. Here, the story is about two guys who move to the slums of Mumbai from a small town; the social strata of the city is dissected. How much could you relate to the Mumbai shown in the show?
As a person, who has observed Mumbai closely, my views about the city might differ. I have seen Mumbai inside out, and it's very different. But the writer has seen another side to the city. It has its good points, but his Mumbai can be pretty ruthless, too. And not just the slums, but everything else as well. Any walk of life could be difficult. Like, you could be selected for the Indian cricket team, but making to the Mumbai Ranji team can be a task. But I think, it's more about these boys who come here and then want to break into the cricketing world. I don't think the writer wants to look at the city more.
When the book released in 2016, parallels were drawn between Tommy sir and cricket columnist Makarand Waigankar, who set-up the Talent Resource Development Wing.
Makarand Waigankar is also a friend. But I really think that the one guy who hunted for talent was Ramakant Achrekar. He really went all out. Coincidentally, I am shooting [for Devidas Thakur] today at the remand house. [I am amazed] that Achrekar used to find talent in kids with a criminal background. He just didn't find Sachin Tendulkar. Chandrakant Pandit, Lalchand Rajput all of them are Achrekar's protegees. I can name many more from his stable. This guy was a hardcore coach. He just had an eye for the right talent.
Since you have known Achrekar personally, did you draw anything from his persona to portray this character?
He was very upfront, Tommy is a listener also. Achrekar was never a listener. You couldn't argue with him. He always knew what is right. He never let me bat. He knew I was a bowler. I stopped playing cricket because I wanted to bat. That's what every 16-17-year-old wants. But he would ask you to shut up and bowl. Tommy isn't that guy. Tommy will give you a patient hearing. He is open to a dialogue.
You have worked in films from different languages as actor and director. You know the world of entertainment well. What's the difference between doing a film and doing a series for a digital platform like Netflix?
There's not much difference, especially when it comes to do shows for Netflix. They are shooting it almost like a film, just that it is a long-format and you need to spend more time. That whole line that existed that this is television and this is film, has been erased.
Do you think this blurring of line is going to change the business of entertainment in anyway?
That's the future. The phone that you are holding in your hand is the future. If television was a disruptor, this is a bigger disruptor. As it is, a cellphone has already destroyed alarm clocks, wrist watches, radio, CD, tape-recorder, so many things. This is going to be the future. Tomorrow people are going to watch everything on that 'disaster' that you are holding in your hand. When I see my kids holding that device whole day in their hands, I just feel they are missing so much in life. Banging their bags on the floor and running out to play is no longer what they want. It has made them immobile, may be for life. But I can't ignore what's the future. If I ignore saying that I am such and such filmmaker, I will be left behind. Films are not going anywhere. They will stay. But you can't disregard the growth of digital platforms.
