From portraying the role of ‘Lottery’ in the BAFTA-winning film Monsoon Wedding to playing a crook in Looop Lapeta (an adaptation of the award-winning German film Run Lola Run) actor Dibyendu Bhattacharya has come a long way in his two-decade-long stint in the Indian film industry. The rise of OTT platforms has given the actor—his recent performances in Undekhi, Rocket Boys, etc., have been appreciated—a new lease of life. In this interview, we speak to Bhattacharya about his roles, the OTT revolution, etc.
Excerpts...
You are a National School of Drama (NSD) graduate. Tell us about that time?
It was a completely different world. We had some great teachers. There was a zest to work 24x7. I experienced a different kind of freedom—learnt new things and explored avenues. We got to watch international films and performances; NSD opens these options for you. Those three years went by in the blink of an eye. That was a time that I recall with nostalgia. It was a period that one may want to experience again and again.
What do you consider before saying yes to the characters you portray?
The freedom to choose roles was not there in the beginning (laughs). I did what I got. But throughout, my roles have been challenging. Even if it was a one-scene role, it would be comparatively difficult. It is easier to portray a big role than a small role. The director expects more from you since you just have one scene. I have become accustomed to such challenges since the start.
Before working on any role, I think that I will introduce something fresh to the character. When I did Bahrupiya [from Ray], I just had one scene but that was the crux of the story; it had to strike a chord with the audience. Moreover, I try not to tie myself to one type of character. I can do positive, negative, or grey. There are dimensions [to a character] that an actor must be willing to explore. When it comes to choosing a role now, I don’t want to be typecast, I want to explore. I usually don’t reject the roles that come my way. I am certain that I will be able to add nuances to a character, make changes to it and add something fresh, and bring something new to the audience.
What do you think about the OTT revolution?
OTT is a content-driven industry. Content is king and good performances are valued.
The OTT revolution also takes me back to the time of the New Wave in Indian cinema. There were a bunch of great actors—Om Puri, Naseeruddin Shah, Shabana Azmi, Pankaj Kapur, Smita Patil—and a series of great directors like Saeed Akhtar Mirza, Kundan Shah, Shyam Benegal, etc. They would work as a group. OTT works similarly; it gives space to realistic artists...those who want to take the story ahead and not just glorify their own stardom. The idea of genuine stardom, as prevalent during the New Wave, is making a comeback.
Tell us about your role in Khuda Haafiz Chapter II: Agni Pariksha.
It was a great experience. Faruk Kabir is a great director. He’s like a friend to me. My role is small but salient to the plot. I’d say it is a different character. A noble person, mischievous at times. There’s a great scene with Vidyut [Jammwal]. He is a great actor who believes in teamwork.