20 years back, Genelia Deshmukh got to play a sunny-faced woman who believed in endearing old wives’ tales (she single-handedly introduced much of the world to the horn theory) and the idea of human kindness and humility. Hasini from Bhaskar’s Bommarillu might have been cute, but she was never clueless — a fact Deshmukh soon learnt and relished.
“Till date, wherever I go, I’m always known as Hasini. People smile from their heart and people have taken the character home. So Hasini is my home.. she is my happy place,” the actress tells The Hollywood Reporter India.
Excerpts from an interview:
What was it like to play Hasini in Bommarillu?
Hasini is like a household name, and is a huge part of my career. It is the reason that I am known to a large extent. I think I am really lucky that my director, Bhaskar, thought about me and thought that I would fit this part because it was such an author-backed role. When I did it, I used to love acting out every scene that he was telling me, even if I wasn’t sure whether I was going right or going wrong.
Can you recall memories of filming with Siddharth and the team?
Siddharth is one of my closest friends, and he’s exceptional at what he does. When you start off your career together, the friendship is actually even better and even more honest. It's about two people discovering their everyday, and Siddharth honestly was a great help during Bommarillu because it was a new language for me. I don't think Hasini could've had a better Siddhu, and I truly appreciate Siddharth as an actor, as a performer, and as a friend.
A memory that I remember very distinctly was the first day. I remember we were doing my scene in the temple, the first time she bangs Siddhu’s head, which is my introduction in the film. Honestly, I was still trying to understand who Harsini was in my director’s terms. I remember being confused, and this went on to become one of the highlight scenes of my career.
But at that point in time, I thought I was doing a not-so-great job. I was wondering whether he was happy with me, and after we finished the day’s work, he said, ‘Now run across the temple.’ That was the only time in the whole film that he didn't give me any direction. He just said, 'Run.' And I just ran. (laughs) I don't know whether I was running away from him, but I just ran. And when I finished the day, he said... ‘That's my Hasini.’
I love Hasini, and I love Bommarillu so much, but the person who made this film with utmost love and sincerity, whether it was through costumes, the hair and makeup, and every expression, was truly Bhaskar.
Hasini is incredibly innocent and full of life, but she also had agency. She’s the one who decides to step away from Siddhu when she senses disrespect. What was it like striking that balance?
You know, that's something that Hasani as a character taught me. And this is something that I feel is very close to me as a person [in real life] as well. Either cute is misinterpreted as clueless, or someone who's extremely vivacious is always treated as someone who may not have her own personal ground or own personal opinion.
Because as much as she was this fun, amazing, full-of-life kind of girl who got along with everyone, when it was time to take a stand for what she believed in, she stood up for herself and didn't let anyone get in the way. I think to a large extent, Hasini taught me that everyone is extremely special. That being cute is not being clueless; being fun doesn't mean you're not serious. And your opinion matters.. even if not to the world, it should matter to yourself.
When you were making the film 20 years ago, did you have any sense that it would become this popular?
Not at all. I didn't think it would be such a big hit. I didn't think that 20 years later, people would still be watching it. And I'm talking about all the Gen Zs, all the newer kids. But the best part of it is it's still part of so many homes; that's the biggest and bestest award I could ever get.
What’s your most favourite scene from the film?
I don't think there is one scene that I don't like in Bommarillu. But if you were to ask me about a scene that fully resonated with me, it was the scene at the end of the film when she leaves [Siddhu’s house]. This girl left someone she's highly attracted to, highly in love with, and moved away only because she didn't feel the need to put on an act herself.
I remember learning three pages of dialogue then. And I remember Bhaskar literally doing it with very few cuts. He did the same thing again and again over very few cuts. So it was like learning the whole thing because I didn't speak the language then. But I knew it like the tip of my fingers and understood everything I was saying.
And I remember being at that age, feeling the same thing, feeling the pressure to change sometimes and not wanting to do it. And I think that scene just said a whole lot of things to me. It’s my most favourite scene.
Almost all of your roles in Tamil and Telugu cinema have forged a special connection with these industries. Can you talk about your time working in the South?
A lot of my roles in Tamil and in Telugu have been roles that have been really impactful, and I don't think it has anything to do with me. It has a lot to do with people who saw the ability in me, the audience who came and fell in love with me.
Back in the day, it was always a tough call for a girl to get these roles. Even today, I feel that the length, the impact of a female-written role is pretty so-so. But I've been very fortunate; whichever industry I've been in, be it Tamil, Telugu, Marathi, Hindi, Kannada, Malayalam, I have had roles that I'm proud to grow old with. I definitely cannot take any credit.