Anik Datta’s Joto Kando Kolkatatei is up for release on September 26, and Roja Paromita Dey, who stars in the film, and costume designer Suchismita Dasgupta can’t keep calm. They have been eagerly awaiting the release of the mystery drama that pendulums between the present times and the 1960s. The film also stars Abir Chatterjee and Bangladeshi actress Quazi Nawshaba Ahmed.

For this t2 shoot, both Roja and Suchismita’s first choice of location was Trincas, where the Nightclub Song for the film was shot, a venue as iconic as the City of Joy and one that spells vintage Calcutta. Abhijith Cchanda designed Roja’s hair and make-up for the shoot.

In a chat with t2, Roja and Suchismita take us through the world of Joto Kando Kolkatatei, their retro favourites, and more.

Suchismita, let’s start with the looks you did with Roja. Can you decode the elements for us?

In the film, Roja’s look is that of an Anglo-Indian crooner whose life is a struggle. In this shoot for t2, however, I have tried to cover the whole ‘60s nightclub crowd with her looks! The song (Nightclub Song) is out, so that costume hasn’t been used here, but what I wanted to capture in this shoot was how scintillating the ’60s looked.

Roja, what did you enjoy most about the looks?

What I enjoyed most was that I had nothing else to do apart from dress up and look pretty! Suchidi is a pro, and I totally trusted her and Abhijithda with the looks. The ’60s was a very stylish era, and they both nailed it.

Suchismita, we know you love retro, and you have worked extensively on retro films. What kind of excitement does it spark in you?

I will say I love history, vintage and the past! I guess that’s where you learn where you go wrong sociopolitically. But my love for history is also about its splendour or the lack of it, and how that is totally controlled by the sociopolitical angle. Each time I get a script like that, it gives me a chance to study, read and understand. Also from the last century, the ’20s and ’60s are two of my favourite decades as far as fashion is concerned. I wish I could do something like Downton Abbey and Mad Men. Twenties and ’60s you see!

Roja, do you personally love retro style?

I feel I’m choosy that way. I never follow any trend blindly. The same goes for retro. For example, I love retro prints and patterns, but winged liners and over-the-top hair aren’t for me.

Suchismita, who are your style icons of the ’60s?

Where do I start? Maybe The Beatles! Then Audrey Hepburn, Marilyn Monroe, Jacqueline Kennedy, Suchitra Sen, Satyajit Ray and Uttam Kumar.

Roja, what about you?

Audrey Hepburn. She’s a dream.

Suchismita, what was the essence of Joto Kando Kolkatatei for you as a costume designer when you first heard the script?

I love the ’60s, Feluda and Calcutta! What more do I say? Actually, when I first spotted those gloves and the gown at a vintage store in Oxford, I told my husband I hope I have a film where I can use them.

How have you set up the mood board, considering it has one foot in the present, too?

I must mention my assistant for the film, Anrini Bhattacharya, here. She and I created the mood board. Since we had a huge area to work on, like the ’60s North Calcutta, Anglo-Indians and Park Street, then post-pandemic Calcutta and a woman coming from a neighbouring country, we had loads of fun designing it. The Sixties were sacrosanct, but for the present, we dressed Abir (Chatterjee) in Feluda colours for what would be a modern-day Topshe, and for Saba (Quazi Nawshaba Ahmed), we used jamdani, gamchha and other accessories to depict her background.

Roja, the Nightclub Song looks fab! Were you nervous before shooting it?

I wasn’t nervous because I was prepared. I actually choreographed it myself, and Bennydi (Daminee Benny Basu) helped me a lot to get into the character. So, I was rather very enthusiastic.

It must have been challenging to shoot it all night. Tell us about the experience…

Very. We started rolling around midnight and finished at eight in the morning. It was particularly difficult for me because I was the one standing and performing, and everybody else was seated. And whether it was a long take or a close-up, a shot of cigarette smoke or wine being poured into a glass, I had to be there in the background performing my bit over and over again.

What do you play in Joto Kando Kolkatatei?

I play an Anglo-Indian girl, Suzie, who is a singer at a nightclub. My bit is a part of the flashback in the storyline where we get to see what happened during the ’60s.

Suchismita, what are your favourite retro movies of all time where style plays a pivotal role?

At a time when for the millennials retro is 2000 or maybe ’80s to ’90s, let me talk about my favourites. I will add a few series too. The Apu Trilogy, Goopy Gyne Bagha Byne, Hirak Rajar Deshe, Jalsaghar, Nayak, Pride and Prejudice, Gone With The Wind, Downton Abbey, Peaky Blinders, Mad Men, Cable Girls… I can go on and on!

Roja, why do you think Feluda is an emotion?

Feluda is an emotion because there is a Topshe in every Bengali child. When we read Feluda, we join him as Topshe, and that makes our bond with Feluda more intimate and real.

Roja, what are your all-time favourite Ray films?

Hirak Rajar Deshe, Teen Kanya, Aranyer Din Ratri…

This is your first film releasing after you became a mom! How special is that?

Everything in life feels different after becoming a mom. I feel like a brand-new person, a better person. Plus, this is a very special film for me, and we have been waiting for its release for some time now. So, it’s extra special.

Suchismita, what is the best part of working with Anik Datta?

This is my fifth film with Anikda; he pushes me to research for accuracy, which not many directors have time for.

Roja, what about you?

Anikda is extremely passionate about films. So when he makes one, he gives it his all and expects the same from his team.

Hair and make-up: Abhijith Cchanda
Location: Trincas