It’s been 30 years since Vinay Pathak made his foray into films, with a one-scene role in Deepa Mehta's Fire (1996). Over three decades, the actor has gradually built an enviable body of work, with films like Bheja Fry (2007), Khosla Ka Ghosla, (2006) and Chalo Dilli (2011) among many others. And yet, there is an air of detachment and self-effacement in Vinay’s words, as we speak about his journey in the industry and his latest work Everybody Loves Sohrab Handa, among other subjects.
In Everybody Loves Sohrab Handa, directed by Rajat Kapoor, there is a horde of renowned actors — Ranvir Shorey, Rajat Kapoor, MK Raina, Saurabh Shukla, Sadiya Siddiqui, and many more — and the script carries many scenes with these characters talking over each other. Does such a narrative leave enough room for improvisation or instinct? Vinay is quick to correct us. “The scope for improvisation is determined not by the script, but by the director. They decide everything. And the kind of writer and director Rajat is, he allows his actors to explore, which I find very interesting. And there was plenty of freedom in Everybody Loves Sohrab Handa too.”
Vinay speaks at length about his long association with Rajat. “The good thing is, we were friends long before we became creative collaborators. Now, we regularly do theatre together. More importantly, we like each other - so, a lot of it gets solved through our friendship.” And yet, the two haven’t collaborated as actor-director on too many films, Mithya (2008) being their previous collaboration. Vinay says, “My absence in Rajat’s films is my misfortune, not his. To be fair, he always wanted to cast me — but for one reason or another, things didn’t work out. Ankhon Dekhi is a particular favourite of mine, and I wish I could have worked in it. Sadly, I was committed to some other project then too.”
Vinay’s work in movies includes a wide range of challenging roles — be it a defiant optimist in Challo Dilli, a loyal yet wounded friend in Khoya Khoya Chand (2007), or an ageing man fighting for justice in Gour Hari Dastaan (2015). Vinay, however, describes his work in theatre much more challenging than cinema. He elaborates, “As an actor, you indulge more in theatre. Film is the medium of writer and director. Even if you find things difficult there, the director will come and guide you. He will tell you, ‘don’t think too much. My camera is focusing on the clouds.’ That’s the extent of our emotional indulgence in a scene. Whereas on stage, even the director is sitting in the audience. At the time, whatever you do physically, it’s live and out there. And sometimes, you discover new things of your own.”
The Bheja Fry actor also admits that he doesn’t like to rewatch his films or think about his work too much. There is no big philosophy to it, he insists. “There are many other good, beautiful things to do and think about. I would rather read a novel which I couldn’t get to in three months. The idea of thinking about yourself day and night makes me nervous. It’s too self-involved.” At the same time, Vinay asserts that it should not be mistaken for being laidback in one’s approach to cinema; he merely refuses to ascribe too much importance to his profession. “I do my work with utmost focus and sincerity. But actors grow and learn just like any other human being. Why put them on a pedestal?”
Vinay’s career particularly peaked around 2006-2012, a time when there was great space for off-beat films. And yet, some of his better performances in films like Island City (2015) and Dasvidaniya (2008) didn’t get their due recognition. No film artist wants to be confined within a certain niche, Vinay says, adding, “It’s only in the post-analysis, especially by media, that we end up categorising films into ‘artistic’ and ‘commercial.’ Also, we have no control over any film’s outcome. So why bother overthinking it? What use is it, anyway?”
In his 30-year career, built with many small stepping stones, was there any one project or career-phase that gave him a sense of breakthrough, a feeling that he had arrived? With his characteristic self-deprecating humour, Vinay says that such a moment is yet to arrive. “There is no time for these thoughts or realisations. Everybody Loves Sohrab Handa has just released, and we are already amidst preparation for our next play. The nerve-wracking moments have begun: How will we do it, and how long will it take? So, these struggles are ongoing,” he concludes.