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<strong>Handsome! Hunk! Heartthrob! And Down-To-Earth!
These are the most likely feelings and emotions that one goes through when they see Sushant Singh Rajput; the rising star of Bollywood.The Shudh Desi Romance fame actor, was spotted at the on-going Amazon India Fashion Week to launch NOIR 45, a clothing collection inspired by his to be released movie- Detective Byomkesh Bakshy.
I got a chance to have a brief chat with him and trust me when I say it peeps... he is every bit of HANDSOMEEE that I have ever imagined him to be.
Here are the excerpts!
YCL: How has your journey been from being a model to an actor?
SSR: My journey from working as a TV actor to becoming a part of Bollywood has been amazing. It actually is true to the saying living your dream.'
In my college days when I was in Delhi, I used to hang out with my friends and hang around in Connaught place. I would dream of becoming an actor someday, and now this is ACTUALLY happening! I'm here... I am living it and it's unbelievable!
YC: And how did it all begun?
SSR: It all started to happen when I was in college. It's during that period I started performing in college and did theatres which I think has helped me a lot in becoming a better actor. Initially I was a very shy person who would hardly speak to anyone. I used to find it very hard to express my emotions. But the moment I got into theatres and acting in college and started performing this art, I knew this is what I wanted to be.
YC: How was your experience with the perfectionist, Mr. Amir Khan in PK?
SSR: It was really good! Whoever I have worked with has been my idol... be it Rajkumar Hirani or Amir Khan. You get to learn so much from them and from their experience. Working with them has made me a better actor over the period of time.
YC: Moving away from acting, let's talk about fashion for a bit. How about sharing your style statement with our readers?
SSR: I feel whatever you wear, you should feel comfortable in it and eventually you'll end-up looking perfect. In my upcoming movie NOIR 43 we are wearing clothes inspired by the clothing during 1940's, which in itself, is a very different feeling to endure and represent on screen. But, I think people would like the looks, as they are different and stylish.
YC: What are the 5 essentials that you always carry with you?
SSR: I always carry my phone, wallet, ipad, PSP and my shades.
Team StykeRug With Sushant
YC:Tell us something about your upcoming movie "Detective Byomkesh Bakshy"?
SSR: Working in NOIR 43 was a very different experience. The story revolves around World War II and I think this script has brought out the best from me. Also I think I am looking really hot and sexy, (laughs), so all the girls out there should go and watch NOIR 43.
HOT! That he certainly is! And for the movie... well.. hope no girl faints in the cinema theatres.. but even if some of you do... anything for this hunk.. right?
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Sushant Singh Rajput seems both a boy and a grown man at once, easygoing one moment and intense the next. A sense of youthful possibility, even vulnerability, has hovered over the characters he's played in his three films so far: idealistic Ishaan in Kai Po Che!, commitment-phobic Raghu in Shudhh Desi Romance and most recently, honest, tentative Sarfaraz in PK. But the characters he's played leave you quite unprepared for the person behind them.
Rajput, 29, shares a large apartment in Malad, in the northern suburbs of Mumbai, with actor Ankita Lokhande and their two plump, beige Labradors. One greets me at the door. Rajput quickly appears on its heels to usher me past its friendly (and moist) nose.
His fourth film, Detective Byomkesh Bakshy! (DBB) is set to release on April 3. It has been produced by Yashraj Films (YRF or "vyaareff" as Rajput says with relish through our conversation) and directed by Dibakar Banerjee. ''The closest synonym I have for happiness is excitement,'' Rajput tells me in anticipation of the new release.
While Rajput finishes his lunch in the sunlit dining room, I wait in the den I'm shown into. It is dark here, even at 2pm. An LCD television that spans a wall at one end is almost invisible in the gloom. Air conditioning, turned up high, adds to the sense of winter, although Mumbai is reeling in the early summer heat outside.
Patches of red and white leather on black bean bags and a black couch are sharply spotlit by overhead lights. Packs of Marlboro cigarettes and a lighter are neatly arranged on the center table in an otherwise casually untidy room. In a cosy corner is a bookshelf along a wall, towards which I wander.
Directly in my gaze, despite the tricky lighting, are books on cinema, some still in their plastic wrapping. Taped next to them is a note from Raju Hirani, director of PK, in which he commends the actor on his interest in the filmmaking process and offers these books to help him understand it further.
There are also some biographies and autobiographies of successful people, including Shah Rukh Khan. To the left, I discover a stash of Enid Blyton's Hardy Boys and RL Stein's Goosebumps series. Rajput joins me at the bookshelf and admits, grinning, to still dipping into his favorite children's fiction. As an afterthought, he adds that Milan Kundera, Philip Roth and Haruki Murakami are on his current reading list.
In person, Rajput comes across as mildly friendly and somewhat reserved. He's dressed in a green T-shirt tucked into a pair of jeans, with an indigo peaked cap clapped over his shoulder-length, uncombed hair. He tends to shift his weight rhythmically, restlessly, from one foot to the other, reminding me of his history as a trained dancer.
In the third year of his Engineering degree at Delhi College of Engineering, Rajput trained with and then became a dancer with Shiamak Davar's troupe. With the company, he performed at the opening of the 2006 Commonwealth Games and at the 51st Filmfare Awards. Davar saw the strains of an actor in his young dancer and urged a step in that direction. So Rajput auditioned for legendary drama teacher Barry John's acting classes in Delhi and made a B' when everyone else made C'. All this excited him enough to drop out of college altogether and move to Mumbai, where he next joined Nadira Babbar's Ekjute theater company and the Ashley Lobo dance company.
When I insist he recall a memory from those days, he cautions me, "This may sound filmy."
"In 2006, I was to dance with Shiamak's troupe behind film stars at the 51st Filmfare Awards. I visited YRF Studio for rehearsals. When the security guards stopped me at the gate to write my name and told me which way to go, a strong desire came over me. One day, I promised myself, I will come here as an actor. No one will ask me to register my name. No one will tell me where I can or cannot go. Today this has come true... I can have bigger dreams and just from sheer belief, I can make them happen."
Finally a full-fledged actor on the theater stage, he was spotted' by an executive from Balaji Telefilms and asked to audition for a television soap in 2008 - Kis Desh Mein Hai Meraa Dil, in which he went on to act. Rajput also acted inPavitra Rishta and performed on dance shows like Jhalak Dikhlaa Jaa.
"When I was looking for a young, rising star to cast as a youthful, upcoming Byomkesh on his first case in Detective Byomkesh Bakshy," says director Dibakar Banerjee, "I watched his TV serials. I realized that Sushant is understated and subtle. Now, any actor who can do that on afternoon soap has to have some original thinking! It's clear he's trying to do things on his own."
In 2013, Rajput made his film debut with Kai Po Che!, playing one of three main leads. Of them, it was Rajput who leapt onto the footboard of mainstream cinema, going on to star with Parineeti Chopra and Rishi Kapoor in YRF's Shudhh Desi Romance.
PK followed in December 2014. While superstar Aamir Khan is PK, the film's main character, Rajput as Anushka Sharma's dewy-eyed Pakistani boyfriend also got ample attention. He is now at a key junction of his career, trying to cement his rise with DBB.
"My film is a mix of kinetic action and the usual cerebral detective pursuit. At the same time, it is a period film - quite a challenge for any actor playing the lead," Dibakar Banerjee says. "Bollywood conventions of acting generally deal with stereotype templates. For a period film, actors acquire an artificial, imagined way of speaking, which they think is how people spoke in those days..."
I've accosted Banerjee at Fiesta, a sound studio in Andheri West, where he's making the final sound mix of DBB. Banerjee seems like a stranger to the bright afternoon light. He's in a rumpled black T-shirt and blue jeans, eyes swollen and red behind his trademark black spectacles. He says he's been working nights to meet DBB's April 3 release date. He takes some time out for a cigarette and sweet black tea, and to discuss Rajput with me.
"Sushant plays an understated detective, analyzing things in his head," he says. "At the same time, he's a young and dynamic Byomkesh, finding his feet in the world. So he had to essay subtlety, vulnerability and restless energy at once. A detective is commonly seen as one who perceives more than others and imparts the wisdom of his theories. But this detective is making mistakes. He's learning the ropes... encountering the big bad world for the first time." This kind of fluid character seems a natural fit for Rajput.
Back at his den, Rajput and I settle down to chat on the black sofa. I begin with a somewhat innocuous question and am thrown by the outpour it evokes: Rajput tells his story as a narrative of both deep suffering and spiraling achievement.
Why did some of the top directors in Hindi cinema - Abhishek Kapoor, Maneesh Sharma, Raju Hirani and Dibakar Banerjee - cast him in their films? What do they see in him? So many young people come to Mumbai to become actors, and so few "make it". Is he just plain lucky?
"Many have asked me this question," he begins. "I'm not a very good actor. Nor am I very good looking. Besides, when I made my debut in Kai Po Che! I was told that the audience has a prejudice against TV actors." Two things about him, he continues, possibly drew the interest of directors. The first is his passion, his desire to learn. The second is an intuitive understanding of emotion. The third, I'd add, is a seeming ordinariness that can portray characters we relate to.
Rajput was born in a middle-class family in Patna, the fifth of five children, the only son. His parents struggled to educate them. They worried about saving money for their four daughters' marriages. "They would not have known it, but I sensed their struggle to provide for us, and their determination to give us the best that they could," Rajput recalls. Two months before his Class 12 Board exams, his mother passed away. He strongly links his sensitivity to emotion to this early loss. "When you lose someone close, you don't know how to react. I didn't cry for two days after I lost my mum. Going through pain makes you somehow sensitive to what's real - and what's not."
Rajput then steps back into a practiced, almost rehearsed conversation again. "As a trained actor, you are aware of certain tools you can use on the off-days when you're not feeling anything. You can pretend to the level of belief and convince people. But at some point, the audience sees through. My upbringing and things I experienced early on make the use of these tools mostly unnecessary. If I have to play a flamboyant character, I might use the tools...I'm not flamboyant by nature. But whatever strata of society you belong to, basic human emotions are the same. The individual filmmaker's view, his grammar, the narrative option he takes, differs. The conflict or intent of the film differs. But the human emotions," he claps lightly, "are the same."
Banerjee speaks not of what Rajput projects but what he reins in as an actor. He says it was Rajput's involuntary quality of restraint that first drew him to the actor. "I find, in Sushant, a lot of vulnerability, which he's trying to hide," says Banerjee. "There's a constant conflict between confidence and nervousness. Perhaps the fact that he is not a Bollywood insider adds to this. He danced, some years ago, in the last row of dancers behind Shah Rukh [Khan] at a film award ceremony. He is from a middle-class family that gives a lot of value to education. While he was in college he was crazy enough to gate crash a wedding party every day. He would dance and eat food at the buffet. Even if he doesn't tell these stories, you can see them in him...'
"All the things he tries to hide are very apparent, in an interesting way. And what you need in an actor - my definition of a good watchable star - is that even when he's not doing anything in the scene, he should be interesting to watch. He might be looking into space (which a detective might do while he's thinking) and still be interesting. The quality of being interesting even when you're not doing anything comes from what's playing out behind the mask."
The realities that sharpened Rajput's perception of human emotion are past. He's a star now. Bollywood's rarified zones are spaces that prod growth in a different direction. Rajput mentions carefully studying Robert Greene's book The 48 Laws of Power, reportedly one of the most requested books in American prison libraries and popular with American musicians like 50 Cent, Busta Rhymes and Jay Z. I'm quick to ask if he applies what he's learned from the book in his dealings in the film industry. "No, I don't apply them," he says. "But they help me recognize power play at work." Greene formulated some of his ideas in 48 Laws while working as a writer in Hollywood.
"All actors," Rajput adds, "have a very strong sense of their own personality...this is a mix of personal aspiration, what we want to be perceived as, and what we actually think we are. But actors know that you have to break that image, let go, and become a child again. As kids we'd dance quite happily before 15 people because we didn't take ourselves seriously. But when an actor becomes a superstar, others take him very seriously. His personal aspirations rise and then he gets trapped in that image. But if you're genuinely curious and want to explore, you remember to shatter the mold and become childlike again. It's tough to do because these are two extreme states of your personality that you pit against each other."
It is just two years since he made it' to the big screen. Has much changed? "Well, one thing has not. I have a constant, inherent feeling of insecurity because of seeing my mother go so early on in my life," he says. "Within [me] is a pendulum that swings between determined ambition and knowing that all this is transitory, that I will lose everything one day."
As the mood in the already dim room plummets, Rajput again flips acrobatically out. He says suddenly that he also has a sense of being in the maelstrom of an upwardly spiralling destiny: when he decides to achieve something, 99 out of 100 times, he succeeds. "It started after my mother's death. She passed away two months before my 12th standard final exams. She went in December. The whole of January I did not study. I would sit at my study table and not think of anything. Not even of her. In the first week of February, I flunked the prelim exams, though I'd always been an above average student.'
"A relative I will not name, who claims he never said this, upbraided me. He said to his two young children who were in the room with us, Don't grow up and be like him.' The one thing I vividly remember of my mother is that she worried that people would call me a spoilt brat, born, as I was, after four daughters. Everybody tells me you are pampering your son,' she'd say. Yeh nalayak niklega [He'll turn out to be the delinquent]. So please don't let me down.' That relative's words were like a wake-up call. My Board exams and the Engineering entrance exams were just three weeks away. In those three weeks, I'd crawl under my bed - for no other reason than to concentrate better - pile my books by my elbows, pull the table lamp under to light the space, and study. I cleared each and every entrance exam. I was ranked seventh [in the All-India Engineering Entrance Examination]. This was my first boost of success. That's when I thought: I can do it. There have been many achievements, small and big, but I feel like I'm in an upward spiral."
So is he a great actor or has he hitched a ride on an upward spiral of luck? Banerjee brushes off both propositions.
"I don't think greatness is something you can define in the present," he says. "Greatness can be defined only when you have a large body of work to show. I would say that Sushant, for two reasons, is a very good actor. One is that he tries to act well, and trying is half the job done. The second thing is that he's taking immense pains to forget all the conventions that Bollywood imposes on you. Bollywood conventions propose that the actor be more conscious of how he looks [in] saying something, instead of being more conscious of how he feels doing something.'
"Then, Sushant is essentially a private person which decreases the baggage of interference, of noise. Bollywood loves to continuously bombard you with useless information, noise, gossip and shop talk. These do nothing but divert you from what you're actually trying to do. It raises your anxiety levels and diminishes the quality of work. Sushant tries to insulate himself from all this."
Rajput seems to have retained that habit of focus of the boy who crawled under his bed with a lamp to study. I ask both actor and director about how they prepared for the role of a detective in 1943.
"Byomkesh, a young Bengali Maths graduate from 1943 Calcutta, is more or less an unknown quantity for Sushant, a young man from Patna and Delhi in 2015," Banerjee says. "We had to do a lot of research."
Did they watch older film and television depictions of Byomkesh Bakshy? "No, we decided consciously not to. We started with the book, which is the source of the character, then moved on to my interpretation. We went to Kolkata. There we walked through the streets anonymously for days on end, watching people. We visited families, talked with them, listened to stories from their lives, the history and memories that give you an idea of what that world was about. We watched contemporary Kolkata and researched historical Calcutta. The Byomkesh that Sushant essays is a composite of both...Because some things change with time, and some things don't."
On a more personal note, Banerjee adds, "Sushant is an insomniac. He'd be up at night making notes on each and every dialogue, each and every movement. I liked that because long ago when I didn't know much about filmmaking, and I was making a film, I knew I had to rely more on preparation. Preparation prepares you until your instinct comes into play. Instinct is really nothing but subconscious knowledge, which you might not be aware of having acquired. Anyway, his approach took a huge load off me. Abhay Deol, my other favorite actor, is instinctive. He doesn't go into research. That's his style. But Sushant mixes instinct with research."
"First you work on the similarities between you and the actor's character," Rajput explains of his process. "Then for the next few weeks you work consciously on the dissimilarities between you and the character, till they too become a part of you. Like while preparing for DBB, I'd sit with my legs crossed, one hand moving somewhat languorously as I spoke. I'd punctuate my everyday sentences differently - in the way I'd have to deliver my dialogue. I got comfortable with it because I did it consciously for so many days." He also claims that he kept his phone off for eight months while preparing for the role.
Did that kind of thing help, I ask. He replies in earnest. "In the film industry, people think doing things like this make you a good actor. But it doesn't. It makes you a serious and courageous actor. These are the first steps I take to do my work seriously. Even then I don't know if the work will shape up right or not."
When I recall this to Banerjee, he says, "That's a startling admission. It shows that Sushant is not carried away simply by his process of preparation. We tend to do that too in Bollywood...That's a huge insight into his vigilance.'
"Once during the shoot I decided to change the order of the shoot - shoot one part of the scene before the other. At first Sushant said okay, but later he came to my hotel room and said, Let's not shoot this first. I haven't prepared.' So we didn't shoot. I think what that reflects is that he respects a process, he cares about it. I respect anyone who respects a process. It shows that you are vigilant, you're very sincere."
This seems to extend to his vaunted ordinaryness. Rajput says he works hard even on being spontaneous.
"Spontaneity has to change for each character we play," he says, "because each character is different. In Shudhh Desi Romance, my character was not a confident guy. An actor, when he hears "Action!" tends to attack the scene. But when you have to essay an inconfident character, you have to hold back. It's a paradox. Someone remarked that I was so confident in Kai Po Che!, but was not so in Shudhh Desi Romance. But that's exactly what I wanted the audience to experience!"
"I'd give him dual emotions to work with," Banerjee says of training him for playing Byomkesh. "In Bollywood they say, this is a sad scene. Everyone acts sad. But the reality of human emotion is: you may be feeling sad and trying to hide it. Or you may be feeling sad and feeling angry about feeling sad! True acting essentially involves an understanding of how the human psyche is dealing with two or three conflicting emotions at every point. We need good actors to essay the essential, multi-planar existence of human beings. So we would do this as an exercise. At first Sushant was a bit thrown, but in a little while he understood completely what I was saying."
Red, white and black exist not just on Rajput's sofas and bean bags. They are part of the secret polarities that make up this "rising star", as Banerjee is fond of calling him.
Banerjee, for his part, is planning further investment in Sushant Singh Rajput. "Sushant would have been a failure as an actor in 1943; he speaks so softly," Banerjee grins. "At that time they hired actors based on their voice throw. I'm seriously thinking of investing in research, to get a mike invented especially for Sushant."
But DBB is already in the cans, I puzzle.
"For DBB2," he says, happily, "if DBB1 works at the box office!"
Chatura Rao is a novelist and freelance writer. Her books include Nabiya, Meanwhile Upriver,Amie and the Chawl of Colour and Growing Up in Pandupur.
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Director Dibakar Banerjee roped in artists such as alt punk band BLEK, gypsy/psych rock act Peter Cat Recording Co. and electro-swing duo Madboy/Mink for the OST of his new filmBy Anurag Tagat |March 25, 2015
Late at night, returning from a mixing session of his new film Detective Byomkesh Bakshy, Mumbai-based director Dibakar Banerjee tells us that he's actually trying to eliminate music from his films. Says Banerjee, "I'm trying to eliminate music from my films and at the same time, I'm really excited by the use of music in my film. Try and make sense of that." We've heard this one before. Filmmaker Ram Gopal Varma attempted to achieve the same goal a couple of years ago.
Except that Banerjee, who has directed critically-acclaimed films such as Oye Lucky! Lucky Oye!, Shanghai and Love Sex aur Dhokha, has tapped into India's alternative music scene for the soundtrack to Byomkesh Bakshy, a period film that follows the famed Bengali detective in Kolkata in the 1940s. Bakshi's character was created by Bengali writer Sharadindu Bandyopadhyay, whose stories appeared between 1932 and 1970. Says Banerjee of his treatment of the film, "We were treating the past as present. The kind of music that I listen to today was a way of etching out the mood of the film because I was doing a mix of what I am today and what life was like in Calcutta in 1943." This certainly aligns itself with the idea of another literary film adaptation, 2013's The Great Gatsby, whose soundtrack, helmed by rapper-producer Jay-Z, reimagined songs along with a few new tracks.
Early in 2014, Banerjee and his production team set out to find artists whose music would fit into the story of the film. After shortlisting about 200 songs from non-Bollywood artists across the country, the team began whittling the list down to a handful of songs and artists, which now includes Mumbai electro-swing duo Madboy/Mink ["Calcutta Kiss"], Delhi psychedelic rockers Peter Cat Recording Co. ["Jaanam"], nu-metallers Joint Family ["Life's A Bitch"], Mumbai alt punk act BLEK ["Byomkesh In Love"], Bengaluru electronic music duo mode.AKA ["Chase in Chinatown"] and more. From the seven tracks on the OST, four tracks are remakes of previously written material - PCRC's "Pariquel," off their 2011 debut album Sinema, now has Hindi lyrics by frontman Suryakant Sawhney, BLEK's 2012 song "Fog + Strobe" includes thumri vocals by playback singer Usri Banerjee, Madboy/Mink's "Taste Your Kiss" includes verses in Hindi from vocalist Saba Azad and Joint Family's "Life's A Bitch," stays more or less true to its original 2007 version from their album Hot Box. Says Banerjee, "I was thinking of a soundtrack that was background music, but slowly I realized that the background music for this film will have to be songs which stand on their own, which are not really dictated by what the film shows. They are dictated by their own emotion. They come into the film and give it a new dimension."
PCRC bassist Rohan Kulshreshtha, guitarist/keyboardist Anindya Shanker and frontman Suryakan Sawhney at the band's jampad (Photo: Asif Khan)
Newer tracks include "Yang Guang Lives," a dark theme for the antagonist from the film composed by Ashhar Farooqui [from Delhi electronic music group Teddy Boy Kill], drummer Sahil Mendiratta and guitarist Punit Bhatt, who are part of the group IJA [which translates into mother' in the language Kumaoni, Farooqui tells us]. This was one of the group's first compositions, commissioned by Banerjee for the film, ever since they got together in August 2014. Says Farooqui, "It wasn't so difficult to tap on the nerve of what he [Banerjee] wanted. He gave us a brief and it was pretty visual for us to work with." IJA, who have just released more new material with four-track EP VitAmin Sex, says it was different compared to any other regular commercial music work. Says Farooqui, "Dibakar made it clear that he didn't want to interfere." Banerjee is full of praise for Farooqui and IJA, "It was amazing because that guy can conjure up sounds which hit your bones. Ashhar is a guy who is absolutely on the cutting edge of music."
Even Madboy/Mink's Imaad Shah and Saba Azad, along with PCRC and BLEK agree that Banerjee was never too stubborn like most Bollywood music directors, choosing suggestions over orders. Says BLEK frontman Rishi Bradoo, "Dibakar's films have been fantastic, so I wasn't as sceptical [about composing music for a Bollywood film] as I would have been if it was someone else." The band sat down with Banerjee, who showed them scenes from the film that required a background score, which became "Byomkesh In Love." Says Bradoo, "Dibakar was very clear that we don't drift away from our sound. It's still got a very gritty, synth-pop, modern sound to it." Adds Madboy/Mink's Imaad Shah, "It's great to find a place where our sound can work." Adds vocalist Saba Azad, "Bollywood has a big reach, so it's a good medium for us."
Just as BLEK added a thumri verse, Madboy/Mink roped in Shirish Malhotra on horns and clarinet to replace their sampled sections with live recordings. Shah says changing the title and the main chorus line from "Taste Your Kiss" to "Calcutta Kiss" was a bit jarring at first, "but it makes sense now." PCRC vocalist-guitarist Suryakant Sawhney too says they didn't change much apart from writing Hindi lyrics for "Jaanam," but they did have to re-record the entire song since they'd lost their track data files. Says Sawhney, "It was easy transcribing the lyrics into Hindi for the song. We even recorded a few other parts for the score. We had clips Dibakar had sent us from the film and thought, Let's just turn it on and jam.'"
For mode.AKA, the thrill of being a part of Detective Byomkesh Bakshy arrived early when they learnt that the movie trailer, which received over two million views on YouTube, featured their music. Says mode.AKA bassist Sandeep Madhavan, "I was expecting a backlash from the Bollywood crowd, but it seems to be working. It's a good time for all involved. I think it's going to do wonders." While BLEK says they'll take up another song for a film if "it's in line with what we're doing as a band." Madboy/Mink say they are already working on similar projects with other filmmakers, along with an upcoming EP. Banerjee, however, says the unpredictability of the project is what brought about a unique collection of songs - from the metal of "Life's A Bitch" to the swing of "Calcutta Kiss." Says Banerjee, "I don't want to plan anything. Certain things come out when you're getting into a place where you don't know shit. But instead of falling back on copying something or doing the expected, you try and figure your way out of that. That only comes if you don't plan too much."
Listen to the soundtrack to Detective Byomkesh Bakshy! here
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