Method to her magic?
So what makes Mira’s productions a success each time? What is that one element which sets her films apart? See, once you follow the director’s work closely, you will realize, it is the type of scripts Nair chooses to work around that sets the (solid) base of, quite simply, a pretty darned good production.
But choosing a good script is not always easy. However, the answer to that would be, just as an author has to keep his/her audience in mind (whilst penning down a story), a director similarly needs to have a vision for what he/she would like to depict to his/her target audience. It is crucial.
A reason as to why the current preponderance of Star-Plus-ish-Saas-Bahu drama’s (produced by Pakistani production houses and channels), do not cut it with contemporary, ‘evolved’ audiences is pretty self-explanatory, wouldn’t you say? So there you go.
A script is like the type of paper/ canvas that an artist chooses to work with, a particular instrument that a musician feels comfortable to strum or beat.
Sure an artist may attempt to paint a field of daisies on paper meant for charcoal…but the effect wouldn’t be quite right – it would perhaps appear too grainy (as paper for charcoal is quite granular in touch and appearance).
Correspondingly, an electric-guitarist ‘could’ strum on a four-stringed ukulele (a Hawaiian guitar), but playing Deep Purple’s ‘Smoke on the Water’ on it would perhaps wind up sounding too tinny-pop for comfort.
The same goes for a script – if a director confuses his/her target audience with a particular ‘unidentifiable’ script; chances are the feature film/soap/short-film/documentary will do miserably once televised.
Take a look at Iranian cinema and you’ll understand what I mean by simple (low-budget) productions with profound scripts.

The way forward
Remember Pehchaan, the drama series shot in New York by Mehreen Jabbar? It was a series shot quite simply. Minus the glut of drama, it was almost ‘unfussy’ and moved at a very relaxed, albeit, absorbing pace. Recall the dialogues, the characters and their personal stories? Thank Azra Babar (the production’s script-writer) for that.
With light, syrupy jazz instrumentals interspersed here and there - as the actors walked down the streets of the Big Apple – Jabbar’s sensitive aestheticism gave Pehchaan a cut above the rest.
It’s just those little things/moments caught in the simplest of shots, which make Jabbar’s work seem so very novel once broadcasted on Pakistani television. And we, the audiences, really hunger for productions like that.
Now with local colleges that include programs in the instruction of filmmaking, coupled with the surfeit of local channels (choc-a-block with air-headed productions), the audience is anticipating better work.
You aspiring filmmakers out there; remain focused - please, enough of the half-baked drama serials and pseudo, bizarre short-films.
Studying the works of South Asian directors (one such being Mira Nair) and exposing oneself to different scripts and stories will give you the ‘edge’ that you may need.
Venture out into the field, speak with people – the masses – you’re creative juices will hit fifth gear. Oh and, while you’re at it, watch Salaam Bombay!