It’s been around three weeks since Srijit Mukherji moved into his new Lake Gardens house, a triplex. “It’s a house on its way to becoming a home. I wanted a lot of open space with a glass and wood finish. Only thing is that I cannot throw stones at anyone now because technically I live in a glass house,” laughs Srijit, sinking into a comfy couch. The filmmaker still has an establishment in Mumbai, though. “That stays. A lot of stuff is coming up, in terms of films and web series. So I’ll need that,” he adds. Coming back to Srijit’s new house, two sections of a wall are dedicated to his awards and certificates. Four Harry Potter wands — Harry, Snape, Voldemort and Dumbledore — hold pride of place on the walls. Another corner is dotted with posters from Srijit’s theatre days. Framed Dali prints — from the Salvador Dali Museum  — and Venetian masks catch the eye. The doorbell rings around 7.20pm, and in walks Jisshu Sengupta, who plays the raja in Srijit’s next, Ek Je Chhilo Raja. A t2 chat...

Ek Je Chhilo Raja chronicles…

Srijit: …the mysterious disappearance, the speculative death and the return of a feudal lord who used to be called a king 1ike many other zamindars of that time, and how he takes on the British empire with the help of his subjects, who actually finance his court case to a large extent, and how he wins the court case. 

It’s a historical event which has a lot of layers and perspectives to it. Jisshu plays the king while (newcomer) Rajnandini (Paul) plays Jisshu’s wife. Anjan Dutt and Aparna Sen play the two lawyers who fight for and against the king; Jaya Ahsan plays the zamindar’s sister. Rudranil Ghosh plays the doctor in the household and Anirban Bhattacharya plays the brother-in-law. Tonushree Chakraborty plays a mistress. 

I have interest in courtroom dramas and also historical period pieces. Ek Je... will be very unlike Sanyasi Raja (starring Uttam Kumar) which romanticised and fictionalised the king’s life and return. This will be everything through the prism of the courtroom. 

How did the idea for Ek Je Chhilo Raja come to you?

Srijit: I read Partha Chatterjee’s book A Princely Impostor? — The Strange and Universal History of the Kumar of Bhawal… I had seen Sanyasi Raja in my childhood and figured out how different the two narratives are. That was the starting point… to make a film rooted closer to history… and what I missed in Sanyasi Raja was the courtroom drama. I would like to categorise Ek Je... as historical fiction. We will be shooting in Calcutta, Murshidabad and Darjeeling from January.   

You have cast Jisshu in seven of your films. Is he your good luck charm?

Srijit: I missed him in Chotushkone since he went to do Mardaani. So even after verbally committing ...

Jisshu: But I didn’t sign any contract! 

Srijit: With a sullen face he told me about the film and even showed me the envelope (containing the contract). After Jaatishwar I told him that I would like to work with him in every film of mine. The great thing about Jisshu is that he is not finicky about whether he has to play the hero or the villain or a character role. After Jaatishwar I could sense that hunger in him… there was a fire burning and a lot of fierce determination, and I wanted to capture that. 

Jisshu: For me, after Rituda (Rituparno Ghosh), if I blindly trust anyone as far as my role in a film is concerned, it is Srijit. If he needs two days from me for a 50-day shoot, I’ll do it without asking. He is someone who will draw the best out of me. Srijit is the second person I call up after Nilanjanaa to say that I am doing a film. If Srijit tells me to not do a film, I won’t do it. Actor-er jaygata Rituda toiri kore diyechhilo, but Srijit has given me the platform. 

Do you keep Jisshu in mind when writing a script?

Srijit: As an actor, no. After writing the script, I see where I can fit this guy in. Or which role will challenge him or excite him or excite me to see him like that.... There are certain kinds of actors whom I like. And there are those who are not known as strong actors; there I take on the challenge of extracting a great performance out of them… that gives me the high as a director. So it’s got to be a mix and match of both… comfort zone and a dangerous territory, both have to be there in the casting. I have written two films keeping an actor in mind — Autograph keeping Bumbada (Prosenjit) in mind and Uma keeping Sara (Jisshu’s daughter) in mind. The way she speaks, her diction, her attitude, her presence… she is a very active girl. 

How did Jisshu and Nilanjanaa take it when you told them you had Sara in mind for Uma?

Srijit: They were both very apprehensive and sceptical and did not want Sara to start so early, which is absolutely fair and understandable. I was very persistent. I asked Sara, and she said, ‘Of course I am going to do it.’ Then the parents fell in line. I shifted the communication directly to the actress. 

Jisshu: It happened in four-five hours on a single night. 
 
You guys are such good friends. But has it ever got awkward on the set?

Jisshu: I have got jhaar from him. I’ll cry maybe… I don’t think any of the other actors have had these moments while shooting a film…

Srijit: Maybe Rituparna (Sengupta) in Rajkahini. 

Jisshu how do you deal with such a situation?

Jisshu: Nothing is personal. When we are working we are colleagues. I know he wants me to be the best. 

Srijit: He is not my friend on set. He is my actor. I have always maintained that. 

How far can you go?

Srijit: I can go as far as the shot or the character requires me to go. I can be ruthless and brutal in my monologue… only after Ritu broke down could she deliver in Rajkahini. I believe in that catharsis. And I know that point… how far I can push. An actor can give you this much, after which if I feel the actor cannot give me anything more I’ll have to stop there, take his performance, go to the edit table and build what I need. 

After a dressing down, how are the vibes between you two? 

Jisshu: Amar obhimaan thake. 

Srijit: Jisshu has to learn how to separate the personal and the professional, and that is something which a person who is personally so close to him can give him without scarring him, or using him or manipulating him. That distinction has to be very clear. 

Jisshu: Nilanjanaa leaves the room then since we both are shouting…

This is like a scene from an Anjan Dutt film…

Srijit: (Laughing) We are both so close to Anjanda that we have decided to play out the sequences from his films in life!