On the day of his latest film, Parivarik ManuRanjan, Pankaj Tripathi is in a chatty and reflective mood. Co-starring Aditi Rao Hydari, the film is a gentle, linear story about two strangers from different backgrounds who end up sharing a home. It deliberately steers clear of the twists, melodrama and sexual tension that such a premise might typically invite. Some reviews have described it as predictable, but Tripathi doesn’t mind. He says that creating a simple story was the whole point. In an exclusive conversation with Filmfare, the actor opens up about the film’s intent, what it means to be an “alpha”, his memories of Lucknow, the weight of constant public attention, the theatre teachers who have shaped his craft and more.
Congratulations on Parivarik ManuRanjan. The film released today. What was your first impression of the story, and how has the reception been so far?
The feedback has been very good. I read a couple of reviews that described the film as predictable. But we never set out to make the story complex. We wanted to keep it simple and linear, with no twists or turns. In fact, I wanted the pace to be even slower. For me, it was an attempt to make something that offers comfort. Like when we spend six days eating outside and then look forward to coming home to a comforting meal. I wanted this film to offer that kind of comfort. Nothing extraordinary is happening in it, and that is intentional. Usually, when two people of the opposite gender end up living in the same house, the first assumption is that the story will explore their sexuality and sexual desires. We consciously wanted to avoid that. That was one of our first thoughts while developing the story.
The film brings together two people from different backgrounds under one roof. What interested you about the script and exploring such dynamics?
I found the story very endearing. I am a big admirer of writer Vinod Kumar Shukla. His stories and poems are very simple, but they carry beautiful meanings if you care to look for them. Today is World Kindness Day, and I think the film speaks about something very relevant. As human beings, we should be kind to one another and learn to forgive. Only then can the world become a better place. When a beautiful girl moves into the neighbourhood, people immediately start making assumptions about her. They call her names like “bomb” and “patakha” and wonder what will happen if she stays in the house overnight. But the film does not go in that direction. Initially, the characters are cautious and suspicious of each other, but as the story progresses, kindness and comfort begin to develop between them. For instance, there is a moment when a character wants to check another character’s temperature because they have a fever, and even then, consent is taken before touching each other. That is the kind of sensitivity we wanted to portray.
When we talk about Parivarik ManuRanjan, we naturally talk about family and the time we spend with them. What does your ideal day with your family look like? What are some things you enjoy doing together?
I enjoy spending time with my family. I like cooking for my children and everyone at home. We also eat together regularly. I don’t want to call it quality time because even that phrase creates a certain pressure. You start feeling that you have to consciously make every moment count. I can look at a single flower for two or three minutes without getting distracted. I would love for my daughter to develop that ability too, to simply look at a flower for a few minutes without distraction and appreciate it.
In the film, we see the neighbours becoming very nosy about Ranjan’s personal life. Have you encountered people who are overly curious about your life? How do you deal with such attention?
There is a lot of social pressure on us – ki log kya kahenge. As actors, we are practically on camera 24 hours a day. Whenever we step into a public place, people start recording us without even asking. People sometimes forget that we are ordinary human beings too. We have our own sorrows, disappointments and moods. We cannot always be happy or available, but we are expected to be present all the time. Even if I am going to meet someone in the ICU, I might be stopped by someone who wants a photograph, and I have to smile and pose. That person has no idea where I am going or what I might be dealing with. Sometimes, I find that emotionally difficult. You wonder how much of your own pain you are expected to suppress. So, whenever I want to go out privately, I wear a mask and a cap so that people don’t recognise me. I prefer to finish my work and quietly return. It is not that I don’t like meeting people. I enjoy conversations. If someone is sitting next to me during a journey, I can spend the entire time talking to them, finding out where they are from and what they do. But largely, I like living a private life.
You shared the screen with Aditi Rao Hydari in the film. What was your experience of working with her? What did you observe about her as an actor and as a person?
Aditi is a very sincere and hardworking actor. She is also a wonderful human being. She has managed to keep her inner child alive, which I think is a beautiful quality. All of us should try to hold on to that part of ourselves. She has played her character very gracefully. I also watched the film just yesterday, and I felt that she lit up the screen instantly.
We shot in May, and it gets incredibly hot in Lucknow during that time. One of my fondest memories is introducing Aditi to Dahi Chura. She had never eaten it before, and she loved it. We would often visit a famous chaat shop without planning anything in advance. One day, we decided to take a small crew along and shoot using natural light. Despite that, people became suspicious when they saw the cameras. We told the crew to stay ready and let us come in towards the end. One such night, it was around 9 or 10 pm, and there was a huge crowd, but everyone cooperated with us. We managed to get our shot.
There was also a garden where our van used to be parked while we were shooting, and a woman named Poonamji lived nearby. Aditi knew her and told me that she would cook food for her on a traditional chulha. One day, I tasted the food and was amazed. I asked Aditi where it came from, and she told me about Poonamji. I immediately said I wanted to visit her house too. When I asked Poonamji if she would share some food with me, she happily agreed. I went to her house for the next two or three days, and we ate the food she prepared. When we were leaving, we said goodbye to her almost like family. Those little experiences made the shoot special.
Aditi has spoken about how you naturally try to help other actors on set. Have there been any conversations with creative personalities that have stayed with you and helped shape your craft?
I don’t think I have had any such conversations with people from the film industry. I have been much more influenced by my theatre teachers. Prasanna ji and Anuradha Kapoor are among the people whose thoughts have stayed with me. I met Aditi for the first time around 25–26 years ago at her home, along with her mother. She had just returned from school and was probably in secondary school. I was already involved in theatre at the time. I don’t get influenced by people from the film industry as much as I do by theatre and literature. One of my teachers used to say, “Show minimum, create maximum.” That advice has stayed with me, and I continue to implement it in my work. Perhaps that is also why my approach to acting is quite minimalistic.
We have seen you portray all kinds of men on screen, from gangsters and fathers to shy bachelors. There is a dialogue in the film about it being time to become an alpha. The word often brings to mind someone loud and aggressive. What, according to you, defines an alpha man?
An alpha man is a leader who does not need to display aggression or constantly beat his chest. Leadership does not have to come with stereotypical qualities. A leader can be polite, thoughtful and considerate. If you remove the chest-thumping aggression associated with the idea of an alpha man, I think the concept becomes much more meaningful. A person who can lead without relying on those stereotypical alpha qualities is perhaps the right kind of alpha. That is what we have tried to show in the film.
Of the many men you have portrayed, is there a particular role or film that holds a special place in your heart?
Newton, Bareilly Ki Barfi and Gunjan Saxena are among the stories I particularly like because they have characters who think the way I do. Whether it is the father in Bareilly Ki Barfi, the father in Gunjan Saxena or Atma Singh in Newton, these are characters who are close to my own nature and personality. Their thought processes are similar to mine, and I relate to the way they look at life.
People often turn to you for advice, but when you face a setback, such as a film not performing well or a role not turning out as expected, where do you find the motivation to keep going?
My motivation comes from within. I don’t necessarily draw motivation from a film’s success or my bank balance. I find it in nature and in the little things around me. Why am I talking like a psychologist now? (Laughs.) Of course, practical responsibilities motivate you too. I have EMIs to pay, and sometimes I remind myself that if I don’t work, how will I pay the bank instalments? That is also a reality of life.
I don’t chase publicity. Once the film is out of theatres, I want to do my job and then I don’t want to be seen anywhere. I don’t even want articles about me to be published. I have become fairly well-known now, but sometimes I wish I could go back to being unknown. Once my expenses are taken care of, I am a very free-spirited person. I don’t want anything beyond what I need. If I have earned enough to sustain myself, I would much rather do the things I enjoy, like travel, cook, spend time in the jungle and live simply. I don’t have many demands from life. I just want enough to be able to do what makes me happy.
Also Read: Parivarik ManuRanjan Review: Fun in Parts
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