Their on-screen chemistry is the stuff of legends. Off-screen, they charm their way through a conversation. Often they complete each other’s sentences or listen with rapt attention as the other speaks. An anecdote brings back memories while an observation creates a space for discussion. One of the most successful lead pairs of Bengali cinema, Prosenjit and Rituparna Sengupta are set to rock the screen once again with the film Ajogyo (directed by Kaushik Ganguly), which releases on June 7. The story revolves around Raktim Majumdar, once an ordinary banker, who is now a broken stay-at-home dad, desperately seeking work. Raktim’s wife, Parna, is forced to step out in this crisis and lands a job at an investment firm. All is well until one day Raktim’s confidante Prosen walks into their lives. A t2 chat with the two superstars...
Ajogyo will be your 50th film together. When you started doing films in the 1990s, did you ever imagine that one day you’d be talking about your 50th film?
Prosenjit: It was destined to happen. Earlier, we didn’t have a system in place to keep a count of our films. Of course, we had no clue that one day we would be talking about our 50th film. Coming back after 14 years with the super-successful Praktan was a record in itself. Around that time we became aware that we were approaching our 50th film. We decided that we would take it slow and steady... we would do a film in three years... we became very choosy. We have reached this landmark with the blessings and love of our audience.
Rituparna: It has been an amazing journey... and we have gone from strength to strength. In that gap of 14 years, so much had changed... from the films, the content, and new directors to the changing viewing patterns of audiences. The audience was waiting for our comeback film, which turned out to be a blockbuster. It is magical... one cannot define our chemistry and camaraderie.
There is enough material here to make a biopic...
Prosenjit: You never know! Maybe 20 years later, a young director might decide to make a film on our pair and our contribution to Bengali cinema... not a biopic as such but it can be a take on our successful cinematic journey.
And we are certain that both of you will play yourselves in the film...
Prosenjit: (Laughs out loud) Maybe Mishuk (Prosenjit’s son) and her daughter (Rishona) will play the roles.
Do you remember the first time you met?
Prosenjit: It was on the sets of Nag Panchami in Chennai. I was already a star at that point of time. I saw her dressed as a bride for the film and our screen journey started off with a phool sojjya sequence (laughs out loud).
Rituparna: It was a romantic scene. It was my first film with Prosenjit Chatterjee, who was already a huge star by then... and I had goosebumps. Right after that, we did a song by the beach.
Prosenjit: It was a difficult song to shoot and I did guide Ritu. It was a new style for her... it was done in slow motion but we had to emote it in a rapid way.
Rituparna: I was a newcomer... and there was basic communication... but he was gracious enough to help me.
When did you become aware of Rituparna’s talent?
Prosenjit: After a few films Ritu was accepted by the audience... I knew that she was really talented and had the makings of a star. The industry insiders knew that Ritu was doing great work. However, there was one thing that made Ritu stand out — she would come in late! Never mind who was opposite her (laughs out loud).
Rituparna: He took a sabbatical for a few years, and then I saw him during the shoot of Abujh Mon. And our journey started once again.
Prosenjit: I returned to the shooting floor after three years, and I remember seven films took off on the same day.
Gradually, the pair became successful.
Prosenjit: Yes. The audience loved to see us together. Ritu was working with other heroes too. Soon we realised Ritu was working in Bengal in the morning and afternoon and then shooting in Bangladesh in the evening and night.
Since we were doing all these films together, we needed to make time to finish the shoot of those films. One day, a director called on me in the morning saying that Ritu had given him time from the 26th to the 30th of a month for a song shoot. That would complete the film. Two hours later, another director arrived, saying Ritu had given him the same dates... between 26th to 30th. Director Anup Sengupta arrived in the evening and he said the same thing! On that day, seven directors came calling saying that Ritu had given everyone the same date to finish their films!
How did you solve it?
Prosenjit: We managed somehow. I had to figure it out! I remember Ritu shooting for Aparna Sen’s Paromitar Ek Din and Sasurbari Zindabad simultaneously. She would shoot for Paromitar Ek Din in the morning and Sasurbari... at night. It is about tenacity. I have shot for Baba Keno Chakor and Utsab just like that.
Rituparna: His focus is immense. He has to hit the bull’s eye every time. That is fantastic.
Prosenjit: That is why we are talking about our 50th film. It’s about the hard work and dedication. Also, we didn’t turn producer at that point in time. That is why we still have the drive to do our best.
The outdoor shoot of Jamaibabu Zindabad was quite adventurous. Is it true?
Prosenjit: Yes. We were on our way to Yangthang when we heard about a landslide. We stopped at a dhaba for the night. The next day we all walked to Yangthang... the whole unit.
Rituparna: We started in the morning and reached our destination in the evening.
Talking about commercial cinema, can we see a resurgence once again?
Prosenjit: The language of commercial cinema has changed. I cannot expect the commercial cinema that I was a part of 25 years ago would return once again. We have to make commercial films in such a way that the new generation of cine-goers like it. It has to be modern and contemporary. I would love to be a part of it. The success of commercial films will bring growth to the industry. Every 10 years we witness a change; be it in the making of films or the viewing pattern of the audience. Sometimes they want an action film or a family drama or a love story. We hear a lot of talk around single screens in Bengal. One has to run single screens in an organised manner. Everyone has to come together to change the system.
Rituparna: Commercial cinema is our backbone.
Prosenjit: Talking about bridging art and commerce... the news of Ritu’s National Award (for Dohon) reached us on the sets of Daye Dayittwa.
Rituparna: It was such a surprise.
What is the secret to your chemistry?
Prosenjit: We don’t have words to explain it. It just happens. The first shot that we did for Praktan was a difficult one. And after the scene got over, our cinematographer Gopi Bhagat walked up to us and said that it was as if he was watching us in Rituparno Ghosh’s Utsab. Gopi had assisted Avik Mukhopadhyay on Utsab. One cannot decode this chemistry. The magic happens once we are in the moment during the shot.
Rituparna: It comes naturally to us. It doesn’t matter whether we meet often or not, talk or not. When we come in front of the camera and face each other, it just happens. We are creating some sort of an effect, some sort of an impact and difference in people’s lives.
Prosenjit: Also, we have been constantly reaching out to the young audience.
Rituparna: And we try to reinvent ourselves always. We have this hunger to do something more. This is the drive.
How did you decide on Ajogyo as the 50th film? Other directors must have approached you...
Prosenjit: Yes, but it was destined.
Rituparna: The ‘whys’ and ‘hows’ will have to wait. We cannot reveal anything about Ajogyo right now.
Prosenjit: It is a story of and for everyone.
Did you discover anything new about each other while working on Ajogyo?
Prosenjit: Ritu memorised all her lines! Maybe she did it because it was our 50th film or it was Kaushik Ganguly’s film.
Rituparna: He was much more organised and disciplined. He was reading the script on his tablet.
When will you do your 100th film together?
Prosenjit: Only God knows!
Rituparna: (Laughs out loud)
Location: Novotel Kolkata Hotel & Residences
Stylists: Siza and Tanumita
