In the film Beautiful Life (which releases soon), Tota Roy Choudhury plays Rahul, a painter. “He is extremely passionate about his art but has dedicated his life to caring for his wife Jhumki (Sayantani Sengupta) who suffers from severe cerebral atrophy. He is also enticed by his fellow painter Barnali (Rituparna Sengupta) and they share a passionate bond,” smiles Tota. A candid chat.

Why did you decide to say ‘yes’ to Beautiful Life?

Because of the earnestness of the director RD Nath. Honestly, when he narrated the story to me, I really couldn’t understand it. Since he is a painter and a renowned one at that, his narration didn’t follow the usual format that I’m used to. Instead, he told me the story as if it was a collage of paintings. But the way he said it, with a lot of passion and integrity, was what made me sign on the dotted line.

What is Beautiful Life all about?

It is about the realisation that life is as beautiful as an individual makes it. We have seen that beyond a point, wealth has no correlation with happiness. There is an increasing dissatisfaction in the consumerist societies of the West and many of them are embracing a minimalist lifestyle. Bewilderingly, we in India are now in a full-on consumerist mode and it is of no surprise that we have become unhappier than what we were even two decades ago. This hedonism has pulled us away from spirituality and pushed us towards being dissatisfied with life. Our film is a small attempt to make people realise that.

Tell us about your look in the film.

RD told me that painters physically reflect their inner selves in two ways. Either they want to be at one with nature and allow their hair to grow or they embrace renunciation and shave off their hair. He gave me a choice. Since a bald pate didn’t appeal to me so I chose to wear a wig which was similar to the actual hairstyle that he sports.

How did you prepare to play the character?

I had long conversations with RD and while he spoke I observed him keenly. Not that I wanted to emulate him but I wanted to understand his vision, both for the film and for me. We also did a couple of workshops.

Are you interested in paintings?

Not as much as I would like to be. However, during my trip to London, I took a tour of Buckingham Palace and was mesmerised by the paintings at the Royal Gallery, especially by the landscapes of Paul Rubens and Claude Lorrain.

What are the high points of Beautiful Life?

The high points are the dynamics of relationships between the characters and the message that life is truly beautiful regardless of the fact that the world is moving towards a state of perpetual cruelty and ugliness. It is still beautiful because a destitute kid still smiles and plays even in the midst of extreme poverty or total destruction.

Both you and Rituparna go back a long way. Do you remember that first meeting?

It was on the sets of Andolan, a TV series directed by Prabhat Roy. She had played an activist and I had played a police officer.

What was your first impression of Rituparna?

That she was well-spoken and well-mannered. Even though she was soaring high careerwise, she absolutely had no airs. To her credit, she has remained the same person.

She is a good colleague and a long-time friend. How would you describe your friendship with her?

She always goes out of her way to help people. In the last 25 years, I have never heard her utter a cuss word at anyone. And she never berates anyone in public even though many a time people totally deserve it. She is a highly successful actress but above all, she is a wonderful human being.

Tota and Rituparna in Beautiful Life, which releases soon

Did the two of you get married on the same day in the same year?

On that very date! Many thought that we were getting married to each other. We still share a hearty laugh over that. And I still mock-complain that she didn’t come to my wedding because she is such a big superstar. My wife too shares a great rapport with her and I get along very well with her husband, Sanjay.

How was it like directing Rituparna in Villain?

She is a director’s delight if the director can motivate her. She also is a sensitive artiste and can grasp the beat and vibe of a scene very quickly. She is naturally very easygoing and is a pleasure to work with.

How was your shooting experience in Beautiful Life?

The atmosphere was that of an artists’ commune. Many of RD’s students who are artists themselves were present on the sets and some of the frames were designed as a painting. It’s an experience unlike anything I have had earlier. Beautiful Life was the closing film of the 26th edition of Kolkata International Film Festival (KIFF).

When will you direct again?

I have two stories that I want to tell. One is reminiscent of the Bangla films of the 1960s but in the current context, where two young lovers are surrounded by a host of characters to be played by the most powerful character actors from Bangla cinema. A fun caper with a ‘modhureno shomapoyet’ (happy ending).

And the second one is a story where the past catches up with a simple middle-aged family man. This I had conceptualised years ago with a then-budding director who is a commercially successful director today. Even though a producer wants me to direct it, I shall only agree if my director friend decides not to make it. However, going by the acting offers that I have right now, from both Bengal and Mumbai, I don’t think it would be a wise choice to dedicate three-quarters of a year to making a film and missing out on the buffet and the moolah! Let’s see.