Exclusive! Don't want to play furniture anymore: Shefali Shah on Jalsa, roles that are a big no-no now, and more

It's a great time for Shefali Shah as an actor as she is a part of several content-driven projects. After playing a fierce and mysterious Dr Gauri Nath in Disney+ Hotstar's Human, the talented actor is gearing up for the release of Jalsa, which will stream on Amazon Prime Video on March 18, 2022.

Ahead of its release, OTTplay finally met up with Shefali outside of the virtual world for an in-person chat. Talking to an artist who knows her craft and enjoys it to the fullest is just a treat. Well, I relished that treat by meeting up with Shah and talking to her about all things Jalsa.

While chatting, the Delhi Crime actor couldn't stop praising Vidya and the director, Suresh Triveni. She spoke about the mutual admiration they all have for each other. Not just that, Shefali also spoke at length about how it's a great time for female actors thanks to OTT as great parts are being written for them.

Edited excerpts are below:

What intrigued me about the premise of Jalsa was the demographics of both the lead characters. You play a cook to Vidya Balan's character, who is a journalist. What made you zero down on Jalsa, knowing that both the lead characters are poles apart in every possible way?

I didn't have to zero down. I instinctively said yes. One of the stories was very riveting. I thought it was because it was so layered and so nuanced, and it just struck me. more than the fact that they're too different. They’re very different. They come from a different class altogether. But that's not the story and the kind of complexities a human mind has when put in a situation, so that struck me hard. Then, of course, it was Suresh Triveni, and I loved Tumhari Sulu, and then it was Vidya Balan. I was so thrilled to know that there was a director who had written a script with me in mind, a role for me in particular. He thought of putting me on par with Vidya. I was shocked.

With Human and Jalsa, you have had back-to-back releases where you are on par with another female actor. The story revolves around your characters, with male actors as the catalysts. Can we say that things have changed in terms of writing stories with female characters in mind over the past couple of years?

Absolutely. For me, it's changed since like two years ago. A big part to play is the OTT platforms, where this quintessential heroine is not the only thing required of a story. You don't just need stars, you need actors and their full-fledged characters. I believe that in an ensemble cast, every character is a hero or heroine at some point in their space. For me, Bhupinder in Delhi Crime is as important as Vartika is. The same was with Human, and the same is true for Jalsa. Every character is so important. Yes, it has changed, because people are writing roles or stories with women in mind as heroes.

What was the energy like on the sets, as you worked with Vidya Balan for the first time?

First, Vidya and I both admire and love each other tremendously. I just really admire and respect her. I feed off my co-stars all the time because they're so good, they become richer and better. Right from the time we've met, occasionally at parties or whatever, I think there's been a mutual admiration for each other and respect; that shows through. But as for Rukhsana and Maya, they're not exactly on the same page. They are not friends; they are not companions. They’re the two opposite sides of the same coin. So there needed to be that divide between both of them and that uncomfortable space. So we could not jam together to create scenes. Right now is when we're spending time being ourselves. But yes, the scenes were very intense, and when you have an actor who is so good, it just makes me better.

We also see a glimpse of Manav Kaul in the trailer. Can we expect a reunion of sorts with him in this film?

I can't say much about it. But we're very excited that Manav is a part of this film.

How was it working with Suresh Triveni? Are you a director's actor on the set? Or do you get into some improv as well while enacting a scene?

So, Suresh is incredible. Working on Jalsa with him has been one of my richest work experiences. First and foremost, he's the only director who's given me a narration with music, and it's his own created music, not stock music. So the impact of it is much greater. You can always almost visualize it. Secondly, he is a very good actor. So when he's reading, you can visualize the film and the characters. Thirdly, he understands that filmmaking is a collaborative process. He's got a certain crew because they're going to only make the script and the parts richer. He is very insightful about human complexities, and he's curious and wants to know.

As far as I'm concerned, even if I tried, I couldn't keep quiet. So I have a lot of questions. I had long, lengthy discussions with the director because I think that is where the character starts to take form. and debates. I think it's one of the best parts of filmmaking. Trust me, I enjoyed it so much. I have a point of view on everything. But, of course, we discuss it, we talk about it, we see if it works for the film as a larger picture.

At this point in your career, is there something that is a big no-no or something you might not consider doing?

Let's put it this way: let me tell you what I want to do. I want to do leads and parallel leads. I love ensemble casts. Delhi Crime is an ensemble cast. But I don't want to do parts that don't add to my repertoire or don't add to where I finally work towards. Anyway, I've been very choosy about my work, and I don't want to just do something because it's a big film or a commercial film, and I need to be seen. I don't have any such things in my head. But when I get offered something, it usually has a very important role in it. When you read it, you say, "I don't understand this." I don't understand it. So I won't do anything that does not excite me or that does not hit me hard. I don't want to play with furniture anymore.

Do you think the tag "age is just a number" has been blurred out in terms of female actors?

It's blurring out! It's not blurred out. In a commercial box office film, I think they still require stars. They probably still want to cast younger actresses. But well, it's been proven in my case that I'm doing some of my best work ever. I finally came into my own space after my 40s, which is when you wouldn't think of that.

Talking about the whole OTT scenario in India, do you think it has kind of reached a saturation level?

Oh my God, I don't think OTT is going to reach a saturation level. It's here to stay forever and ever. It's only opened up horizons for creative people. It's opened up horizons, even for producers, because you're comfortable with knowing that your film has already been sold or acquired by a platform. Creative people are allowed to explore, experiment, and express; the reach is global. Like I said earlier, it's not burdened by what is required in commercial box office films. It doesn't necessarily require a dance number or a song, or an 18-to-22-year-old heroine or a star. I don't think it's ever going to get saturated because there's so much content, and it's only going to get better. Well, like in every field, there are some good and some bad. Just because some shows or some films do not work, does not determine the fate of this entire new trend that started; it's here to stay.