Known for his effortless charm and a string of relatable, feel-good performances, Arjun Chakrabarty has carved a space for himself as one of the most dependable names in contemporary Bengali cinema. From the lovable and carefree Abir Lal in the Guptodhon franchise to nuanced roles across genres, his screen presence has largely been associated with warmth and emotional accessibility. But with Roktofolok (streams on hoichoi from May 1), Arjun steps into a dramatically different territory. Shedding his familiar image, he takes on the role of Tenia, a character that is dark, demonic, and deeply unsettling. It marks not only his first foray into the supernatural genre, but also one of the boldest departures in his career so far.
Directed by Parambrata Chattopadhyay, the series brings together an intriguing mix of mythology, horror, and psychological intensity. In this t2 chat, Arjun reflects on what drew him to such an intense role, his willingness to break away from typecasting, and his growing interest in characters that challenge both his craft and his comfort zone.
You’ve taken on a very complex and dark role in Roktofolok — what drew you to such a character?
I had never played a character like this before. In fact, I don’t even remember being a part of supernatural stories in my career. So this was a welcome change/challenge. Also, I wanted to work under Paramda’s direction. That’s another first. Sharing the screen with Apu Kaku (Saswata Chatterjee) after years was also an added attraction. So multiple factors influenced my decision when I said yes to Roktofolok.
Were you ever hesitant about taking on such a dark character?
Absolutely not. I’ve played enough good guys, chocolate boys and lover boy roles. I look forward to being what is improbable or impossible, so Tenia/Bajraketu allowed me to see myself and explore myself in a way I hadn’t before. Paramda did warn me this was going to be dark and demonic, but that only strengthened my resolve.
How does Tenia compare to other roles you’ve played in the past?
It is unlike anything I’ve ever done. When we speak about me playing negative roles, I can’t help but bring up Satyakam from Byomkesh Gowtro. That was another exciting challenge for me and was thankfully appreciated by most. However, Satyakam had shades of grey and his story did a lot of justice to who he had become. Tenia, however, is a black character. There aren’t too many layers to him. He is determined to get what he wants, and either because of his blood, his curse or his mentality — he is focused on his task, which is plain and simply, bad, illegal, scary, horrifying.
Are you consciously exploring darker, more layered characters now?
I’m hoping I get more of such. That is not to say I’m staying away from good guy roles. The story and script just have to be attractive enough. My biggest success is probably as Abir Lal in the Guptodhon films, who doesn’t have a single bone of negativity. Everyone likes him. Intensely lovable, happy and carefree. Feels nice when I have to do a complete 180 and do something like Bajraketu. So yes, hoping for a more layered filmography.
Tenia is described as “charming yet deeply sinister.” How did you strike that balance without making him overtly villainous from the start?
Paramda’s brief was strong and simple enough to see me through. No one should know his intentions till he has baited and trapped them. So in order to do that, he has to come across as someone suave and smooth enough to ensnare his victims. The subtlety is in his eyes that reflect his mindset. That gives the viewer an idea of what his next step might be, yet at the same time coming across as simple and straightforward. Utterly helpful and romantic.
You’re playing multiple layers — Tenia, Bajraketu, and Sam. How did you differentiate between these identities while keeping them connected?
The connection is the ultimate motive. The differentiation is the time period and the evolution of human life. Bajraketu’s time was a thousand years ago. Challenges were different, methods had to be different. Tenia is a 21st-century bloke who has access to technology and has learnt how to use things to his advantage, to his strength. His charm is his first weapon. Bajraketu had to deal differently.
What was the most psychologically challenging aspect of portraying someone who doesn’t “become” evil but realises he always was?
There are moments when he has these visions, like a calling, a message from another world. His frustration is with not being able to understand it at first. He initially doesn’t realise why he has these hallucinations or who or what is pushing him or calling out to him to fulfil a long-standing mission. When he finally comes to terms with it and allows it to guide him, his transformation is complete.
Did you draw inspiration from any real-life personalities or psychological studies to shape Tenia?
No. I have always depended on the script and the director’s guidance, and it was no different this time. I had not read Avik Sarkar’s story, so I went through the script treating it like an original story and not an adaptation. There’s bound to be some changes when you adapt a book. I just hope fans of the book will give this screen adaptation a chance.
Tenia uses charm as a weapon. What does this say about how we perceive trust and danger in modern society?
This says a lot about our habits and human nature. Especially in today’s age, where we see a lot of disturbing news about people falling prey to “online friends”. I wish we displayed better judgement when interacting with strangers, especially online. Trust is a very strong word and danger is everywhere. Common sense and wisdom are our only weapons.
How do you mentally prepare for such an unsettling role, especially one tied to violence and manipulation?
I try to maintain a switch-on switch-off approach and don’t try to get into the psychology of characters too deeply, except when reading the script and between action and cut. I try to keep it simple and it has worked okay for me so far. I think I am in a privileged profession. I don’t wish to complicate things unnecessarily.
After playing such a dark character, how do you detach and return to your personal space?
I am well aware this is called acting. In other words, pretending. You could see or read a hundred interviews with famous actors, and they would all have different approaches and opinions. I have to choose my own method and see what is best suited to my lifestyle. I will never let my job consume my life. I’m not saving the world. I’m sitting in an AC make-up room all day, going when they say they are ready and saying lines pretending to be someone else while being lucky enough to get paid for it.
Was there any scene that stayed with you long after the shoot wrapped?
I had fun shooting for the climax sequence. Terrifying to watch on screen, but fun to act it out. I’ll always remember this experience.
What was it like collaborating with Parambrata Chattopadhyay as a director on this series?
Brilliant. He is clear-headed about what he wants and how he wants to show it on screen. A strong sense of editing is extremely important to be efficient with limited resources. He knows how to execute a script really well and that makes it a lot less stressful for actors and the crew members.
Did you have any questions for Parambrata to better understand the character?
I had a couple of doubts which he solved immediately because of his in-depth understanding and knowledge of the subject. It was a bit challenging for me because I’m not really into these stories and have never played a character like this. So yes, I did have some questions regarding how to make it look convincing.
How did your dynamic with Saswata Chatterjee influence your performance, especially given the spiritual vs. sinister contrast between your characters?
It gets difficult when you’ve known your senior co-actor from your childhood. At the same time, it becomes easy to get that sync and coordination, but difficult because I have to attack and threaten someone I call Apu Kaku. Funny, actually. But I already said it — it’s just acting. So it doesn’t make sense to reflect on your personal equation. I prefer to look at the easy part of it.
The story connects present-day crimes with ancient rituals. How important was it for you to understand that historical backdrop?
Definitely important. I have little to no knowledge of the rituals mentioned in this story. Or any ritual, for that matter. Reciting the mantras and getting the body language correct was hugely important. Also, because I enjoy reading, it was interesting to get to understand how things used to happen. Or rather, this interpretation of things.
What kind of reaction do you expect from viewers when they first encounter Tenia?
I’m trying not to expect anything, because different viewers react differently. Some guess the plot accurately, some say they’re blown away by a twist or a changeover in a character or story arc. So let’s see how kind the social media comments are.
Do you think audiences will empathise with him at any point, or is he meant to remain disturbing throughout?
I don’t recall any point or possibility of any empathy arising for Tenia or Bajraketu, judging by their body of work. But you never know — the climax might be debatable. So we await audience feedback like always.