Cinema in India is losing its dignity and magic every day: Anirban

A conversation with Anirban Bhattacharya is always a delight. The charismatic actor-filmmaker, singer and theatre artiste does not believe in pulling his punches, whether it is talking about cinema or social media, or even his struggle with mastering the Hindi language. In a free-wheeling chat and leisurely photo shoot with Calcutta Times, the multi-faceted man rocks every look, from a regal dhoti-clad avatar to chic white and denim. As he counts the days to the release of his big-screen debut as a filmmaker (Ballabhpurer Roopkotha), we get you up close and personal with the man of the week.

With Bhoot Chaturdashi around, it’s a perfect time to talk about the very Bengali obsession with ghosts and spirits, including your film, a horror comedy. What do you think has shaped our abiding interest in the paranormal?

This fascination is all thanks to the gems of Bengali literature. Our ghosts and spirits are very different from what you encounter in other cultures of the world. Ghost stories by Syed Mustafa Siraj, Shirshendu (Mukhopadhyay) and even Saradindu (Bandopadhyay) that were serialised and later appeared as anthologies, made us fall in love with this whole universe of ‘bhalo bhoot mojar bhoot’ (good and funny ghosts). Ghosts with whom people have a very deep connection and a relationship that has evolved over decades. This relationship is unique to us Bengalis and is steeped in love, affection, and all other emotions. And all credit goes to these brilliant writers and our literature.

How did you come up with the idea of making a film about ghosts?
I was looking for concepts and scripts, and was reading up a lot. Ballabhpurer Roopkatha is a play by Badal Sircar, which is currently being staged in the city. Suddenly one night, the play came to my mind and I called up my screenwriter for Mandaar, Pratik Dutta (also in this film) and discussed how we could adapt the play, since it has several elements that make for an entertaining big-screen experience. It is not easy, since a play is stitched together in a certain way and we had to work around that to create a mass entertainer.

Ever since you made your directorial debut with Mandaar, you have been talking about how you would rather be an actor and not a director. In Mandaar you were quite impressive as Muqaddar Mukherjee, a corrupt police officer. But for your big-screen directorial, you chose to stay behind the camera. Why is that?

I prefer to not act when I am directing. In Mandaar, I did not wish to act. But we had to chase 16 people for the role of Muqaddar Mukherjee – there were commercial and date problems. Since we were about to start shooting, I had no choice but to take up the role. I cannot give my best when I am doing both, and had I done the series without any directorial pressure, my performance would have been much better. In this film however, I was sure right from the beginning about whom to cast.

As someone who has been an actor and director, do you have a finger on the pulse of the audience? What is your take on the abiding debate about south versus rest of the India films?
I think it is a mad run. India contributes 60% to the global film production. Especially in the post-pandemic scenario when many blocked projects are being released, people cannot watch so many films and remember all of them. It is normal to have two to three out of 10 films to work. It is normal even for a good film to flop in this rush. Three films from South India may have worked. But if you check at the same time 17 other films may have flopped. It is a perception business. An age of numbers and over productivity and there is no point debating about the purity of any art form. Let alone cinema. Yes, people like Rishabh Shetty and Rajamouli have managed to push for their work and ensure there is some artistry as well. But once RRR released, all one could hear was the film making 400 crores or 600 crores. No one was talking about the film, discussing a scene or any aspect of the craft. People these days are either trolling or discussing box-office collections – this is not the right kind of environment for cinema to thrive. Even before a film gets into post-production, people are doing three-second reels and videos, promoting and exposing themselves, their work to the public this way. The audiences have a responsibility too and cinema is losing its magic, its dignity, every day.

In this scenario, how do you keep yourself motivated? I do it knowing fully well that these times, this environment is not conducive to creative work. There is a lot of pain that comes with this realisation, but I have decided not to focus on anything other than my craft, what I know, what I can do well – and I want to do my best. See, the business aspect if filmmaking cannot be ignored, you have to sell the product. But with so many films, so much chatter on the internet based on so much data, people do not remember any film, any good work any more. We are fighting against data, even as cinema continues to lose out on the magic, dignity and memory. But I believe cinema will survive this phase, since it has survived 130 years, before the internet and the box office and this incessant chatter. Before over analysing and over productivity came into being.

You are known as a straight-talking person with strong world views. Does that impact your work?It is my craft, my calling, my work which has shaped me. I am a product of my art form, my years spent on the stage and in the film industry, and I cannot change myself. If I try to paint myself from the outside, I will die inside. Yes, there are consequences, there are ups and downs, and occasionally, I do get stressed. But it is all a part of the job.

Past few years, your fans and followers were treated to your range as an actor and director. Whether it is lending your voice to a socio-political music video or featuring in the sequel to the commercial potboiler Bibaho Obhijaan, you manage to pique the audience’s curiosity with every outing. Do you enjoy this phase?
I like being versatile. When we shoot a film like Bibaho Obhijaan in Midnapore, people come up to me and talk about Bullet Singh. In a more urbane setting or at a party, I have people telling me how they “Really liked Nikhilesh in Ghawre Bairey Aaj” by Aparna Sen. It feels good to be able to reach out to all kinds of audiences. It is important to arouse curiosity. The idea is to remain socially relevant. In a country which has no dearth of public figures in the political domain who take up so much of our mindspace and the spotlight, it is all the more important to create a niche for yourself with your creative work. It is quite flattering when people notice this versatility and the effort.

Language is no longer a barrier when it comes to OTT platforms, which have given audiences the opportunity to discover stories from different cultures and communities. Do you think this is something you would like to explore further?I have often thought about making a film on Sidhu Kanhu (leaders of Santhal rebellion) in Santhali language. But then I wonder, will anyone watch it? You see, the entire movie making and movie watching environment is so volatile right now that you cannot really make a film thinking it will work. I have no qualms about working in any city, any industry or platform – I am not stuck up with my para-my phuchkawala mindset. But the only thing that ties me down is my passion for my mother tongue. If I cannot speak in Bangla, I will fall sick! And my Hindi is not great and I’ve not had the time to work on it.

What is your gut feel about Ballabhpurer Roopkotha?

I think people will like it. I will not say “cholbe” but for the handful of people, including me, who have watched the film more than once, there is always a sense of discovery that comes with every viewing. Each person will be able to relate to a different scene, a dialogue or element in the film, but they will like it nevertheless.