Babil Khan, a fresh and dynamic talent in the acting world, has already left an indelible mark with stellar performances in his first two film roles, Qala and Friday Night Plan. Now, he's poised to captivate audiences once again with his thriller and historical series “The Railway Men," which also stars R Madhavan, Kay Kay Menon, and Divyenndu. The four-episode series is directed by debutant director Shiv Rawail and is set against the backdrop of the Bhopal Gas Leak, which has a thrilling account of courage and a salute to humanity and bravery.
Emerging as a standout performer, Babil Khan brought a unique blend of authenticity and magnetism to the OTT platform, earning critical acclaim and a rapidly growing fanbase. In an interview with Asian Voice, he discusses his new series, the digital versus theatrical debate, and all things work.
Congratulations on the release of your new series “The Railway Men”. Could you tell us about your character and what drew you to this particular role?
Thank you! My character’s name is Imad Riyaz, and I play a locomotive driver in the series. Imad’s character is about discovering a hero in every human being. He is empathetic and does everything possible and beyond in the unfortunate Bhopal Gas tragedy. He embodies resilience and compassion, symbolising the indomitable spirit of underprivileged individuals. His character illuminates their inherent strength and selflessness in facing adversity, portraying human courage and altruism in challenging times.
What aspects of the series do you think resonate most strongly with audiences? Can you share any memorable or challenging moments from the sets of your recent project?
It’s not easy to understand what connects with the audience, but I feel the act of humanity in the vicious, dark reality is what is connecting most strongly. The ray of hope, the possibility of humanity in the most inhumane incident, is getting the smile through the tears for the audience.
About the challenges on the set, I am a newcomer and so for me, challenges are to be overcome and not to mull over them, and doing a series like ‘The Railway Men’ taught me exactly that.
What’s your opinion on the digital versus theatrical release debate, given that your work is exclusively on digital platforms?
Any film is dependent on the audience, be it digital or theatrical, and each film caters to a unique audience demographic. Unfortunately, for a film to run in theatres in India today, it has its own definition, and to spend an exorbitant amount on tickets in India, one needs to assure the audience of its payback, which is not about content; it’s more about the experience—the sound, the action, the music, etc. Not every film possesses the budgetary capacity to deliver stories in such a manner. However, the essence of storytelling, which is imperative to be heard, finds a welcoming space in the digital realm. Digital platforms provide an inclusive space for a wide array of stories beyond the confines of budget limitations associated with theatrical productions. The audience today is vast in the digital space as well, and it’s also giving opportunities to new voices, directors, and actors. So, the audience is getting a much larger buffet than commercial cinema.
Is there a piece of advice or a mantra from your parents that has been particularly influential in your acting career?
Honestly, my parents were the most non-filmy people associated with the industry, so we saw great films. I just learned to overhear their conversations, which were mostly about performances and films. But they never sat me down to talk about films as such. I just gathered that for them, especially from my Baba (Irrfan Khan), being in this situation was the most important.
What have you learned from the characters you have portrayed in your projects? And how do you adapt to the nuances of your characters?
At a young age, I've gleaned valuable life lessons from every character, recognising the importance of such guidance in my journey of learning and growth. Especially with my debut film ‘Qala’, it is about performing art. My takeaway from that film was that nothing is black and white in life. To judge and to be judged are both vices and sooner or later, karma catches up. My second film ‘Friday Night Plan', was about growing up, as it was shown in the film. It’s interesting how I enter these fictitious characters’ houses as a stranger, and as I explore, I become one of them, leaving once the project is finished, carrying little memories and life lessons, and returning as Babil with a wealth of wisdom from each character.