Nivedita Bhargava chatted with us about playing the character of Satto — a close aide of Mallikajaan, played by Manisha Koirala — in Sanjay Leela Bhansali’s Netflix series Heeramandi: The Diamond Bazaar and her experience of working with him.

How did you bag the role of Satto in Heeramandi: The Diamond Bazaar?

Nivedita Bhargava: I got a call from Shruti Mahajan’s casting team for an audition test. The audition went on for almost a month till I was finalised, though it was not decided whether I would be playing Satto or Phatto. Later, when Jayati Bhatia was finalised for one of the characters, we were together called for a test. I assume sir (Sanjay Leela Bhansali) wanted to see how we looked together.

Eventually, our look test happened on the set. I came to know later that Vibhu Puri sir had watched one of my plays, Bandish, where I play a singer from the old times, which made him suggest my name for the role of Satto. I remember Sanjay sir telling me that he had really liked my audition. Will forever be grateful to him for that.

How was your equation with Sanjay Leela Bhansali during the shoot?

Nivedita Bhargava: Like that of a guru and shishya in a gurukul! Sanjay Leela Bhansali is a complete school of performing arts. One needs to get associated with him for a project from base zero. He loves the people he works with. Every person present on the set is close to his heart. That is why he is a maestro of his trade. To know and understand his work, one has to be present on an SLB set. He owns every aspect of the space.

As an actor working with him, I would often question my gut, asking whether I have been able to do justice to what sir wanted, after every scene. I would be so guilty of giving retakes at times, thinking he is not happy with what I did! But Sanjay sir does not let an actor go easily if he is not satisfied. The next day I would hide from him and not be around him. But later I would realise that he had moved on from what had happened the previous day.

One day, seeing me standing in one corner [due to my nervousness before a scene], he said, ‘Nivedita, learn to ask for what you want!’ and then made one of the ADs get a chair for me!

During my shoot, one night I dreamt of sir holding a gun in his hand and aiming it at me while I was pleading with him to let me go, that I would not disappoint him and do my best. But my dream ended with him saying ‘thayein thayein’ and shooting at me! And I opened my eyes… phew! That was so hilarious. I recently shared this dream of mine with him at our press meet.

I remember the scene where Lajjo’s dead body is on the floor and all the women are sitting around her. Before we started shooting that scene, he asked me to do a piece of body movement on the piece of music that was to be used in that scene. So, when I did that movement, he was really happy and told me that the body movement, pace and rhythm required for that scene were what he wanted for that scene. I was so happy and then he did come to me and hugged me for what I had done in one of the shots for that scene.

How did you prepare for the role of Satto?

Nivedita Bhargava: Satto is one of the aides of Mallikajaan (Manisha Koirala) in Heeramandi. To me, both Satto and Phatto are as old as the Shahi Mahal.

As Satto, I tried to develop that listening ear which has made Satto bury everything deep inside her for years. Satto is strong, mature and honest. She is not stupid but at the same time not smart enough. She has accepted everything with dignity and is closer to the real world around her. I saw Satto to be someone who everyone can look up to for her loyalty and sincerity.

What is Manisha Koirala like as a co-actor?

Nivedita Bhargava: Manisha ma’am is one of the strongest and most courageous women I have come across. Her hard work and passion are an inspiration. She is warm and so restrained. I remember how we would often laugh and talk. She loved to hear me sing and told me that whenever she would have a get-together, she would look forward to hearing me sing.

Tell us about your singing and how Bhansali reacted to it.

Nivedita Bhargava: One of the days when we were shooting the song Sakal Ban, there was a break on set. Suddenly Sanjay sir came to me and said, ‘Chalo Nivedita, ek gaana sunao… zyada nahin, bas do line.’ I sang a bandish composed by Shubha Mudgal-ji from one of the plays that I do on stage. He was so happy!

One day our AD called me to say that sir might listen to one or two folk songs and that it could be used in the scene to be shot the next day. I remember spending that whole day searching and looking for songs that I could probably suggest to him.

The next day sir made me sing a few lines from some songs, out of which he liked one, and that was locked. So, in the scene when Cartwright comes to meet Mallikajaan, sir made me sing ‘Main toh chanda jaisi naar raja kyun laaye sautania’, also play the dholak and say the lines while singing and playing the dholak.

He had told me that it might be difficult to do all three things at the same time but I requested him to give me a chance, which he did. Sanjay sir gives his actors the freedom to perform and then takes the final call.