‘Lack of comedies written with women in mind’

Vidya Balan’s journey in cinema is a story of resilience, belief and quiet triumph. She fondly recalled an unforgettable moment during her early days, while shooting an advertisement with Pradeep Sarkar. After their first night of filming, the filmmaker said to her, “Yeh larki, tere saath picture banaunga.” But Vidya, weary from repeated rejections, dismissed it as mere words.

“By then, rejection had almost become second nature to me,” she confessed. Yet, Sarkar stayed true to his promise, casting her as Lalita in ‘Parineeta’ (2005), an adaptation of Sarat Chandra Chattopadhyay’s novel. “Dada had faith in me at a time when I didn’t have faith in myself,” Vidya shared, her voice filled with gratitude.

Even Vidhu Vinod Chopra, the producer of ‘Parineeta’, initially hesitated to back a newcomer from Chembur, Maharashtra. But the film became a landmark in Vidya’s career, establishing her as a performer of extraordinary depth and grace.

Interestingly, Vidya’s cinematic journey began in Bengali films with ‘Bhalo Theko’ (2003), directed by Gautam Haldar. The film remains a precious milestone in her life. Recently, at the 30th Kolkata International Film Festival (KIFF), Vidya paid homage to Haldar, acknowledging the lasting influence of Bengali cinema on her craft and identity.

From ‘Kahaani’ and ‘Te3n’ to ‘Begum Jaan’ and ‘Kahaani 2’, Vidya’s association with Kolkata has been both close and transformative. She knows the city well and starts missing the vibe if she doesn’t come after a few months.

Despite playing powerful performances, Vidya doesn’t necessarily follow any fixed process to get into the skin of the character. Rather than adopting elaborate methods, she prefers to immerse herself in scripts, reading them repeatedly and collaborating closely with directors. “Film is, at its heart, a director’s medium. Understanding their vision is essential to shaping my character,” she said.

Vidya’s love for acting was ignited by none other than Madhuri Dixit. “It was Madhuri who made me dream of being an actor,” she revealed. Sharing the screen with her in ‘Bhool Bhulaiyaa 3’ felt like a dream realised. Her list of inspirations also includes legends like Shabana Azmi, Sridevi, Tabu, Rekha and Meena Kumari.

While she is celebrated for her powerful roles, Vidya’s flair for comedy remains equally remarkable. Her performances in the ‘Bhool Bhulaiyaa’ franchise, ‘Ghanchakkar’, ‘Shaadi Ke Side Effects’ and ‘Tumhari Sulu’ were lauded and she hopes to do more in the genre. “I feel there aren’t enough comedies written for women. Especially post-pandemic, I’ve gravitated toward lighter, more joyful content. As an actor, too, I want to be part of stories that bring laughter and happiness.”

Over the years, Vidya has faced scrutiny - whether it was her body type, fashion choices or her personal style. But she has always risen above such noise with quiet dignity. Draped in an elegant saree, gifted to her by late Haldar and his wife, she reflected on her love for the garment. “I grew up seeing women in simple cotton sarees and they always looked beautiful to me. The saree is deeply tied to my sense of identity - it’s timeless, versatile and inherently Indian. I find immense pride in our rich textile heritage.”

Although Vidya has embraced the rise of OTT platforms, she has yet to step into the world of web series. “I think I’m a little commitment-phobic when it comes to long-term projects,” she admitted with a smile. “Cinema allows me to pour everything into a film for a few months and move on. I’m open to OTT but I’m yet to receive an exceptional role. OTT platforms, after all, kept the industry afloat during the pandemic,” she said.

On lack of experimentation in films

It seems Bollywood isn’t experimenting enough with content. Do you agree?

It’s been a year of uncertainty, whether in the regional cinema or with Bollywood or whatever because hedging risks is not something people want to do at this moment. This is because, I think, the stakes are so high that people do want to play it safe. And especially post-pandemic, I think people are looking at it more conservatively. I think something has changed intrinsically in all of us that will obviously get reflected in every business, including cinema. So, I can’t just blame the producers or the platforms.