EXCLUSIVE | Pankaj Tripathi: 'Haven't seen the first Oh My God, Paresh Rawal is my senior so comparisons can't happen'

Pankaj Tripathi nears two decades in Hindi cinema. He was last seen in Amit Rai’s OMG 2, a film that talks about a subject called sex education. The drama is a commercial and critical success and in this exclusive interview with Firstpost, the inimitable performer spoke about how these days have felt like, his journey from nadir to dizzying heights, and surviving and striving in a city like Mumbai.

On the balance between critical and commercial success

It’s very important for a film to be appreciated both by critics and the audience. The credit for this goes to Amit Rai’s writing and his hardwork, and his vision.

On comparisons with Paresh Rawal

I never think like that and I haven’t even seen the first Oh My God. This was an original film for me, also, why make comparisons. Paresh Bhai is a great actor, he’s the chairman of National School Drama and I’m his student. He’s my senior in every regard so any comparisons between the two of us can never happen. This was a fresh and original subject for us to be a part of.

On the A certificate to the film

It was disappointing. The people we have made the film for won’t be able to see it, the age group between 12 and 18, UAE gave 12+ certificate. I’m not saying only on the basis of its box-office collections, that more audiences will lead to more ticket sales, I’m talking about the message the film is trying to reflect, the purpose with which we have made it. Commercial success can follow, but the voice of the film and the filmmaker, which is directed towards parents and teenagers, shouldn’t remain a taboo, the discussion should continue. How we can implement this message into our education system is a different question, at least people should be able to sit together and watch the film. They should try to understand the perspective. A doctor says in one scene to me that don’t try to be a father to your son because you’re already one, try to be his friend. He’s thwarted by guilt because he knows you’re aware of what he has done. So the A certificate was disappointing.

From Run to OMG 2

The journey is the same. Every choti Ganga goes through its share of difficulties in surviving. It takes a lot of curves and turns and ultimately has to meet its destination, so the journey has been interesting. I didn’t anticipate the day that I’ll be playing main leads after starting with 1 or 2 scenes; it has been an unexpected journey that shows you should continue working in life with sincerity and passion, anything can happen. I came to Mumbai in October 2004 and till 2012, I didn’t even see a film camera. To be able to stay and survive in a city like Mumbai for eight years! There was something, some force that was stopping me here. I have a working wife so survival wasn’t difficult, but I didn’t realize all these things back then.

On working with Akshay Kumar

He was very involved as a producer. The first narration of this film was given to me by him. He knew the entire script by heart. He was very attached and only he can speak about a bold subject like this, he should be congratulated and appreciated for not only acting in the film but also producing it. He was the one who recommended my name to Amit Rai and I would like to thank him for that for making me a part of this film.

On the importance of Gangs of Wasseypur

That was the first time people came to know who Pankaj Tripathi was, they came to know there’s an actor by that name. A lot of people didn’t even believe I was an actor, they thought of me as some random person. It was a big film for all of us. And just look at all of us, Nawaz sir, Manoj Bhaiyaa, Huma, Vineet, Jaideep, everyone has become busy and big.

On playing a father in films like OMG 2, Mimi, Mirzapur

Everyone is an interesting father. There are four types of performances in a naatak. Aangik– which can be seen, your body language, Vaachik– which can be heard, Aahar– which can also be seen, it means your costumes, and Saatvik is something that cannot be seen, it has to be felt. If we work on our Saatvik, five fathers can be of five different kinds. I cannot reduce by height, if I’m 5’11, I’ll stay 5’11. I cannot even change my vocal cords a lot. Saatvik is something that stays in its abstract form. But we cannot see the consciousness of an actor. How are you going to translate all of this? (Smiles)