Pathikrit Basu's film Dabaru is a sports drama based on Grandmaster Surya Sekhar Ganguly’s journey, narrated like a slice-of-life film. During the trailer launch, Surya Sekhar said that he could become who he has become, firstly, because of his mother. In the film, Rituparna Sengupta portrays Karuna, one of the most important people behind his success. In a t2 chat, the actress talks to us about her character, the challenges of playing it, an accident on set and memories of working with her 1990s co-actors.
Why did you say 'yes' to the character?
When Shiboprosad (Mukherjee) called and told me that it was a sports film, I told him that I didn't have a sports background. He told me to go through the script as it is also a story of a mother and son. The mother plays a pivotal role in the child’s success. Every mother makes her sacrifices and contributions towards her child's success. Here the mother identified the son's skill, which was a passion for him initially. I have not done a film on this kind of subject before. I always look for roles that challenge me. I felt the way the relationships are shown in this film is very interesting. All are very nicely intertwined. I felt there was a scope for me to play a role, which is overtly determined and at the same time very emotional too.
Did you just follow the script or take cues from your journey as a mother, too, to play the character?
I am a mother of a teenage son, so I know what kind of distancing and bonding happens. Managing a teenage son is not easy. When Pathikrit read out the first draft to me, I gave him some input because as a mother I felt these could be incorporated and could help the film. In today's time, good content is great but if the script lacks communication, it might fail the film. This script communicates really well. The two kids performed so well. They were so well-groomed for their roles.
Did you get an opportunity to interact with Surya Sekhar's family?
We got this legend (Surya Sekhar Ganguly) with us throughout. He was extremely positive about this and was very happy that we were making this film. Meeting his mother was a great revelation for me. To this day she wears her sari in an atpourey style; her face has an aura and she is so dignified. Whatever happens in their life, such people don't change their fundamentals. Meeting Surya’s family was such a delight, too. There are two children. It was a happy family.
Did you know the game?
No. My son and husband know how to play chess. It is too much of a mind game and needs too much concentration. I know I have patience but sitting in a game and showing that kind of patience is not for me. (Laughs)
For this film, I learnt the basics and learnt a few terms which I needed for the film. Ankan asked, ‘Ma, do you even know chess, how are you handling it?’ I told him: ‘Well, your mother can handle many things without even knowing it.’ (Laughs)
Bengal has 10 Grandmasters yet the sport is not as celebrated as the others. How important was the making of this film?
Shiboprosad and Nanditadi are masters in coming up with new ideas. They try to make different kinds of films and they make it a success. We have made the film till he becomes a Grandmaster. So, this will inspire many. Pathikrit did a great job. In between we had an event where all nine Grandmasters were there. Viswanathan Anand was also there. It was a great thing for us. All the schoolgoers who are enjoying their holidays would love to watch this film. This film will remain a testament to an era, too. Children now have forgotten how to play games or mingle with friends. After school, they are all glued to their phones. Vitality is important for children. Koni was a unique film in the sports genre and then Chak De! India. Satyajit Ray made Shatranj Ke Khilari where political aspects were shown. But we have very few great sports films. This is one of them.
Did you have any particular challenges during the shoot?
Challenges? I will stay with this scar forever (shows us a scar on her neck). There was a scene where the ball would drop in the utensil and the khichdi would fall to the other side but that didn't happen. During the rehearsals, the utensil got hot and when the ball dropped in the khichdi, it fell on me. My face was saved but it was all over my neck! The shot was that I was supposed to shout at the boy as he was running away. I started yelling but everybody thought it was part of the shot. After a while, I asked for water and then they understood that I was in pain. It was the second last day of the shoot and right after that, I had a schedule in Bangladesh where I had a very glamorous role. And my director was constantly saying: ‘I am in great trouble because I can't use Rituparna’s glamour in my film!’ He wanted me to wear halter neck blouses with chiffon saris. The films I do in Bangladesh are all about my glamour. This scar will always remind me of the film. I hope this movie becomes a huge success so that I get some satisfaction knowing that getting burnt didn't go to waste! Such accidents have happened many times with me on the sets. I know it is a part of the shoot. We had a sequence in Chennai, too, where I had to run on a bridge with cars coming from all sides. I was thinking, I got burnt once, will I have to lose my life, too, now!? (Laughs) I have taken enough risks to do this film. I had chases in the film. It was a chase for chess. Running to get somewhere. The society has so many stigmas. Nobody comes forward to support a growing sportsman. They only support once they become popular. But actually one needs help when one is in the making. Being focused, taking the right steps and having the right company is important. The film shows this.
It is very rare for an actor of your stature to maintain the balance of doing commercial films and other kinds of films. You easily work with new directors, too. What inspires you to maintain this balance over the decades?
I believe I am a product of commercial cinema. Rituparna Sengupta will always have that tag of commercial cinema which made me who I am. I am very much obligated to that part of my career. If a commercial role comes to me, I take it up very easily because that's a genre in which I have my footprint already. So, why not make it more embellished with time and with the need of the hour? The commercial, the art, the middle road and the parallel everything blurs for me because I feel I am the product combining all types of films. That makes Rituparna, Rituparna. Commercial film is a very important part of the industry. We cannot cut that off. But I also like to take challenges. I want to get complicated in the roles I do to enrich myself as an actor. At this point in my career, I want to do something stunning. I want to make a difference with the scripts I choose, with my characters and acting. Films like Dabaru actually provoke the thought process of those who want to see good films. There are values to learn from it. The value part is also important.
It was a sort of reunion for your co-actors whom you have known for years. What are your memories from this set?
Yes, it was a great reunion. This film was about teamwork. I have so many memories with Chiranjeetda. He has always been a superstar. We did so many blockbusters together. I have done three films in his production, too. We share a family bond as well. Shankarda, Biswanathda, Koushik… I have known them for years and they are all terrific actors. I have done many films with Titoda (Deepankar De), too. Once on a film set, I asked my director, 'Where is my mark?' And Titoda said from behind, ‘No. 1’. I later realised what he meant. It is a very special memory for me. We got amazing shots in this film from our DOP, Modhura Palit, too.