Koel Mallick on ‘Sharthopor’: ‘Many women know their rights but ask with guilt’

Just like any proud father watching his daughter shine, Koel Mallick’s heart is full these days, but for a slightly different reason. The audience has been asking that veteran actor Ranjit Mallick, too, visit theatres, just like Koel has been doing, to celebrate the success of ‘Sharthopor’. Annapurna Basu’s Bengali directorial debut, starring Koel and Kaushik Sen as siblings caught in a property dispute, has struck an emotional chord, earning rave reviews from both critics and audiences. Koel smiled when she shared how, after every hall visit, she shows her father the love pouring in on social media. “He isn’t much into social media, so I make sure he sees everything,” she said.

For Koel, 'Sharthopor' has been a personal journey too. A mother of two, Kabir and Kabya (who enjoyed her first Durga Puja this year), Koel has long been known for her cheerful presence and her crowd-pleasing commercial hits. But films like ‘Hemlock Society’, ‘Ghare & Baire’ and ‘Mithin Mashi’ revealed another side of her craft. From soaking in the film’s success to reuniting with Jeet and Dev, Koel chats with ‘Millennium Post’. Excerpts:

Congratulations on the success of ‘Sharthopor’. Films about siblings aren’t rare, but ‘Sharthopor’ touches a specific issue, a property dispute between a brother and his married sister.

Having grown up in a joint family surrounded by siblings, I’ve always seen that bond as one of the sweetest relationships one can have. But when ego seeps in and that bond turns bitter, it’s heartbreaking. When director Annapurna Basu approached me with the script, I knew that property-related issues could create cracks among siblings, but I didn’t realise how deep this problem really ran. I actually spent a few days casually bringing up the topic in conversations and the reactions I received were revealing. That’s when I understood how relevant the issue was. Under the Hindu Succession (Amendment) Act, 2005, a married daughter has equal rights as a son to her father’s ancestral property. Yet, even when women know this, they often ask for their share with guilt, while sons assume it’s their birthright. Through this film, we wanted to explore those unspoken questions that stay buried in a married woman’s heart.

The title ‘Sharthopor’ means ‘selfish’. Do you believe we all have a bit of selfishness in us? And as a mother of two, what are your thoughts on the idea that single children tend to be more self-centred?

I actually think sharing is fun! Let me give you an example. If I love biryani and share it with my sister or brother, the joy doubles for me. That’s how I see life. When you spread love and happiness, it multiplies. As a child, I didn’t even realise I was a single child because I grew up in a joint family. When people asked how many siblings I had, I’d start counting all my cousins! I was never lonely. My father made sure we spent time with family every day. After school, he’d return home by 6:30 pm or 7 pm and from 7 to 9, we’d go to our home in Bhawanipore. That routine continued for years. So, I never felt like an only child.

There’s no legal requirement for a woman to change her surname after marriage. It’s purely a choice. But many aren’t aware of such rights. You’ve spoken about women’s legal rights in ‘Sharthopor’.

Exactly and that’s one of the main reasons I did this film. How many people can I personally explain these things to? But through cinema, you can reach so many. For instance, even today, many women feel they must serve everyone before eating themselves. These small things reflect deep conditioning.

You’re also working with your father, Ranjit Mallick, after 16 years (the last was ‘Saat Paake Bandha’ in 2009). The industry has changed a lot, from schedules to storytelling. How does he view these changes?

We often talk about that. My father’s films always carried a strong sense of ‘Bangaliana’ and he still treasures that. But he also understands that filmmaking today is a business. Some films full of Bengali essence don’t always do well and others with less of it perform better. Ultimately, the audience decides. He’s particularly happy about ‘Sharthopor’ because it’s rooted in a Bengali household, something simple, relatable and authentic. Before the release, both of us discussed how the audience would respond to the film, but now, we are so relieved and ecstatic.

Many women actors have spoken about pay disparity in the industry.

I understand where that comes from, but honestly, remuneration in our industry isn’t about gender. I believe it’s about business. It depends entirely on the return on investment (ROI) an actor brings to a production. That’s how it works. If a woman star can draw bigger audiences, she’ll be paid more than many of her male counterparts and vice versa. It’s not about being male or female.

Coming to your kids, were you conscious both of them had a sibling bond?

Yes, absolutely. I was extra careful when Kabir was small. When my second child was born, I made sure not to divert all my attention away from him. I didn’t want Kabir to feel detached. Gradually, he adapted beautifully to having a baby sister. I truly believe it’s the parents’ responsibility to teach sharing early on. If you don’t, inferiority complexes or comparisons may creep in later. Parents must ensure both children feel equally loved and valued. Once that foundation is strong, outside opinions can’t shake it.

It seems like after the birth of Kabir, your filmography reflects a shift, more towards adventurous or detective-based stories. Was that a conscious decision?

Not really. I’ve never consciously decided on any particular genre. But yes, I do hope to build a body of work that carries deeper meaning and understanding, something that my children can one day watch and relate to. Perhaps that’s why it feels like a coincidence more than a choice. As actors, we don’t always get stories with strong social messages. But ‘Sharthopor’ was special. I would love for Kabir and Kabya to grow up and watch it. It’s a story about siblings and that’s what makes it close to my heart.

Recently, there’s been talk about Deepika Padukone choosing not to work beyond eight hours a day so she could spend time with her daughter.

After Kabir was born, I didn’t work for almost two to three years. I wanted to be with him during those early days. But I also respect mothers who choose to return to work sooner. Everyone’s journey is different. What’s most important, I feel, is open communication. If there are timing issues or big sets involved, it’s always best to sit down with the director or production team and discuss. Many problems can be solved through honest conversation. If a woman wants to take a break and return to her child, that’s perfectly fine as long as she voices it clearly.

Nostalgia Hits Hard

You became a household name with romantic comedies. Audiences still love your pairing with Jeet and Dev. Do you miss doing rom-coms?

I wouldn’t say I miss them. I’ve done many rom-coms and I’ve enjoyed every single one of them. I’d actually love to see the next generation take them forward while I sit back and enjoy watching. During the peak of my career, I did those films because I truly loved doing them and I believe that unless I love something, I can’t make my audience love it either. Having said that, there are still many kinds of roles I want to explore.

You recently performed with Dev on stage. Did you both discuss doing another film together?

Not really. I believe that if we can’t do justice to a story, there’s no point in reuniting just for the sake of it. The script should demand our pairing. Only then will it make sense for the film and for the audience.