Author and filmmaker Vikkramm Chandirramani
As a call and response to online dating and a prevalent reliance on social media, writer/filmmaker Vikkramm Chandirramani offers a comedy short Destiny, set in modern India, through which he explores and readdresses preconceptions of romance expectation, attitudes toward the salience of social media outlets, and a reversal of gendered stereotypes. Over the course of our interview, as Chandirramani and I indulged in conversations both formal and causal, these amicable dialogues were the product of a somewhat freeform approach. What stems from this is not merely a discussion of the themes within the short, but also a cordial exchange between two admirers of cinema and literature, from divergent corners of the world.
Matthew Johnson: It’s a pleasure to be able to talk to you about your short film Destiny, which I enjoyed very much! To start, have you any opening thoughts you would like to share with us about the film? The availability of your film through both YouTube and Vimeo has already ensured quite a large list of viewers, along with celebrated screenings at various international film festivals. How might you expect your audience to receive your work, and are there any main takeaways that you hope to share from the film?
Vikkramm Chandirramani: The response to Destiny has been overwhelming! It has surpassed my expectations and those of my crew. I received the Best Foreign Film award for it at The Ridgewood Guild International Film Festival, held at Ridgewood, New Jersey, on May 9, 2018. As we speak, Destiny has crossed 2.8 million views on YouTube. One of the reasons people have loved the film is because it is very much in sync with contemporary times, especially in urban India. With social media and the internet taking over our lives, people use apps to search for prospective partners. Destiny is a film meant to entertain and there was no conscious effort on my part to give out a message through the film. Yet, I believe that, while the way our life shapes up is determined to some extent by the choices we make, there are large parts that we have no control over. When one looks back on one’s life objectively, one would realize that serendipity or chance played an important role in how it has all turned out so far. This seems true in many areas whether it is meeting our soulmates or the career we choose. Also, some things are not meant to be. Irrespective of how hard we try we can never turn some of our fondest desires into reality and, at times, it is best to accept this gracefully. From the poorest man to the richest, almost everyone has had their heart broken or faced disappointments at some point. These are equalizers in a time and age of ever-expanding gaps between the haves and have-nots.
MJ: It’s good to hear that your project has enjoyed such warm reception, and I admire this response concerning the social dynamics within your film. In addition, I can certainly appreciate this perspective concerning chance encounters and the serendipity which life can unexpectedly offer toward our respective relationships. As for the characters of Tanya (Nikita Vijayvargia) and Derek (Bhupendra Jadawat), their own individual preconceptions and expectations in seeking new partners are (indeed) incongruous. Though far from indicting the efficacy of social dating sites, Destiny does seem to highlight its potential shortcomings as the Millennials of today aim to navigate social relationships through seemingly preferred channels of electronic communication. Tanya’s reaction, in response to Derek’s initial rejection, presents such a case of disappointment and subsequent, comic revenge. What’s so remarkable and ironic about her efforts to dish back those feelings of rejection is how they inadvertently propel him into a situation where he and Jagriti Singh’s character meet and fall in love. In light of this outcome, we’d be curious to know how Tanya was truly feeling in that final moment of the film when watching their wedding video.
Furthermore, it would be interesting to hear about your choice in subverting those gender roles, which might otherwise present the male as a more disconcertingly, vengeful aggressor. Having Tanya actively assume this role seems to confer a more winsome, comic outlook on the scenario.
VC: The closing shot of the film does give a glimpse into Tanya’s soul. How she feels is something I leave to the viewer to interpret! Indeed. I wouldn’t demonize dating websites or apps. I’m sure there are millions of people who have also found true love through them. Besides, these and social media apps are part of the same ecosystem that has made it possible for people to watch and share my film. However, social media have changed society a lot. It brings out narcissistic tendencies in people. Many post pictures and keep a close watch on how many “likes” they receive on Facebook. This like or upvote/downvote culture drives people to seek approval from their peers and conform to an expectation instead of being comfortable in who they are and nurturing their own individuality. Indeed. Men are more commonly portrayed as aggressors in popular culture. If a man is shown as a stalker, he is usually vicious, dangerous, and creepy. Female stalkers are more likely to be portrayed as cute and lovable. Destiny breaks that stereotype. There is no reason why women cannot be aggressive and this aggressiveness can manifest in various ways, including stalking.
MJ: There is certainly much to consider in addressing this ecosystem of socialization, highlighting both the benefits and drawbacks, as you mentioned before. As for those narcissistic tendencies that manifest from these media outlets, your players map out different personalities in reaction to their situations. While Tanya sets out to leave Derek in a mix of comic scenarios, disappointed and waiting, one can’t help but root for Tanya and her clever schemes. However, her actions also represent the hazards of this type of social exchange. As you noted, these young men and women of today seek constant validation as an ingrained expectation, which can so easily lead to volatile reactions when left unfulfilled. While I particularly enjoyed the exchanges between Richa (Monika Panwar) and Tanya, who both seem comfortable and at home in each other’s company, I feel a notable sympathy for Derek also. Though he initially comes off as the archetypal male, desperate and foolish in his attempts to cajole the opposite sex, he is also just as genuine as the other players. And one can’t help but feel happy for where destiny takes him. In some way, I’m sure that Tanya understands this too. Though Destiny sets out to entertain, would you say that Tanya’s role is certainly helpful in reflecting on how we view virtual stalking, as exhibited in both genders? Having those stereotypes stripped away certainly leaves us much to consider. That nice twist at the end, too, leaves a warm sense of satisfaction, but also seems to question the actions of everything up until that point. Derek’s happenstance meeting with the woman in the cafe follows a more organic means of socialization, arguably less inclined toward those innate expectations situated in online dating. Furthermore, Jagriti Singh’s character accepts Derek’s “stumbling” vulnerability as a genuine aspect of his personality, and neither of the two needs to present or “sell” themselves to one another. In a review from Short Stop International Film Festival, there is mention of the intervention of destiny. It’s quite a fitting shorthand for describing the work as a whole. Much of the film’s potent material appears situated in those final two moments, upon realizing and reacting to this intervention. Additionally, I would enjoy hearing more about your actors. All of whom play out their roles so well.
VC: It’s interesting that you mention how you found yourself rooting for different characters at different points in the film. In many films that I have seen over the years, including some critically lauded ones, there is an attempt to manipulate the viewer’s loyalty, almost forcing the viewer to pick a specific side. In these cases, the side the director is on usually is author-backed and well-developed. The other side is often demonized, underdeveloped, a caricature with stereotypes that will resonate with the viewer. With Destiny, I was clear that I wanted to stay objective and nonjudgmental. So the stereotypes related to female stalking are done away with. The two main characters are well–developed, with their own motivations clear. This is an incident. There is no hint that this is a rampant ill plaguing society, affecting millions of people. We do not have people stalking and playing pranks on prospective partners on dating apps in huge numbers. Tanya is miffed because she has been raving about Derek to her closest friend and now faces rejection. We understand her situation and her disappointment. Derek, on the other hand, seems cautious about breaking this to her. He wants her to take it well. It is clear that they have not even kissed. He is also being very polite. So we do see his point of view. He blocks her when she seems overly persistent. From this point, as the story unfolds, viewers pick different sides depending on their own sensibilities. I do not lead them. There is no moral compass to follow. Derek being single and young is open to flings. He was also looking for love and commitment, as is evident when he finds his soulmate and eventually marries her. Ironically, as we see, Derek meets Jagriti Singh’s character because Tanya sent him there. What were the odds of meeting a young woman in a cafe that is a three-hour drive away? What they seem to share is instant chemistry. In India, especially, as a culture, we are rather fatalistic, perhaps overly so. Arranged marriages are a norm and the narrative that “you will meet the person you are destined to meet” is repeated over and over again to the young, especially the ones who are finding it hard to get hitched. In arranged marriages, chemistry is the last priority. So millions of young singles hope they will meet someone fortuitously. Indeed. I agree when you say, “Much of the film’s potent material appears situated in those final two moments.” It is an O. Henryesque end! A lot of my influences come from literature because of my varied reading.
Tanya (Nikita Vijayvargia) and Richa (Monika Panwar) enjoy a bit of playful revenge at the expense of an unsuspecting Derek (Bhupendra Jadawat) in Destiny (2018)
MJ: I see your point on the nonjudgmental approach of Destiny. In this case, objectivity is key in allowing your characters’ personalities to unfold, without nudging your audience in any particular, moralizing direction. As you mentioned before, much of the comedy is incidental, as both Derek and Tanya have distinct motivations for their actions. Both of which are revealed with sincerity. Also, your actors seem so at home in their roles. From what I understand, many of them had worked in the theater beforehand. How was your experience in finding these ideal players for your film? Have you any hopes of having them return for future projects? As for O. Henry, I’ve yet to explore his work beyond “The Gift of the Magi.” Though, we do both hail from the same locale of Greensboro, North Carolina!
VC: Of the four actors, Nikita Vijayvargia who played Tanya has been associated with a theater group for the past few years. She has done a play. Here’s where you can see her earlier work. Monika Panwar and Bhupendra Singh Jadawat who played Richa and Derek, respectively, are fresh graduates from the National School of Drama, Delhi. They have completed their training less than a year back. Monika had not done any other work outside of classroom projects when she auditioned for Richa. Bhupendra had done an ad for a luggage brand and a small part in a film titled Kota Junction when he came on board. The latter was prior to his drama course. Jagriti Singh has done some TV serials and played a part in a TV drama titled Next of Kin. It was wonderful working with them. I found them very suitable for their respective parts and each one did justice to their part. My options are open when it comes to casting them in future short films. Auditions will begin soon for my next. O. Henry is immensely readable! His stories invariably have a twist at the end and especially made for delightful reading when I was introduced to his work by my father, who was an accomplished writer himself. It’s interesting that you are from the same town as him!
MJ: Nikita certainly showcases herself as a skilled performer. Also happy to know that your next project is underway! Is there anything that you might be willing to share about your next venture? Perhaps another short film and/or comedy? Also, would you care to share anything about your father and the influence he had on the work you do today?
VC: I’ve been writing a lot these past two years. I have several screenplays, some complete, some almost. The genres vary and include drama, crime, comedy, etc. I’ve been working on the screenplay of a feature, too. I would really love to discuss what I’m going to make next but it depends on a few things falling into place. I stretch myself to make what I’ve written. To do full justice needs some thinking, especially as I’m the producer, too! I expect to make a series of (unconnected) short films now. My father, Mohan Deep, authored twelve books (in English) in his lifetime. Some of these were fiction, some were biographies. One was historical fiction. He also wrote over two hundred short stories in Sindhi. We lost him last October after a five-year, prolonged battle with cancer. He wrote and published three books of fiction after his diagnosis. They are all on Amazon. We were very close and his influence led to my love for reading and writing. Watching films came naturally and I grew up watching varied cinema. Thanks to him, I started reading when I was five, starting with comics and Enid Blyton. I read classical literature in my growing-up years in school. This included Shakespeare, Ernest Hemingway, J. D. Salinger, Somerset Maugham, Faulkner, Jerome K. Jerome, and several other authors. I also read popular fiction such as James Hadley Chase, Jeffrey Archer, Arthur Hailey, Harold Robbins, etc., and we have a huge collection at home. Very early in life, I was friends with my father. Much later, we would bounce our creative ideas off each other and talk about a lot of things. His influence on my writing is profound.
MJ: He seems to have been quite the prolific writer, as well as integral to yourself, both personally and creatively. I will certainly make a point of looking into his work! It’s interesting, too, how our cinematic and literary experience (especially at a young age) can inform our creative output, even at a subconscious level. Without necessarily citing writers such as Salinger, Maugham, or Jerome forthrightly, I’m sure that most creative practitioners (whether in writing, film, or both) find that the writers and filmmakers who have nurtured one’s own appreciation and interest in the arts can manifest in subtle, suggestive ways. Just as artists today set the stage for future writers and filmmakers to bounce ideas off of and further develop; one can almost assume a general lineage of influential artists between past, present, and future. As for our ongoing discussion, is there anything that you’ve yet to note or touch base on regarding Destiny? Have you read anything recently that you might suggest also?
VC: Indeed. Most creative practitioners will have their varied influences manifest in various ways, and every generation has some influence on shaping the thought process and art of the next. I was reading Death of a Salesman again earlier this week when I reached the point where Biff Loman says this:
Well, I spent six or seven years after high school trying to work myself up. Shipping clerk, salesman, business of one kind or another. And it’s a measly manner of existence. To get on that subway on the hot mornings in summer. To devote your whole life to keeping stock, or making phone calls, or selling or buying. To suffer fifty weeks of the year for the sake of a two week vacation, when all you really desire is to be outdoors, with your shirt off. And always to have to get ahead of the next fella. And still — that’s how you build a future.
It always strikes me that thanks to the proliferation of the internet, these are exciting, liberating times for artists of all sorts, where many of us can make a living from what we love doing. In many cases, what we do can go from being a guilty pleasure to a profession. In that sense, we can be outdoors with our shirts off throughout the year! Knock wood!
MJ: I’ve heard much about Miller’s play, though I’ve yet to give it a full read. I believe that the last plays that I have read came from Jean-Paul Sartre — No Exit, The Flies, Dirty Hands, and The Respectable Prostitute. All existentially dour, but also deeply investigative of the ontological struggles of women/men. As for recent reads, Ian McEwan’s novella The Comfort of Strangers comes to mind, further exploring those darker seeds of human nature. Though, on a brighter note, Bill Watterson’s comic serial Calvin and Hobbes has always been a pleasing, literary benchmark from my early days until now. Through my usual habit of revisiting Watterson’s work, I had recently stumbled upon a choice quote: “Sometimes when I’m talking, my words can’t keep up with my thoughts. I wonder why we think faster than we speak. Probably so we can think twice.” I agree that the internet has been an immensely grand outlet for sharing all manner of stories, literature, and media. Though it’s often difficult to sift through the excess of content, it definitely provides various artists a means to share their work, without having to fully devote themselves to “keeping stock,” in order to do so. Adding on to our discussions of literary favorites, are there any particular genres or specific films of world cinema that encouraged you to pursue cinematic stories of your own?
VC: Jean-Paul Sartre has had a major influence on many writers and filmmakers. I believe the biggest mainstream film to emerge from Hollywood that had his influence was probably Being John Malkovich, where the characters are having an existential crisis and relish being inside someone’s mind. My exposure to Sartre is limited to a couple of books of his which I have read. Calvin and Hobbes is delightful and I love it myself! I wouldn’t say there is a specific film as such. I like the concept of writing a story, collaborating with others who bring their own talents and creativity, and making a film that can affect people who watch it, make them laugh, cry, or provoke them. Being able to touch so many lives for those couple of hours seems so satisfying, although I have never made a feature. I watch films of all sorts. I particularly like films about struggle and change as also character-driven dramas like Forrest Gump or Citizen Kane. Different filmmakers have, through their cinema, taught me different things. I admire Alfred Hitchcock for the way he created suspense, his use of dramatic irony, and the way he edited his films. It was said you could slice off the slates on his takes, put it all together, and it would work. I also admire Roger Corman and have read about him extensively. He was able to make his films in a very short span of time, sometimes in as little as three days! He mentored some of the greatest filmmakers of our times, James Cameron, Coppola, Scorsese, etc.
MJ: It’s so interesting that you mention Being John Malkovich in relation to Sartre. I wonder if Sartre would see this circumstance in the spirit of Determinism? In any case I will try my best to keep in Good Faith! Sartre had also worked a bit in film. His screenplay for Les jeux sont fait (The Chips Are Down) was directed by Jean Delannoy in 1947. Quite an enjoyable feature! Furthermore, one can definitely see the concept of character-driven drama in Destiny, even in its short form. I enjoy how Tanya’s “change” during the final scene holds an air of ambiguity. You do a good job of bringing closure to the story, while also leaving the audience with ideas to mull over. I feel as though our talks have enjoyed a rather organic approach and I have certainly appreciated the willingness to branch off into other topics, i.e., plays, comic serials, and novels alike. At this stage, have you any closing remarks?
VC: This discussion has indeed been enjoyable! I think we have pretty much covered everything. I look forward to reading the interview!
To watch Destiny, please visit: https://www.youtube.com/watch?v=4pvZvEOG3cY
Author Biography
Matthew Johnson is a student at the University of North Carolina studying film and French language. He hopes to pursue a career in critical writing, and plans on continuing his studies at the graduate level. Along with an ardor for world cinema, he enjoys spending majority of his time outdoors, namely backpacking.
