Ever since its posters were revealed, Devi Chowdhurani, directed by Subhrajit Mitra, has created a stir among lovers of Bengali cinema, who are eagerly waiting to watch this film on the big screen this Durga Puja. Adding fuel to the excitement is Prosenjit’s portrayal of Bhavani Charan Pathak. The film narrates the story of a woman who eventually becomes a freedom fighter against colonial rule in India. It also tells the story of the Hindu ascetic monks who took up arms against the British colonial rulers. It was an armed revolution by Indians, led by Bhavani Charan Pathak, against the British East India Company. A t2 chat with Prosenjit…

First of all, let us wish you a happy birthday in advance (Prosenjit’s birthday is on September 30)...

Thank you! It is a special day, yes, but it is more special for my fans. A lot of people from outside Calcutta come down... and they have been coming for years. Every year.

With your films releasing during Durga Puja, it has become a tradition now...

Yes. And this has been happening for many years now. Earlier, there was no social media, and films were promoted in a very different manner. We would go for hall visits of a successful film, which was on its 12th or 13th week. The film’s director, producer, and I would travel to these theatres and gather in front of the halls to meet the audience. Now the pattern of promotion has changed. However, one thing remains the same, and I am grateful to my audience for that. People of Bengal have always showered me with so much love and affection.

Recently, you were in Malda for promotions, and it was fascinating to see how people reacted when you walked with them or when you waved at them.

For many years, I have been trying to connect with the young group of people who are coming in such large numbers to see me. I understand why they are so excited and curious. Their parents had seen my films in theatres, and then came a time when the number of theatres in Bengal went down. The youth had to see my films either on television or they had to come to Calcutta. Largely, I had focused on films which were city-centric in the last 15 years, and those films are not easily accessible in small towns or villages. As I interacted with the young people across Bengal, I realised that they want to see my swag, they want to see me in larger-than-life films. I feel blessed that so many people want to meet me, watch my films... and they come to my shows with so much passion and energy.

What was your first reaction when Subhrajit approached you with the script of Devi Chowdhurani?

I had seen his previous film and liked it. Then he told me about this film and said that he would not do this film without me. Finally, when I heard the script during the pandemic, my first reaction was, ‘Who will fund this film? Who will put in the money?’ That was my first reaction. It was based on the script... the way he wrote it. Remember, at that time, people were unsure of the future of cinema and whether people would return to the theatres.

Why was this film important for you?

One must remember, if Bengali cinema has to go national, it has to be based on our literature. If we want to reach the people of India, our path is through our legacy. Through our classics. Rituparno Ghosh had paved the way with Chokher Bali. In the last few years, we have been successfully pushing the envelope by making largerthan-life, innovative, rooted mainstream films and those are being celebrated by the audience. We need to make films based on our literature... that is our strength, and we need to modernise it. And that is why Devi Chowdhurani was important for me.

Now, people might ask why did I agree to be a part of Devi Chowdhurani. But you see, Bhavani Pathak is an integral part. Bhavani Charan Pathak was Devi Chowdhurani’s mentor and the leader of the armed resistance. Some people observed that I am not there in every scene. But I’ll give you an example — how many scenes did I have in Autograph or 22shey Srabon? It is all about building a character, which will become memorable. It’s about the kind of impact my character has on the story. It is never just about the length of the role.

The story of Devi Chowdhurani is about women’s empowerment. What I liked about Subhrajit’s script is that he has kept the essence of the novel and captured the flow of historical events. The film has captured the rich legacy and culture of Bengal, and Bengalis love watching that on screen.

How did you prepare for this character?

When I started working on the character, there was no looking back. I had to work a lot on other things... from my body language to the way he speaks. He has so many shades. Also, the sword fights that you’ll see are very specific. They belong to a certain time. It is not like modern-day sword fighting. So I had to brush up on that. The team has performed brilliantly.

Of course, you had done all kinds of action scenes in the 1990s...

And that really helped. The films were doing good business then but we were missing one blockbuster film that would shatter all box office records. Sasurbari Zindabad became that film, which also introduced Cinemascope to Bengali cinema. At that time, Hindi films were being screened in Cinemascope; even the ads would run on Cinemascope. I felt that it was high time Bengali films should also be seen in Cinemascope.

But I saw Devi Chowdhurani as a film based on a good screenplay. I see Devi Chowdhurani as a classic commercial film... at the same time, it has the essence of a Rituparno Ghosh film. Also, Devi Chowdhurani is very lyrical. The film has the best of both worlds. I have told Subhrajit that he can make intelligent mainstream films. He is a smart, good director.

Whenever there is talk of making a fantasy film or a sci-fi film in Bengali, filmmakers rein in their imagination because of budget constraints. Do you feel that by using AI correctly, they can navigate that path in the future?

See, to use AI properly, one has to study it thoroughly. It will take a lot of time. Right now, I am taking a course on AI in Mumbai. You have to move with the times. This is the future. Of course, one has to invest the time and money in AI to get good results. Many years ago, before doing Protibaad, I spent three weeks in a studio to learn the latest updates in technology... once I learned it, I used it to great effect in my films. I implemented it here. It is part of our work to learn the details and nuances of technology. However, the purity of cinema is essential. A film that is made well will captivate audiences and touch hearts. CGI and AI can only accentuate and add nuances.

Are you taking this course on AI for your next directorial venture?

I have to learn it.

With each decade, you have been constantly changing yourself, innovating and staying relevant.

It is all about changing with the times, be it in terms of story selection, execution or adapting to new technology. A senior person has to embrace and endorse the new and be innovative. I have immense faith in today’s youth. They are connecting with films which are authentic. When they watch Devi Chowdhurani, they’ll realise how honest it is. I started my career with black-and-white films. Then I shifted to colour... then I experimented with new technology... I started working with new directors... it ushered in the era of multiplex films. I am very lucky.