Dulquer Salmaan on ‘Lucky Baskhar’ and Rejecting the ‘Pan-India’ Label: I Can’t Live in My Former Glory

Dulquer Salmaan recently stirred conversation under the trailer for Lucky Baskhar, with fans commending his effortless command over Telugu. A playful response, “Of course, he’s a Telugu actor, what else do you expect?” brought out divided sentiments: while it could be a proud comment from a Telugu fan, it might also reflect the frustration of Malayalam cinema followers who feel Dulquer has distanced himself from his roots.

Dulquer remains unfazed by mixed reactions. “You can’t make everyone happy,” he reflects. “I still have a couple of Malayalam projects, but people expect different things in each industry. In Telugu, I get roles I wouldn’t see in Tamil; in Hindi, I get what I don’t find in Malayalam. It’s all part of the journey.” Despite fan debates, Dulquer plans to alternate between languages each year, aiming to do 3-4 films annually, balancing health and roles as he moves closer to 40.

Lucky Baskhar: The Lure of Money and Moral Grey Areas

Lucky Baskhar, directed by Venky Atluri, dives into the journey of a common man in the 1980s who pursues wealth through questionable means. “It’s a very relatable story,” says Dulquer. “It’s about someone who faces family pressures and makes tough choices. There’s no glorification of breaking rules, but it’s undeniable that we’re intrigued by characters who walk the line.” He believes audiences are drawn to morally complex roles because it allows them to explore those grey areas vicariously.

Moving Beyond Coming-of-Age Roles

Over his 12-year career, Dulquer’s versatility has ranged from NRIs to love-struck leads to roles in period dramas. He says he’s ready to move past the typical coming-of-age arcs. “Grey characters let actors stretch beyond their personalities, which I find refreshing. I’m done with finding myself in every role,” he adds, pointing to a broader audience fascination with true crime and morally complex figures, a genre he enjoys exploring.

The Appeal of Period Films and the Challenge of Long Absences

While period dramas like King of Kotha, Kurup, Sita Ramam, and Lucky Baskhar may have added to Dulquer’s fame, they’ve also meant long separations from family. “Facetime calls are filled with comments from my wife missing the real me because I’m constantly in a new look. But there’s a richness in storytelling with vintage settings that I find hard to turn down,” he says.

Still, he admits that typecasting in period roles could be limiting and doesn’t want to be solely seen as a “period actor.” Yet, when an extraordinary script comes along, he won’t say no. “It’s wrong to deny good stories in the name of typecasting. Our job is to bring such scripts to life.”

‘I Dislike the Term “Pan-India”’

Despite a career spanning several Indian languages, Dulquer resents the term “pan-India.” He emphasizes rooted storytelling over creating films to suit every demographic. Citing Kantara as an example, he explains, “Films should reflect their origins. Dubbing is just a tool to help audiences understand, not a way to cater to every region. The charm is in the authenticity.”

Dulquer’s approach is to feature actors from various regions rather than altering scripts to fit a “pan-India” mold. In Sita Ramam, the diversity in casting brought familiarity to audiences across India without losing its cultural essence.

Respect for Film Budgets Over Star Salaries

In a time when star salaries and film budgets are skyrocketing, Dulquer prefers a conservative approach. “In Malayalam cinema, we focus on the story, not the paycheck. Why place financial strain on a film unnecessarily?” he asks. Dulquer believes that while stars can help with a strong opening, it’s the content that keeps a film running. “I’d rather see resources go toward enhancing the film than on my salary.”

He stresses that star power shouldn’t drive financial competition, which he considers “a source of unnecessary unhappiness.” For Dulquer, his career is about making a mark with genuine stories rather than climbing a box-office ladder.