‘Autograph is not a remake of Nayak’

Is Autograph influenced by Satyajit Ray’s Nayak?

Autograph is a triangular story set in the backdrop of the film industry. The film is a kind of tribute to Nayak, which also forms a subplot of the film. But it is not a remake at all.

Why Nayak?

Nayak is one of my favourite Bengali films from childhood. I’m greatly inspired by Ray and Uttam Kumar. You look up to them, read about them – they’re such legends. Then again, the film itself – the characters, the performances, the narrative structure – is one of a kind.

How far does Autograph mirror the film industry?

It mirrors the film industry to a realistically large extent. Some characters are based on people I’ve known. I’ve taken cinematic liberties, of course. But I’ve consciously avoided stereotypes. Each of the characters has shades of grey. Some are deep grey, some less so.

But you are sort of an outsider to the industry….

Not sort of an outsider… I am an outsider. I’ve done theatre, but I’m basically an economist. I was working as a social scientist in a corporate and doing theatre on the side. Until, that is, I quit my job in December 2008. Checkmate in May 2009 was my first stage production in Kolkata. Since then, I’ve assisted Anjan Dutt in Madly Bangalee and Aparna Sen in Iti Mrinalini, where I’ve also written a few songs and acted as Konkona’s brother.

Why the jump to film direction?

I’ve always acted in and directed plays. So it was a natural choice. I love storytelling, and film direction is probably the most advantageous position from which you can tell a story to a huge number of people. It’s possible on stage too, but there you have a limited audience. Cinema has a much wider reach.

Was Prosenjit the only choice for the superstar’s role?

Prosenjit is a great actor who also has the charisma of a superstar. I had him in mind while writing the script for Autograph. Prosenjit’s been at the top of this industry for the last twenty to twenty-five years. There’s an aura about him. And that aura was very important to this film. Prosenjit was my first choice. Casting doesn’t come easier than this.

Why Nandana Sen?

Nandana actually goaded me into this. I’d contacted her for Feluda Ferot. Then at some point, I’d shown her a script that I had. That’s when we decided, “Let’s make this film together.” So, a number of friends got together to make a film. The lead actress is a friend, one of the editors is a friend. And here we are, with the shooting for this movie nearly reaching completion.

Indraneil Sengupta plays a filmmaker yet again. Why did you select him?

Indraneil’s face is not known to Bengali audiences. And this was important for the film. Shubho, the director, is an outsider to the industry. When he enters, he slowly starts changing the rules. But in the process, cinema changes him. I wanted someone who wasn’t too exposed, but with decent experience, especially since we were working on a tight budget and an equally tight schedule.

Prosenjit sports four different looks, Nandana sports two, and the film moves across Kolkata, Bangalore, Santiniketan and Mumbai. Autograph seems pretty elaborate…

Yes, it’s a rather elaborate film. That’s because it has a layered narrative. The film within a film is a layer. Outside of it, the flashback is another layer. And this is the fun bit of the film because it shows how the reel and the real intertwine.

Autograph takes up some bold subjects – live-in relationships, romance between an older man and a younger woman… Can audiences digest such themes in Bengali cinema?

See, I can only tell stories of people I’ve observed around me. I have seen such people, such lives. And the Bengali audience is extremely enlightened. They can handle such themes. Of late, even Bollywood is venturing into unknown territory. Hollywood and world cinema have always done it. One can’t just assume that the Bengali cine-goer will love bold issues in Hollywood films and be outraged if they are in a Bengali film.


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