‘Via Darjeeling’ is a tribute to the oral tradition of storytelling: Arindam Nandy
Despite having all the ingredient of a perfect thriller, why “Via Darjeeling” takes a different turn? Did the cop make it all up or was he narrating a real incident? And why didn’t he light his cigarettes before smoking them? If you have been looking for these answers after watching “Via Darjeeling”, director Arindam Nandy shares his thoughts on his film in an online interview to Bikas Mishra.
“Via Darjeeling” director Arindam Nandy on the sets of the film
I love thrillers, but ‘via darjeeling’ is more of a tribute to the oral tradition of storytelling that I have grown up with… the tales from the Ramayana and Mahabharata and many others. I was fascinated by the way a story changed form and colour once the time, place and storyteller changed. While in school, we played a game where a set of students will stand in a line and one would whisper something in the ears of the first in the line. He in turn would attempt to whisper the same thing in the ears of the boy standing next to him. Eventually, the ’something’ would be a completely ‘different thing’ when the last boy would say it aloud. This, I thought, was interesting.
We choose to retain and pass on things that we wish to or choose to remember. Not necessarily what is right. In fact, there’s no right or wrong here. My years as a student of Comparative Literature enhanced my sensibilities and I was in love with the oral epics of the world. This film is a tribute to all those Homers and Valmikis of today who could fire up a rainy night only with stories.
We’ve seen films where a story is approached from multiple viewpoints, however, in your film all narrators except one (the cop) has nothing to do with the actual dramatic premise (the disappearance of the husband), why so?
The cop is the first in line. He spins a yarn as well. Others follow. The editor claims that he too is a part initially but when he finds out that the two other guests that evening are going to be late and the rain isn’t going to stop in a while, he breaks into a story to while away the time. Especially after the arresting story they’ve just heard from the cop. And who ever said that the cop was telling you a true story? This is so very typical of ‘addas’ in Bengal.
Is Via Darjeeling an indulgent work of cinema, where more than telling a story you’re concerned about playing around with the medium?
This is a form of cinematic narration first tried by Akira Kurosawa in 1950. There have been many instances of this technique used in many films…Sliding Doors, Run Lola Run, Vantage Point…this one happens to be another one in the same genre. Many critics have been comparing it with Rashomon alone… ‘Indian Rashomon’ someone said. That’s nothing but ignorance.
You’ve managed to assemble quite a few good actors, was it difficult getting them all on board?
Not at all. They were quite receptive about my narration and was on board instantly.
How did the idea of cop smoking an unlit cigarette come to you? Was it in the script or happened during the shoots?
At the script and dialogue level. (We were scared whether the Censors will allow so much of smoking and drinking, so, tried something funny to make them happy.)
Was it difficult to find a producer for such a film? How did NFDC come into picture?
Initially, yes. It was thought in Bengali then. People loved the script but was apprehensive about the end. I would not compromise. Then Joy and Soumo Ganguly, brave brothers set to change the way people look at films made in Bengal today, came aboard. They insisted that I don’t change the ending and supported me all through.
Almost after one year it was first screened at festivals, the film is getting released, were distributors reluctant to take the risk?
Not really. The producers were busy with their second project and we decided to wait and do the rounds of more festivals.
Do you plan to continue making films like Via Darjeeling, where you tend to experiment with not only plot or story but also cinematic structure?
The next two will be completely different from ‘via darjeeling’.
Have you started working on your second film? Can you share some details on it?
Sorry. Too premature. But will continue with the theme of ‘deception’ as we see in ‘via Darjeeling’, I guess.
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