Yes. I tried to look at today’s Apu. It takes off from Bengal, Bibhutibhushan and Ray.
How have Bengalis reacted to the film?
I think they are waiting for a breakthrough. They are tired of ’60s values. In music there has been a sea change, but not otherwise.
Do you see a perceptible change among probashi (expatriate) Bengalis?
Yes, they have broken away from the sentimental stuff we were always known for. In music we no longer sing in the typical ‘naeka’ style. Then why not in cinema too?
What ails them?
They live in a time-warp, or believe that urban audiences identify with arthouse culture. Why have we chosen to stop celebrating?
You belong to an era when references to the City of Joy as dying offended people.
I do belong to a Calcutta which had dynamism, sense of wit and a boisterous attitude towards life but I am not over-sensitive about my city.
Do you see changes anywhere in India?
There is a positive change in other places—communities are opening up to other cultures.
Was the happy-go-lucky feel of The Bong Connection intended?
I wanted to make a funny film and not pose to be a pseudo-serious filmmaker.
Were you ever a Bollywood fan?
I don’t like typical Bollywood. South Indian cinema is international, Mani Ratnam is an example. Films like Rang De Basanti are interesting. In Bengal, there’s nothing to talk about.
So Bollywood has stolen a march over Bengali cinema?
Absolutely!
Would you be making Hindi films then?
Yes, but based in Bengal, where there are other communities also.
