Madhur Bhadarkar on Traffic Signal
By:
Joginder
Tuteja,
IndiaFM
Tuesday,
October
17,
2006
He
is
not
a
man
who
is
overtly
worried
about
what
people
have
to
say
about
his
films.
For
him,
films
have
to
tell
a
new
and
original
story
every
time
and
this
is
what
prompts
him
to
dwell
into
the
life
of
a
bar
girl
[Chandni
Bar]
or
a
woman
politician
[Satta]
or
a
socialite
[Page
3]
or
the
corporate
world
[Corporate].
Now
all
set
to
tell
a
tale
of
those
living
in
the
streets
and
spending
their
time
on
a
signal,
he
is
ready
with
his
third
in
the
trilogy
of
life
in
Mumbai
-
Traffic
Signal.
Over to Madhur Bhandarkar.
How
is
Traffic
Signal
shaping
up?
Touchwood,
it
has
been
shaping
up
quite
well.
It's
a
slice
of
life
film
with
a
lot
of
realism
attached
to
it.
It
tells
you
about
the
day
to
day
activities
that
happen
at
a
Traffic
Signal
and
how
lives
of
people
around
it
are
affected.
It
is
about
innumerous
vendors,
beggars,
eunuchs,
etc.
who
live
their
life
at
a
signal.
And
yes,
let
me
put
it
on
record
that
this
is
not
a
kind
of
film
which
is
overtly
intense
or
dramatic.
I
would
put
it
as
a
'dark
comedy'
since
there
is
a
lot
of
humor
to
it.
Dark
comedy?
Now
that's
a
news
since
one
was
led
to
believe
that
Traffic
Signal
would
be
a
lot
dramatic
I
won't
say
that
there
is
no
dramatic
moment
at
all
but
60%-70%
of
the
film
has
humor
to
it.
Also,
there
is
no
story
in
the
film.
It
is
in
fact
about
these
60
characters
who
have
their
world
centered
on
the
Traffic
Signal.
Everyone
has
their
own
life
and
how
each
of
them
make
it
happen
on
the
road
is
what
Traffic
Signal
is
all
about.
What
you
would
see
is
an
element
of
beggar
mafia
and
how
people
from
the
grassroots
level
to
the
top
are
involved.
So
who
are
these
characters
in
the
film?
Kunal
Khemu
plays
an
interesting
character
here
whose
job
is
to
collect
money
from
people
on
the
signal.
We
have
shown
an
entire
process
of
how
this
money
moves
from
one
channel
to
second,
from
second
to
third,
from
third
to
fourth
and
so
on.
Since
there
are
people
even
at
the
top
who
get
their
share
of
moolah
collected
from
the
beggars,
it
makes
for
an
interesting
premise.
Then
about
Neetu
Chandra,
everyone
is
aware
that
she
plays
a
Gujarati
origin
girl
who
sells
embroidery
stuff
on
the
pavements.
Upendra
Limaye
[who
played
the
main
villain
'Bapu'
in
'Shiva']
is
someone
who
does
'rangoli'
on
the
road.
Now
this
is
a
spot
where
people
are
expected
to
put
in
money.
Konkana
Sen
is
another
interesting
character
in
the
film
as
she
is
a
night
walker
who
is
always
surrounded
by
2-3
men
when
she
is
on
her
job.
There
is
this
gay
character
who
again
sells
himself
on
the
streets
and
hence
turns
out
to
be
Konkana's
competitor.
Apart
from
all
these
people
there
is
Ranvir
Shourey
who
is
a
drug
addict.
Then
there
are
beggars,
eunuchs
and
so
many
other
characters
who
find
their
bearings
on
the
signal!
Sudhir
Mishra
sounds
like
an
unusual
addition
to
the
film
too.
Yes,
he
plays
the
main
villain
of
the
film
and
to
think
of
it,
he
was
very
reluctant
to
be
facing
the
camera.
He
continuously
asked
me
if
it
was
really
necessary
of
him
to
be
a
part
of
the
film
as
an
actor.
But
I
was
very
adamant
and
wanted
to
him
to
be
there.
It
was
sheer
gut
factor
that
was
driving
me
to
get
him
on
board.
Meanwhile,
you
would
be
surprised
to
know
that
so
many
senior
people
from
the
industry
called
me
and
asked
me
about
my
choice.
They
said,
"Why
don't
you
cast
me
instead?" But
on
my
end,
I
was
sure
that
Sudhir
was
the
man
for
the
role.
One
heard
Konkana
was
reluctant
too.
Oh
yes,
she
was
not
really
comfortable
with
an
idea
of
catching
the
nuances
of
a
prostitute
who
eats
pan,
chews
tobacco,
uses
foul
language
and
the
works.
But
once
she
was
on,
she
was
all
there
for
the
character.
One
has
to
look
at
the
kind
of
job
she
has
done
in
the
film.
But
how
about
the
box
office
returns?
Well,
if
a
film
recovers
4
times
or
more
than
the
budget
of
the
film,
it
is
considered
a
hit.
In
that
sense
my
Page
3
was
a
hit
along
with
Corporate
that
made
a
table
profit
and
did
good
business
on
box
office
too.
This
is
why
it
surprises
me
when
people
come
up
and
say
ki
'Corporate'
cities
mein
to
chali
lekin
interiors
mein
nahi?
But
my
question
is
ki
bhai,
what
is
so
shocking
about
it?
I
never
set
out
to
make
a
film
that
would
be
lapped
up
in
the
interiors
or
would
be
easily
identified
by
them.
It
was
a
film
for
the
cities
and
it
did
quite
well
there.
Agar
mujhe
chote
shehron
mein
bhi
picture
chalani
hoti
to
main
iska
naam
'Business
ka
baazigar'
ya
'Dhandhe
ka
Baazaigar'
rakhta,
Corporate
nahi!
On
the
other
hands,
for
some
films
one
hears
that
it
ran
in
the
interiors
but
not
in
the
metros.
It
is
such
a
two
edged
sword.
People
don't
understand
that
a
film
finds
its
audience
based
on
its
subject.
Well,
I
did
have
hits
in
the
form
of
'Page
3'
and
'Corporate'
and
I
can
already
see
as
Traffic
Signal
being
third
in
line.
'Satta'
is
probably
your
one
film
bearing
your
stamp,
be
it
Chandni
Bar,
Page
3
or
Corporate,
which
didn't
make
money.
Yes,
and
incidentally
it
is
my
favorite
film.
People
come
and
tell
me
that
Chandni
Bar
is
their
favorite
or
Page
3
is
what
they
liked
most
or
Corporate
had
a
maximum
impact
on
them.
But
if
you
ask
me,
I
find
'Satta'
to
be
my
best
work.
In
fact
even
Late
Pramod
Mahajan,
whom
I
met
in
a
flight,
told
me
that
he
really
liked
watching
Satta.
Well,
the
film
did
have
Atul
Kukarni's
character
bearing
resemblance
to
Mr.
Mahajan.
[Laughs]
Yes,
people
tell
me
that,
in
fact
a
lot
of
them
feel
so.
So
how
did
Aan
-
Men
at
Work
come
into
picture?
After
Chandni
Bar
and
Satta,
lot
of
people
came
and
told
me
that
after
such
women
centric
subjects,
I
should
make
a
man
centric
film.
Aan
-
Men
At
Work
was
a
result
of
that.
But
what
happens
is
that
sometimes
when
you
are
set
out
to
make
a
film,
there
is
a
lot
of
passion
involved
but
you
loose
the
vision
later
on.
Moreover
in
those
days,
there
were
a
lot
of
cop
films
being
made
and
hence
Aan
-
Men
At
Work
didn't
really
stand
out.
But
hey,
one
should
appreciate
the
kind
of
cinema
that
I
am
making.
At
least
I
don't
watch
a
DVD
in
the
night,
copy
it
and
then
come
ready
with
a
script
in
the
morning.
No
one
is
accusing
you
of
doing
so.
But
then
there
are
so
many
film
makers
who
actually
do
that.
I
at
least
strive
to
come
up
with
something
new,
something
original.
At
least
no
one
can
accuse
me
of
not
trying
out
things;
some
give
me
credit
for
that.
How
many
film
makers
are
there
who
do
so
much
of
research
for
their
films?
I
did
so
much
of
that
for
Chandni
Bar
or
Satta.
For
Page
3,
I
actually
attended
so
many
Page
3
events,
for
Corporate,
I
attended
board
meetings
and
met
with
so
many
top
notch
corporate
folks.
For
Traffic
Signal,
I
went
to
one
of
the
densest
slums
around
i.e.
Dharavi
in
Mumbai.
How
many
film
makers
would
actually
do
that?
In
the
kind
of
time
I
have
put
up
for
'Traffic
Signal,
I
could
have
got
4
films
on
floor
but
at
least
I
am
not
into
rehashing
or
remaking.
There
has
been
speculation
around
that
Chandni
Bar
2
is
in
the
making.
Can
you
please
set
the
matters
to
rest
once
for
an
all?
No,
Chandni
Bar
2
is
not
getting
made.
Not
at
least
for
2-3
more
years.
Yes,
I
agree
it
is
a
good
idea
and
it
would
be
interesting
to
take
the
story
of
bar
girls
forward
from
the
stage
when
bars
have
been
closed
and
they
are
back
on
streets.
But
things
haven't
even
reached
conceptualization
stage.
When
an
idea
clicks
and
there
are
signs
of
any
progress,
it
is
only
then
when
I
would
think
of
continuing
the
story
of
Chandni
Bar.
But
till
then
there
is
absolutely
nothing
happening
on
that
front.
Coming
to
a
tangentially
different
topic,
are
you
by
any
chance
thinking
of
doing
a
film
with
your
mentor
Ram
Gopal
Verma?
No,
not
in
near
future.
I
am
right
now
quite
busy
and
concentrating
on
setting
my
production
house
'Madhur
Bhandarkar
productions'.
There
are
2-3
films
in
the
pipeline
that
need
all
my
attention
and
hence
there
is
no
question
of
getting
involved
elsewhere.