If one goes through veteran actor Pankaj Kapur’s recent filmography, one might conclude that he has become quite selective. Last year he had a minor role in the ZEE5 thriller Lost and gave an impactful performance in Anubhav Sinha’s Bheed. In 2024, he reunited with Sinha for the recently released web series IC 814: The Kandahar Hijack.
He will next be seen in Varun Dhawan’s niece Anjini Dhawan’s debut film Binny And Family, in which he essays the role of a disciplinarian grandfather. During our conversation, Kapur stressed that he is very particular about not being typecast.
Maybe that is why his choices can feel selective. Among other things, we spoke to the National Award-winning actor about the updated form of Parallel Cinema, what he learned from the current generation of actors and the dearth of satire in Hindi films.
Excerpts:
What got you interested in Binny and Family?
The way the story was being told and written by Ssanjay Tripaathy (director) was very appealing. Moreover, the character I was offered felt very close to life. When I read the script, I felt like being a part of this film.
You have been part of the industry for over 40 years now, how has your process of choosing a script changed over the years?
The definition of a good or a bad script hasn’t changed much. The measure of a script depends on the aesthetic sense of the one who is reading it. A good script is defined by how much it touches you when you read it and while reading it how much you feel that ‘This needs to be made’.
The thing I am most wary of while reading is typecasting. If somebody approaches me to do something I have done before, I don’t entertain them. I always strive to be part of stories which has characters I haven’t played before.
The film is about the generational gap. How do you see it in your personal life? What, in your opinion, can two different generations learn from each other?
I think it is important to accept that the younger generation knows better. The previous generation should try to gain from their knowledge and maybe offer their wisdom. When I strive to learn from the new generation, it makes it easier for me to work with them.
And what do you learn from the new generation of actors?
The best thing about today’s actors is that they come to the set well-prepared. I have had experiences before where a co-star hasn’t prepped. The actors I work with today have read the script, have worked on the scene and they have in-depth discussions about their characters with the director.
You have been a part of many films which formed the Parallel Cinema movement. There was a time when there was a divide between content-driven cinema and commercial films. Now, it feels like every film has to have a commercial viability. There are fewer films now with the essence of Parallel Cinema. What is your take on this?
I don’t think Parallel Cinema is dead. It has just changed its form. The makers have now adapted ways in which their content can be better consumed by the audiences and they can also recover costs. Similarly, when it comes to mainstream cinema, we have come past the time when formulaic films were the only ones being made. Now ‘content’ has become a part of mass-market films as well.
This is a great thing that both kinds of cinema - content-driven and mass-appealing - are learning from each other and can now co-exist. Another boost that has been given to Parallel Cinema films is the rise of OTT platforms. Now, these films, which are decades old, can be seen and appreciated by the viewers and will hopefully make them want to see more such films.
Since we are on the topic of OTT, when streaming services started in India, it seemed like there would be a boost in content-driven cinema. However, in the past few years, it seems like even OTT has been taken over by big production houses and only series and films with A-list actors are being greenlit….
This is nothing new. It is something that happens the world over and it will continue to happen. What sells is what is made. Producers will put in money from where they can recover it. Moreover, OTT platforms started off by creating an identity for themselves and now they are encashing it. I think what they are striving for is a balance. They want some films to cater to one section of the audience and others to another section.
Back in 2001, you led the popular satirical TV series Office Office. It was a show which was not just funny but exposed the rot in the bureaucratic system. Don’t you feel we have stopped doing satire in cinema? Is it because people have become less tolerant of opposing opinions and are very quick to express their disagreement on social media?
I am not on social media. But I guess you have yourself analysed the question and presented an answer. But, all of this is just a phase. It was not like satire was always there in cinema. It sprung for some time and then faded away.
Today, larger-than-life films are being sought after. It’s their time. Maybe, sometime later, all of this will go away and something new will come up.