Last year, during the first week of June, as the City of Joy experienced a heavy spell of monsoon, filmmaker Aniruddha Roy Chowdhury aka Tonyda, was quietly directing his film, Dear Maa, in various parts of Calcutta. Whether it is a rip-roaring thriller or an intense tale exploring different dynamics of human relationships, Tonyda silently unveils the magic that translates on screen. When we called him up one day, the amicable man said, “Come over! I’m shooting right next to Loreto College.”
The sets was the ground floor of one of Calcutta's landmark edifices on Middleton Row — Birkmyre Hostel. Unlike many film sets, there was a sense of stillness in the air, which often translates into the ambience of his films. The building has a history of its own. Scotsman Archibald Birkmyre built it over almost a century ago as his gift to the boys of Dr Graham’s Homes in Kalimpong for their stay in the city. The interiors of the colonial structure with French windows were airy and filled with light but cinematographer Avik Mukhopadhyay created an ambience of sombre and suspense with his light setup. The scene being prepared was serious, with actors dressed as police officers milling around. Tonyda sat behind the monitor, ready to capture Saswata Chatterjee’s entrance as a police officer and his interaction with a child.
Dhritiman Chaterji entered through the back door and took the seat next to Tonyda, ready for his next shot. After several retakes and camera angle changes, the crew seemed satisfied. Everyone praised the child actor for her impressive performance and timing, especially given that it was her first performance. As Saswata Chatterjee approached the monitor, he acknowledged the director’s approval of the scene while also praising the child artiste for her talent.
Aniruddha explains a scene to Anubha Fatehpuria, Dhritiman Chaterji and Sonali Gupta Basu
“The film’s concept is fascinating and has probably not been explored in Bangla cinema before,” said Dhritiman. “Tony has a collaborative approach that’s refreshing. I have an intriguing character, as he’s examining a relationship between someone older and someone younger, which will captivate audiences.” Talking about Saswata, he added, “I’ve watched Saswata grow as an actor. I have worked with his father (Shubhendu Chatterjee), too. His timing and delivery have improved significantly over time.”
Meanwhile, Saswata shared stories about his experiences of shooting in Chennai. Since it was Tonyda’s set, there was no dearth of snacks — from chanachur and chips to cold drinks for both child actors and adults alike.
Saswata Chatterjee and Avik Mukhopadhyay prepping for a shot at Birkmyre Hostel
As Avik Mukhopadhyay worked on the light set-up outdoors for a shot featuring Dhritiman and Jaya Ahsan, the team relocated. “She (Jaya) is a very intelligent actor. Some are instinctive, while others are analytical, but she combines both qualities beautifully. After just one or two rehearsals, we seem to click and capture the same essence, which helps the scenes work seamlessly,” said Dhritiman.
Jaya strolled in wearing a pastel pink kurta and denim, complemented with a dewy fresh look. Dhritiman wore a casual maroon shirt and pants. They were set to walk down a corridor. Before the shot, I asked Jaya why all Bengali directors seem to be obsessed with her girl-next-door appearance. She laughed and replied, “I don’t look good when I dress up too much! (Laughs) Simple looks better on me. But if you look at the significant films I’ve done here, my characters may appear simple, yet they experience deep complexities. For me, each film is a journey.”
Shayan Munshi, Padmapriya and Jaya Ahsan
Once everyone was in position, Tonyda suggested a few takes for rehearsals before the final shot. This process continued until he was satisfied with every detail, from how a book was to be held to timing the pauses while walking, allowing his actors the freedom to improvise their dialogue. “Everyone is perfect in their own way, but I truly appreciate how Tonyda focuses on small details that we might overlook, assuming no one will notice. He is one of the masters in telling stories about relationships and plays with the nuances in between. My experience working with him on Kadak Singh was different, but I feel this film is closer to his heart. Like the baya weaver bird, he is weaving the tale shot by shot. Of course, it feels great to work with Dhritimanda. Although I’ve worked with him before, I’ve never shared so much screen time with him. His presence itself is something. Saswatada is a delight to work with; he is a thorough professional,” said Jaya. Speaking about her choice of films, she said, “I’m taking on fewer projects now because I want to be challenged more as an actor, whether it’s in Bangladesh, Bengal, or Mumbai.”
After completing the scene, the team took a break for lunch. While heading back to his van, Dhritiman shared what motivates his choice of scripts after decades in the industry: “Earlier, I used to mention lofty ideals like socially and politically relevant themes. But I’ve realised it’s much simpler — whether I’m looking forward to going to work the next day or not.” Jaya remarked that each actor was being pampered on set. “They’re spoiling us!” she quipped.
Though it was co-producer Indrani Mukerjee’s (Tony’s wife) birthday, she was busy discussing the details of the costumes with her team. Commenting on her role on set, she wittily said, “Juto shelai theke chandipath!” Besides being the co-producer of the film, she is responsible for the costume department, as she usually is in Tonyda’s films. “Yes, it’s a working birthday this year,” she said when asked about her birthday plans. Tonyda chimed in from behind in a hushed voice, noting that the team had a surprise planned for her after the shoot. The weather was gloomy, the scenes were serious and suspenseful, but hearts on the sets were happy as they created a tale of mystery and motherhood, set to release in the theatres on July 18.
