‘Every decade, I had to prove I could act’

Tota Roy Choudhury possesses all the qualities an actor could wish for - good looks, a great physique, acting chops, dancing skills and the flexibility for action sequences. Yet, despite these attributes, he has had to prove his talent time and again, whether it was through ‘Chokher Bali’, ‘Rocky Aur Rani Kii Prem Kahaani’ or the ‘Feluda’ franchise. With over three decades in the film industry, Tota once had his moments of angst, but not anymore. Today, he prefers to focus on quality over quantity. Even after the success of ‘Rocky Aur Rani Kii Prem Kahaani’, he turned down six out of the nine offers he received. This winter is special for Tota, as he has two major projects lined up - ‘Chaalchitro: The Frame Fatale’ - on the big screen and ‘Feludar Goyendagiri: Bhuswargo Bhoyonkawr’ on OTT. While he’s delighted that audiences are eager to watch both, Tota was crestfallen when director Srijit Mukherji announced that ‘Bhuswargo Bhoyonkawr’ would be his final venture in the ‘Feluda’ series. In this candid chat with ‘Millennium Post’, Tota reflects on his three-decade journey of ups and downs and what lies ahead.

You have portrayed a cop in several films, including ‘Bolo Na Tumi Amar’, ‘Tara’, ‘Shubho Mahurat’ and ‘Shapath’. Do you feel this role has become your forte?

A cop is just one of the characters I have portrayed. Since I’ve played this role multiple times, I always try to understand the unique traits of the cop being offered. For instance, in Pratim D Gupta’s ‘Chaalchitro: The Frame Fatale’, I play Kanishka Chatterjee, a character distinct from the ones I’ve portrayed before. Kanishka, as a cop, is closest to reality after ‘Shubho Mahurat’. He has flaws and redeeming qualities, making him very human. He’s not a super cop but works with a team of three police officers to tackle a series of patterned murders in the city.

Your performance as a cop in Sujoy Ghosh’s short film ‘Ahalya’ was widely praised.

‘Ahalya’ was a turning point for me. It introduced me to a wider audience and opened doors in Mumbai. After ‘Ahalya’, I worked on projects like ‘Te3n’, ‘Kahaani 2: Durga Rani Singh’, ‘Indu Sarkar’ and ‘Helicopter Eela’.

Didn’t Rituparno Ghosh’s ‘Chokher Bali’ also help establish you in Mumbai?

‘Chokher Bali’ proved to people that I could act but it didn’t bring work from Mumbai at the time. It was ‘Ahalya’ that truly got me the work in Mumbai.

Policing can be a stressful job, often impacting mental health.

It’s a challenging profession. One of my cop friends put it succinctly: “We’re given a duty but not allowed to work, given a gun but not allowed to shoot, given a mission but not allowed to fulfill it.” This constant pressure comes from all sides - both the bad guys and the good guys seem to have issues with cops.

2024 is ending on a high note for you. Apart from ‘Chaalchitro’, there’s ‘Feludar Goyendagiri: Bhuswargo Bhoyonkawr’ on OTT. However, director Srijit Mukherji has decided to step away from the ‘Feluda’ franchise.

I’m still processing this news. I couldn’t believe it. But I also understand why Srijit has taken this decision.

Do you revisit the books before shooting for a ‘Feluda’ series?

No, I never approach it that way. I’ve been mentally playing Feluda since I was 25. It’s a role I’ve always envisioned in my mind. Feluda is personal for everyone, which is why any actor portraying him, even someone as remarkable as Soumitra Chattopadhyay, faced criticism. It’s not about the performance. They were outstanding. But people carry their own image of Feluda, much like their idea of God. If the portrayal doesn’t align with that image, they tend to be critical and less accepting.

Yet your portrayal has been widely accepted.

I’m very grateful for the acceptance. Of course, I’ve received my share of criticism, but that’s okay. The majority of people have accepted me and that’s what matters.

Looking back on three decades in the industry, how do you feel about your journey?

It has been a roller-coaster ride, full of ups and downs. But these fluctuations remind me of an ECG - it shows you’re alive. A flat line means you’re gone. The challenges have kept me motivated and focused.

Coming from a business family, you had the option to pursue a lucrative career in that field, but you chose acting instead. In an industry where looks, acting skills, dancing and action are valued (and you had them all), your success came relatively late. Do you have any angst?

Five years ago, I might have expressed dissatisfaction and frustration, but post-COVID, I’ve come to believe in destiny. The path is predestined. We can only focus on giving our best.

Post the success of ‘Rocky Aur Rani Kii Prem Kahaani’, you must have been flooded with offers in Bollywood.

I was offered nine films but chose to do only three. Being selective has helped me sustain my career. If I accept every project, my audience will lose interest in a few years. I don’t mind waiting for the right project, even if it means months without work. Earlier, I took on some films I shouldn’t have, but I don’t do that anymore. I have a project with Vikramaditya Motwane, the next season of ‘Special Ops’ and a film with ‘Maddock’.

Even after standout performances in ‘Chokher Bali’, ‘Ahalya’, ‘Ek Phali Rodh’, ‘Feluda’ and ‘Rocky Aur Rani Kii Prem Kahaani’, it seems you often have to prove yourself as a talented actor for the industry to take notice.

I think some people are tested more than others. And the fact that I’ve always risen up to a challenge, is what satisfies me. It shows that every decade I had to sit for a test and thankfully, I passed. Every decade, I had to prove that, yes, I’m a good actor. Even today some people don’t consider me to be a good actor, but that’s fine with me. My audience considers me a dependable actor and that’s what matters.

You are a product of mainstream masala films. Why do you think Bengali audiences have turned away from this genre?

There are several reasons. After COVID-19, the number of single screens has dropped drastically. It’s not that people don’t want to watch films - they do. For example, I’m sure audiences will flock to see ‘Khadaan’ because Dev is returning to commercial films after a long time. We need more commercial films. Actors like Dev and Jeet are essential for the commercial space because they can truly make an impact. However, the approach to filmmaking has to change. We can no longer make the kind of films we did a decade ago. We need Bengal-centric commercial films, like those made by directors such as Prabhat Roy, Anjan Choudhury, Haranath Chakraborty, Sujit Guha and Swapan Saha.

Unfortunately, we began replicating South Indian films, which hurt Bengali commercial cinema. Remakes are fine if adapted well, but frame-to-frame copies are disrespectful to the audience. Customs and emotions can’t be replicated, as they are deeply rooted in local traditions.

Ending on a high note

Director Pratim D Gupta wanted to work with you for a long time.

Pratim is one of the few intelligent directors we have. Though he makes films in Bengali, his style reflects an international cinematic language, influenced by Hollywood, Korean and Spanish films.

You have always wanted to play Feluda and Srijit Mukherji saw that in you. What do you take away from the experience each time you step into Feluda’s shoes?

Feluda takes me back to my childhood when I first read the stories. I come back with a lot of joy each time I play Feluda. It fills me with immense joy. I reconnected with the seven-year-old boy who received his first ‘Feluda’ book on his birthday and the teenager who shared ‘Feluda’ stories with his father. It reconnects me to the purity and joy of that phase of life, where things felt black and white.