The three of us, Padmonabho, Abhijit and Sudeshna, invested hours going over the mind of the youthful. We attempted to remember our confounded youth and we understood we were still befuddled about specific issues. What did it imply? We were youthful? We hadn't developed? Then again are sure disarrays interminable?
After endless contentions, the script was prepared and we read it out to Prosenjit. When he was persuaded, the throwing began. Mimi and Arjun Chakraborty were an inevitable end product. The others were united and shoot began in November 2011.
We had done up a house in rural Kolkata as Bapi's home. Tanmoy Chakraborty, our craft executive did it up like a decent home. It had warmth and magnificence. Particularly Bapi's room in red, highly contrasting was magnificent. To such an extent that another chief had come to take a gander at the area and he continued demanding we leave the props and set as it is for his film. Say thanks to God we didn't concur. The film that he made is additionally discharging at a comparative date. Surmise which film!!!
Our next area was a café. We got a school flask changed over into a bistro. The stylistic theme as normal was super, however it's the school young ladies and folks who gave the bistro its appropriate vibe.
Getting Srijeet in a cameo was a stroke of luckiness. Look at him as the educator, Biswayanda.
Vivekananda Park and fuchkas are a hot most loved with us. We shot for a fuchka eating scene there. Dhruv was intended to eat fuchkas while Teesta and Anindya come in on their Scooty and bicycle. At that point, Dhruv was to turn and approach who will pay for his fuchkas. This grouping required coordination, thus the screens began. Dhruv is new and didn't know about the way that in screens he needs to simply emulate the fuchka eating. He continued eating the fuchkas while practices were on. Subsequent to Teesta and Anindya continued missing their imprint in the edge as both were new to their vehicles, the ret-takes broadened while Dhruv continued bringing down fuchkas. At last, we needed to stop him compellingly as we were agonized over following day's shoot.
The open air shoots were entertaining. As winter was setting in and the sun had a delicate warmth that made shooting a delight. Abhijit satisfied a fantasy. He had left his old home in Taltala a year ago and moved to Chak Garia. Yet, Taltala was his place of graduation. So he demanded we shoot in the ravines of Taltala. We did it, with a rickshaw ride for Mimi tossed in.
Kolkata, old and new, known and obscure, element in BBJ. There is Gariahat and Part 5, north Kolkata and compelling south.
Also, all methods of transport have been utilized. Hand pulled rickshaw to the Metro.
Park Road the widow venue is still where the youthful fly. Park Road and Park lodging assume a noteworthy part in the film.
The little paths of Darjipara territory was amusing to shoot in. We had a downpour and storm scene there and it took the water tank vehicle a couple of hours to arrange the serpentine paths. At the end of the day it worked and the Sajnaa tune happened there.
Bapi Bari Jaa is a film where our city Kolkata is a noteworthy character, and as gathering of people you can have an extraordinary time distinguishing the territories and attempting to coordinate your encounters with that of Bapi and his pack of companions.
Also, only a little whisper… look out for Gariahat More... under the flyov
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