Anjan Dutt was more popular as a musician than as a film personality to the Bangaldeshi audience until very recently – since when DVDs of Tollyganj films have been readily available here. Many of us might not be aware of the fact that the living icon of contemporary Bangla music, actually began his career as an actor through Mrinal Sen’s 1981 film “Chalchitra.” Later, with the legendary song “Bela Bosh,” in his first album “Shunte Ki Chao, Anjan Dutt-er Gaan,” he evolved as one of the pioneers who wrote the history of contemporary Bangla music.
Anjan, who, through his directorial projects like “The Bong Connection,” “Ranjana Ami Ar Ashbona,” “Dutta Vs Dutta” to name a few, made his mark as one of the most demanded directors for the urban audience of Kolkata, is here in Bangladesh to direct a new flick titled “Mon Baksho.”
The film is going to be an entirely Bangladeshi production in which quite a few of Dutt’s close co-workers and singers from Kolkata will work along with Bangladeshi actors, singers, and crewmen.
Dhaka Tribune had the opportunity to talk to the accomplished artiste in his visit to Dhaka.
What made you make a film in Bangladesh?
I was getting bored of making Kolkata based films, and was thinking of making films outside Kolkata. I even thought of making a film in Bollywood. That is when Tushar Abdullah approached me with his script. The script itself convinced me to do so. It has many shades of gray and a director like me is always allured by such features in a script.
Is it going to be an ‘arthouse’ urban film?
I’m not here to make a bizarre film, which will be praised in festivals only. I make films for my audience who are modern, who welcome experiments and also look forward to being entertained in the theatre.
Not a typical art film. I admit that Rituparno’s films inspired me to make films like “The Bong Connection.” And if you observe Ritu’s films, those are not typical arthouse films. There is a fine blend of commercial and artistic elements. Just like Suman or my songs did in the early ‘90s. No one questioned about the artistic value, and our albums sold over a million copies.
Similarly, in my films you will find big stars beside good actors, meaningful lyrics with funky music, sensible story with amusing presentation. I term my films “commercial art.”
Why don’t you do music in your own films?
I always assign my son Neel with the task because he knows how to make commercial music for films. Films always have a commercial interest, and I don’t want to fail my producers.
How could a group of modern, off-beat film-makers create a market in Kolkata?
It is because there was a huge gap in the market, the audience identified it, and they demanded for the “change.” From my realisation, the demand should be addressed by the audience first, then you can make a difference. The next level is how you are making the mixture of the mainstream way of entertainment and your original thought.
Do you think such change is possible in Bangladesh too?
Yes, obviously. I saw a few brilliant Bangladeshi films, like Matir Moyna and Bachelor. A bunch of talented directors are here, and how the urban audience here loves our films prove that there is a growing demand of such a chage. Its just a matter of time.
The exchange between Bangladesh and Kolkata is always a hot topic in the media. What is your opinion?
We speak the same language, and our artistic orientations are also similar. This, obviously, demands exchange that benefits both sides of the border. But the governments of the two countries stick to some issues that are not helping the exchange. We really want governments to solve the issues, and create a larger market.
