Is it a struggle trying to make the overall Indian-ness in a film set abroad, not seem like a mere convenience for the storyteller? " I see where you're coming from, and one does need to find that balance. Even the setting for Badla comes from the time Ghosh has spent in the UK. Ghosh likes to stick to locations whose geography he is familiar with, whether it is Kolkata in Kahaani, Mumbai in Jhankaar Beats or Kalimpong in Kahaani 2. But shooting a film abroad is as expensive as shooting a film in Mumbai these days. "At the end of the day, I wouldn't say that commerce doesn't come in the way when you're taking a call on the location of a film. My response to her was - then we'll have to call it A Girl In A Tram," Dasgupta tries to deflect the question with a joke.ī ut the more we talk, he hints at what seems like the more pragmatic reason. Then was there ever any conversation about setting the Parineeti Chopra-starrer in India? "When I pitched the film to Aditi Rao Hyadri, she asked me why we weren't shooting this in Kolkata. Starring Amitabh Bachchan, Nawazuddin Siddiqui, and Vidya Balan, Dasgupta chose to set the film in Kolkata. Interestingly, Dasgupta's directorial feature debut, TE3N (2016), was a remake of a 2013 South Korean film Montage. However, I was very clear that I'll set it in London, because the novel was set in London." "The 2016 film (starring Emily Blunt) is set in New York. Ribhu Dasgupta's response is fairly straightforward about why he chose to set his adaptation of Paula Hawkins' bestselling novel in London. All these guided me towards (the UK)," Ghosh tells me over the phone. In the way I imagined the setting, there's isolation in the way the characters lead their lives.
The life is not very independent, whereas the characters I had in Badla, were very independent. There's usually a security guard in the building, a maid or a chauffeur coming in or out. so many people coming in and out of a house. It is understandable that a mainstream Hindi film's commerce depends on how a film 'looks', and therefore pays heed to where it is shot.īut one does become strained to understand why 'Indianised' remakes (at least, the official ones) need to be set outside India, especially when a majority of the cast is speaking in Hindi anyway.įor Sujoy Ghosh, ever since he started work on remaking Spanish thriller The Invisible Guest (Spanish title: Contratiempo ) as Badla, the location of the film was always the UK.
Much like Kareena Kapoor Khan in Angrezi Medium last year, even Kulhari tries her best to come off as a believable English cop, routinely switching between her English instruction dialogue to juniors, and Hindi exposition dialogues to the audience.
Save for the odd drone sequence over the London eye or the Brooklyn bridge, which acts as a transition before a song or the climax.
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Cops, lawyers, brokers, cab drivers (duh!), so much so that the geography of the film becomes completely beside the point. I t has been a trope in several Hindi films set abroad, especially London, where every other character turns out to be from the subcontinent. I do not know about you but when I was watching the trailer of Ribhu Dasgupta's The Girl On The Train, and Kirti Kulhari was introduced as a Hindi-speaking cop in London, I groaned out loud. The Girl On The Train, and the unsubtle art of setting Hindi remakes of foreign-language films abroad
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