Bengali films suffer from insularity: Suman Mukhopadhyay

He jumps from one position to another with a stick in his hand and sings during the rehearsal of Don — Taake Bhalo Laage. Suman Mukhopadhyay’s agility at the rehearsals will never let you think that this man is coming back to stage after 25 years. “I was losing touch with Bengal. I knew I had to do something. Moreover, this character was earlier played by my father (Arun Mukhopadhyay). Hence, I was the one who told Neel (director brother, Sujan Mukhopadhyay) that I am keen to play Don in Don Quixote,” he tells us. In the rehearsal room in Chetana, Suman, aka Lal, speaks to CT about his comeback as Don, his perception of Bengali theatre and cinema and life in Mumbai. Excerpts:

You are back on stage as an actor after many years. How did you prepare yourself?
It has almost been quarter of a century (laughs). My last two performances were as Madhab in Madhab Malanchi Kainya and Kabir in Kabir. That was in the early ’90s. After that, I started directing. In 1994, my father directed and acted in Dukhi Mukhi Joddha, based on Don Quixote, and I composed the music for it. Though Neel has totally contemporised the new play, many of those old songs are being used here too. That was my primary attachment-cum-preparation.

Was it difficult to make a comeback?
There are two reasons why I stopped acting. One, I wasn’t enjoying the exercise. And two, I didn’t like the fact that the Bengali directors in group theatres act in their own plays in lead roles. That was the precise reason why I stopped acting. Now, after so many years, I decided that I will act in this play, and Neel chalked out a schedule as I have been travelling back and forth from Mumbai for the rehearsals. Initially, I was a bit shaky as I was moving out from the director’s chair and donning the actor’s hat. These two methodologies are completely different. And then, I realised that I have started enjoying the process.

Why did you say yes to the act?
I was losing touch with Bengal. I stopped working in Bengali theatre after I moved to Mumbai. Then I thought if I have to keep in touch with Bengal, I have to do something. So, when Neel wanted to do this play, I thought about two aspects. First, this would give me scope to come back and second, I’d work with Chetana again. After I formed Tritiyo Sutra, I barely worked with Chetana, the group I grew up with. Here, I must clarify that my drifting away from Chetana was not out of any animosity. It was a conscious decision because my father and I both were working as directors for a Bengali group; it is difficult to accommodate two directors. So, I formed Tritiyo Sutra. With Don — Taake Bhalo Laage, I got a platform to work with Chetana again. Secondly, I worked under two directors until now — Arun Mukhopadhyay and Bibhash Chakraborty (Madhab Malanchi Kainya). Neel is the third one. While I never had this apprehension that I cannot act under another director, I wanted to test it as well. Here, it was pretty seamless. I did not have to try hard. I am an actor here without the baggage of being a director.
Also, this character of Don in Don Quixote excites me. I had no problem in getting under the skin of the character. Don is a mad dreamer. But his madness is worth celebrating. Earlier, this role was offered to Anirban Bhattacharya. When he could not find time, I told Neel that I would like to do it if he could manage the budget and schedule. That was my proposal. Neel was overjoyed. He said, ‘I never thought you would say yes’ (laughs). And we started.

Have you been following Bengali theatre?
I think, we are often ignoring the prolonged process and pain to create something beautiful. Ekhon shobi dhor tokta mar perek hoye jachhe. Even the younger generation is not being able to offer something out of the box.
You have been living away from Kolkata for long. Do you now have a different perspective on why Bengali art and culture are being confined within its regional boundary?

We barely find films like Sairat (Marathi), Tithi (

Kannada

) or Court (Marathi) in Bengal. Same applies to theatre, music and other fields.
Yes, we became a bit insular. The films you mentioned are of a very high quality, especially Court. And the Maharashtra government plays a very big role in nourishing and nurturing its arts and culture. Marathi cinema has taken a leap forward. The government makes it a point that the online ticket vendor can’t charge extra for Marathi theatre and cinema. Meanwhile, Bengali films suffer from insularity. I can’t remember watching any Bengali film of Court’s standard. That’s unfortunate. Same with Bengali theatre. I can see the quantity has gone up but I can name few which have reached qualitative excellence. There are several new groups, created by youngsters. I could barely see any spark in them. Where is the room for experimentations? So much can be done to bring in new language, expressions and spaces in theatre. We are lacking there. The energy of the youngsters is somehow going somewhere else and I fear it is social media and self-publicity they are engaging in. There is a lot of hue and cry but no depth in content. We must not forget that only quality can take you forward. Often people come and complain, ‘Hall date pachhi na’. That is so silly. Date na pele hall-e theatre korbno na. Non proscenium theatre korbo. Explore new places. There are art galleries, cafes and so on. Take your theatre there. Of course, street theatre is there. Ar rasta ebong proscenium-er modhyeo onek space ache. Same applies to films. I remember some good films from Kaushik Ganguly’s kitty like Bishorjon, Shabdo and all. As an artiste, you have to constantly push boundaries. And this you have to do even when you are working in the commercial mould. You don’t really have to be an art filmmaker all the time. But you have to push the cinematic boundaries. And this is where I feel we are not pushing enough. Amra boddo safe jayegaye khelchi. This is dangerous.

Your last film

Asamapta

garnered a lot of critical appreciation but failed at the box office. As a filmmaker, how would you try to connect with your audience?

First things first — an artiste has to connect with his/her audience. It can’t just be art for art’s sake. You have to create art for the people. While Sairat is successful at the box office, Court failed. As a director, we always try to find ways to bridge the gap and make a film that is both artistically and business-wise successful. It is a struggle for any director. Sometime history or socio-political situation helps you and sometime everything goes against you. Even the directors, who essentially make commercial films, strive to make their films successful. Now, I can’t make every kind of film. I can’t make a film that Mani Ratnam makes. Like Gavaskar can’t play T20 (laughs). The language in which I make films, in any case, will draw less number of people. I have to accept that. I can’t expect my films will go overwhelmingly houseful. But there are productions like Teesta Paarer Brittanto that despite its complex structure, clicked with the audience. We always struggle to find that balance.

Is there any reluctance on the part of the audience to watch intense, artistically superior films or theatre?
The practice of watching superior films or theatre has gone down. This definitely doesn’t mean that Bengali audience never watched good, sensible, intense films. Do you know how the practice is retained? By offering quality products to them all the time. I trust my audience. If there is a lacuna, it is because they did not find good things to watch for a long time. It is a social problem. My challenge is to learn how to make the audience watch good films.

You have been away from the city for more than three years. Don’t you miss Kolkata?
As a matter of fact, no, I don’t (laughs). There are many reasons why I left Kolkata. Mumbai has given me better work opportunities. I was feeling claustrophobic here in Kolkata. I am very happy in Mumbai. Not that everything is perfect in that city. It has its own problems. But, at least, I am away from these everyday chores of maintaining my cultural legacy. Ei Bangla theatre niye roj ja ghotona ami shunte pai tar shonge je roj ghor sangsar korte hochhe na, sheta bhaloi (laughs). Having said that, I must admit that I love Kolkata. Whatever I am today is because of this city. At the same time, I am enjoying working in Mumbai. Also, sometimes it is better to stay away and alone — detached.

What about the friends in Kolkata?
I never had many friends. I never had an elaborate friend circle. Some like Bratya (Basu) and Kaushik (Sen) are still in touch.

And Swastika Mukherjee?
Yes, I am in touch with Swastika as well. I am in touch with everybody I was in touch with here. (Pauses) I always want to be in touch with Kolkata. Given a chance I will always come back and work here. But as of now, I am happy in Mumbai. I have my friends — the actors and the team I work with.