On a drizzling Sunday afternoon, Vikram Chatterjee, accompanied by his mother, dressed in what suits him best — a black shirt paired with a rustic gold dhuti, channelling the essence of his character Somnath Chakrabarty from his Friday film Raas, came up the stairs of the restaurant Himur Heshel in Patuli. Vikram was unmistakably channelling his inner Somnath — someone who longs to return to the simpler, more innocent days of childhood. His look felt symbolic, blending modern style with nostalgic tradition, a perfect metaphor for the character he embodies and the man he is. From the trailer and its soulful songs, it’s clear that Raas is a family-centric, feel-good film that aims to reconnect audiences with their roots. In portraying the city-dwelling Somnath, Vikram found striking similarities between himself and the character.
While enjoying a chilled glass of Gondhoraj Ghol, his gaze fell on the fusion dish called Aamsotto Chingrir Melbondhon (little discs made of sun-dried mango, fused with prawns). As he hummed Chena ghor and relished panta bhaat with Shile Bata Murgi, Vikram shared light-hearted anecdotes from the shooting days of Raas, nostalgic memories of his youth and his bond with director Tathagata Mukherjee.
As proud as he is to be a ’90s kid, Vikram jokingly dismissed any doubts people have about growing up in the ’90s or those born in that decade. With a twinkle in his eye and a touch of nostalgia, he talked about playing football in the mud with his para friends or taking refreshing dips in the nearby ponds — memories that instantly transport anyone listening back to their own childhood. He also reminisced about the joys of being part of a joint family and enjoying traditional Bengali home-cooked meals with everyone. With his mother by his side, the conversation felt warm, personal, and truly homely — just like the film. A t2 chat...
If Somnath had a playlist for his return to Manikpur, what three songs would be on it?
Raas features the song Chena ghor by Taalpatar Shepai, which fits the film’s mood beautifully. I’d also say a few early Bhoomi songs, like Barandaye roddur (starts singing), evoke a similar feeling. And of course, some of Hemanta Mukhopadhyay’s timeless songs, especially the ones he sang for Uttam Babu (Uttam Kumar), which I’ve even used on my social media. All these songs are deeply soulful and rooted in the soil — they carry a nostalgic essence that perfectly matches the vibe of Raas.
What is that one childhood memory you want to relive again and again?
A Sunday spent at my Mama’r bari was always special. It would start with an early morning breakfast of luchi and sada aloor torkari, followed by a hearty Bengali lunch with the whole family. After a nap in the afternoon, I’d head out to play gully cricket with my friends, and sometimes we’d all go to the cinema together. My mother never scolded me when I was there, so those days felt even more carefree. The time I spent at my Mama’r bari remains one of the fondest memories of my childhood — something I cherish even today.
What does ‘home’ mean to you?
For a very long time, I’ve believed that home is where my people and my parents are. I’ve met people who have lost their loved ones or parents — they have a house to themselves, a good salary, a car, and everything they ever wanted, yet they still feel empty when they return home. For me, home is undoubtedly where my parents are, where my sister is, and where our dogs are.
How was the experience working with Tathagata Mukherjee?
Raas marks my third film with Tatha. I shot my first film with him back in 2022, which is still unreleased. Then came Pariah in 2023, followed by Raas. By God’s grace, he’s one of the rare directors in the city who is always eager to create something new and challenge his actors to deliver something fresh each time. Over time, the actor-director bond we share has grown into a relationship built on friendship, trust, and mutual respect. He has the confidence that no matter what role he offers me — even if it’s vastly different from what I’ve been doing lately — I will give it my absolute best. And I trust that whatever character I take on, he will give his 200 per cent to make it shine.
Vikram Chatterjee in 'Raas'
What made you say ‘yes’ to the film?
Two things. First, it was the simplicity of the character — a kind of simplicity that we rarely find in ourselves or in others these days. When someone is that simple, we often mistake them for being naïve or even foolish. But in truth, they’re just pure. That essence reminded me of something we used to feel when we were younger, and I wanted to reconnect with that through Somnath. Secondly, I wanted to work with Tatha again. We’ve already done three films together, and I feel like we could go on to do 300 more. Just like the actor-director duos we admire — Jisshuda (Sengupta) and Srijitda (Mukherji), or Ranbir Kapoor and Imtiaz Ali — who have created magic together, for me, that bond is with Tathagata Mukherjee.
How was it working with Devlina Kumar for the first time?
I’ve known Devlina for quite a few years now. I’ve spent time with her and Gourab at their pujo celebrations on several occasions. When Tatha cast Devlina in the film, I asked him how he envisioned her portraying Rai. In the past, she’s often been cast in roles that didn’t get much focus, but this time, as Rai — a character with the significant responsibility of carrying the film — she did a remarkable job. I think she’s a very hardworking and dedicated actor. Both Tatha and I are incredibly proud of her performance. I’m confident that more directors will now recognise her potential and offer her meatier, more substantial roles in the future.
The cast has 50 + members. Tell us about that.
This film features a great ensemble of actors who have been proving their worth for many years. It’s a big cast. During the early days of production, I suggested to Tatha that we have a common make-up room for the men and another for the women. He agreed, and that’s exactly what we did. The ancestral house where we shot the film had large rooms, so all of us — the men in one, the women in another — would get ready together. We’d hang out, have long adda sessions, and even play cricket between shots. That kind of set atmosphere, where everyone feels like family, was common in the old days but is quite rare now. Spending time with such talented actors in such a warm, collaborative space was like a picnic and truly a fulfilling experience.
The film was shot outside Calcutta. Were there any memorable incidents you experienced while shooting at that location?
There was one particular scene we shot where I had to fall face-first into a dirty, rotten pond — you could smell it from a distance! It’s the scene shown in the trailer when Somnath returns to Manikpur. I actually took a dip in that filthy pond. I was stinking, and my skin started itching (laughs). Tatha told me my shot was done, but then he realised he needed to shoot the family’s reaction in better lighting. So I had to wait — from around 11:30 in the morning till almost 4 in the afternoon — in that same soaked, rotten condition just to get the perfect shot. That was pretty memorable!
Location courtesy: Himur Heshel
Styling and outfit: Suchismita Das Gupta
Hair and make-up: Sourav Das