Kaantha's Kumari was the first role that came to actor Bhagyashri Borse. As fate would have had it, she would go on to play Raajlaxmi Cariappa, Journalist Nayantara, Jikki, and Dr. Madhu, before coming back to don Kumari's saree in Kaantha. Throughout this arduous journey of delays and reschedules, Kumari was present with her. “I’ve lived with Kumari for so long that she’s become a part of me. Honestly, I think she is me. Many of my own characteristics are in her,” Bhagyashri says, about the period drama, directed by Selvamani Selvaraj and headlined by Dulquer Salmaan, Rana Daggubati and Samuthirakani.
While the delays caught her off guard and heartbroken, Bhagyashri feels the struggle was truly worth it. “There was a point when we honestly wondered, 'Is this film even going to happen or not?' We questioned everything,” she recalls, adding, “But I believe it’s all in God’s timing. This film has been an important platform for me. In our industry, I feel women rarely get opportunities where they can completely express their potential. In Kaantha, I could show what I can do and how hard I’m willing to work for my role as Kumari,” she elaborates.
In this conversation ahead of the film's release this Friday, Bhagyashri shares what goes behind selecting her characters, why she fought for Kumari, how she perceived the mixed responses to Kingdom, the need for well-written female roles and more…
How challenging was it to bring your own uniqueness to the role, considering how comparisons with other period films are inevitable?
Rana Daggubati, Dulquer Salmaan, and Kani sir (Samuthirakani) are all incredible actors. As a newcomer, it could have felt intimidating, but I wouldn’t call it difficult. I had enough time to get into the character and prepare for the role, so the process felt more beautiful than challenging. All of us were competitive on set and wanted to beat each others' performances. This film will always stay special to me because I truly feel this is the one where people will say, 'Bhagyashri has arrived.'
Did you revisit history to understand nuances of your character?
To get into Kumari's character, we explored how actors used to perform back in that era. We didn’t want to overdo it or underplay it. It was all about finding the right balance for today’s audience. People still remember legends like Sridevi garu, and at the same time, we wanted them to see me in the role. Selva sir also showed me a few clips of Savithri garu, and I was honestly in awe. She and Madhubala were big inspirations for me.
This film began even before the pandemic, and it’s taken quite a journey to reach the screen...
This was actually the first script that came to me, and I was so excited because it felt like I had finally found my path. I don’t come from an acting or film background, and I have no industry connections. I'm just a girl from a small town called Aurangabad who decided she wanted to become an actor. So when the project got delayed, I was heartbroken. I had worked so hard, come all this way, and suddenly it felt like everything was uncertain again. But, like I said earlier, I believe timing is everything and when it’s meant to happen, it happens.
How has your understanding of scripts and movie choices changed over the years?
It’s been quite a journey. I didn't know which scripts are right, or what choices will shape your path. Coming from outside, you have to grab every opportunity and prove yourself, again and again until people finally recognise your worth and trust you with more.
Over the past year, I’ve learned to understand scripts better, to observe more closely, and to understand myself as a person. In that way, I think Kaantha will define my image.
Do you actively participate in discussions with your directors about the nuances of your character?
If it’s someone like Selva ayya, who’s very open, it becomes easier. He asked me to take full control of Kumari. I used to tell him, “No, Kumari can’t say this. Kumari can’t say that, etc...” It reached a point where I knew Kumari better than he did. There was even a time when I felt Kumari needed one particular scene and I fought for it, and when he discussed it with Dulquer and Rana, they agreed. I want to work with people who value my opinions.
After Kingdom released, you wrote that you were sorry people didn’t get to see more of you in the film, but that you gave it your best. How did you take in the mixed responses that followed?
I genuinely feel like I gave my best. At the end of the day, that’s all you can do. I’ve fallen deeply in love with the craft, and I just want people to see how much it means to me. I jumped at this opportunity, and if things don’t work out, that’s okay. I gave my 100 per cent, and that’s what matters most. The audience saying that they wanted to see more of me is a huge compliment and that only happens when we have done something right. So instead of feeling disheartened, I took it positively.
Why do you think there’s still that gap between critical appreciation and audience acceptance when it comes to films frontlined by women?
The success of a film or a market is often determined by how many people you can pull to theatres. When there’s a Suriya sir or Rajinikanth sir release, we all rush for the FDFS tickets. I wish we could show the same excitement for films lead by women. Even if you don’t end up liking it, that’s okay, but at least give it a chance, come to the theatre, and support it. While that mindset is slowly changing, I really hope that in the next few years, we reach a stage where audiences treat female-lead films with the same anticipation and enthusiasm.