Rahul Bose THRILLED with response to his WILD comedy in Udta Teer: “From glorious heights of Mr & Mrs Iyer, I have now become a slapstick comedian!”; reveals why his scenes were kept out of the trailer: “People asked, ‘Tumhara role kat gaya kya?’”

While Rahul Bose is typically recognized for his stern, unyielding demeanor—albeit with occasional flashes of humor that have delighted audiences in prior endeavors—his performance in *Udta Teer* has utterly captivated moviegoers in an unprecedented manner.

He portrays M.D.Burman, the director of the Counter Terrorism Squad (CTS), whose tenure is abruptly halted by a coma immediately upon uncovering the protagonist, played by Ayushmann Khurrana, to be a Pakistani espionage operative.Thereafter, Burman's silent vigilance is communicated entirely through his expressive eyes, eliciting uproarious laughter from the crowd.Concurrently, the amnesiac Pakistani spy begins to delude himself into believing he is a dedicated Indian patriot.A particularly uproarious scene, wherein this confused agent inadvertently rescues Burman within the hospital, drew the house down in laughter.In an exclusive conversation with source, Rahul Bose reflected on the extraordinary reception of his performance and delved into a myriad of additional topics.

While you have previously embodied humorous characters, is the reception garnered by "Udta Teer" unprecedented in your experience?

This project marks a departure from my usual comedic repertoire, relying instead on a form of physical humor that approaches the realm of mime, entirely devoid of dialogue.

Such an approach stands in stark contrast to the conventions of cinema, and certainly differs from the roles I have typically inhabited.When I inquired of Aakash A Kaushik, the film's writer and director, regarding his rationale for casting me, he responded that my presence subverts audience expectations; precisely because viewers do not anticipate a performance from me that would render the film humorous.My character is portrayed with grave seriousness as the head of CTS, a role reminiscent of the dignified parts I undertook in Berlin (2024) under the name Rahul Bose.Consequently, the audience finds it difficult to conceive the trajectory this ostensibly rigid character will follow.Aakash remarked that casting a celebrated comedy actor would have signaled an imminent comedic turn of events; after all, why would one feature such a performer otherwise?I found this response to be remarkably astute.

He remarked that he had observed me on a game show where the objective for the audience was to identify the deceiver.

Although I have since forgotten the title of the program, the premise involved eight participants, to whom inquiries were directed throughout the day, culminating in a decision by the viewers regarding who appeared most veracious.Despite my consistent fabrication of falsehoods during the contest, I emerged victorious.He expressed his astonishment, noting that the audience had accepted my statements as genuine, unaware that I had been deceiving them from start to finish.He concluded by asserting that if an individual could maintain such a ruse while maintaining eye contact, he possessed full confidence that the person in question could successfully execute the current endeavor.

What was the experience like while filming the frenzied sequences for the motion picture?

On a personal level, I found the experience particularly captivating, especially considering that none of these specific sequences were outlined in the original script.

While the written material merely stipulated that Ayushmann rescues Rahul within the hospital setting, the granular details of the action were entirely improvised.This included the precise nature of the events unfolding on the hospital bed, the operational use of defibrillator pads, the specific target of the blows delivered to Rahul's leg, the identity of the individual struck, and the exact point of impact where Rahul collapsed.

Following the completion of the script for the morgue sequence—specifically the moment wherein my character kisses the deceased—certain improvisational elements, such as the elevator door striking my head ten times, were absent from the written page.

Consequently, the entire action sequence was meticulously choreographed by the director of action, conceived with a comedic sensibility.I prepared accordingly to accommodate these unscripted beats.As the elevator door repeatedly impacted the side of my head, I ensured that my facial expression varied with each strike, thereby enhancing the comedic effect for the audience.

The identical scenario unfolded regarding the romantic storyline.

The script merely stipulated that Holkar (portrayed by Smita Tambe) harbored affection for my character; however, the nuances of his reaction, the trajectory of their developing narrative, and the specific progression leading to the poignant moment wherein he, confined to a wheelchair, presents her with a rose, were not fully delineated within the written material.

To assess the efficacy of the approach, one must observe the outcome directly: the definitive indicator of success is whether the unit laughs.

Fatigue often sets in by the third or fourth take, and occasionally as late as the eighteenth, rendering the cast less attentive to direction.However, if laughter persists despite this weariness, it signals a productive creative environment.In such instances, the performers are fully aware of the upcoming material and the specific shot requirements, yet they choose to engage with genuine amusement.

My professional journey on stage commenced with physical comedy in 1990, a quarter-century prior to the present moment, rendering the experience familiar to me.

Nevertheless, I recognized that within the realm of cinema, this venture represented an uncharted domain.I owe a debt of gratitude to Aakash for his vision in casting me.I remarked to him, "Having ascended from the celebrated peaks of *Mr.& Mrs.Iyer* (2002), I have now descended into the role of a slapstick comedian; this transformation rests solely upon your shoulders!" (smiling).

In an exclusive statement, actor Rahul Bose expressed profound delight regarding the reception of his unbridled comedic performance in *Udta Teer*, noting, "Having ascended to the prestigious heights of *Mr.

& Mrs.Iyer*, I have now transitioned into the realm of slapstick comedy." He further elucidated the strategic decision to omit certain sequences from the film's trailer, attributing it to audience skepticism; as he recounted, viewers frequently queried, "Has your role been excised?"

Fortunately, the trailer omitted the most humorous sequences, thereby enhancing the element of surprise.

A lot of people saw the trailer and told me, 'Didn't you tell us that you are in the film?

But you are hardly there in the trailer.

Tumhara role kat gaya kya?'.I assured them, 'Aap film dekho.Phir aapko pata chalega'.But that sounds like something a loser would say!And now, looking at the feedback, I think not showing me was a good strategy.

In the film *Udta Teer*, there is a sequence wherein the protagonist inadvertently kisses a corpse, while another moment involving a severe head strike against the elevator floor might be perceived by certain audiences as excessively graphic.

Given the current digital landscape, where nearly any creative choice can provoke vitriol on social media platforms, did you harbor apprehensions regarding potential trolling or adverse criticism?

While there was no genuine sense of dread, the public's initial reaction to certain scenes was one of amusement—a collective, hearty "Ha ha ha ha.

Theek hai," as they might say.Yet, this response belies the reality that these moments are carefully orchestrated performances.The actor engages in a wide array of activities, including a spirited dance to "It's The Time To Disco," at which point the audience comprehends that they are witnessing a deliberate artistic endeavor rather than a mere cinematic gag.Had this been classified simply as an item, viewers would inevitably question the actor's judgment, wondering what was amiss and how such a choice could align with his career trajectory.This confusion, however, did not arise in the case of *Udta Teer*, precisely because the sequence was perceived as a performance.One observer remarked that after seeing him in *Bulbbul* (2020), encountering him in this role left their mind completely scrambled, unable to reconcile the two distinct personas.

Consequently, I would not have accepted this role were it not for Aakash's assurance that it constituted a substantive performance rather than a mere cameo as an item number; my trust in him was well-placed, for he fully upheld his promise.

Indeed, upon reviewing the rough cut, he further expanded my screen time.

There is also a whimsical track that explores the unrequited affection your character harbors for Holkar.Should *Udta Teer* warrant a sequel, would the narrative finally afford their romance the opportunity to flourish?

(Laughs) I remain uncertain whether a sequel exists; should one be produced, I am confident Aakash will devise a method to portray me once again in a ludicrous guise, given his notably humorous and unconventional mindset.

My career has been defined by collaborations with fifteen debutant directors, ranging from Dev Benegal's *English, August* (1994) and Saket Chaudhary's *Pyaar Ke Side Effects* (2006) to Sujoy Ghosh's *Jhankaar Beats* (2003), Anvita Dutt's *Bulbbul* (2020), Vinta Nanda's *White Noise* (2005), and Anil Senior's *Dil Kabaddi* (2008), among others.

In these emerging visionaries, I actively seek a certain fervor, for they possess no established portfolio to fall back upon save for that singular, illuminating spark.Consequently, their cinematic works remain remarkably unadulterated.Indeed, my own directorial debut, *Everybody Says I'm Fine* (2001), was similarly characterized by such purity.While partnering with first-time filmmakers offers considerable artistic gratification, it inevitably entails a calculated risk.