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Payel
is giving Tollywood a much-needed
a force to reckon with
Bengali SCREEN
Thanks to a fresh crop of producers,
directors and scriptwriters, Tollywood is
pushing its boundary of the tried and the
tested. For example, in films mentioned
earlier, script was the king that determined
who would be cast in which role.
Manu Malhotra of Phoenix Cinemas Pvt
Ltd whose Uro Chithi is a hit says, “We felt
that the actors should fit the character
and should not look like a forced arrangement.
We needed someone to portray the
character of a mature mother and wife
who has had no time to look after herself.
Sreelekha perfectly fitted the description.
Even getting Sudipta-Rudranil and
Locket-Biswanath together was a casting
coup.”
But this does not mean that Dev or Koel
are losing popularity. It just shows that
rather than banking on mere star value,
author-backed roles are gaining more
acceptance.
Manu says, “I may cast Jeet and
Srabonti in my film. That’s not the issue.
But we we also want to churn out films
for a different kind of audience too.”
That is another factor of determining
the change — the rise of multiplex crowd.
While that category of audience always
existed but specific films to please them
were not made. Talking about changing
trends, Arijit Dutta of Priya Entertainment
says, “A typical commercial film requires
good music, dance and good promotion.
But we are now seeing a new genre of
films that are more urban and sleek. It
indicates that Tollywood has matured.
Earlier, artistes who would feature as
fourth or lower in the list are now up as
the first or the second.”
In the coming months, Tollywood will
witness the release of more films with
fresh casting. To name a handful, there is
Sanghamitra Chowdhury’s Someday,
Somewhere (Pauli Dam-Shaheb), Subrata
Sen’s Nondinee (Mir-Swastika-Dibyendu),
Birsa Dasgupta’s Jodi Bolo Hyan
(Parambrata-Paayel), Agnidev Chatterjee’s
Charulata 2011 (Rituparna-Samadarshi)
and others.
Parambrata
Reshmi
Sreelekha
Parambrata
K FACTOR 5
Friday September 2, 2011
Parno
Swastika