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“What we do is–this is something we did in Bulbull and Qala as well–we build the character from a very early age. We started talking of her, her thought person since she was a five-year-old. We then built her experiences, her memories. We talked about what kind of experiences she would have, is she a lonely child, is she someone who has a lot of friends, is she someone who goes to school or studies at home.What is her equation with her mother, does she ever hold her, does she look at her, if not, what does she do about it, how does se process all that information? We kept a lot of things from the workshop in the film.”
In the film, Qala is often shown carefully opening a tile from the floor and putting her toys inside. Dimri says her character believes that’s her imaginary mother.Once Anvitaa and I were discussing my character and I told her I see Qala as a very lonely child and she would have an imaginary mother, who lives under the floor. She talks to her, through the floor sometimes and that mother really loves her. That mother listens to her, she is always with her. The other mother. That’s why you see in the film, she opens that box, puts her toys in it. That’s her sharing her love with the other mother.
“We also discussed how she would enter her mother’s room and steal her lipstick, or the perfume, just so she could feel her in those things. I don’t think we ever rehearsed a scene. We talked about these things and when we were on set it just (flowed). After the first reading, our scripts were taken away from us anyway,” she says.
Dimri is ecstatic that she got an opportunity to spearhead a film like Qala at an early stage of her career, especially when even the most experienced female actors are deprived of complex parts. “I feel I am truly blessed that I am getting to play such characters, because there are hardly any films made where you as an actress are asked to do so much. It’s special.
“I am glad it happened now than later in my life, because this is the time where I will have to learn a lot of things, as an actor and as a human being as well. Better sooner than later,” she concludes.visual feast. The period setting is realised in immaculate detail. Whether it is the snowy, desolate landscapes of a hamlet in the Himalayan foothills, or the interiors of a recording studio, the images are crafted with the precision of a surgeon by Siddharth Diwan, who also handled the camera for Anvitaa in `Bulbul`. The sumptuousness of the imagery also translates to set and costume design.
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In Anvitaa Dutt's 'Qala', Tripti Dimri essays the titular heroine, Qala Manjushree, a famed and wealthy playback singer in what appears to be the 1930s and 1940s India. Her life appears to be the same as a successful celebrity. That is, until we see her haunted, seemingly literally, by a shadow, someone, from her past. The narrative switches to Qala's childhood. She was born to a mother Urmila (Swastika Mukherjee) who hated her for, as she saw it, killing her twin brother in the womb.
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Qala's childhood was spent in futile attempts at pleasing her mother by practicing her vocal skills for hours on end, not realising that no matter how much she tries to be a good singer, she would never be what her mother desires: a son who could further her legacy in classical music.
It is not as though Urmila actively hates her daughter, the thing is she refuses to acknowledge her existence most of the time. When she does so, she is distracted as though she has other, more important matters to attend to
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