Ram Kamal Mukherjee's Lokkhikantopur Local is a poignant social drama that explores the urban reliance on domestic help. The film intricately weaves together the stories of three couples from varying generations and social backgrounds, alongside the lives of three househelps residing in Lokkhikantopur. A t2 chat with Mukherjee...
Lokkhikantopur Local features an ensemble cast with multiple narrative threads. Was reaching a resolution challenging?
As a director, that was indeed my biggest challenge while working on this film. With so many characters to explore, ensuring their stories were given justice required ample time. The screenplay was well-received, but I faced continuous pressure to shorten the film's length because of waning audience patience. But we often forget that filmmakers like Tarun Majumdar and Rituparno Ghosh successfully crafted lengthier films. In multiplex maths, I was advised that shorter films get more shows. When I showed Binodini to Ashutosh Gowariker and asked him whether I should chop the film, he cited me the example of Lagaan that made history. Kaushik Ganguly shared a valuable perspective, reminding me that films will come and go in the theatres, but I shouldn't sacrifice my story under outside pressure. This film will endure long after its release, whether viewed on television or OTT platforms. Viewers won’t see the cuts made just to accommodate a distributor's demands. It’s crucial for us as filmmakers to be allowed to experiment. Even with its length, the film has been enjoying extended screenings in theatres.
The film catered to a diverse audience from various walks of life...
The reason is the stories chosen. They capture the realities of upper-middle-class, middle-class, and lower-middle-class families, making the film relatable to the family audience and even our household helps commuting in Lokkhikantopur Local. This film reflects their stories too. I feel there aren’t many films that portray their experiences elaborately in the commercial landscape of Bengali cinema. The only exceptions are Golpo Holeo Shotti and Sudipta Chakraborty's performance in Bariwali, but it was oriented towards festivals. My aim was to create something commercially viable that would reach a broader audience.
The storyline of John Bhattacharyya and Rajnandini Paul has struck a chord with college students who are navigating live-in relationships these days. On the other hand, Anirban and Aparna's (played by Indraneil Sengupta and Sangita Sinha) storyline is crafted for working individuals in the 30 to 50 age range, who are juggling the stress of managing a household. Then there's the narrative of Kaushik Ganguly and Rituparna Sengupta, representing a classic story of the ghoti and Bangal cultural divide. Everything showcased in the film is inspired by real-life experiences that I've observed. When I claim credit for the concept, it’s because each character depicted is based on actual individuals — albeit with altered names. The events unfolding in the film are drawn from real incidents. For instance, some have inquired why the son didn't return home when the father (played by Kaushik Ganguly) passed away. Such situations occur in real life. My cousin was stranded in North Carolina due to cancelled flights from snowstorms when his father passed away.
People also often question how one could equate the emotions felt for a pet with those for a human child. But for those who truly love their pets, they regard them as their own children — perhaps even more. If you haven’t experienced that kind of deep bond, it’s hard to judge the emotions tied to it. Through this film, we've touched the hearts of a wide range of viewers and reflected different lives on screen.
What kind of research went into shaping the three distinct characters of the househelps?
Each of the three women offers a unique perspective on life. Saraswati (Saayoni Ghosh) is vibrant and chatty; she dreams of learning English and views a potential move to Dubai. Her dream is the luxury she lives in. Kalyani's (Paoli Dam) character is inspired by my own househelp in Bombay, where many individuals come from Dhaka, navigating cultural complexities by sometimes adopting Hindu identities to fit in with the local Maharashtrian community. Chandreyee Ghosh brought a specific walk to her character, incorporating traditional elements like the maduli.
Throughout this process, all the actors put their trust in me as a director, making it my responsibility to meet their expectations of a balance in the narrative. If I were to favour one character's storyline over another, then it would disrupt that balance, and the actors might feel shortchanged. Striking that balance was my primary concern. The film navigates various themes while maintaining coherence, which we achieved through thoughtful editing. Hindol's sound design also plays a crucial role; it enriches the story, particularly in a family or social drama. Since social dramas reflect society, the sound elements help capture the authentic ambiance. Creating a film is always a collective endeavour.
John even learned to play the guitar to give authenticity to his role as a music director. He didn’t need to master the whole song, but his commitment to the part was evident. Saayoni returned to acting after a two-year hiatus, and jokingly, I refer to us as “doughnut friends.” On her first day, she arrived late but brought a box of doughnuts as a peace offering. I was pleasantly surprised because I love doughnuts! That became a little tradition; every time she came in afterwards, she’d bring me a box. Debasish Mondal, a fantastic actor whom I’d first seen in Mandaar, was incredibly curious throughout the process, always asking insightful questions.
The film touched upon various themes but didn't dive too deep into any single one. What linked them together from your perspective as the storyteller?
The writers (Abhra Chakraborty and Goutam Kulsi) did a fantastic job with the script, but as a director, I had to add nuances to make the story my own. After the edit, I recalled something my father often said: "Monushatta theke ar boro dhormo kichu nei." I would say Tagore was the heart of the film. This sentiment encapsulated the essence of the film. The same applies to characters like Kalyani and Labanya (Rituparna Sengupta). What connects all the stories is humanity.