Sushil Pandey is gearing up for the release of his next venture, ‘Phule’, starring Pratik Gandhi and Patralekha in key roles. ‘Phule’ is a historical biopic centred around Mahatma Jyotirao Phule and Savitribai Phule. Directed by Anant Mahadevan, the film was originally set for release on April 10 but, due to recent legal troubles, it will now hit cinemas on April 25. In a conversation with ETimes, Sushil spoke about the delay in the release of Phule, describing it as hurtful.
Sushil has played memorable roles in films like Article 15, Jolly LLB 1 and 2, Super 30, Maharani, Human, Bheed, and many more. Below is an excerpt from his interview with ETimes.
Tell us about your role in Phule. How did you land it?
The writer of the film, Muazzam Beg, has known me for a long time. During casting, he actually called me first for a part. But he didn’t mention that it was a biopic of Jyotirao Phule. He just said it was a good script set in 1892, based on Jyotirao Phule’s life. Then he arranged a meeting with Anant sir. I am a big fan of Anant sir—the kind of actor and director he is, and I had seen a few of his films, which I found very interesting. When I met him, he clicked a few black-and-white photos of me on his phone and even showed them around the office. He seemed very excited. At that point, I knew nothing about the script or my role, but he kept saying, ‘He is perfect.’ After that, he offered me the part, and I came to know that it was indeed a biopic of Jyotirao Phule. I immediately said yes, without knowing much, because it felt like a once-in-a-lifetime opportunity to be part of such a significant story.
How did you prepare for a role in a historical biographical drama like this? Did it involve research or studying real-life references?
To be honest, I didn’t prepare much initially. I was quite anxious, as I didn’t know much about the era from 1892 to the 1940s. I was a bit reluctant. But during a second meeting, Anant sir showed me a few pictures and told me not to over-prepare. He said, ‘You’re already there. You’ll do well.’ So I went through the script several times, thinking about my body language and how I should portray the character. He advised me to focus only on the socio-political setting, as the script would take care of the rest.
Before the film, I only knew a little about Jyotirao Phule. Then Anant sir and Muazzam gave me a few books to read, and I learnt so much more. Though we study about him in school, the depth of his struggles was eye-opening.
One book mentioned his family dynamics—how he was thrown out of the house, and how his own brother, Baba Rao Phule, became an obstacle. That was new to me and deeply moving. Baba Rao, though an ordinary man working in the fields, saw Jyotirao’s exile as a chance to gain property. That struck me hard. Anant sir had a very grounded approach. On set, everything was very real—no over-acting, no exaggeration. That realism shaped my performance.
How was it collaborating with Anant Mahadevan?
It was truly wonderful. I had met Anant sir before a few times and initially thought he was very serious and reserved. But he has a fantastic sense of humour—his one-liners on set were amazing. I have only seen such a quiet, disciplined set once before—when Majid Majidi shot Beyond the Clouds with Ishaan Khatter. Anant sir’s set was equally silent. If anyone wanted to talk, they had to step off the set. We even communicated through gestures! If someone accidentally made a sound, they’d immediately apologise. And the moment Anant sir left the set, even for a minute, everyone would relax and laugh a bit. He’s a funny and warm person behind that serious exterior.
What was it like working with Pratik Gandhi and Patralekha?
This was my first collaboration with both Pratik and Patralekha. I already knew Pratik from theatre—he knew me too—so we had a good rapport from the start. I met Patralekha for the first time on set. I had seen her here and there at parties with Raj (Rajkummar Rao), but never spoke to her. On set, I saw her wielding a sword during a scene and thought, ‘Wow, what a tremendous actor!’
During lunch, I told her she looked amazing on screen. She laughed and said, ‘Really? Is it working?’ I said, ‘Yes, absolutely!’ We had a lot of fun after that. She’s a beautiful soul and a joy to work with. Pratik and I, along with other actors, used to work out together in the evenings. There was no hierarchy on set. Amit Behl sir, another veteran, was also there. Everyone was friendly and down to earth. That atmosphere came from the top—Anant sir created a space where everyone felt included and at ease.
The release has already been postponed. What was your immediate reaction to the delay?
When I found out, I was hurt. Very few people today choose to make films like this. I’m not saying the film takes a political stance—I truly mean it when I say it’s based on real-life events and research. I spoke to Muazzam during the shoot. He told me that nearly every serious scene is backed by a newspaper article or a book—it’s all authentic. If someone thinks this film is against a particular community or religion, that’s completely untrue. It should be viewed as any other meaningful film. I believe that once people watch it, their complaints will vanish.
Just yesterday, around 3:34 pm, I received a call from an unknown number. The man started by praising me, saying he’s a fan and has watched my films. But then he began abusing me. He said, ‘As a Brahmin, how can you act in an anti-Brahmin film?’ He kept shouting. I tried to calm him down, saying ‘Sir, sir…’ but he wouldn’t stop. I just smiled, stayed silent, and said, ‘If you feel this way, I’m sorry.’ I asked him to please watch the film first. His opinion is based on just the trailer or a few lines. I told him, ‘If you’re truly my fan and you trust my work, then believe me—I’d never be part of a propaganda film.’ This film is important, especially for the youth. They need to see this. That call really disturbed me—he was practically threatening. Yes, we didn’t talk about it (censoring) much, but Muazzam had told me there would be some issues. I don’t know all the details, but yes, I was affected by it.
With Article 15, Super 30, Maharani, Human—how do you manage to portray such relevant roles? You’ve consistently taken on characters that reflect social realities. Is that something you consciously seek when signing a project?
I wouldn’t say I do it deliberately. I want to explore all kinds of films in my career. Personally, I’m very comfortable doing good comedy—I want to do more of that. I try to work with good filmmakers, and I consider myself lucky. Some powerful stories have found me, like Article 15. I feel blessed to have been part of that film. Even with Maharani, the kind of story Subhash Kapoor tells—of course, there’s a cinematic take, but there’s also a strong message within the narrative for society. So, in that sense, I feel these stories have reached me somehow.
I feel genuinely happy to be part of such cinema. And I always say, cinema cannot change society. It cannot change the world. Nor is it the responsibility of cinema to do so. But cinema can have a positive impact on society. If, during the narrative, there’s something that can influence society in a good way—what’s wrong with that? What could be better, in fact? So yes, I do believe we should create meaningful cinema, like Jyotirao Phule or Article 15.
There’s one more film I’d like to mention—Bheed, again directed by Anubhav Sinha sir. To be honest, while working on it, I felt that even after a hundred years, future generations will look back and talk about the Corona period. This film will help them understand its dynamics. I truly believe Jyotirao Phule is a very important film for today’s youth. So many young people, even professionals from MNCs, meet me and say, “Sir, I watched Article 15.” That makes me feel very happy. If people in their late teens, twenties, or early thirties are watching it, at least they’re getting to understand the systems. I’m not saying they existed only in the past—they are part of our society. We can’t deny that.
I try to choose stories that are meaningful. I may not always be able to tell a director, “Sir, I want to play this particular part,” but I can choose which story I want to be a part of—and that choice is in my hands. If the story and the idea are strong, then like a flower in a garland, wherever you’re placed, you’ll still add beauty. That’s why I focus on choosing the right script.
Do you think ongoing sensitivities are affecting creative freedom?
We live in a country with many communities co-existing. Everyone has the right to speak freely—freedom of speech and expression matters. Cinema has a powerful impact on society. When you’re making a film about someone like Phule or Gandhi, the facts are already in the public domain. These are not attempts to demean anyone. But before expressing anything, I have to balance my emotions. There are a thousand ways to speak on any issue.
I know Anurag Kashyap—he’s one of my favourite directors. Perhaps the statement he made came from a place of initial guilt or a mix of emotions. He’s actually a very balanced person.
Even with Anubhav Sinha—I’ve worked with him on four films now. The kind of cinema he makes… I haven’t seen anyone else care so deeply for every single member of the cast and crew. I’ve worked closely with him on set, and he treats everyone equally. That’s exactly why he’s able to create the kind of films he does—like Article 15. But when it comes to any film or story, how can one person alone decide how it should be made? That would be hypocrisy.
Any upcoming projects you can reveal now?
Yes, Jolly LLB 3. I’m very excited about it. There are two more films I’m working on, but I’ll need a bit more time before I can reveal those.