Jeet on Keu Bole Biplobi Keu Bole Dakat and the future of Tollywood
Bengal’s superstar Jeet is back this year with his film, Keu Bole Biplobi Keu Bole Dakat, that sees him don nine different looks with panache. If the trailer is anything to go by, the film will see Jeet in the role of a patriot, Ananta, who fights for independence and cleanses society post-independence. As the film releases today, Jeet sits with us to talk about the film and what it takes for Bengali cinema to thrive.
Keu Bole Biplobi Keu Bole Dakat’s Ananta is a deeply polarising character. How did you balance this duality in the character?
The name of the film denotes that the protagonist is hailed as a revolutionary or a dacoit by the people. But actually, there’s a little more to the story and the character than that. I was fascinated by the script. The way the story has been woven around the character’s philosophies of life, ideologies, struggles, and sacrifices inspired me a lot. I felt this was a story which should be shown to people. And as an artiste, I love to bring different stories and different characters to the audience. In the case of Keu Bole Biplobi Keu Bole Dakat, we have kept the interpretation open to the audience regarding exactly who the man is. Let the audience watch the film and find out whether he was a revolutionary or a dacoit.
How did you prepare for the role?
Thankfully, I could get about a good three and a half months to prepare. Since I had nine different characters to play in the film, and aesthetically to achieve those looks, our costume designers, stylists and makeup artist worked hard on it. But to bring out all these characters’ nuanced differences on screen, I had to work on body language, conduct/dialogue deliveries and voice modulations. I have tried my best. I hope it connects well with the audience.
Being a superstar, you have certain privileges that ordinary people do not. What are the things that disturb you as a citizen?
I feel the power of democracy should always exist. Voices should be heard and listened to. If not always listened to, then at least be heard.
Do you think the film industry should be controlled by political parties?
I feel there should be one-window access for permissions and the rest of the things, like what is needed for the industry. There should not be unnecessary power play or misuse of power in any way.
You have always steered clear from joining politics. Why?
I believe I’m not meant for politics. I’m extremely happy with what I’m doing. Whatever recognition the name Jeet has got, it is because of my work, which I’ve been doing as an actor for the past 20-25 years. I would like to continue that as long as I enjoy it, and I’m absolutely enjoying what I’m doing today.
What do you want the audience to feel when they walk out of the theatres?
The way we felt while shooting the film. And what we felt was that Ananta is an interesting, inspiring, and lovable character. If people come out of the theatres without carrying Ananta with them, then it’s our failure.
You are the ultimate commercial king of Tollywood. How challenging was it to play the morally ambiguous role compared to a larger-than-life romantic hero or an action hero?
This is also a larger-than-life character. Ananta’s entire journey, his arc is larger-than-life. I am lucky that I got to play an arc where, from 25 to 69 years of age, there is an interesting journey in between. If you go through his entire journey, his ups and downs, his struggles, his sacrifices, he eventually evolves as a larger-than-life character.
With dwindling single screens across Bengal, what is your strategy as a lead actor of the Tollywood commercial cinema?
Everything has been tried. To bring the audience back, we have to make good cinema. But the overall development of the state is also important for regional cinema to thrive—development of the state in terms of employment, infrastructure, new industries, and work opportunities for people. The per capita income should also improve for people to spend on watching films in theatres. All of these are important. We have about 10-11 thousand screens today. Whereas China, with a similar population, has five times more screens. So, as a nation, we have an opportunity to grow.
At the same time, it’s equally true that single screens are difficult to maintain. People prefer multiplex culture, where multiple films are playing and they have the option to choose. So, single screens can turn into multiplexes with multiple screens and fewer seats. But the experience should get better. There should be cinema halls every 3-4 kms in every district and village. And that should happen gradually.
As an industry leader and a producer, do you find it difficult to scout new talents?
There are quite a few actors and directors. We have been trying, we have been experimenting. We have made quite a few films in the past with new talents, be it actors or directors.
We have done that, and it’s our responsibility to do so, now that we have spent enough time in the industry, and have developed an understanding of the craft and business. From that lens, if we see, it is our job, our responsibility.
We are developing new things with a few of the directors. And I feel if everything around changes, the state changes, then that would be reflected in our industry also. And the youth has to come in and contribute. If they don’t believe in the legacy of Bengali cinema, it will be very challenging for anybody to pull it off. They have to bring their ideas and stories and we as veteran seniors have to extend our support.
How was it working with Pathikrit Basu in this film?
Pathikrit and our director of photography Soumik Haldar were both so energetic and full of ideas. When I went to shoot with these two, the energy they passed on every morning was so very inspiring.
We shot the film for 32-33 days. Not a single day did I feel I was not enjoying the work. Because the sincerity, honesty, and energy these two people brought to the sets were really inspiring. When I go to shoot, I expect that nobody should be lethargic, nobody should feel that they are just doing a job.
We should all give our best. If there is no excitement, that too is reflected on-screen. Both Patikrit and Soumik exuded good energy.
Are there any recent content you watched in Bengali that impressed you?
There are quite a few actors. I keep watching snippets. I have seen a little of Jayabrata Das’s work at The Academy of Fine Arts.
With the advent of OTT and the changing narrative, do you think the superstar cult is changing?
A lot of people have a different perspective on it. But on the whole, there is a universal cliché, an eternal cliché that content is king. So, it was always there. When Mother India was released, it clicked because of content. We all ride on a good story. Take the character of Vijay in Deewar. Any good content comprises four things: story, character, music, and dialogues. The character is a part of the story. So, everything is connected to the story. If the material is right and the character is well-sketched, heroes are created and stars are made. When I did Sathi, people loved the character so much. Suddenly, people started calling me a star. Similarly, today, after Dhurandhar, Ranveer Singh’s branding has changed. Rakesh Bedi has become popular once again. So, it is the content that connected right with the people.
What are your upcoming projects?
Nothing I can talk about as of now. All are under development.