“The film got completed somehow and I was happy about it”
Congratulations on the tremendous success of “Padakhep”. Is
this transition from Dr. Suman Ghosh, a professor of economics in
the Atlantic University of Florida, to Suman Ghosh, an award-winning
film director, preconceived or incidental?
It is a bit preconceived I could say. I was always interested in
filmmaking but lacked the technical faculty for undertaking any film
project. I had come to Cornell to do my doctorate in economics and
during my stay here, I decided to pursue film studies from the
department of theater, films and dance within Cornell. It was all
about the theory and art of film making from scratch. I didn’t do a
degree course but took all the basic classes for a masters in film
studies. I completed my PhD and took up a job. During that time, I
made a documentary on Amartya Sen and that is my first piece of work
in the line of filmmaking. Soon after, I had the opportunity to
assist Gautam Ghosh for a film in Kolkata. That is when I got
acquainted with Soumitra kaku (Soumitra Chattopadhyay) and we have
stayed in touch over the past few years. It was keeping him in mind
that I prepared the screenplay for “padakhep”.
Did you have any notion then as to how things would shape up?
Of course I knew that I wanted to make a movie. What I wasn’t sure
about was the entire process of going to India, meeting up with the
artists there, negotiating with the producers and all the other
steps involved in the nitty-gritties of making a film.
For all those non-resident Indians in America, the biggest
challenge in undertaking a film making enterprise is finding an
enthusiastic financier. How big a challenge was it for you when
embarking on “Padakhep”?
It was a really big challenge. I had been talking to various
financiers for almost a year to get them interested in “Padakhep”.
There wasn’t much going in favor of the project – a first-time
filmmaker, an NRI on top of it, coupled with an off-beat subject.
Some even suggested that I add a few song and dance routines to jazz
it up. It was finally Bangla Talkies that agreed to finance this
film.
What other hurdles did you encounter in going from here to make a
film over there?
The main problem was taking leave from my teaching profession for a
long duration. That apart, gathering a technical team in Kolkata for
this project turned out to be a big challenge. However, my earlier
experience as an assistant director as well as having friends and
connections in the field of television and films, made things less
difficult.
“The Curious case of Benjamin Button” - F. Scott Fitzgerald.
“Padakhep” is based on this short story. Any particular reason
behind the choice of this story?
I think every man comes full circle, wherein, reaching senility, he
returns to childhood. As a subject, this has always fascinated me.
To me, the first phase and the last phase of one’s life seem pretty
similar. The locale of the film, Kolkata, has itself evolved many
folds over the last few years, and it continues to do so. The
changed city, its chaos, its changing populace, its value system –
have created a foggy aura for the geriatrics living in it. A bit of
nostalgia, a little feeling of being neglected – combine together
for a unique way of life. Wanting to desperately hold on to petty
things, they seem to act the way they did as children.
While contemplating on this subject, I happened to read “The Curious
case of Benjamin Button”. In the main story, the protagonist’s life
is shown in the reverse cycle – his life starts at old age and ends
inside the mother’s womb. The screenplay of “Padakhep” is inspired
from this cycle that forms the crux of the story. That apart, the
feel of “Padakhep” is typically bengali, uniquely our own. If I were
making a Hollywood movie, “The curious case…” would definitely be my
subject of choice. Actually there is a movie being made in Hollywood
based on this story, with Brad Pitt as its lead.
You have said before in an interview, that it’s always wise to
make a movie in the language which complements the subject. Is that
the main reason behind the choice of bengali in making your first
movie?
That is definitely one of the reasons. However, this movie could
also have been made in hindi or any other language. Since I come
from Kolkata, my affinity for the bangla language, my affiliation
with the city and with my friends and relatives living in it, all
influenced my choice of the language in which I made the film.
You mentioned having worked with Gautam Ghosh. For a professor of
economics living in America, how did you make it happen?
It was quite some time back – I hadn’t come into this country yet. I
was having a tête-à-tête with Gautam da and happened to mention that
I aspired to study at the Pune Institute of films and television.
When he learnt that I had got a chance to do my doctorate at
Cornell, he advised me to not let this opportunity slip away. There
would always be scope to work on films later. His advice worked
wonders for me. Coming to America, I gained a lot of experience
which honed my perspective.
Year later, when I had started working and my documentary was
nearing completion, something prompted me to give him a call. A kind
of a COLD CALL, if you ask me. By then, he had started working on
the film “Dekha”. He invited me to come to India to work with him. I
didn’t have to think twice about taking up his offer. I’ve mentioned
before about meeting Soumitra kaku during the filming of this movie
– which progressed over the years to form a close bonding. It wasn’t
too difficult persuading him to do “padakhep” after reading out the
script.
And Nandita Das?
For that, I’d like to accredit Soumitra kaku. The kind of films
Nandita has worked in, are different in some ways from “Padakhep”.
This movie’s story revolves around Soumitra kaku’s character. Apart
from liking the script, the fact that Soumitra Chattopadhyay was
also working in the film, worked in getting her consent.
Any special experience or memory of working with the great actor
Soumitra Chattopadhyay, that you might want to share with us?
‘Padakhep”’s first day of shoot – I still remember the date – 15th
feb, 2005 – near Dhakuria Lake. We had Soumitra Chattopadhyay along
with Bibhas Chakraborty. People teeming around us. I was extremely
tensed. Soumita kaku took me aside and asked, “Are you nervous?”. I
shook my head and said no. He had had an inkling. He said, “it’s
your first shot - being nervous is quite normal. If you get the
first one right, you’ll see that everything will fall into place
gradually”. I’ve spent many moments in his company before and after
that incident, but those few words of encouragement, on that special
day, gave me tremendous motivation.
This is about Soumitra Chattopadhyay as a person. The actor Soumitra
Chattopadhyay never once made me feel like a novice, considering
that he is “The Soumitra Chattopadhyay” – the most favored actor of
Satyajit Ray. In case he had to say something, he would put it as,
“what if I said this line in this way?”. He was extremely sensitive
about not making me feel awkward.
Upon completion of the film, did you have any intuition that it
would do as well as winning the ‘National award’? What exactly were
your expectations?
I really didn’t think as far as the national award; just felt happy
when the film was completed. There were many hurdles in its making
and there could have been more. I had applied for six months’ leave
to pursue it. Just within days of the film’s completion, there was a
strike started by the technicians of Tollygunge. Had it begun a few
days earlier, my film could not have been completed. That’s because
Nandita had plans of going to New Zealand soon after. So you can
imagine how relieved I was when the project was wrapped up. The
thought of the audience’s acceptance or winning an award hadn’t
crossed my mind.
Soumitra Chattopadhyay has won his first national award for your
film. How special is that for you?
It is definitely a special feeling for me. Some even went so far
as to suggest that his not having won a national award so far was,
in some ways, because of me. (smiles) So there is a different kind
of satisfaction. Most of his other films are legendary in that
respect. His work in this film, is outstanding, according to me.
When I got into this venture, my initial challenge was to prove that
the actor Soumitra Chattopadhyay, at this age, still has a lot in him to
contribute to Bengali films. When he agreed to do the role after
reading my script, half the goal was accomplished. The rest of the
credit goes to him alone. Even at the age of seventy four, his
enthusiasm, his sincerity, his warmth or his dedication to work,
must only be seen to be believed.
Can you tell us something about both your forthcoming films, one
in Hindi and the other in Bengali (comedy) ?
I had initially planned to work on both films in parallel. Now I’m
thinking about making the comedy later. At this point of time, I’ve
plans of making a bengali film with Soumitra kaku. Following that,
I’ll focus on the hindi movie. Its based on the trials and
tribulations of a marathi family caught in the midst of the riots in
Mumbai.
What did your students opine about this other side of you?
They were really astonished. They were used to seeing this man
taking their classes. The same man, on going through google, had
made a film that won the national award; it was quite overwhelming
to them. I never discussed my intentions of making a movie with
anyone before venturing into this project; so you can imagine their
amazement.
If you had to choose between Suman Ghosh - the professor, and
Suman Ghosh – the filmmaker, who would it be?
I really don’t have an answer to that; that is an ongoing turmoil
within me. In some ways, both aspects complement each other. My
research work in economics and my work in films – starting with the
conception of the story to the completion of the film – both have
tremendous similarities. And because I’m in this teaching
profession, I can afford to devote time to my creative inclinations
and also draw some reprieve between films. However, post ‘Padakhep”,
the offers have been pouring in. The demands on my time have
increased. I’d have a hard time choosing between the two professions
– the reason being that both are dear to me, and I enjoy doing both.
If not, making a choice between the two would have been easier.
What do you think about this effort on the part of Sreeshti
members, to bring out a bengali magazine, inspite of living abroad?
I’m very happy to know that such a magazine is being brought out in
America. And I want to tell all the members of the organization and
all those involved in this grand venture – whatever you wish to do,
whatever you aspire, no obstacles should impede your progress. I’m
myself a strong believer of this. My undertaking of films is solely
based on my desire to make them. The members of “Sreeshti” or those
associated with this magazine must be involved in different
professions. It is certainly possible to focus on this magazine or
whatever you wish, staying within the realms of your professional
domain; don’t let that hinder your creative aspirations in any way.
Thank you for your valuable time and our best wishes for your
forthcoming films