Wedding Anniversary", a film which stars Nana Patekar, Mahie Gill and Priyanshu Chatterjee, are actors who are known for their realistic slice of life representations in their earlier films, but have moved from that with a different turn in this film: all looking gorgeous and classy! This is Nana's best screen avatar as he has never looked this soft, handsome and approachable ever and so is Mahie Gill has never looked this glamorous, who is known for her realistic and powerful roles. Although film critics have slammed the film as "a film on marriage counselling etc., the man behind the camera Shanti Bhushan Roy - who is responsible for making all the characters look gorgeous and at their very best - has treated this film as a poetic love story. With Shanti Bhushan Roy's camera movements and the beautiful soft lighting, he has not only created a mood for the story and its setting but also attracts the viewers to the characters of Kahani (Mahie Gill) and Nagarjun (Nana Patekar) along with others.
As Director of Photography, when Shanti Bhushan Roy first read the beautifully written script, by Director Shekhar S Jha, the location enthralled Shanti. This time around Goa would be different from what Bollywood films have explored so far. The director completely entrusted Shanti to work on the look and feel of the film. He closely collaborated with the team - the Production Designer Asad Khan along with Direction and Costume departments. For Shanti Bhushan Roy who has deep interest in World Cinema since his FTII days and loves poetry and prose as he is an avid reader -this script was a very mature love story and it was deep because the story is a journey through the heart and soul of various characters and their idea of love. Its was a journey to be experienced and take home and ponder over.
Working with veterans like Nana Patekar and Mahie Gill set a very high benchmark. The expectations were really high. Director Shekhar S Jha who stood by his DoP Shanti Bhushan Roy, in spite of Nana Patekar's initial apprehension of seeing a much younger person in charge of camera department. Nana was not only amused but also apprehensive of how he would be represented on screen. But all fell in place when the veteran actor saw the first day rushes. He loved the framing, lighting and movements.There was absolute sync between all the departments on the sets and work happened pretty smoothly. There were many aesthetic choices were taken in sync with the story and also giving the veteran actors absolute freedom. Like most of the film was shot either on Steadycam or Handheld - so that actors could have absolute freedom to be able to improvise their movements and use the set to suit their performance.