Screenplay, Editing, Direction: Aneek Chaudhuri
Executive Producer: Marie Adler
Music: Saikat Chattopadhyay
International Presenter: Adler and Associates
The Wife’s Letter is no more a script turned into a knitted affair with the celluloid; this is something else than what was actually perceived. I was confident, so was the team with its success in the festival circuit but it has taken a posh route in doing so.
Everything began with the onset of Durga Puja rehearsals last year when I was preoccupied with Rabindranath Tagore and his poetry. You know that’s what happens when you hold upon the role of ring-master in any event, and same was my role last year. However, I could hardly let off this sense of absorption get wasted. Then when the period of inception emerged for Streer Potro, now known as The Wife’s Letter.
Well, by then my first feature length movie had not been in-line; therefore, I was a bit shaky when it came to directing Streer Potro as a feature length movie and I preferred to wait. But that wasn’t for long! Cinema Bid Adieu was turned into a 75 minutes-film and was premiered at Netherlands. It was followed by my first limelight piece, Urban Voice based on the life of Urban Folk musician, Susmit Bose and was warmly received by the audiences when screened in Kolkata, as well as in Delhi and other parts of the world (including I.L.O.). Comic Fingers was next in-line which narrated the life of a cartoonist and also, echoed the significance of freedom of expression in a very, what we may say as ‘sarcastic’ way. The Wife’s Letter was in shelf by then and still had four months for the shoot. Unexpectedly, confidence was powering up my senses, my nerves, my conscience and every part that would take a page long to jot down. The film was crafted into a feature-length film.
The whole process of reconstruction was done just after the screening of Urban Voice in Kolkata when Kaushik Roy and I had a slight bit of conversation. I always had him in mind but on the same hand, I wasn’t sure about the money chops. Hence, I had to back-out; however, things were once again unexpected. It was a call from Kaushik da expressing his will to work with me, and considering my worries, he accustomed to all the factors quite well. The second lead is Diganta Nag who was once again a coincidental character in this film, when I had to deject a boy in terms of indiscipline and lack of seriousness and Diganta roped in for the role. Prior to this, it is worth mentioning that Diganta and I had no more than a-minute-talk. Circumscribed by method acting, lots of innovation in extempore and a belief in him, I took no turn back. But I needed some sort of documented script to let them know that I was following some screenplay. However, most of the script was altered on sets!
Now after some three months of the completion of The Wife’s Letter or Streer Potro, we are acting as observers to our laurels worldwide! It does not seem good to me, it acts as a alarm to do much better next time.
I feel better when viewers are at tiresome grounds on congratulating us… I feel even better when they have no words than plagiarising the same content of greetings again and again. Monotony has overpowered us and this kind of a melancholy is indeed fruitsome!
I am often asked for the documented screenplay of my film. Shall I reply, “I never followed one.”? The film is an exact replica of what my heart coordinates with brain and this is the magic of Cinema for me. Moreover, I know that I might not be able to depict a similar kind of film again in the next five years at least.
I still remember the rehearsals when Diganta was being called on a daily basis and he had to force his veins out in order to follow the routine. There were laughs, smiles, mockery, and at the same time there was something very serious being developed within. On the other hand, Kaushik da was being trained for the role telephonically! Now let’s talk about the ladies too.
Sanchari Dutta is the female lead and I met her while on a vacation to Jharkhand. After the screening of Urban Voice was over, I was on a trip to a tribal region and there, Sanchari responded to an audition request for my film. She was on a vacation too at that point that too some 15 kilometres from my touring destination. However, we had to wait a few more days; and it was nothing but a-day-meet to solidify everything. On the other hand, Paromita Mukherji played a very significant yet a character that lasted for a minute.
Well, now Streer Potro or the Wife’s Letter is marking its presence in Hamilton, Hollywood, and many other parts of Europe. Does it sound good? I would rather reply that this is an honest effort to craft Cinema than concentrating on anything else; hardly, we had thought of generating any revenue from the film. The success of The Wife’s Letter can hence be justified with its material laurels than having achieved materialistic gains.