Wasn't invited to Piku's success party hosted by Deepika: Amitabh Bachchan

At a time when most of his contemporaries are either retired or relegated to doing inconsequential roles, Amitabh Bachchan continues to enthrall generation after generation with his screen personas. But then, that’s why he is AB — the living legend. The superstar’s performance in the recently released Piku has been the talking point ever since the film hit screens three weeks ago. Ranked easily among the 10 best of his career, Bachchan’s portrayal of a constipated hypochondriac touched the hearts of millions across the globe (Piku is 2015’s biggest hit overseas). In a candid chat, among other things, Big B (who’s also one of the film’s producers) sheds light on the Piku phenomenon, the changing face of Hindi cinema and about Marlon Brando. Read on.....  

Piku has crossed Rs100 crore worldwide. It must be a euphoric feeling. What is your state of mind now? 
I am delighted that a film like Piku has achieved this feat. When commercial success embraces critical analysis, our joys can only be doubled. It is indeed a rarity, and I would like to thank, apart from the obvious people, the audiences the world over, who have shown immense appreciation to this product. It is their strength and support that has given status and impetus to this film. 

Did you ever expect Piku to receive such commercial success?
Never. We were aware of just one factor, that the film, made in a reasonable budget, within a reasonable period of time and which had ingredients that reflected an honesty in its making and performance, would most likely get a few people in the theatres. We never expected this kind of following and identification, that cinegoers gave to us. Somewhere, everyone felt it was their story, a story that they had or were going through in their own environs.

A film about constipation — it was always a risky subject. What convinced you about it, considering you’re also one of the producers?
The scatological overtones never bothered me. And why would you think it was a risky proposition? Human nature can never ever be at risk, provided it is represented correctly. Romance, action, drama, fantasy are all correlated to human nature. If films can be made with those topics, why not constipation? It is a most natural phenomena. Films have been made on other human ailments as well — TB, Cancer, Aids, so why not a disturbed bowel!! Have you not heard of the saying: Paon garam, paet naram, sar thanda .. Doctor ko danda! Paet naram ho toh sab theek rehta hai. 

You’ve played a Bengali character many times before. What made this one so special?
Yes, I have played a Bengali character before, but I don’t think it was ever done with the kind of characterisation study that Shoojit wanted me to have. My working years in Kolkata, in my house, my directors that I worked with, gave me enough insight for Bhashkor. Also the fact that this was a character role as opposed to earlier efforts, which were leading men roles. Too much emphasis on the characterisation of Bengali in a Hindi film leading man, it was felt may not have been attractive. I thought and so did Shoojit, that this is how we wanted to play this character. In fact, there was a lot more Bengal in the performance during the shoots; but because it was a Hindi production, advisors felt we should try to keep it to a minimum in order to get a more universal clientele! What was really special in Piku was its writing and direction. You will find it hard to find a story in the film. It is just conversation, and that is what made it so attractive and special. Just normal banter in any household.

As an actor, which was the toughest scene for you in the film?
Each and every scene, everyday, is tough for me. I fret over it, get sleepless nights, lie awake thinking how I would perform it the following morning. But when you get on set and find a conducive atmosphere, a sympathetic director and such exceptional talent by your side, you find the moment exciting enough to perform to your abilities. Your colleague on set is the one that shall guide your performance. You could be the greatest actor in the world, but if your colleague is not competent, you could be reduced to just an ordinary performance. Praise for an actor’s performance can never come without complementing the one opposite.

You’ve always maintained that Kolkata (where Piku was shot) is very special for you. What are your most memorable memories associated with the city?
I shall need a book to describe all that to you. But let us just say that when you spend seven years of a very formative time of your life in a city like Kolkata, it shall be next to impossible to do away with memories associated with it. Kolkata has a charm of its own. Its people have the passion unseen anywhere else. Be it sports, culture, theatre, music or dance, their passion for it, is indescribable. Each time I visit the city, I sneak out to the places that I lived in, connect with friends that have remained behind, ex-bosses and their families, the lot. Nostalgia is a hidden component in us all. It does not need any provocation for it to be aroused.

The screen chemistry between you and Deepika is one of the film’s highlights. Did you both rehearse or was it more spontaneous?
Every bit of the film is rehearsed and at most times, unrehearsed spontaneity. It comes when all involved immerse themselves completely into the hands of the director. Our style of shooting was also most helpful in this regard. A 10-page scene would be rehearsed endlessly for one entire day on set, and then the next morning it would be canned (well now this expression does not have the same meaning; its more ‘stored in digital memory’) in a single shot with multiple cameras working, within minutes. That is what brought on the spontaneous nature. At times, I must admit, we did break into impromptu reactions and speech, and if it had the director’s approval, we stayed with it.    

You’re slowly tilting towards the more contemporary and unconventional cinema – Shamitabh, Piku and now Wazir. Is that a conscious call?
No, it is not a conscious call. Circumstances make you do that. The typical commercial escapist fare, does not, perhaps, have the need or space for such character-driven roles to be the main subject of the film. So you take what comes your way, and be thankful for it. I have been fortunate to be getting the kind of roles that you see. But this is not a conscious call. It is a phenomena that can be noticed the world over. 
Brando, one of the greats of cinema and a favourite of mine, played Corleone in a perhaps 15-20-minute appearance in Godfather. Played Superman’s father in a three-minute appearance and a renegade army chief for a minuscule moment in Apocalypse Now. And may I just add, that the lines that have been drawn to differentiate the ‘more contemporary and unconventional cinema’, with the commercial escapist fare, have never before been as close to each other, as of now.

With the universal success of Piku, do you feel the boundaries of commercial cinema have now expanded beyond the conservative definition?
Yes indeed. But it’s not just with Piku, it started some years ago, when the more, so-called ‘realistic’ cinema received attention beyond Indian shores. Audience maturity and their acceptance has more to do with it than any other. And may this continue. It shall bode well for most makers.  

Deepika recently had a huge success party in celebration of the film’s success. But you were absent despite being in town. Why?
I was not invited. 

Do you plan to keep a success party of your own soon?
Hahaha .. NO! I have never indulged in such practices on a personal level.  I shall be present, if asked, to attend another parties’ celebrations, but I have not done this for myself. Come over on a festive occasion – Holi or Diwali, it is an open house. Festivals are perennial, success transient!