Online edition of India's National Newspaper
Thursday, Aug 09, 2007
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Front Page
Marcus Dam
Buddhadeb Dasgupta.
KOLKATA: “Any award, national or international, is something which makes a person happy but chasing them can be dangerous. … once they’ve trapped one, one’s gone,” says film-maker Buddhadeb Dasgupta whose Bengali film ‘Kaalpurush’ (Memories in the Mist) won him the National Films Award 2005 for Best Feature Film, announced in New Delhi on Tuesday. “They [awards] give one a false sense of extra-confidence which has spoilt many a talent and has so often been the case in Indian cinema,” Mr. Dasgupta told The Hindu in an exclusive interview here on Wednesday. “It is good to win them but you must forget having won an award before you have started on your next work. The problem with awards is they often stop one from moving on. True success resides in that zone where awards do not exist; to which one needs to travel.” For Mr. Dasgupta, his next work is yet to start. “The vessel is now empty and it is time to fill it with water once again. Till then, I am not sure what I will work on next. At the end of each film I feel so very lonely. It is such a nightmare,” he said even though his latest film, ‘Ami, Yasin Aar Amar Madhubala’ (The Voyeurs) is billed to be screened at the Toronto Film Festival’s Master of World Cinema section next month. He might be a “happy” person with his most recent achievement “but the unhappiness will continue till I have made that film which still remains within my mind, my system and in my fate — one till now only I can see.” “I keep searching for new images that will give it shape, images still remain unknown, and only after I have made that film will I be truly happy,” Mr. Dasgupta said. His award-winning film questions what success is. “Failure is not always failure and behind successes there are stories you can’t always tell.” It is a story of human relationships “in which we live with unheard answers to untold questions, it’s about things fathers and sons want to tell each other but for which time does not wait.” Weaving its way through the film is the “element of extended reality,” something that has “dominated my thought and style, whether in cinema or poetry.” “The technique of my filming is taking drops of reality and drops of magic in a glass and shaking the mixture well to come up with a compound that is neither real nor unreal,” said Mr. Dasgupta.
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