Sushant Singh Rajput’s tragic death came as a shock to the entire cinema industry. At 34, he was marvellously better than his contemporaries. Having begun his career with soap operas which gave a whole new purpose to his aesthetic of artwork, potentiality and calibre as an actor and artist. Inferences were drawn following his death by suicide, post-June 14th on the reasons compelling him in desiring such a step. Keeping TRPs in mind, television news never gave up on any occasion in flashing details related to his personal life. His associations, affairs and relationships were tweaked and twisted, presented as a fact, making us buy their beliefs. Why at all there arose a need to play and sham the actresses who had already worked in significant film projects with Sushant?
Sushant was iconic with his role plays, performance and presentations. I don’t believe that nepotism and favouritism greatly affected him. If it were so, then artists like Pankaj Tripathi, Nawazuddin Siddiqui, Jatin Sarna, Raghubir Yadav would have never got the podium to express their art forms; instead, they stood up against odds and rose to prominence. Struggle and hardships are your companions when you start anew in any sector; leave aside Bollywood. Network, nepotism, and connections exist there as well, but one who knows how to battle and overcome the situation will be a victor any day. But in the Hindi cinema industry, nepotism does have a bearing on one’s presentation as it is a game of chances.
If you score a fair amount of opportunities, then it works fine; otherwise, you are back to the level playing field. But nowadays with a fair amount of breakthrough web series, one can grab the first available chance in showcasing their potentiality and creativity. Plus you get feedback on your performance by fellow co-actors, directors and producers constantly looking for aid, support, encouragement and guidance pushing you forward at every step.
Only the artist can do justice to their art form as others are mere spectators. Reminiscing the role of Sushant in Kai Po Che and Kedarnath, director Abhishek Kapoor fondly translates what it meant to be with a person like Sushant on the sets.
“Sharp, impressionist, intellectual and intelligent he did justice to his role-plays and adaptations. Nothing came between him and his art as he knew what he delivers on screen.”
Although he was on medication for symptoms of Clinical Depression for the past couple of months, I believe, for him, success was intertwined in stardom, and he wanted to achieve that peak sooner than later. Many his films were slated for release next year, starring him in lead roles. In the words of Kangana Ranaut:
“He came across as distinctively meritorious and ambitious meted with injustice on part of his “outsider” tag and status. He was never invited in big Bollywood congregations and gatherings.”
Shekhar Kapur wanted to sign him for his directorial film Paani, instead cast Ranveer Singh. In this process, Sushant refused to work with producers like YRF and later, when he wanted to, there were hardly any offers before him. Sushant had drawn ires from the Rajput community of which he was a part and particularly by the members of the Rajput Karni Sena for his stand on Sanjay Leela Bhansali’s film Padmaavat. Speculations of his proximity with Bhansali was made as to when he wanted to work with producers like Yash Raj Films and Bhansali there weren’t any offers on Sushant’s side.
These might have acted as a trigger behind his call to claim his own life as many would draw their conclusions based on their analysis and understanding. Whenever there is any talk on art directorial Sushant’s name will prefigure first. It is the emotional, mental and social pain, pressure, trauma and agony of stardom glaringly reflected in the path which Sushant chose for himself. OM SHANTI.