Raghu Dakat (directed by Dhrubo Banerjee) unfolds against a landscape scarred by exploitation and injustice. Set in Bengal in the 19th century, the film opens with a stark depiction of rural Bengal, where peasants are dispossessed of their lands, crushed under unbearable taxes, and subjected to the tyranny of indigo planters and landlords.
Amidst this climate of despair, Raghu (played by Dev) emerges as a rebel bandit, a man of faith and fury. With the loyal Gunja by his side and guided by the wisdom of Dakat Ma, Raghu forms a brotherhood of outlaws who strike at the heart of oppression, looting the corrupt zamindars and colonial agents to restore dignity and relief to the impoverished. His defiance, however, draws the ire of Ahindra Barman, the merciless zamindar and a collaborator with the British. A t2 chat with Dev...
Congratulations on the success of the film...
Thank you. The success of Raghu Dakat is very important for the growth of the Bengali film industry. It also means that the audience is eager to watch larger-than-life, mass films. Our film has met the expectations of the audience, and it is a huge comeback for larger-than-life cinema in Bengal.
What are your criteria for your next film, which will be released in 2026? Will you keep the scale and the larger-than-life factor in mind?
It depends... I’m there for the mass film. But someone has to write the script.
Did you get to hear new stories during Puja?
Yes, I heard two or three stories. I can’t reveal anything right now. We are working on it.
How many films can we expect from you in 2026?
You can expect two films in 2026. Meanwhile, the canvas is bigger in Projapoti 2 (which releases in December this year). This time the film is set in London. Projapoti was a huge blockbuster, so we had to come up with new ideas that would make Projapoti 2 innovative and engaging. Audiences can expect many surprises in store.
What kind of compliments have you received for Raghu Dakat?
People have loved the scale, canvas and ambition of the film. They have admired the performances, the storyline, the look of the characters, the songs, and the fight sequences. With the success of more mass films, the industry will grow, and then we can also think of making bigger films. We need many producers, heroes and heroines.
Do you feel a new producer can make a mark in the industry now?
I have shown them the way... now, they can be a part of the celebrations. They can forge their own path. There’s a huge demand for Bengali mass films in districts and towns. We have seen that through our Bengal tours. Our film is attracting audiences from across Bengal. It is drawing large crowds into the theatres.
You are also the creative director of Raghu Dakat. Why did you decide to take up this role?
There are many stories of Raghu Dakat. We first zeroed in on the subject of Indigo Revolt, and then we started developing the story. Dhrubo Banerjee is one of the most passionate directors we have. He is such a genuine person. From working on the script and dialogue, making casting choices to designing fight scenes, I oversaw all the different departments.
How did you come up with the look for Raghu Dakat?
I wanted him to look different. The first poster of the film featured Raghu sporting a moustache. But I wanted Raghu to have long hair and a beard. We worked on the design of the weapons with a lot of care. He rides a horse and wields his kharga (curved-headed sword) with equal ease.
There is a disclaimer at the beginning of the film saying that Raghu Dakat is a symbol of protest in the film.
The stories we have heard about Raghu Dakat since our childhood are partly true and partly fictional. We wanted to capture a space between fiction and reality.
Also, did you come up with the idea to include Gunja’s character (played by Sohini Sarkar) in the film?
She was not there in the original script. One day, I was thinking about the family tree of Raghu Dakat, and realised something was missing... a woman from his community, who loves him.
Then I realised that the scope of the character was immense and we started developing the character... and then Gunja emerged as someone who is also a rebel and a robber. She is someone who is always there beside Raghu Dakat. Then I called Sohini and told her about Gunja.
Sohini Sarkar and Dev
The music of the film is a hit...
It is so difficult to make music for period films... one has to follow a certain rhythm... the challenge was to create music that would become immensely popular. The theme of Raghu Dakat, which you hear throughout the film, is a huge hit. But interestingly, it wasn’t there in the beginning. There was a different song, but I was not satisfied with it.
The rhythm did not match the momentum of the visuals. I needed the aggression and emotion that would match the images. And background music is a work in progress. Then Rathijit finally came up with the theme, which I loved. I love the temperament of young technicians. They want to work together as a team. They believe in collaborative work.
And then there is the beautifully shot romantic number Jhilmil lage re...
I wanted to do a dream song sequence in Thailand, and that’s how we shot Jhilmil lage re. It is like a dream world. There was a jungle there, and I knew that it would be perfect for the song. When the song came out, I noticed a few comments that said, ‘Why is Raghu Dakat romancing in the film? Why is he in Thailand?’ But it is a dream sequence, and we take creative liberties in cinema.
When a Telugu film does it, it is celebrated across the spectrum. But if a song like this takes place in a Bengali film, we become critical. It is high time we come out of this mindset. For larger-than-life films, we need to take certain creative liberties. South is the new national. One has to accept it. The budget of Pushpa or Kantara is much, much higher than Raghu Dakat. But our film looks huge. It is a compliment for me if someone compares my film to the scale and canvas of a Telugu film.
Also, it is very important to empower the script writers here...
Yes, it is very important to empower the writers. As producers, we know how to make a big film. But for that to happen, we need solid content.
The fight scenes have come in for a lot of praise...
We worked really hard on that. I did all my own stunts... and then there were many scenes on a horse. I had to spend a lot of time with the horse so that he would get familiar with me. Every horse has a different temperament. Though I had done scenes with horses before, I had to start from scratch here. I started going for horse-riding sessions again.