There Are No Small Roles. There Are Never, Ever Small Roles, Says Superboys Of Malegaon Actor Manjiri Pupala (Exclusive)

Manjiri Pupala has earned praise for her incredible performance as Trupti in Superboys of Malegaon, directed by Reema Kagti. In an exclusive interview with The Free Press Journal, the actress shares her experience of working on the film, the challenges she faced, and what drew her to the role. Apart from Superboys of Malegaon, Manjiri has also been a part of several other notable projects like Dhadak 2, Shehar Lakhot, Gaslight, Dahaad, and Betaal, showcasing her talent and versatility in a wide range of roles. Excepts:

Q. What drew you to the role of Trupti in Superboys of Malegaon?

A. My role in Trupti was extremely endearing from the first read itself. But honestly speaking, when the project came to me, what drew me to the role was the makers, really. The script was written by Varun Grover, and I’ve enjoyed and felt inspired by his work for so many years. And then, of course, there was Tiger Baby. It was an Amazon Studios project, and Reema Kagti, a woman I adored, a director whose work I have enjoyed and admired for all these years, was at the helm. I literally grew up watching what Excel and Tiger Baby have created over the years, and every single project of theirs brings an example of fine filmmaking. They are among the best creatives in our country.

So, the fact that these creatives were coming together to tell such a unique story, and my character was such an intriguing, adorable role, it was an imaginary character placed in the real lives of the characters in Faiza’s documentary. For me, it was also a challenge to place an imaginary character in a realistic setting. I think that’s what attracted me and drew me towards this role.

Q. How did you prepare for your character in Superboys of Malegaon?

A. Actually, the preparation phase was quite interesting because, first, all the actors and I met in a workshop with Atul Mongia sir and his team. Over the course of a week, we prepped and spent time doing a lot of improvisations, feeding off each other’s energies, and trying to see where things landed. We’d listen to each other’s notes and figure out where we were coming from. I think it was really, really important for all of us to feed off each other’s energies, and that really helped us on set. When we were ready to go for a shot, all those improvisations, those interactions, the ice-breaking we did together—it was crucial because none of us knew each other. I had worked with Vineet, of course, in Betal before, but other than that, we didn’t know each other at all. For me, everything was new. So, it was quite interesting and beautiful to go through that preparation period with everyone so we could bloom together on set.

And that translates on the screen today when people say they don’t know where to look or whom to look at because all of us are so, so, so good. I think that’s a huge compliment to the entire ensemble.

Q. What has been the audience’s response to your portrayal of Trupti?

A. The audience response has been really beautiful and overwhelming—extremely heartwarming, is what I would say. I think this is the first time a character has drawn so much attention from audiences. They’re quoting her lines. The other day, I was at an event and someone told me, “I want to watch the film again just to hear that disgusting line from you,” referring to how Trupti says it.

In fact, so many people are writing to us, and for this particular character, I’m really surprised and intrigued to see people actually noting down small reactions, even verbalising them, commenting on facial expressions. Some are saying, “We loved this particular expression you made here,” and it’s fascinating to see how deeply they are connecting with these tiny moments.

I’ve watched the film several times in theatres, just to observe the audience. And not just for my character—people are really hyped up, clapping, laughing, chuckling together. The film is completely engaging them. And then, ultimately, they start weeping with us; they’re sobbing with the characters. It’s beautiful. It’s rare to see the audience sitting till the credits roll, and I’ve witnessed this multiple times.

I genuinely believe in staying till the end of the titles because I completely value and understand the amount of work and the army of people it takes to make a film. That’s the least we can do to honour those people when their names are scrolling up. But this is the first time I’ve seen a film actually compel the audience to sit and just be numb, staring at the screen, processing what they went through. That’s the best experience cinema can offer. This is why we are urging people to watch it in theatres—because that’s when you experience cinema as a community.

It’s not a circus, not just a visually grand experience like some 3D movie. The most primal experience of cinema is to sit together as a community and enjoy what’s in front of you with strangers. I think Superboys of Malegaon has achieved that, and I feel it’s the biggest compliment a film can get.

Q. How was your experience working with director Reema Kagti on Superboys of Malegaon?

A. It was amazing working with Reema Kagti. I’ve been a fan of her work since Talaash, even before that. I’ve been a huge admirer of her writing, especially. I’d worked with her before in The Hard web show, where I had very little screen time and space, playing a victim—one of the victims to Vijay Varma’s protagonist role. I only took up that role because it was Reema Kagti’s project. I’ve always been a huge fan of her work, so I knew I had to be part of it, no matter what.

It was a big learning experience because there are no small roles, truly. That short time with Reema on The Hard really helped me get this role in Superboys of Malegaon, because after working with me on that, Reema wanted to audition me again. That’s how this role came about.

I’m really, really happy that it happened, and that I got the opportunity to work on a full feature film with a director like Reema Kagti. She’s extremely clear about what she wants. She’s the true definition of a boss lady on set, which is fascinating to witness. It’s easy to fall in love with her energy and clarity, the passion with which she works. She handles actors, scenes, and performances with such finesse. It’s all in the details—what she tells you, the way she guides you.

For Trupti’s character, many people have said it’s fascinating to see those small little layers. I feel that along with the writing—because I believe the character was extremely well-backed in terms of depth—I got very fortunate. And of course, with Bap Hota’s writing, the character was strongly grounded. Reema also encouraged me to bring in subtle layers that really helped flesh her out.

Q. Can you share your experience working on Dhadak 2 and how it differed from other roles?

A. Again, I think I’m blessed to have worked with some fantastic female directors. Many women have shaped my journey and given me the strength to move forward. I’m really happy to have worked with yet another amazing female director, Shazia Iqbal, on Dhadak 2. It was fascinating because my role is significant within a film that tackles casteism and suppression that comes with it. My character represents a community that’s underrepresented in the industry.

For me, this role was completely different from the ones I’ve done before. It was important to understand how relevant these conversations are. My upbringing, with my father and mother, taught us equality and the significance of being aware of casteism in India, which is so deeply rooted.

I’m glad to be part of a film that’s opening up conversations on such an important topic. Dhadak 2 was fascinating to work on for that reason.

Q. What did you find most challenging about your character in Shehar Lakhot?

A. Shehar Lakhot is one of my favourite projects because it was one of the most challenging roles I’ve ever done. It was set in Rajasthan, and my character was a goon—she abducts people, dominates them, and is feared by everyone. She’s this one woman in a man's world, bringing that raw, rustic energy and harshness.

The character was extremely complex—almost diabolical—and it was fascinating to play someone so far removed from my own life. I’m born and raised in Mumbai, a city girl through and through. So for me, stepping into this extreme world was something completely different.

I had to learn archery for this role, to look convincing enough as someone who’d been doing it for years. That was definitely the most challenging part—making it look authentic. Luckily, I’ve had the opportunity to take on roles from various parts of India, so I love picking up different accents, which wasn’t really a challenge for me. But physically looking like the character was where I had to push myself.

Under Navdeep Singh’s direction, we approached the character in a unique way, which made it even more fascinating to play such an empowering, tough role. He really brought out the essence of that character, and I thoroughly enjoyed playing her.

Q. How did you approach your role in Gaslight differently from other projects?

A. Gaslight was another fascinating role, directed by Pawan Kriplani. It was particularly intriguing because I was playing a blind woman. I spent time studying various tribes from Gujarat and Kutch to get the accent right. The challenge was portraying a blind character, as I’d never done that before.

This was also a horror genre, so there was a unique intensity to it. It was really interesting to explore the concept of disability in such a different setting, especially in a horror-thriller context. I had to work on raising the stakes for the protagonist in a way that was different from how I’d approached roles before.

Q. What upcoming projects are you excited about, and what can fans expect from them?

A. I’m really excited for Dhadak 2, which is in post-production. Fans can also look forward to a live performance of Manjiri Matching Center next month. It’s a one-and-a-half-hour piece I’ve been working on for two years. It’s about a father-daughter relationship and also about the meaning behind my name.

The show is an exploration of love, loss, and family, all framed through personal reflections and stories. I’ve written it myself and will be both performing and directing it. I’m extremely excited to share it with audiences and see their reactions.