Ahead of the release of Ajogyo, Prosenjit Chatterjee discussed working on a variety of films and why he considers Pather Panchali to be a commercial film.
Prosenjit Chatterjee is one of the biggest stars in the Bengali film industry, and he is one of the few actors who has seamlessly transitioned between mainstream and parallel cinema in recent decades. His Friday release, Ajogyo, marks his 50th film with Rituparna Sengupta, a pair that has long been popular among Bengali audiences. In this exclusive interview with Hindustan Times, Prosenjit discussed this collaboration, his thoughts on the changing language of mainstream cinema, and what keeps him excited as an actor.(Also read: After Mr and Mrs Mahi, watch Kony, an excellent sports drama starring Soumitra Chatterjee.)
Ajogyo is your 50th film with Rituparna Sengupta. That is a unique milestone. Was this film, starring Kaushik Ganguly, always meant to be the 50th? Or did it occur over time?
We had done approximately 46 films when we were doing our regular mainstream features. We haven’t worked in about 14 years! We returned a few years later with Praktan, a game-changing success. Following that, there was Kaushik Ganguly’s film Drishtikone. So we had one thing in mind: it was our 50th film, which had not yet happened. really! It’s sort of a blessing from the audience. We thought someone like Kaushik, Shiboprosad Mukherjee-Nandita Roy, or Srijit Mukherji could handle the project.
We weren’t waiting because we had a genuine plan to make films in three to four years. But it was Kaushik who was serious, saying, ‘I want to do it.’ But I believe this was the third time we all came together and said, ‘Let’s lock it! It took a long time, which is unusual for Kaushik after narrating a subject. In between, he promised to find something else. Kaushik is also an excellent storyteller.
So, working with both me and Rituparna requires a good director who can handle the responsibilities of these two brands! I believe Kaushik is one of the directors we have in Bengali cinema who can handle that ‘vazan’! (laughs) He’s one of the best we have, and every actor wants to work with him.
The Prosenjit-Rituparna jodi has produced numerous iconic films. I remember watching Soshurbari Zindabaad and Utsab, both of which were released the same year. These two films are very different in terms of style and scope. You both have done an excellent job of balancing that…
I think you are the first journalist to ask this question! (smiles) For me, it happened again in 2003, when I had a Chokher Bali, which was followed by a Ram Lokhon. Both were huge hits. I believe this is something unique to both of us. I remember Ritu shooting Paromitar Ek Din while I was filming Soshurbari Zindabaad. We were shooting for Baba Keno Chakor and Utsab. We were young. Today, I believe we are much more mature in dealing with the characters, and we do not have to do as much work. However, this also applies to us as individual actors.
Ritu appeared in many mainstream films as an actress before moving on to Dahan or Paramitar Ek Din.
I was a mainstream actor who performed songs and dance numbers, including in a Rituparno Ghosh film. I believe it was a unique commitment from our end, which we attempted to justify. Love and passion for cinema have always existed, and I consider myself fortunate to have begun my career with Tapan Sinha and Tarun Mazumdar. My point is that we’ve both worked on mainstream films that were both enjoyable and cerebral. So, we’ve been through everything, and I’m still working as the main lead in a very different role than I was 13-14 years ago because I wasn’t committed to anything. Same with Ritu.
You’ve also collaborated with Kaushik Ganguly on several projects, including Drishtikone, Jyesthoputro, and Ajogyo. Tell me about your relationship and experience with him.
I collaborated with many directors, both young and old, who were making films for this demographic. Kaushik was somehow not clicking, and I recall receiving a Filmfare award while he was sitting in front of me. After receiving the award, I went on stage and announced, “Kaushik, I have 3-4 Filmfare awards. “Would you cast me now?” (smiles) We started with Kishore Kumar Junior, then Jyesthoputro, and finally Drishtikone. So, working with Kaushik is the best part. I believe he is one of our country’s finest actors.
He is an incredible actor, and having a director who is also an actor makes life much easier. He has the ability to elevate people to new heights.
The best thing about working with Kaushik Ganguly is that he is the captain of the ship. One day, we realized that this would be our final shot on the film! The overall atmosphere on set is that of a family. During Ajogyo, when we were shooting in Puri, we thought we could shoot a scene in the early mornings for three to four days. We started on one day and finished the scene that day.
In recent years, the concept of a commercial film has undergone significant evolution. What do you believe the new generation of audiences expects from a film today?
What is commercial cinema? That is also something I want to know. I always say that Pather Panchali is the largest commercial cinema! The film still generates revenue today. Commercial cinema is what works. We define commercial cinema as larger-than-life, and yes, commercial films must exist. Perhaps the language and patterns of cinema have changed. But if commercial
If films do not perform well in India, the industry will fail. Commercial cinema gives you the confidence to try something unusual or risky. If an actor has five big commercial hits, he can make his next film, which may not be for a large audience. But commercial cinema has to be present.
The language has changed. We started the journey with Srijit, Autograph, and Baishe Srabon. Shibu then performed Bela Seshe and Praktan. I’m saying that this is also mainstream cinema. What needs to be understood is that the exhibition section has also changed. To cater to the younger audience, the college-bound adolescent, one must recognize that their outlet has also changed. They can watch World Cinema with their hands. So, even if one wants to make mainstream films, one must consider doing something that will appeal to them as well. That’s happening gradually. Prior to the pandemic, actors such as Rajkummar Rao, Ayushmann Khurrana, and Vicky Kaushal were enjoying success with their films. Again, Animal is an excellent film. Pushpa is a good film. After a long time, Shah Rukh Khan has delivered these hits. It represents a contribution to Indian cinema. Shah Rukh Khan will continue to be Shah Rukh Khan even if he does not appear in a single film.
For us, after a long journey, we must give back to the industry. It becomes your responsibility.
You’ve been working for a long time and have given us many memorable roles. Even in Bollywood, your recent work, whether a Jubilee or a Scoop, is consistently surprising. What factors continue to motivate you to pursue acting? What inspires you the most as an actor even today?
When this no longer excites me, I’ll stop acting. Second, when I wake up in the morning, I still believe that these are tasks that I have not yet completed. That’s my daily routine.
What are these items?
I’m looking at some characters. Maybe after a few years, I’ll play a character like the one in Jalsaghar or a Godfather. Also, to keep myself motivated, I need to gain one new fan every day who will appreciate my work. My work is loved by four generations of Bengalis. I approached Kakababu from that perspective. Now, when I meet kids at social events, they ask, ‘Where is your crutch?‘ (smiles) So, for me, doing a Jubilee or a Scoop means surprising people who are unfamiliar with my work. So I need to be honest about it.
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