Chitrangda Singh plays a character with more than 50 shades of grey in Gaslight. The psychological thriller, which also stars Sara Ali Khan and Vikrant Massey, drops on Disney+Hotstar on March 31. The Telegraph chatted with Chitrangda on Gaslight, the thriller genre and how our cinema needs to be honest and relatable.
What were your major reasons to sign Gaslight?
For me, it’s always been the role. Of course, the director matters, the set-up, the production, everything matters... but in the end, what’s most important for an actor is the part that’s offered to you. I had never played a character like Rukmini before. And also, I had never done a genre like this. This is a first for me in the thriller genre.
Everything kind of came together, the whole package.... I loved the fact that I got to work with such talented actors. Both Vikrant (Massey) and Sara (Ali Khan) are so refreshing and such natural actors. Doing this film was a no-brainer for me.
It may sound cliched, but the script is something that I hadn’t read before. Even though it’s a mystery, the script is very fresh, very new. It’s not the most predictable and not the corniest stuff that one gets to watch in the thriller genre. Even the characters are very unusual.
How is Rukmini unusual?
Actually, all three principal characters are unusual. The characters are in line with what the film is. It’s not a typical whodunit. Pavan (Kirpalani, director) has done a superb job. He’s also co-written the film. They have done a really good job of controlling the pace of the film.
What I meant by ‘unusual’ is in terms of how grey Rukmini is... she isn’t black or white at all, and nor are the other characters. All three of them exist in a bit of grey and you really can’t tell when you will see the good and when you will see the bad. I think that is what will make the film stand out.
Are you a thriller fan?
Absolutely! My favourite, of course, is romance, but a very, very close second would be thriller, mystery, whodunit, courtroom drama... the kind of stuff that has an unravelling plot device and one where there is a certain pace to the storytelling. I love it! This is my thing completely.
When you talk about mystery drama, I love stuff like Breaking Bad and House of Cards, which may not be thrillers in the true sense of the term, but they do have a certain pace and they keep you riveted. Even though it was a long time ago, I love Misery. That was fantastic and Kathy Bates, who won an Oscar for the film, was simply amazing.
Since you mentioned Misery by Stephen King, I have to ask whether you are an avid thriller reader too?
I do read now and then, but I am not too much of a reader.
Pavan Kirpalani is quite prolific in the genre, having made thrillers like Ragini MMS and Phobia. What was it like collaborating with him?
I love my director! In fact, the whole direction team, including the writer Neha (Sharma), are so good. Any plot which gradually shows its cards and unravels as the film progresses needs to be nuanced. With this film, we needed to be conscious of how much to say and what to give away and at what point. Also, what happened in the past is a very important part of the film. For all this, the direction team and even the writing team were amazing. A big thanks to them for the performances that they got out from us.
How much does gaslighting play a part in the story?
The film is essentially about gaslighting, it is about how knowingly or unknowingly you end up doing it. It’s an examination of human nature and that’s why the film is so unpredictable. I think a lot of people will relate to this aspect of the film. We all have been gaslighted at some point or other in our lives. Or we may have even done it to others... aisa nahi hain that we are saints by any measure! (Laughs) We may even do it subconsciously, sometimes even out of jealousy.
Chitrangda Singh with Sara Ali Khan in Gaslight, streaming on Disney+Hotstar from March 31
It’s not really a gender thing...
Not at all! I think women also suffer from a lot of jealousy, from insecurity that pushes them somehow to gaslighting others. We all have done it. That’s why it is relatable, and it’s absolutely fine.
What’s driving your choice of films now?
The criteria have always been the same. The part I am offered and the director, who is a big part of the choices that I make. The only change that has happened in the last few years is that I have started looking at the setup a lot more now. I look at the ability of the producer to give the film a good release and a good platform. That is something that determines my choices a lot more than it did six or seven years ago. At that time, everyone would get a theatre release at some point, we didn’t have the OTTs then.
Are you being offered more meaty and interesting parts now?
There is a definite change that’s come about, though I am not in a position to dictate what’s offered to me and what’s not. But we have all benefited from this new wave and Gaslight is an example of that. The film has two strong women characters at the forefront, played by Sara and me. There is definitely a huge change and a lot of the credit for it goes to films releasing on OTT platforms where it makes sense for the producer to invest in content-driven cinema.
Ageism has plagued the industry for a long time. We see it changing gradually but how is it for someone like you who is right in the middle of it?
There is a big change and we have to give credit where it’s due. Whether it’s Tabu or Kareena or Kajol, the kind of parts that they are playing now is amazing. Of course, this is a visual medium and one can’t deny that. But the fact also is that at the end of the day, we are telling a story and that should be our only focus.This is not an advertisement or a music video where the look plays the most important part. This is cinema and one needs to do all that one should in order to remain truthful to the story being told and be true to the essence of the character that one is playing. I think that emphasis on reality and honesty has come in now.
We are all evolving, and a big thanks to the audience who really want to see a good story. They don’t want to be fooled anymore by films that only rely on showing glossy images. They want to see honest, real stories that move them.
When you talk about women on our screens having agency as well as older actors holding sway, I really loved Neena Gupta in Badhaai Ho. I fell in love with that film. I also loved Mr (Amitabh) Bachchan in Gulabo Sitabo. I am so glad that we are moving away from always keeping things chaka chak and beautiful on screen. It’s the imperfections that people in the audience relate to more.
