You rarely step in front of the camera. What made you act in Paatal Lok, Season 2?
I acted in school plays a long time ago. But ever since I became a filmmaker, acting was never on my agenda. However, my close friends have known for decades that I have a knack for mimicking characters. Once Basu Chatterjee offered me the role of a Japanese astrologer in the television serial Kakaji Kahin (1988), and I obliged. Several fellow filmmakers have approached me with acting roles, usually for characters with a northeastern look, but I invariably declined. Often, such characters are introduced merely for comic relief, and I don’t appreciate that approach.
When the writer of Paatal Lok 2 narrated the script to me, I felt the story was genuine and presented the Northeast with authenticity. The writer, Sudip Sharma, grew up in Guwahati and, more importantly, understands the sensitivities of the region. That convinced me to accept the role.
Is acting a challenge for a director?For a filmmaker, acting in a film is a beautiful experience, it brings a realisation. It is easy to shout at actors from behind the camera, but once you step in front of it, you truly understand the difficulties actors face. Playing Uncle Ken was particularly difficult. He is physically worn out, battling terminal kidney cancer, yet remains mentally strong. I was given a walking stick, but I had to portray a character with a strong mind.What’s your take on the portrayal of Northeast India in mainstream Hindi movies?
It’s a two-fold issue: how the rest of India perceives the Northeast and how the Northeast views the mainstream, particularly cinema. For many filmmakers, the Northeast feels like an alien region, as though it is from another planet. Hindi cinema, driven by commercial interests, often overlooks themes or characters from distant regions because the market dynamics don’t demand it. This is a misguided perception, but that’s how films are made.
Is that the only reason we hardly see Northeast faces in Bollywood? Are language and accent a barrier?
Language and accent are not a problem at all. In the realm of visual arts, audiences often embrace diversity in language and accent—it’s seen as something beautiful. The real issue, I feel, is that many young talents from the Northeast, though full of dreams and talent, lack the aggression required to enter and survive in Bollywood. Danny Denzongpa (an actor from Sikkim) is an exception. Despite many obstacles, he carved a niche in popular Hindi cinema. The challenges are clear: most people from the Northeast have distinct physical features, which lead to discrimination. However, we must recognise that discrimination can happen anywhere in the world.
As someone from the region, does it hurt you?
Yes, it hurts. I recall popular actors and filmmakers asking me, ‘Is it safe to travel to the Northeast?’ That kind of ignorance hurts me. For decades, the perception was that we lived in jungles. But I don’t want to solely blame filmmakers. The entire system is at fault.
What do you mean by the fault of the system?
To a large extent, political leaders—particularly from Assam and the Northeast—have allowed such ignorance to seep into society. For many decades, Indian history textbooks didn’t even include a chapter on the Northeast. Did our own leaders address this with the Central government? No. The Northeast has a rich, vibrant history. When society is ignorant about a region, it manifests everywhere, including in Bollywood. The Northeast may have been politically integrated into India, but social integration is still far from complete.
Why is Bollywood reluctant to explore the Northeast as a destination for film shoots, even though the insurgency has receded?
I believe there should be more films and series that feature Northeast themes and actors. The state governments in the region should encourage such initiatives.
