There is something simple and irresistibly charming in Manoj Bajpayee’s personality that draws people towards him. Ashish Vidyarthi introduced me to him and an instant friendship struck, which continues to this day. I worked with him for the first time in the TV series Kalakaar in 1994-95. He has grown as an actor, remains brilliant, and understands his craft. I have learned from him the importance of interpreting the character. A character cannot be mimicked. You have to internalise that character to get a 360-degree, onscreen interpretation—physical, mental and emotional. That is something I have observed in Manoj and learned from him.
From Dil Pe Mat Le Yaar!! (2000) to Aligarh (2016), I have also observed his intense involvement with his character since his early days, so much so that he would carry the character with him even after shooting was over for the day. It was almost like a burden he would carry—as if his entire being was taken over by that character. By the time we did Aligarh together, I found him far more relaxed and at ease with his craft. His process was not as transparent as before. He still follows the process, but enjoys the company of his co-workers. He is, I dare say, a lot more fun now.
For Aligarh, Manoj was not the first choice. Other names were bouncing around. When Mukesh Chhabra (casting director) suggested his name, I went to his house, and discussed the project on his balcony. It was done; as simple as that. I knew whether he was playing a 40-year-old or someone in his 90s, he would deliver with his own interpretation. I knew it would be beautiful. I was that confident. What happened next was way beyond my expectation. It was magical. Watching an actor in complete control of his craft is an absolute pleasure. That is why I was angry when Manoj did not get the National Award for Aligarh. I won’t mince words. I am still angry. This was his best performance to date. Of course, he won the APSA award in Australia and many more for Aligarh. But I feel the National Award was denied to him by people simply side-glancing the merits of entries.
A lesser-known thing about us is that the story of Gangs of Wasseypur (2012) came to me first via screenwriter Zeishan Quadri and his co-writers. They approached me and I expressed interest. I thought it was a great idea. I went to Manoj and asked him to play the protagonist. He agreed and also offered to invest if I was serious about the movie. But it was not the best phase of my career and I couldn’t raise the rest of the money. Anurag Kashyap made the film, ultimately. When Anurag was about to take over, we spoke and I made a request: “I hope you will cast Manoj.” Anurag did not commit instantly, but he did take the call. I was happy because Gangs of Wasseypur steered the resurgence of Manoj Bajpayee.
Like so many things in life, Manoj and I had a childish fallout after Dil Pe Mat Le Yaar!! We were not talking for many years until we faced each other in 2006. I was heading Sanjay Gupta’s production company at the time and Manoj was doing its Dus Kahaniyaan (2007). After so many years, we spent an evening together and amid clinking glasses and laughter, we wondered why the hell we wasted so many years not talking to each other. As a director, my methods are democratic. I give a lot of freedom to an actor. I create an environment for the actor to fully blossom. Manoj is that sort of actor who explores his characters to the hilt. We had a blast during the making of Aligarh in Bareilly. It was winter and the chill was too much for him. Yet it was fun. I sort of rediscovered the kind of bond I have with Manoj.
Manoj is the superstar of OTT now. This is a worldwide trend and has happened to actors such as Jonathan Hamm—Don Draper in the American series Mad Men (2007-15). Pratik Gandhi became a star after my web series Scam 1992. I am getting my due because of OTT. Why should I deny it? Manoj and I celebrated the moment during the lockdown. We began our lives together. As an artiste, you want the world to recognise your worth. I think he deserves every bit of what he is getting and much more.
(This appeared in the print edition as "The 360-Degree Character")
(As told to Giridhar Jha)
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