Pradeep Sarkar and his unique brand of dadagiri

Kolkata: Like most Bengalis of some demographic or professional stature, Pradeep Sarkar was called dada by an entire industry, actually multiple industries. What was truly special was his exquisitely consistent pattern of engagement - whether CEO/CMO, Client Servicing/ Creative or talented colleagues from Bollywood.

My first live engagement with him occurred in 2005, in the course of an Eveready TV commercial. His sets were packed with happy spontaneity and a culture of free-flowing banter ensured that global warming did not invade the floors. But the intensity was staggering, its delivery in a relatively mild-mannered format just a human decoy as his brain was constantly ticking with emerging creative opportunities. In this particular scenario, the protagonist Amitabh Bachchan was gifted with a last-minute pair of spectacles, adding untold value to the visual equilibrium.

By this time though, the Parineeta halo was in full swing, so everybody expected a power distance with a recent Bollywood celebrity. But alas, such fears were in vain as he was equally receptive to the junior-most inquiry as he was to a senior inquisition. Not that he agreed all the time or even most of the time, but even in an emphatic denial, the elegance and warmth did not depart from the tidings. When rebuking a dysfunctional assistant or an obstinate agency partner, the cyanide was surely intact but well blended in a rasgulla.

His love for food was a visibly apparent demonstration of dadagiri as the sets served top-notch catering ensembles - Parsi, South Indian, Bombay and Calcutta with loving abundance.  A fairly common pattern in Mumbai studio culture, one may argue, but the warmth seemed unusual or perhaps it is my frenetic digestive imagination talking aloud.

Being originally of the advertising cadre, an integrated sensibility often came to play and his sketching acumen smoothly consummated the marriage between intent and action. This is an important detail as the origin of the vision was invariably a static reality, while the skill in his craft came to life in cinematic appropriation. Perhaps others have this quality as well, but I did notice the unification to be invaluable for ad folks desperate to marry creativity with commerce.

On the subject of dadagiri, as touched briefly, I did learn a few lessons in non-negotiables - as an ad director he had two live customers, the agency and the client. The latter being understandably demanding about branding proliferation and integrity to PPM promises while the former striving manfully to get in a word edgeways, as his stature was exceptional. His going position was one of compatibility, unlike other stalwarts who were hawks by cultivated instinct, yet he could be supremely firm on matters that mattered and wisdom blessed him with that assessment.

On movies, I adored Parineeta and liked Mardaani and many do feel that some intermediary efforts fell short of commercial potential. But then this is the trait of every meaningful romantic and that he most certainly was, on every possible Richter Scale. Romance not defined by song and dance routines or intense exchanges or even camera craft - but articulated by a worldview or should I say, a go-to-camera approach. Designed to embellish every layer of storytelling with valuable emotional meaning, beyond just the call of the narratives. Not too many have this ability and I think you know what I mean.

Dada was of course a proud and passionate Bengali, the roots coming to life in his actions and indeed his tongue. But his version of dadagiri was not like Mithun or Ganguly or even Kishore Kumar - eclectic folks who took on the world as opposed to nudging the universe to delightful coexistence. This must have led to points of pain, for such chosen terrains leave scarce room for rebuttals or reprisals - the melody of actions preferred to the barrage of reactions. It reflected in his work, his conduct and now, sadly prematurely, his legacy as well.

On the legacy, it can be confessed that he stood more for undoubted goodness and not questionable greatness. Goodness that resonated in his craft, from advertising to cinema and naturally, the approach to people at large. Wherein, Amitabh Bachchan and the spot boy seemed to be intuitively equal, their parts chosen equally by destiny as much as deeds. This was not a defiant stance but an invitational bearing and nobody really missed the plot.

As Pradeep Sarkar moves on to his heavenly screenplay, I do wish that his genre of dadagiri earns a comeback in these edgy times. It’s not just cherishable but valuable as well, as people always come first in this accomplished school of civilization.