When this reporter saw Kaalidhar Laapata, our first reaction was to go home and ask our parents what is on their bucket list. When we ask the same of Abhishek Bachchan, who headlines the Zee5 film, he says there are too many things he wants to do but refuses to tell us what exactly. “I feel if I talk about it, then it doesn’t happen.” The film, written and directed by Madhumita, is the Hindi adaptation of the Tamil film K.D (2019). It follows a middle-aged man experiencing memory loss and a sense of abandonment after overhearing his family’s plan to leave him behind during a religious gathering. He then embarks on a journey during which he meets an eight-year-old orphan, and they set out to fulfil items on his bucket list. In conversation with mid-day, Bachchan talks about what drew him to the film, why Daivik Bhagela was the right choice as his co-star, and why understanding the economics of films is important.
What was your initial reaction to the narration of the story of Kaalidhar Laapata?
I just loved the way Madhumita had written the film and the way she wanted to tell the story more than just the subject matter. I loved her approach to it; she made it very human. I loved the fact that she was going to end up saying some very profound things — things that stay with you long after the film is over. But [she said] it in such a casual manner. The conduit of all of this is a 10-year-old kid. I found that very interesting.
We’ve often noticed that you have great chemistry with child co-stars. It somehow brings out the child in you. Do you agree?
You feel that? [Laughs] They do, right? I mean, just by their countenance alone, they kind of make you very carefree because they’re so innocent and not inhibited at all. So I think that does bring out a lot of the child in you.
Is that how you felt working with Bhagela?
Daivik is very sweet, but he’s an old soul. Immensely well-prepared. He’s a wonderful actor and has got a very bright future ahead of him. A lot of that has got to do with the fact that he comes from a very renowned theatre troupe in Bhopal, where we shot the film. His confidence is something else. When we were casting, Madhumita said that she needed a kid who just has to be the character — confident to the point of being overconfident and chalu. How do you cast a kid like that? And in walked Daivik. Before he could say anything, we were sure this is the guy. He had that X-factor in him, which was brilliant.
What was his reaction to you?
I don’t think it was anything much. Everybody told me that he might be intimidated, so I’d have to be careful and make it casual for him. So I thought I would have to handle him. Daivik walked in — he was totally cool. I was very happy with that. You always think, with kids you have to behave in a particular way. He was like a normal co-star. I’m not saying he’s mature or that he has grown up too fast. I’m saying that he was very well-prepared and embodied all the qualities that the character needed. He was not precocious at all.
What was it like working under Madhumita’s vision?
I had a truly wonderful time working with Madhumita. Her crystal-clear vision for the film, and especially how she intended to adapt the script from page to screen, was something I thoroughly enjoyed and found incredibly inspiring. I also deeply appreciated her insightful notes and her consistent focus on the emotional depth of the characters in every moment. It was a genuine pleasure collaborating with her.
What do you want people to see in Kaalidhar Laapata — the film, your performance, the child actor?
It’s always the film. It can’t be about me or the kid. No one aspect of the film is larger than the entire film. I just hope they enjoy it. If they have a smile on their face at the end of it, I’m already happy. I’m going to go tell Nikkhil [Advani, producer] and Madhumita that I’m done. [If people have] watched the film, gone home and asked their parents, ‘Hey, I’ve never asked you. You’ve done so much for me. What can I do for you? What’s on your bucket list?’ Then we’re flying.
Do you follow the economics of moviemaking?
Of course. You have to. I think it’s very important for people within the film industry too. I don’t agree that it’s important for people outside the film industry, though. When I go to a movie, I’m not going to see a hit or flop film. I go to see a good film or a bad film, and that’s what the audience should do too. I’m not too fond of the fact that today a lot of the film industry and media houses have made it into a business to report the numbers. That can’t be the discussion. The discussion has to be around: did you enjoy the film or not? I’ve seen Amar Akbar Anthony [1977]. I don’t know how many times I’ve seen it. I don’t know the collections of the film. I just know that it’s a very entertaining and fun film. So that’s the way a film should be for the audience. But as an actor or somebody who is part of the film industry, it’s very important to be cognisant of the economics because it is a commercial art. You’re selling a ticket; you owe them their money’s worth. So you have to be aware of that.
Did you know?
The original Tamil film starred Mu Ramaswamy and child actor Naga Vishal. He later won the National Award for the Best Child Actor in 2021 and Best Actor Award at the Jagran Film Festival 2019.