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Preity Zinta - 'I personally would not go in for a live-in relationship!'
Had things been otherwise, Preity Zinta could well have been a practising psychologist, maybe penning columns on counselling, or providing insights and evidence in criminal cases in courts of law.
Long before she became an actor she was grooming in that field, and in her zinta-lating career of many hits, some flops and lots of high-energy performances, you would have to search with a microscope to look at a below-average performance from Preity Zinta. But you would find a lot of real relationship-oriented characters out there - the bold lass from the South in Dil Se... , the gritty cop in Sangharsh, the wronged and determined collegian in Kya Kehna, the streetwalker who dares to dream of motherhood in Chori Chori Chupke Chupke, the spoilt brat who thinks that the world is her oyster in Armaan, the earnest, all-giving stepdaughter in Dil Hai Tumhaara, the orphan who suppresses her love at the altar of misplaced gratitude in Dil Chahta Hai and the NRI with a complex in Kal Ho Naa Ho. Then there was that idealistic character that Preity played so convincingly in Veer-Zaara, of the Pakistani woman who walked out of a bad marriage and decided to serve her Indian lover's family, and last but not the least, her real-life relationship with industrialist Ness Wadia.
On the eve of another interesting essay in Salaam Namaste, in which she plays an Australian Indian in a live-in relationship, Preity opens up on her attitude to films and life.
On Salaam Namaste:
"Salaam Namaste is a film as modern as modern can be. It is about young people who want society to let them live the way they want to, without being instructed on 'dos' and 'don't's'. Saif Ali Khan and I are in a live-in relationship, and that's when you get to know the negative sides of a person. And we cannot run to our elders for guidance about solving the problems that arise out of our choices. I think that Salaam Namaste has a very strong social message hidden behind the romantic comedy."
On her identification level with her character:
"Personally, I am too Indian and family-oriented for such relationships. A job that's very erratic in terms of my presence here, and a high value on my freedom would also rule out a live-in kind of arrangement for me. No man is an island, but I value my independence too much."
On what makes her accept or decline a role:
"It is very important for me to be a part of a film that's progressive as well as entertaining. There are so many uneducated or poor Indians who are influenced by the films we do, so somewhere there has to be a positive message, no matter what, in whatever film we take up. Then as a person, I do not like dark films. For me a light at the end of a tunnel is important. I am an eternal optimist, so depressing films are a no-no, but a level of intelligence must be there too. Thankfully, cinema today is getting more realistic, and audiences too are moving away from prototypes and stereotypes."
On whether she will always act:
"Well, I will certainly not die with my boots on, or wait long enough to dye my hair gray, ha ha! I think that everything has a time and a place. Acting made me discover my independence, financially and personally, and I am very happy about what I am doing. After that will come a phase when I want a family and then I will want to concentrate on that."
On her 'psychological' bent:
"I almost completed an advanced programme in Criminal Psychology after I did my B.A. with Honours in English. And then Shekhar Kapur offered me Tara Rum Pam Pam and I signed my first film. My special interest was forensic sciences, crime and criminals, and so I can read body language better. And if something intrigues me, yes, I can become a complete Sherlock Holmes! Psychology has also taught me tolerance, and to be non-judgmental. And I especially enjoyed working in The Hero because spies and espionage fascinate me too!"
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