Wear the word ‘aantel’ as a badge of honour: Srijit Mukherji

Srijit Mukherji seems to be running out of alphabets to name his films. He’s only left with I and Q. He cheekily admits that filmmaking is just his ‘alternative career’. His true love? Cricket journalism and he’s itching to get back to it. But before he takes that ‘break’ (a surprising word for someone known to be a workaholic), he’s fully focused on ‘Shotyi Bole Shotyi Kichhu Nei’, a Bengali legal drama adapted from the iconic play and Basu Chatterjee’s 1986 film ‘Ek Ruka Hua Faisla’. The film brings 12 characters from diverse backgrounds - different classes, political views and sexual orientations - who come together to deliberate on a crime. With its layers of prejudice and debate, the story couldn’t be more relevant today. ‘Millennium Post’ catches up with the National Award-winning filmmaker to talk about adapting this classic, his love for cinema and juggling passions.

Why adapt ‘Ek Ruka Hua Faisla’ into Bengali?

I first explored this text in 2007 with a play titled ‘Mind Game’, an Indian adaptation of ‘Ek Ruka Hua Faisla’. Since the jury system doesn’t exist in India, it requires structural changes. But the template itself was fascinating, offering an opportunity to examine internal contradictions, biases and prejudices. I was fascinated when I first saw ‘Ek Ruka Hua Faisla’ and later read the play. It’s one of my favourite texts. Like ‘Julius Caesar’ and ‘Chowringhee’, I love to adapt my favourite texts and interpret them cinematically.

Does the absence of a jury system in India pose a challenge in terms of relatability?

That’s exactly why I restructured the narrative entirely. It’s a cerebral reinterpretation.

The story revolves around how judgmental people can be. How do you deal with your own biases?

Whenever I sense bias in myself, I make a conscious effort to step into the shoes of the person or idea I’m biased against. This mental exercise, similar to role-switching, allows me to view the situation from a different perspective. During college, we used to have turncoat debates where we argued both for and against a motion. That training has stayed with me. It’s the only way to remain neutral.

In an industry where relationships often influence decisions, how do you maintain balance?

I don’t see it as bias. I see it as preference and taste. Bias becomes an issue when it’s unfair. For example, I might prefer Uttam Kumar over Soumitra Chatterjee, but that’s a matter of preference, not bias. Similarly, in friendships, preferring one person’s company over another doesn’t mean I dislike the latter. It’s just a choice.

People say you’re a ‘selfish’ filmmaker.

Absolutely. I’m selfish, uncompromising and unapologetic when it comes to my films.

Have you ever been judgmental while casting?

I’ve cast a lot of people who’ve ended up damaging my reputation. Some actors backed out just two days before the shoot, leaving me with palpitations and high blood pressure. For instance, Anjan Dutta backed out of ‘Chotushkone’, but I’ve still approached him for other films because I know the caliber of work he can deliver. I’ve also gone to Jeet with projects like ‘Zulfiqar’ and Hani Alkadi’s role in ‘Mishawr Rawhoshyo’ and later pitched ‘Lawho Gouraanger Naam Re’. Even Swastika Mukherjee, during the promotion of ‘Tekka’, mentioned how one of the reasons for our breakup wasn’t taking her for ‘Rajkahini’. This is a genuine issue. Whether someone is my lover, wife or friend, I won’t compromise when it comes to my casting or my films. My relationship with work is separate from my personal relationships and I treat it as sacred. That’s just how I am.

In ‘Shotyi Bole Shotyi Kichhu Nei’, you’ve brought together 12 top actors. Since ‘Ek Ruka Hua Faisla’ was set mostly in one room, how did you approach it?

The treatment is highly cinematic. Since I restructured the narrative, it opened up vast cinematic possibilities. There’s a surreal interplay of dreams and memories, making the film experimental and visually dynamic.

The sea is a recurring motif in your films. Is there a personal connection?

Absolutely. While the jungle is my favourite, the sea comes a close second. Also, certain images since childhood have stayed with me and I try to recreate them through my films.

You’ve referred to filmmaking as an ‘alternative career’ and mentioned wanting to return to cricket journalism. What happens after you’ve covered all the alphabets?

I plan to take a break. I’ll travel the world, eat, sing and cover cricket.

You mentioned you won’t do a ‘Feluda’ series anymore due to budget constraints. But even nationally, OTT programming budgets are being slashed.

OTT has become TV-plus. It was meant to be glorified cinema, but it’s turned into glorified television. I might consider doing season two of ‘Shekhar Home’. But the thing is, if you give me a certain budget, there are stories I can tell and stories I simply can’t. And with the budgets being offered to me these days, doing justice to ‘Feluda’ isn’t possible. ‘Feluda’ requires far more resources.

Have you spoken with the production house? Are they open to increasing the budget?

No, they aren’t in a position to do that. What they’ve suggested is selecting ‘Feluda’ stories that don’t involve much travel. But I can’t work that way. For me, ‘Feluda’ is as much about the travelogue as it is about the adventure.

Of politics and more

A director recently remarked that Jeet and Dev should collaborate but not under an ‘aantel’ filmmaker. What’s your take?

I wear the word ‘aantel’ (intellectual) as a badge of honour. It signifies intelligence. If someone’s calling me that, it probably means they wish they had that quality. As for Jeet and Dev, I’ve already pitched stories to them. Recently, I messaged them about a story.

You’re working on ‘Winkle Twinkle’, a Bengali political film. How challenging is it to make such films now?

It’s extremely challenging. The censors will insist that the name of the party can’t be used. But how fictional can I make a party? The essence of politics is tied to identity, right? Still, I’m ready to fight it out. I’ve done it before, like with ‘Padatik’. But with ‘Winkle Twinkle’, the fight is going to be even tougher. In fact, ‘Shotyi Bole Shotyi Kichhu Nei’ is a political film and I know it’s going to ruffle a lot of feathers.

What other films do you have in the pipeline?

I’m planning a sequel to ‘Hemlock Society’ (2012). Ananda Kar will definitely return, though maybe not Meghna. It’s going to be a romantic satire.