A temporary glimpse thru Kunal Kemmu’s filmography unearths a variety of tasks. There are the lead roles in motion pictures like Kalyug, Dhol, Go Goa Gone, Malang and Lootcase. Then there are the vital darlings like hard-hitting movie Traffic Signal and exciting internet collection Abhay. In brief, his tasks are a mixture of motion and drama, and feature are available all sizes and styles.
This 12 months by myself, we noticed him as a cold-blooded cop in Malang, then an aspirational middle-class man in Lootcase, and a super-sharp detective in Abhay.
“It’s very encouraging to get the kind of feedback that I have received. I feel it gives me an added responsibility that I can’t let my audiences down. I have been very lucky throughout my career to have got love for everything that I did whether it’s from critics or the audience. As far as success is concerned, I think success in this industry is basically when you keep getting opportunities to do the work that you want to do,” says Kemmu, who feels it is “frustrating” and “annoying” to attend for a brand new undertaking longer than anticipated.
“But there is no way around it,” he briefly provides. “You have to just deal with it. I always say what’s important is to also invest in your personal life and have other passions and hobbies. I know it’s easier said than done because there are times when I feel weak and anxious and I don’t know what I should do but you should keep working on yourself.”
Over the years, Kemmu’s performing mode has been flexible and charismatic, with a repertoire protecting a gamut of scale and performances – from hidden gemstones like 99 and Bhaag Johnny to extravagant productions like Golmaal 3, Kalank and Malang. His profession marks more than one fruitful collaborations with administrators, together with Mohit Suri, Priyadarshan, Madhur Bhandarkar, Raj & DK, and Rohit Shetty.
However, it stays noteworthy that Kemmu doesn’t in point of fact have all that many main performances in his filmography, at the same time as his profession possible choices replicate a need to be consciously public. Needless to mention, he stays some of the underrated actors in Bollywood with numerous latent doable.
“I think it’s only come to the surface by comments and questions whether it’s from the audiences, critics, or for that matter, interviewers,” says Kemmu.
“It’s a question that we all, kind of, resonate with. Most of the time it is blamed on the business of the box office or whatever the math is, I don’t get it. Thankfully, I have got the opportunity to play different parts that nobody can say that he can’t do this or he can’t do that. I want to keep doing what I do because I love it and enjoy it. I just want to say that I deserve better chances to keep doing what I do.”
Kemmu has additionally been part of a number of multi-starrers, and although the result of some were lower than pleasurable, like Kalank, the disgruntlement hasn’t ever fallen on his shoulders for that. And now with all the nation streaming greater than ever, Kemmu’s publicity as an actor is ever-rising.
“I was pretty impressed that the makers of Abhay saw me play something like this,” says Kemmu, who believes that the crime mystery gave him a possibility to push his obstacles.
“I’ve never done this kind of role. They came to me because I didn’t have a particular image. I really look forward to playing Abhay for a longer time because it’s given me an opportunity to explore this side of me as an actor and play a character that I have never played before and one that I’ve started to enjoy a lot.”
Do those platforms assist create a level-playing box for actors? Kemmu says, “The content is king in OTT space but nothing can replicate the experience of watching a film in the theatre. I don’t know how much a level-playing field is going to be there in the film industry because that business still seems to be dominated by the box office collection. Unfortunately, the math behind it has somewhere gone beyond, at least my understanding, that what actor has what kind of recovery or what film can be made with what actor.”
With the raging debate on nepotism and insider as opposed to outsider in Bollywood, the target audience is ceaselessly blamed for the so-called theatrical famous person gadget, which is assumed to provide sure significance to a couple actors over others.
However, Kemmu says, “You can’t solely blame the audience for this.”
“The audiences do give you love and that’s what makes you a star but it is a long process. Every superstar of this country worked very hard for a very long time to be in that position. Unfortunately in the past few years, superstardom has become a matter of one film. If your one film works, your Instagram followers will increase, you will get magazine covers, you will host the award functions. You become the superstar in six months, whereas all the superstars that I have loved were built over a lot of groundwork of films– be it Akshay Kumar, Aamir Khan, Shah Rukh Khan, or for that matter, Amitabh Bachchan. So, the whole definition of stardom or superstardom has changed,” he provides.
“Having said that, the audiences are the end result. They are the ones who buy tickets so they are responsible but they are not completely responsible because sometimes they are not aware of some things. Because sometimes the PR machinery or the clout of the producer or director goes into building the perception of a film. All of this also plays a major part to make or break the perception of a film. There’s a lot of marketing and PR that also goes behind it,” Kemmu concludes.