Prosenjit stars with Konkona Sen Sharma in Rituparno Ghosh?s new film Dosar

A dishevelled look for Rituparno Ghosh?s Dosar, a natty one for Haranath Chakraborty?s Ekar Sansar. In between running from one set to another, he switches his mental gear. What has made the man a favourite of both commercial and arthouse cinema is another story, but Prosenjit today is in an expansive mood, willing to step in different directions and find out what?s in store.

Last year, Prosenjit tried six disguises in Sangram, something that Sanjeev Kumar had done in Naya Din Nayee Raat. This year, he has turned an old man in Criminal, somewhat like Amitabh Bachchan in Aakhri Raasta. Both were designed to test his audiences and Prosenjit is quite happy with the results.

?Criminal is an experiment. I wanted to see if people accept me in the role of an ageing father. Otherwise romantic heroes are something most actors of my age group still play? Even Amitabh Bachchan did that. I remember his Aakhri Rasta, when he played an ageing man. We were all zapped!? reveals Prosenjit, relaxing in his Ballygunge home on a Sunday afternoon.

But prod him if the leading man in Bengali commercial films can be anything other than a romantic hero and Prosenjit nods his head. ?Yes, certainly. Even I am trying to make people understand that we can make such films. In fact, talks are on with Ravi Ojha for a film where I will play the leading character of a father, an elderly man. Then, there?s another one by Rabiranjan Moitra, where I will be a father desperately trying to save his ill son,? he assures, adding that the soon-to-be-released Raju Uncle, by Haranath Chakraborty, will be refreshing too.

?That film has 24 kids trailing me in frame after frame. Then there?s a mind-blowing role that Kaushik Ganguly has approached me with. It?s very difficult,? he pauses to ponder for a moment. ?My character is a teacher and is trying to save his school from the clutches of land sharks. In the process, he loses his vision.?

For someone who works with the best in commercial and serious cinema, the three names somehow don?t seem to fit in. Ravi Ojha, Rabiranjan Moitra and Kaushik Ganguly, all barely one or two-films-old.

?You ask me who will take my place as the romantic hero. I ask you where are the young directors? Both Haranath and Rituparno (Ghosh) are in my age group. We need to give the new ones a chance. I want new directors to come up,? he argues.

New directors apart, Prosenjit?s agenda also includes fostering new partnerships. At the talks table is a joint venture with Mithun Chakraborty, starring both. ?Mithunda?s logic is simple. He will pull his audiences; I will pull mine. Together it will be something to look forward to. The film will be produced by our wives ? Jogita Chakraborty and Arpita Chatterjee. Swapanda (Saha) will direct it, as he has worked with us both.?

That could be a family affair, but more interesting projects are pouring out of his own production company Ideas. The company has entered into a tie-up with Sahara One to produce three to four Bengali films a year. First to roll out this year is a film directed by Abhijit Guha and Sudeshna Roy. Up next is one by Haranath Chakraborty. The third is by Rituparno Ghosh, starring Prosenjit.

This year, there?s the added responsibility as the newly-appointed secretary of Artistes? Forum. But is the association active enough? ?Yes, it is,? he smiles. ?And we will hold a press meet every month to update you about our activities. The forum has around 1,600 members. And one of the main problems we are facing is payment default in the television industry. The serial producers owe our artistes something to the tune of Rs 16-18 lakh. We have arrived at an agreement with the TV channels to plug this loophole. The producers will be given a month?s time to pay up,? he explains, drumming up plans to attend Biswa Banga Sammelan in the US with a package of mainstream films.

?The market needs to expand. Bengalis out there need to see our films. They also want to see light films, not the serious ones only. But I really feel the look, the stylisation in commercial films need to change. Sasurbari Zindabad or Pratibad had set benchmarks. It has been six-seven years since but there has been no progression. The same camera movements and technical aspects are followed,? he says, lapsing into silence for some moments. ?And I think the divide between urban and rural audiences has been bridged to a large extent and it will be even narrower in the days ahead,? he adds.

For the rest of that lazy afternoon, Tollywood?s leading man got busy discussing scripts again.