Yogesh Mishra | yogesh@bollywoodtown.in
In filmmaker Priyadarshan’s Bhooth Bangla, Rajpal Yadav, who has delighted audiences for decades with his comedic prowess, returns in a different kind of comedic role. Yadav has worked with director Priyadarshan for a long time, whether it was on Bhool Bhulaiyaa, De Dana Dan, Hera Pheri, Hungama, or Malamaal Weekly. In an exclusive conversation with Yogesh Mishra, he discussed his part in Bhooth Bangla, his collaboration with filmmaker Priyadarshan, and whether or not he believes in ghosts.
From Malamaal Weekly to Bhooth Bangla, what changes did you see in Priyadarshan as a director?
In Priyan ji (Priyadarshan), I saw ten times more energy than what I saw 20 years ago in Hangama. He is a wonderful man. He is so gentle. He can play any character, whether it is a four-scene or a forty-scene. But he can properly culminate every character and give it direction. Especially in the comedy of errors, the films that are made. And Priyan ji, one of the best things about him is that he has never—someone who has been working with me for 25 years has always given me a great idea. Always. He has never said a line, even in a joke, that made me laugh. And the thing was such that no one would listen to it. I mean, I always feel that cinema has been going on for thousands of years. But I get that line. I made an expression for it. That I should get a line in which the child laughs as much as the old man laughs. And the young man laughs as much as the old man laughs. And whether he is male or female. So, I always feel that if he laughs, then I will laugh. If he doesn’t laugh, then there is something missing in your ability to make others laugh. So, there is a chance to learn in that.
What is comedy/laughter according to you?
When laughter comes in its pure form, that cinema is called class cinema. And in which there are emotions. In which they say that. Now let me give an example. There was Birju ji Maharaj. When I was young, I used to watch him. The way he used to walk. But at the very end, when he used to say it, you must have seen it too. But at his old age, he used to compel the people in the hall with his emotions. See how he is doing. So that thing gives me pleasure. Which is without any selfishness. Which is supported by something. And it makes your body and mind tickle. So, we call it the king of laughter. Which is called laughter.
Which director gives you the most comfort with whom you have the most freedom to improvise your scene / dialogue?
With everyone. Because I am an actor. So, I know that I have to stay within this boundary. I have been given this role. So, the role did not get spoiled. The screenplay did not get spoiled. The scene of the story did not get spoiled. And the scene should look alive. Most of the time, we misunderstand the meaning of improvisation. That we said our lines. That is not improvisation. No, you wrote four lines. And we put our line into it. That is improvisation. Because the words are the same. So that if you add the words, then the screenplay will be different. The story turns here. So, for that, fill in the blank. If the emotions are in tune with the words, then that is the best improvisation.
Pick any of your films; it seems that the director’s input is less and Rajpal’s input is more in that. What’s your comment?
No, the director’s input is more. I cannot change any line, scene, or anything if the director does not want it. I am an actor. And the actor is Rashi Ghoda. Then if I meet any jockey, I want to respect him. The actor is the actor, the director is the director. And there is a script, there is a concept, and there is an interpretation of the director. And the actor has the power to take that interpretation on his back. So, we believe in that. That Rashi Ghoda never depends on the jockey. The feet of the jockey tell how Rashi Ghoda will work. So, this is the combination of a director and an actor. So, when we try to be a director, then the horse and the jockey can work together. But if the jockey is only on the line, then I think that I am fortunate with Priyan ji; seeing Priyan ji’s eyes, I know what they want inside. Just like Ramu ji (Ram Gopal Varma), just like David Dhawan ji.
How different is Bhooth Bungla from other horror comedies?
Absolutely different. All our characters were different. And the character of Bhooth Bungla will also be different. And the name of the character and the sense of the character will also be different. Because in our society, there are 140 crore people, 700-800 million people in the world. If an actor plays 500 characters in his life, then he can be found in one building. He drives a rickshaw, he drives a plane, and he runs a club. He can be found in 500 characters. In Bhoot Bungla, with Priyadarshan ji, there is a kind of tuning; Pridarshan ji is such a good actor that every actor is afraid of him. And he communicates very well. From Mohanlal Ji to these big personalities, he has a very long journey. In almost 99% of his films, he has been a super hit in his career. And he has always used a variety of actors. Priyadarshan ji knows the body language of every actor. And he gets the best out of it.
Do you personally believe in ghosts?
Many times, I felt so. I used to shout a lot, but I couldn’t shout. And then I thought, many times, I was running, but I couldn’t run. See, there are souls. The soul is eternal. The soul has never died. There are two types of souls. One is a negative soul, and the other is a positive soul. Now you know, if you die, these souls will also live.
