At the ABP Network Ideas of India Summit 2026, an absorbing and deeply reflective session unfolded under the evocative theme ‘The Real in Reel: Stories from the Heartland’. The spotlight was firmly on authenticity in storytelling, how lived experiences from India’s small towns and rural landscapes are reshaping mainstream cinema.
Taking centre stage was acclaimed actor Pankaj Tripathi, whose body of work has consistently bridged the gap between grassroots realities and big-screen narratives. As Mirzapur prepares to transition from streaming phenomenon to the big screen, all eyes are on Pankaj Tripathi, the man who turned Kaleen Bhaiya into a cultural force. But if you expect dramatic transformation rituals or intense method prep, Tripathi surprises you.
Calm, composed and deeply self-aware, the actor speaks about craft, discipline, reinvention and preserving audience trust, with the same unhurried ease that defines his iconic character.
‘Becoming An Actor Takes Years”: On Preparing For Mirzapur Film
When asked about preparing for Kaleen Bhaiya’s big-screen outing, Tripathi responds with characteristic simplicity.
“The film’s preparation is handled by the makers. I just have to arrive and speak my lines, the way I’m speaking to you now. Slowly. Calmly. Effortlessly.”
But beneath that modesty lies decades of discipline.
“A film shoot may take months. But becoming an actor? That preparation has been ongoing for 25 years, and it still continues.”
Fitness, he says, is non-negotiable.“I’ll go for a run tonight. That preparation never ends. You begin again every single day.”
The Viral Red Outfit And Ranveer Singh’s Tease
Recently, Tripathi broke the internet with a bright red dhoti-style pyjama paired with an oversized coat. Even Ranveer Singh joked, “Guruji, we were about to stop wearing outrageous clothes — and now you’ve started!”
Tripathi’s response?
“Why shouldn’t I? I’m an actor. I must show different colours. Even I get bored of my own simplicity.”
He adds, half-serious, half-playful: “Now I’m not only experimenting with clothes. I’m trying to experiment with thoughts too.”
“Maybe I’ve been humble for too long. I’m still figuring out what ingredients go into arrogance,” he laughs.
The look, he clarifies, was part of a promotional campaign shot in Banaras during the Mirzapur film schedule, a creative solution that saved him travel and sparked conversation.
On Experimentation, Exhaustion And Doing Three Projects At Once
Audiences often associate him with intense roles, from Gangs of Wasseypur to Kaleen Bhaiya. But Tripathi believes reinvention is essential.
“Experimentation is necessary, in clothes, looks, performance.”
The real challenge, however, has been continuity.
“There were times I finished shooting one film at night and started another the next morning. I’ve worked on three projects simultaneously, two films and a series.”
At one point, he even maintained the same beard across roles due to lack of time.
That pace, he admits, is unsustainable.
“I’ve decided to slow down. One project at a time. Calmly. Wholeheartedly.”
Preserving Audience Trust
When news of him taking a break surfaced, fans worried. Tripathi sees it differently.
“Too much of anything isn’t good.”
He acknowledges the unique trust audiences place in him.
“If I’m in a film, people assume there must be something worthwhile in it. That trust is precious.”
And preserving that trust, he believes, requires restraint, not overexposure.
Growing Up In Bihar: Radios, Rivers And Resilience
Tripathi’s childhood in Bihar remains central to his worldview.
“There were maybe four radios in the entire village. At 8 pm, everyone would turn them on loudly for Binaca Geetmala. Nearly 150 homes listening together.”
There was no technology. No noise. Just silence, nature and improvisation.
“We played with whatever we found, even snakes and insects. We learned the stars.”
Living near a river without a bridge taught him a life lesson.
“When there’s no bridge, you learn to swim. I never complained. I learned.”
He even recalls swallowing a water insect as a child because someone claimed it improved swimming.
“Nothing happened. Except maybe my immunity became stronger,” he says, smiling. “That immunity helped me survive Mumbai too.”
Why He Changed His Surname Before Class 10
Before his tenth standard exams, he changed his surname from Tiwari to Tripathi.
“It wasn’t rebellion. It was what I call the ‘Idea of India’.”
In his village, most Tiwaris were farmers or priests. But the two men known as Tripathi were highly educated, a Hindi professor who inspired him to read, and a senior government officer.
“As a child, I formed a simple belief, maybe if I change my surname, I can change my destiny.”
So he did.
For him, the “Idea of India” is simple:
“A boy from a village with no newspapers, only a radio, can dream of becoming an actor and sit here today.”
He is quick to clarify there’s no real distinction in lineage between Tiwari and Tripathi.
“There is freedom in that,” he says.
Exciting New Projects On The Horizon
Pankaj Tripathi’s calendar over the next two years reflects his unmatched demand across both cinema and streaming platforms. With multiple high-profile releases lined up for 2025 and 2026, the actor is set to further strengthen his position as one of the most dependable performers in the industry.
Among the most anticipated projects is Mirzapur: The Film, the big-screen adaptation of the cult crime franchise, scheduled for release in September 2026. The move from digital success to theatrical scale marks a significant expansion of the gritty universe that made his character iconic.
He is also set to headline Dharma, a thriller directed by Amit Rai, promising a layered narrative that blends intensity with social undertones. Adding to the slate is Parivarik ManuRanjan, a drama expected to explore relationships and emotional complexities through Tripathi’s signature understated performance style.
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