Probashi- Cover Story
Probashi- Cover Story
Excerpts from Production Controller’ s Diary added that they did not perceive any trouble at the shooting, since people in Goa are used to film shootings and do not mob film locations. How was I to explain to the SHO that the main motivation was not security concerns but Mithunda’ s Kolkata celebrity hangover. Undettered, next I went to Police Commissioner’ s office to try my luck. The Commissioner was again point blank and said that there was a student agitation going on in the town and that he would not be able to spare any police men, and further added that there was no security threat to Mithun in Goa. At this I blurted out the truth to the Police Commissioner saying that actually Mithun Charaborty will not shoot if there were no policemen on the set. The commissioner gave a hearty laugh and probably taking pity on my rather nervous state said he could send two traffic policemen for a day, if that would make the star to cooperate. I agreed, though I had my doubts whether traffic pokice would be acceptable to Mithunda. Now those who have seen Goa traffic police will appreciate my reasons for doubt. Traffice cops in Goa wear half blue pants, have a blue Gandhi cap, are generally frail, and look like grown up school boys in uniform. But then I had no choice, so I agreed to the Commissioners suggestion. The two traffic policemen came along with me to the film set. I went to Mithunda and with all deference said that police protection had arrived in form of two traffic policemen, half expecting Mithunda to blow up. However instead Mithunda smiled and seemed content that the security arrangements were fool proof. My immediate problem was resolved, now I had to think what to do for the next day, because the policemen were only available for a day. They say necessity is the mother of invention, and it rang very true this time. We had some police uniforms in our costume inventory, I requested two waiters at the hotel we were staying to wear the police uniform and come to the sets and act as if they were real policemen. They were to ensure that MIthunda saw them ocassionaly, and for their whole day effort each man would get Rs. 100. So from next day onwards there were two cops with a smart turnout ready to take on any security eventuality that might befall. And needless to say the 12 day shooting went on without a hitch.
4 May 2000: Last evening I and my friends had an impromptu adda( leisurely discussion) session. My friend Bishu remarked with his usual drawl“ Surajit it is time you tried your luck in front of the camera”. I said that my experience teaches me that acting is not very easy; otherwise everyone would have become an actor. It is to the credit of good actors who make acting look easy, but in practice it is difficult”. I went on to give an example to substantiate my contention. Goutam Ghose till recently used to host a television talk show titled Onnobhuban, where he used to invite people from professions which are not mainstream and ask them to talk about the story of their life and work. Incidentally I was the production controller of the show. One of the episodes featured Rekha, a sex worker from Sonagachi, the red light area off Kolkata. Lata also happened to be the joint secretary of Dourbar, an organisation of sex worker which works for their rights. Rekha impressed all of us by her articulation, voice modulation, body language and confidence in front of the camera. Few months later Goutamda’ s film Dekha went on the floors in which the main protagonist Sashi Bhusan Sanyal( Soumitra Chaterjee), an ageing poet, is a womanizer. The shot which we were preparing for had Sashi Bhushan pick up a sex worker and usher her into his house. We were on a look out for an artist to do the role of the sex worker. I reminded Goutamda about Rekha. Goutamda immediately liked the idea of using a real life sex worker for the role. It appeared straight forward; Rekha had to do in front of camera what she does for a living. On instructions of Goutamda I went to Sonagachi and located Rekha and asked if she would like to act. She immediately warmed up to the idea. After a week, I took her to Aurora studio where the shooting of Dekha was taking place. Rekha was confidence personified, the makeup was done, and some elementary tips on emoting before the camera given. It was a trolley shot, and the scene required Soumitroda to beckon Rekha to his room with the dialogue“ bhetorey esho”, and Rekha was to respond by walking in. On face of it the scene looked simple and straightforward. The camera got rolling, Director shouted action, lights were set on, and sound recordist had his equipment on the cue. Soumitroda beckoned Rekha to come in, and then to all our surprise, Rekha just would not move, she was perspiring, trembling, was disoriented and collapsed. Water was rushed in and she was revived. For next two days we tried, Rekha, who otherwise a very confident person would just