Jayant Kripalani on playing Karl Marx in Swapnasandhani’s next production, Marx in Kolkata
Actor, filmmaker, and thespian Jayant Kripalani’s wit comes out as naturally in his interviews as in his performances on screen and on stage. His latest act as the cynical, yet, super supportive doctor to Abhishek Bachchan’s Arjun Sen in I Want to Talk had the audience in splits. Now, Jayant will be back on the stadium donning the hat of Karl Marx in Swapnasandhani’s upcoming production, Marx in Kolkata, directed by Koushik Sen. We speak with Jayant on the sidelines of his rehearsals. Excerpts:
What made you say yes to Marx in Kolkata?
Koushik Sen, naturally. I had seen his Hamlet and Van Gogh play, Taray Taray, and I knew I had to work with him. That was the primary reason. As far as the play is concerned, whether we’d like to admit it or not, Marx has been around for 200-plus years— and portraying his character seemed like a challenge I had to accept.
How is the play relevant to the current time?
The Left Front ruled West Bengal for nearly 34 years till 2011. It was the longest democratically elected Communist government in the world. I find it hard to believe that, Marx’s teachings will lose relevance soon.
How is it working with Srijit Mukherji?
It’s been an absolute joy. I have never seen an actor enjoy himself more at rehearsals than Srijit. He is an extremely generous actor who understands the needs of fellow actors, even if they are older to him.
How is it shooting for films and acting on stage?
One never really switches off or on. One is always ‘on’ whatever space you’re in. In one space, you are madly in love with the lens you’re facing, and in another, you’re madly in love with the people in the hall.
I Want to Talk didn’t do well in the theatres, but people loved it when it got released on OTT. Do you think films like this work better on OTT platforms?
There were no OTT platforms when Shyam Benegal, Guru Dutt, Satyajit Ray, Mrinal Sen, Ritwik Ghatak, Gautam Ghose, and others like them were making films. When I hear terms like ‘masala’, I sense a certain snobbery that I find difficult to relate to. There is more masala on OTT s than in all the Andhra pickles of the world. And more power to both.
How was it working with Shoojit Sircar?
He is an actor’s delight. He catches on early to any quirks an actor has, and instead of trying to even them out, he encourages and moulds them into the character he wants. But what is truly wonderful is his risk-taking abilities with the subjects he chooses.
You are from Bengal, but you hardly have any work in the Bengali film industry. Do you have any regrets?
Not really. I wasn’t here for the better part of my career, so, I didn’t really expect to act in Bengali cinemas.
How would you say cinema has evolved from the time you started?
I would have liked to give a long, involved and intellectual reply for this, but I shall restrict myself to a simple belief—a good film tells a good story, the rest is in the details.
What do you like about the new age cinema?
I had to consult “Aunty” Google for this one. New age cinema, she informed me, was a shift away from traditional filmmaking practices and a move towards more experimental, artistic, and independent films. I suppose when you’re growing up and when you see something that shatters your beliefs and leaves you gasping, that’s called experimental.
Two films from the late ’60s and early ’70s that impressed me as an audience were If..., directed by Lindsay Anderson, and Clockwork Orange directed by Stanley Kubrick. For a very long time after, anything I saw was a pale version of ‘experimental, artistic, and independent’. Both films are still ‘new age’ for me. I suppose anything that stands the test of time will always remain new age.
People talk a lot about experimental theatre. What is your take on the same?
I’m going to talk about Marx in Kolkata, and Koushik Sen. I was fortunate enough to see his Hamlet. So when he asked whether I would do Marx, I jumped at the opportunity, because he’d taken Hamlet, torn it into shreds, thrown the pieces up in the air and watched them float around in the manner he wanted them to.
And then there was Taray Taray, a play about Van Gogh. It was a risky, visual treat. And we come to Marx, a long, boring script, a one-man show, converted into a potpourri of delightful ideas and a multi-layered cast with children, mothers, fathers and even a devil or two thrown into a medley of music, movement and song. He should be directing stuff on the world stage.
What’s that last film/web show, or play that fascinated you?
It’s Panchayat. Most web shows get tiring by the time they hit Season 3. This one is as fresh as it was in Season 1. There is nothing experimental or new age about it. It’s a simple story about a village and its panchayat, and it hits all the right chords.
What are your upcoming projects?
I’m working hard at improving my golf handicap.
Marx in Kolkata will be staged on May 29, at the GD Birla Sabhaghar.