When it comes to versatility in acting, Adil Hussain is the name that pops up faster than you can say ‘Life of Pi.’ This critically acclaimed actor from Assam has been quietly, yet powerfully, carving out a niche for himself across film, television, and theater. And we’re not just talking Bollywood here—Adil’s talent has taken him to the international stage, with standout roles in films like ‘Life of Pi’, ‘English Vinglish’, and the heartwarming ‘Mukti Bhawan (Hotel Salvation)’.
But what makes Adil Hussain such a big deal? It’s his uncanny ability to slip into any character as if he’s lived their life, whether he’s playing a stern father, a husband caught in an emotional whirlpool, or a spiritual seeker on the brink of enlightenment. Trained at the prestigious National School of Drama in India and Drama Studio London, Adil’s roots are firmly planted in theater—a place where he’s just as respected as he is on the silver screen.
Adil isn’t just an actor; he’s an artist committed to digging deep into the human psyche, exploring the complexities of emotions, and addressing social issues that many shy away from. Whether it’s a mainstream film or an indie gem, Adil brings a depth of realism and authenticity that makes you sit up and take notice.
And he’s not slowing down anytime soon. Recently, Adil opened up in an exclusive interview with News18 Showsha, giving us a peek into what makes him tick. He talked about his involvement in the Chitrashaala Short Film Festival, where he’s been championing the portrayal of rural life in cinema—something he believes is crucial in the evolving landscape of Indian storytelling. He also shared his thoughts on where the industry is headed, offering insights that only someone with his experience and perspective could provide.
The Inspiration Behind Chitrashaala Participation
Q1: What inspired you to participate in the Chitrashaala Short Film Festival, and how do you see this event contributing to the awareness of rural issues in India?
Adil Hussain: Chitrashaala, in collaboration with Transform Rural India and Village Square, is unfolding at Alliance Française, and I think the venue itself has a very important significance. We are seeing here a congregation of talents from across the country and arts that we generally neglect. I wouldn’t have been sitting here and talking to you had it not been for the National School of Drama, and not only that, had it not been tuition-free. I didn’t have to pay a single penny to study at NSD. My father could not have afforded it, so you wouldn’t have been asking me this question. There are hundreds of Adils, Nawazuddins, Irrfans, and Pankaj Tripathis out there, and not just in acting, but in dance and theatre too. So many different kinds of art forms are waiting to be discovered. This kind of initiative by Village Square and Chitrashaala, it’s a drop in the ocean, but nevertheless, it’s a drop. It’s important not to shy away from putting that drop into the ocean because then only something is going to happen. Each drop makes a bigger pool of water.
Depicting Rural Life in Cinema: A Double-Edged Sword
Q2: How do you believe the depiction of rural life in cinema can impact societal perceptions and drive change?
Adil Hussain: It can change a lot. It can give access to people, but it depends on how well it’s made—how nuanced it is, how subtly the complexities of village life are depicted. That will determine whether it’s helping or not. It could be counterproductive. Showing a distorted version of village life to urban people, those who are constantly busy on their screens, could give them the wrong impression, which would be worse. It’s probably better not to see something that is not well done. It’s a double-edged sword. For example, if you create an impression of India by watching Bollywood movies, that impression is often false. A lot of people across the globe see only these fancy Bollywood movies full of dance and songs. That’s not India. Eighty crore people in India, according to the government, depend on government ration. That’s also the reality of India.
Memorable Roles Highlighting Rural and Social Themes
Q3: What have been some of your most memorable roles, particularly those that highlight rural or socially significant themes? For instance, like ‘Pareeksha’?
Adil Hussain: My most favorite? ‘Pareeksha’, of course. ‘Mukti Bhavan’. There’s another film, which hasn’t released yet, but it’s a beautiful film by Gautam Ghosh. He has won 15 national awards. It’s called ‘Rahagir’. Amazing, amazing movie. My favorite would be not only one, you know? There are so many of them.
The Legacy of Sridevi and the Promise of Janhvi Kapoor
Q4: Having worked with Sridevi in ‘English Vinglish’ and now Janhvi Kapoor in ‘Ulajh’, in what ways do you think Janhvi Kapoor’s approach to acting is influenced by her mother’s legacy?
Adil Hussain: I think her sincerity and the ability to be present in the moment. She’s extremely sincere with her lines, her dialogues, and her attitude towards the director and co-actors.
Overcoming Inhibitions as a Small-Town Actor
Q5: You’ve spoken about the personal inhibitions you had to overcome as an actor from a small town. How has this journey influenced your approach to acting and your performances?
Adil Hussain: Greatly influenced. My exposure to different parts of the country and the world, especially what I had been introduced to by the teachers at the National School of Drama, had sort of created a world for me that I never knew existed. After that, I got a scholarship to study acting in England. That again exposed me to the world of theatre and acting of international standard. Those were the inspirations for me. I didn’t get inspired by something mediocre. I got inspired by the best in the world. That is important, I think.
Lessons from International Projects
Q6: Having worked on several international projects such as ‘Life of Pi’, ‘Hotel Salvation’, and ‘Crash Test Aglaé’, what are some practices or methods from these experiences that you believe the Indian film industry could adopt, without compromising the unique and intrinsic essence of its storytelling?
Adil Hussain: Yeah, I think the Indian-ness in storytelling, the Indian storytelling craft is very, very ancient and extremely efficient. I think they need to retain that, but execute it with efficiency and put their best foot forward, like best and a little bit more. I think writing, nowadays, for a story, for a film, needs to envision the world, not just the Indian audience. If Hollywood can come and rake in money from India, why can’t our films do the same abroad? Our films do go and earn money, but only from the diaspora. Not many white Caucasian people come and watch Bollywood movies. They don’t. Only the Indian people do. Why should that be the case? If China is now slowly making inroads, what about the rest of the world?
Responding to Accusations of Greed
Q7: How do you respond to the accusation that your regret was driven by greed rather than a genuine concern for the film’s content?
Adil Hussain: That would be absolutely false to say because I had raised the price not to work in it because I did not read the script. So, that was a deterrent. It’s not that I wanted the money. It’s the opposite. I wanted to quote a price five times more than what I usually charge to stop them from hiring me because I didn’t have the time to read the script. And I definitely thought they would never ask me—’Is he nuts? He wants that much money.’ But they agreed to that, so I fell into my own trap. It was not greed; it was a deterrent.
The Success of ‘Laapataa Ladies’ and Changing Viewing Trends
Q8: Contrary to the belief that a film like ‘Animal’ succeeds due to changing viewing trends, a film like ‘Laapata Ladies’, which beautifully captured the sense of rural life, outperformed ‘Animal’ on streaming platforms. What does this indicate about the viewing habits of the Indian audience?
Adil Hussain: I think the habit of the Indian audience is extremely difficult to fathom. I can’t figure this out. It’s very complex, and I have no one to talk to about it because neither have I done research on it nor do I have a focus group or anything. But what I believe is that if you have a good story, a well-crafted story, and you know how to tell it, then no matter what you show, quite often it will work. I haven’t seen ‘Animal’, but ‘Laapataa Ladies’ I have seen, and it is a very finely done film. And people watched it. So, the moral of this question is that you don’t need to sell violence to earn money. That’s the moral. If both have done well, then why would you sell violence? If you can sell the sweetness of the village, then it is better for the psychological health of society. That’s my thought.
Upcoming Projects to Watch Out For
Q9: After ‘Ulajh’, what are some of your upcoming projects that one should be eagerly looking forward to?
Adil Hussain: I don’t know whether eagerly or not. With that, I can’t say, ‘You must eagerly look forward to my project.’ That would be a terrible thing to say. I have done a few films. There is a film called ’52 Blue’. It’s an Egyptian-American film, set in India, about an Indian family. Beautiful story of parents, a couple, and their two sons. One son dies in a car accident. The other son, you know, the parents want to fulfill their dreams with the other son. He then runs away. And he wants to meet Messi, the footballer, in Qatar. The rest of the film, 50% of it, was shot during the World Cup. He actually tried to meet Messi, and they got permission to shoot. So yeah, I’m waiting for that. The director’s name is Ali Arabi. He’s from Egypt but also based in LA. So, waiting for that.
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Adil Hussain isn’t just another actor on the roster; he’s a game-changer, a chameleon who transforms with every role, and a voice of authenticity in a world that often prefers the superficial. As he continues to take on challenging roles and explore new territories, Adil remains one of the most respected and sought-after actors in contemporary cinema—both in India and beyond. Keep an eye on this one; his journey is far from over, and it’s bound to be as compelling as the characters he portrays.
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