But Khela is bi-lingual, isn’t it?
Well, yes, but that happened later, almost as an after-thought. When Saregama stepped in as producers, they wanted a Hindi version. I was too wrapped up with the Bengali version, which had just been completed. We started the Hindi dubbing after we finished with the Bengali one. The film is largely about Bengali sentiments and a Bengali ethos, so I would not want to creatively judge the Hindi edition.
But the movie does seem to be a departure from your usual. For instance, for the first time, the protagonist is a man…
As a filmmaker, I want to attempt different genres of filmmaking. My last two films, Antarmahal and Doshar, were serious and rather dark. Thus, I wanted to make something simple. Khela seemed to be the perfect answer to that. The film demands Prasenjit’s character. Unlike many of my other movies where he has played the male lead, here he is the hero. There is an element of wish-fulfillment in the movie, which he conveys very creditably. It’s a man-child bond that grows over the period of shooting a movie. A male lead was inevitable and so was my choice. Besides, he is the only male actor who has successfully erased my reputation of making women-centric films by winning the National Award for Doshar.(laughs)
Was it difficult to move away from your forte and attempt something new?
It was a very different exercise. Usually, I bring the subject in my own fold and work my way through it. This film demanded that I change with it. It’s a funny, adventurous story that required a warm and colourful ambience. So my usual techniques had to merge with the mood. For the first time, I have shot outdoors extensively in north Bengal. There are songs in the movie, another aberration in my films, though I did have music in Raincoat. It’s a very interactive film. In fact, I would say this film has greater mutual transaction between me as a director and my actors instead of my telling them how to go about things.
This is also Manisha Koirala’s first Bengali movie. What made you cast her?
The role demanded someone feminine with a quiet grace and not very young. Manisha blended in to the character totally. I have always heard how she is undisciplined and not good to work with, but she brought a certain discipline to the set. Ajay (Devgan) had long ago told me that Manya was a great actor and almost like a man on the set. She changes on the set and is ready in five minutes. It’s actually true. No late reporting on sets or drunken stupor at work.
She dispelled all media myths and gave the character the experience of a veteran and the freshness of a newcomer.
Now that you have worked with Aishwarya Rai, Preity Zinta, Soha Ali Khan and Manisha Koirala, who is your favourite?
All of them are dedicated and have their own specialities. They were all great to work with.
That’s being diplomatic.
I think what helps my equation with them is that I give them a clear idea of the kind of set-up they will be in. They are treated as professional equals and not worshipped, as someone from Bollywood usually is. For instance, for The Last Lear, Preity was a little hesitant about how a serious movie like that would affect her image. She had to be convinced as an actor.
Once she saw the point she was fine. But in all honesty, I think I share a special bond with Aishwarya. We have done two films together and we connected very well. Soha, Koko (Konkona Sen Sharma) and Abhishek are like kids to me because I am so close to their parents. But Ash is different. She is practical, understanding, sensitive and very, very intelligent. Nowhere close to the fancy prima donna she is made out to be.
So, do we see you getting the entire Bachchan household together for a film?
Only if the movie demands it. The kind of bond I share with them, it would be easy for me to manage the casting coup. But it’s not something I aspire to do. What I do aspire for though is giving Jayadi and Abhishek a meatier role. Jayadi has done a small part in Sunglass and I used Abhishek in Antarmahal, but I want to give them a role that would have them in focus. I owe them that much.
What else is on the anvil?
Sunglass is almost ready for release. Shob Choritro Kalponik (All the Characters are Imaginary) with Bipasha Basu is almost done too. The Last Lear is due for a September 12 release.
I have been shooting non-stop for the last three years, so now a lot of those films are finally ready.
