1971- Reel meets the real...............

Shoma A. Chatterji reports

In 1971 India won the war against Pakistan on behalf of Bangladesh but a large number of Indian soldiers were held captive in various jails in Pakistan. Amrut Sagar's forthcoming film 1971 is a reel initiative to capture the chilling reality. Shoma A. Chatterji reports
We know that there was a war between India and Pakistan that culminated in the creation of a new country - Bangladesh. But few of us know that there are at least 54 Prisoners of War (PoW) languishing in Pakistani jails till date. In a fictionalized account based on authentic documentation and research, Amrut Sagar of Studio 18 has made a film called 1971 under the Sagar Arts Production banner.
"Seven years ago, my father handed me a one-line story for a film about six prisoners of war he wrote in 1972. I prepared a script for an out-and-out commercial film. But no commercially famous star agreed to work in it. The script gathered dust for four years. Then, while I was writing another film, I glanced through the old script and discovered that I could make the second half of this script into a full-length feature film," says a dashing Amrut Sagar, who has trained in cinema in the US, elaborating on his motivation for making 1971.
"A newspaper article I read mentioned 54 PoWs still languishing in Pakistani jails. I wrote a completely new screenplay, finalised the cast and scheduled the shoot. I was still aiming at a commercial hit. I was optimistic about its commercial prospects. But there was this nagging feeling about the families of these 54 prisoners who are waiting for the return of their loved ones. How would they respond to their personal tragedy being turned into someone else's ladder to aesthetic, creative and commercial success? It was as if, in a knee-jerk reaction, the pieces of a giant jigsaw puzzle fell in place. I could only express it through my chosen language- cinema."
Based on an original story idea by Moti Sagar with screenplay and dialogues by Piyush Mishra, 1971, the film, is set six years following the 1971 war. Though India won the war on behalf of Bangladesh, a large number of Indian defense personnel are held captive in various jails in Pakistan. Juxtapose this against the grim reality of the Pakistani government denying the very existence of these PoWs. International pressure forced the Pakistan Government to change the manner in which they treated these prisoners. In a 'politically correct' move, the Pakistani Army was ordered to collect all Indian PoWs in various Pakistani jails and then transfer them to a secret location somewhere in the mountainous terrain of Pakistan.
"In these new living conditions in a camp, the prisoners discover that there is considerable improvement in food and other amenities. This raises hope in their minds that their release details have been finalized and that they would perhaps go home. But a small band of six soldiers are not convinced. They sense that behind this generous exterior, some kind of diabolic design is at work. They are shocked to discover that the reality behind the veneer of so-called generosity is something they did not imagine. They chalk out the most daring escape from the camp, to ensure the well being of all Indian PoWs. Their singular aim is to reach the Indian borders at all costs and to alert the Indian authorities of their findings," explains Amrut, outlining the synopsis.
Inhuman weather conditions, the constant threat from Pakistani officials hunting for stray PoWs, and gut-wrenching moments of fear of getting caught fill the footage with the grim reality that characterizes a documentary, posing a challenge not only to the acting cast, comprised mainly of men, but also to the technicians who had to shoot the film in these terrains. The six soldiers are based on real men. They are - Major Suraj Singh (Manoj Bajpai), Capt. Jacob (Ravi Kishen), Lt. Gurtu (Deepak Dobriyal), Capt. Kabir (Kumud Mishra), Subedar Ahmed (Chittaranjan Giri) and Lt. Ram (Manav Kaul.) The only hope of success they have is the complete faith they must place in each other and their mutual dependence on each other. One betrayal could mean the death not only for these six, but perhaps, for the rest of the prisoners and metaphorically speaking, also for their families back in India.Of the 54 PoWs in Pakistani jails, 29 are from the Indian Army while 25 belong to the Indian Air Force. Though he has changed their original names in the film, Amrut has taken care to place his six soldiers against their personal histories instead of leaving them in the limbo of a no-man's land. Suraj Singh has no family to go back to. He is from 18 Rajputana Rifles. Captain Jacob is from Cochin, Subedar Ahmed is from Mushirabad, Flt. Lt. Ram is from Delhi while Flt. Lt. Gurtu is from Srinagar. Kumud Mishra is from Pune.
"I made this film for a human cause and I feel that this is my most honest work. It is not for me. It is for those 54 men in uniform and for their families who continue to wait," sums up Amrut. Let us hope it brings an end to their wait. (TWF

Bollywood 2008

Inderjeet ‘S’ Prince

The year 2007 turned out to be on patchy year for the Bollywood. The Ist half saw the success of only 2 movies - “Guru” and “Namstey London”. “Guru” depicted the transformation of an ordinary young boy (Abhishek Bachchan) in to a successful businessman. Abhishek rejuvenated with this film. In ‘Namstey London”, Akshay, who was paired opposite Katrina Kaif, proved his mettle as a crowd-pulling star-Akshay, in fact, gave a string of 3 back-to-back hits in 2007. They were “Namstey London,” “Hey Baby” and “Bhool - Bhulaiya”. “Welcome” starring Akshay and others too opened to good response of the audiences. The major hits of 2007 were “Om Shanti Om”, “Chak De India”, “Jab We Met”, “Namstey London”, “Guru”, “Partner”, “Hey Baby” and “Bhool Bhylaiya.”
The worst major flops of the year were “Ram Gopal Verma Ki Aag” (a remake of “Sholay”), Shaad Ali’s “Jhoom Barabar Jhoom”, and Nikhil Advani’s “Saalem-e-Ishq”. The other major duds were much hyped “Saawariya”, “Nishabad”, “Eklavya”, “Cheenikum” and “Aaja Nach Le”.
In 2008, an expected Rs. 6000 crores is riding on various films which are on the verge of an early release.
Jodha - Akbar
This Ashutosh Gowarikar’s Film starring Hrithik Roshan as the legendary king Akbar and Aishwarya Rai as Jodha Bai was expected to hit cinema halls in January 2008. However, film got delayed due to Aishwarya’s marriage with Abhishek Bachchan and was postponed to February 15. But as ill luck would have it, Mrs Teji Bachchan, the mother of Amitabh Bachchan passed away in Mumbai. With Aishwarya Rai busy in performing the last rites of her mother in law, Ashutosh Gowrikar’s epic film seems to be postponed to April 2008.
It may be recalled here that a cold war erupted between Hrithik and Aishwarya soon after the marriage of Aishwarya when Hrithik along with a number of other leading stars of the Bollywood were not invited by Bachchans to the marriage ceremony of Abhishek - Aishwarya. Ashutosh Gowrikar’s back problem added more problem to the release of this epic romantic film “Jodha Akbar” is based on a 16th century true. Story of a marriage alliance between the Mughal emperor Jaluluddin Mohd. Akbar and the fiery young Rajput princess Jodha that brought two diverse souls and dynasties together. When the Muslim Emperor Akbar accepted the marriage proposal of Jodha, the daughter of a Hindu king Bharmal of Ajmer, little does he know that in his this effort to strengthen his relations with the Hindu Rajputs, he would in turn be embarking on the journey of true love. Jalluddin Mohd, who was crowned “Akbar” after his conquests in the battlefield, finally succeeds in winning the love of fiery Rajput princess which in turn changed the course of their lives and also that of Indian history. Produced by Ronnie S Screwwala and Ashutosh Gowrikar, Film has haunting music by A. R. Rehman. Opulent sets and breathtaking costumes are film’s highlight.
Ajay Devgun’s: “U, Me Aur Hum”
The Actor turned director Ajay Devgun was all set to release his maiden directorial venture “U, Me Aur Hum” in January 2008. Film starring Kajol opposite Ajay is complete but with the year 2008. Starting with the release of “Halla Bol” starring Ajay and Vidhya Balan compelled Ajay to postpone the release of “U, Me.....” With “Golmaal Returns” and “Sunday” readying for an early release, (All these film have Ajay Devgun as the leading man in them), Ajay has decided to post pone the release of “U, Me Aur Hum” to June 2008.
“Race”: Tips Industries Ltd’s “Race” starring Anil Kapoor, Saif Ali Khan, Akshayee Khanna, Bipasha Basu, Katrina Kaif and sizzling Sameera Reddy is a slick - fast paced action oriented thriller. Directed by Abbas - Mastaan, “Race”, set against the backdrop of horse trading, film is expected to hit cinema halls all over the country towards the end of this month. Bipasha, Sameera and Katrina Kaif provide glamour to this film.
“Singh Is King”
Akshay “Khiladi” Kumar who had the mid as touch in 2007, promises to keep viewers happy in 2008 also. Vipal Shah’s “Singh Is King”, Nikhil Adani’s “Chandani Chowk To China”, Yashraaj Film’s “Tashan” and Nagesh Kukunoor’s “Eight by Ten” are some of Akshay’s scheduled releases of 2008.
“Singh is King” tells the story of a small time Punjabi boy moving to Australia & making it big as an underworld don. Film has been shot almost entirely in Australia’s Gold coast with some breath taking visuals.
“Drona”
This Goldie Behal film starring Abhishek Bachchan and Priyanka Chopra in the lead role has Abhishek playing super hero - where he supposedly flies around in a cape. Priyanka Chopra plays his body-guard. She has learnt a peculiar Punjabi material art from four Sikh masters. Abhishek tries to out do her with some hair raising stunts.
Aby Baby’s “Sarkar Raaj” (a Ram Gopal Verma’s sequel to “Sarkar”) starring his wife Aishwarya and Dad Amitabh is also in the pipeline. Rakesh Om Parkash Mehra’s “Dilli - 6” is also important for Abhishek.
Some More Attractions of 2008:
Amitabh Bachchan, Sanjay Dutt starrer “Alladdin” (a Sanjay Ghosh’s modern version of Arabian Nights), film maker Vivek Sharma’s Spooky tale of a boy’s encounter with a ghost in a film titled “Bhoot Nath” where Amitabh & Shahrukh Khan (!) Share the screen space together. Subash Ghai’s comeback film as a film maker titled “Yuvraaj” where Salmaan, Anil Kapoor & Zayeed Khan play three billionaire brothers who embark on a quest for happiness. Katrina Kaif, an ace musician, plays Salmaan’s sweet heart in this film.
Aaamir khan starrer “Ghajini” (a re-make of A.R. Murvgadoss’s hit Tamil film) is an action packed Thriller where Aamir sets out to avenge the murder of his girl-friend. Since he suffers from amnesia, he tattoos the names, addresses and telephone numbers of the killers all over his body. Aamir’d have to shave his head for this film.
Love Story 2050
Harry Baweja’s Sci-fi “Love Story 2050” which is also his son Harman Baweja’s launch pad will hit the marquee in 2008. Bipasha Basu starrer “Pankh” which also introduces Maradona Rebello and sudipts Chattopadhay, “Kambakth Ishq” starring Akshay and Kareena Kapoor, venus Records & Tapes “Maan Gaye Mughal-E-Azam”, Muddassar Aziz’s “Dulha Mil Gaya” and Rumi Jaffery’s “God Tussi Great Ho!” are some forthcoming attractions of 2008.

Ranvir: Madhuri is amazing

Ranvir Shorey is one of the most popular faces on both the small screen and big screen. His shows Ranvir Vinay Aur Kaun and The Great Indian Laughter Challenge are very popular on the small screen, occupying prime time slots, while his movie performances have been critically acclaimed for his brilliant portrayal of roles as diverse as that of the conman/druggie in Traffic Signal to the aggressive young brother in Khosla Ka Ghosla. Post his latest film, Aaja Nachle, Ranvir has been a very busy ma. The actor in conversation with Abdul Moheet
Firstly, congratulations on your performance in Aaja Nachle. How was it working with a living legend like Madhuri Dixit?
Oh!! I was completely floored from the word go! I was utterly tongue tied, I mean we were all in so much awe of her, we didn’t know what to say. But Madhuri is an amazing, amazing human being and I’m not just saying this because I have to be diplomatic, but because she really is. She charmed the pants off everyone on the sets (not literally) and was completely down to earth. I’ve known many newcomers who don’t even have a hit to their name and they show so many airs, but not Madhuri. Even veterans like Yash Raj swear by her.
You have acted in a variety of roles, and never let you be stereotyped to a particular role. Why the penchant for offbeat cinema?
Well I grew up as part of a generation that was quite frankly sick of the mainstream cinema of that time. So keeping this in mind, I could never see myself doing something that would come across as ‘typically mainstream’.
So you don’t see yourself doing a typical SRK role?
Why should one try to be SRK? We already have a Shah Rukh Khan, we already have an Amitabh Bachchan, so what is the point of emulating them? It is useless. Actors nowadays try so much to imitate their mentors, by copying their hairstyles and dressing styles, etc, but honestly we don’t need anymore Shah Rukhs or Amitabhs because we already have the originals. What we need are better actors. A lot of times actors play themselves on screen. I feel we need to shift from that trend, and focus on donning different garbs, so to speak. My approach to cinema is different that way. I like taking up different roles, portraying different characters, getting into their skin. I try and think the way they think, speak the way they would speak, and so on. Keeping in mind my roots, of how I disliked mainstream cinema, I’m always on the lookout to do something different, take some risks, because quite frankly I’m not the type of person who would feel safe in a rut doing the same thing over and over again. It’s just not palatable to me.
Can you tell us about your chemistry with Vinay Pathak?
friends from the last ten years. We share a very non-intrusive relationship, with clearly demarcated privacy zones. He gives me my space and I give him his, so we basically share that comfort zone. We’ve got a lot of common traits, and we’ve been very supportive of each other throughout, and I think that comfort level at some point translates on screen. Even when we do our shows, such as Ranvir Vinay Aur Kaun, there are no ego hassles, and there is basically a good understanding, so I guess that is why we work together so well.
2008 seems to be a very busy year for you. Can you tell us something about your upcoming projects?
Well, first off is Mithya, which will be releasing on February 28th, then is I Am Chaubees directed by Sourabh Shukla, then there is Teesri Manzil, Sirrf, Singh is King with Akshay Kumar and Ugly Aur Pagli which is directed by Nikhil Advani. It is a wacked out romantic comedy, low on mush and not something the audiences are used to. Then there is Chandni Chowk to China again with Akshay Kumar and I am proud to say that I am his new sidekick! We had an absolutely fantastic time shooting in Gold Coast, Australia, and me and Akshay wreaked havoc on the sets with our pranks. The whole experience was one big party, and even Akshay, who generally sleeps by 10pm used to stay up and party till late nights with us. Vipul Shah is not only an excellent producer, but also one of the best hosts one could have asked for. That month in Australia was one of the most memorable times of my life.

Dance with me

Dancing queen Saroj Khan, who is the new toast of small screen with her Bollywood dance tutorials on NDTV Imagine, shares her insights on the future of dance with Binita Ramchandani
Nachle Ve with Saroj Khan set the ball rolling for newly launched NDTV Imagine. In this unique show, the industry's veteran choreographer teaches students to dance like famed Bollywood divas. Excerpts from a chat with the woman behind many a successful women of silver screen
What is you show on NDTV Imagine like?
The show is about a teacher who teaches dance to students absolutely free of cost. I found the concept quite good, as nowadays many people want to learn dance and so I thought, why not give them a platform. The show is a medium through which I will teach students dance by helping him or her identify the beat of the music - just as I teach on the sets. The best part is that there is no age bar, so whether young or old, everybody can dance with me.
Do you plan to direct or act in a movie as you have done before?
No, I do not intend to take up direction or acting; I did that earlier just as a friendly gesture. I wish to stick to choreography and do as much for the industry as I can.
Are you happy with the dance scenario in Bollywood?
Nowadays each and every song in a movie looks almost the same- mainly the item numbers. There is no specific movement, which is seen. But some years back this was not the case. Each song had its own unique steps; for example, take the Dhak Dhak song by Madhuri. The scenario has changed in the past 4-5 years.
What do you think should be done to improve the existing scenario?
I feel that we should have different songs with different movements and steps. We have such a rich culture but we are just aping the west. We should stick to our roots and incorporate forms like folk, bhangra, etc in mainstream choreography.
What's your take on reality shows?
I think reality shows have really made a lot of impact on the audience. Everyone wishes to be dancer and is learning dance. A reality show made housewife Tina (TV actor and anchor Hussain's wife) a dancer. I think it has helped her to grow as a dancer. I remember the blindfold dance of Nach Baliye 2 , which is not an easy task even for the professionals, but despite being a non-dancer she did it. Therefore I am in favor of reality shows.
What is the message that you wish to give to aspiring choreographers?
I just wish to tell them that they should come up with something new every time. Be creative in your steps. Don't use common dance steps. This is how one can create a unique style of dancing and also make their mark in the industry. Make use of our rich Indian culture in your choreography.
What are your recent projects in hand and what do you plan for the future?
Shooting for the movie 'Aladdin' has just been completed; and now I wish to take my journey of dance ahead by coming up with an academy of my own. (TWF)

Medicos in Hindi movies

A C Tuli

The story of this film has a close resemblance to the story of the film ‘‘Dil Apna Aur Preet Parayee’’ (1961) in which Rajkumar was the director, Meena Kumari his nurse, and the domineering Nadira the woman whom the doctor had to marry. But there is a huge difference between the two films. Whereas the Kishore Sahu-directed ‘‘Dil Apna Preet Parayee’’ dealt with the medical profession in an elementary manner, in the Honey Irani-scripted- ‘Armaan’ the medical profession is presented in a far more sophisticated and knowledgeable way.
In real life, a doctor is perhaps never so blunt and categorical in telling his patient, who is suffering from a terminal illness, as to how long he is going to live. But in real life a doctor can afford to be brutally matter of fact while dealing with his patients. In Zeher Emran Hashmi takes the young girl he is madly in love with to a doctor for medical check-up. The doctor, who has already conducted some tests on her, tells her that she is pregnant.
The girl is obviously thrilled by this good news. But in the very next breath the doctor also tells her that she is suffering from cancer. The girl, of course, is very nearly paralyzed with shock on hearing this. With tears in her eyes, she asks the doctor how long can she expect to live. The doctor, like an oracle, then predicts that she has not more than three months to live. Perhaps a real-life doctor would not make this kind of prediction.
In a comic and hilarious way, Rajkumar Hirani’s Munna Bhai MBBS’ also deals with the medical profession. The film of course is a comedy with farcical overtones. A youngman comes from a village to Mumbai. He hoodwinks his parents back home by telling them that he has studied medicine and is now practicing as a doctor in the metropolis. But in reality, he has fallen into bad company and has become a professional Bhai.
Every time his parents come to Mumbai Munna (Sanjay Dutt) and his close friend Circuit (Arshad Warsi) manage to deceive them into believing that Munna is indeed is a practicing doctor. But when Munna father Hari Prasahad Sharma (Sunil Dutt) learns from his friend Dr Asthana (Boman Irani) that his son is a professional goonda and not a doctor, he is shocked. A tearful Munna then heart-brokenly confesses before his parents that he has indeed been deceiving them, but then vows to study medicine and become a doctor.
How he gets admission in a reputed medical college is again a story of fraud and chicanery. But all this is done in such a way that he film viewers double up with uncontrollable laughter. Munna is spite of his rough and ready ways, is a good-natured young man whose heart melts at the sight of suffering. Of course, he never qualifies as a doctor, but he succeeds in winning over his childhood sweetheart Suman (Gracy Singh) daughter of Dr Asthana.
Once in a while we do get to see a serious movie revolving round the life of a doctor who is so dedicated to his profession that he does not care for his own life. In ‘Ek Doctor Ki Maut’ (1990) Pankaj Kapoor, as a Dipankar Roy, was in the main role. The role of his wife was enacted by Shabana Azmi. Dr Dipankar Roy is single mindedly devoted to finding a cure for leprosy. He succeeds in inventing a vaccine that can cure leprosy. But ironically, owing to the professional jealousy of his fellow doctors and also some bureaucratic hanky-panky in the Government’s Health Department, somebody else gets the credit for his invention. The heart-broken doctor dies in the end. The film won many awards, and Pankaj Kapoor’s performance in the main role own critical acclaim.
There are scores of other such films in which the medical profession figures prominently. Our filmmakers, in their search for off-beat subjects are nowadays not averse to making films on the lives of doctors. In fact, they are not averse to make films on the lives of the practitioners of other professions, too, provided they get good scripts.

Setback for remakes

A C Tuli

In recent years some of our filmmakers, despairing of the scarcity of creative scriptwriters in Bollywood, appear to have veered round to the view that they would be striking gold if only they turned their attention to remaking yesteryear blockbusters - blockbusters which have now attained the status of classics of Hindi cinema.
Then, there are a few others who, encouraged by the roaring success of their own recent films, have thought it worthwhile to go in for sequels. Hence a plethora of remakes and sequels like ‘Don’, ‘Umrao Jaan’, ‘Dhoom-2’, ‘Lage Raho Munna Bhai’, ‘Phir Hera Pheri’ et al. In fact, continuing with his Munna Bhai series, director Rajkumar Hirani had already started shooting ‘Munna Bhai America Chale’ when suddenly his plans went haywire as Sanjay Dutt, the protagonist of this film, had to go to jail after his conviction by a Tada court.
Come to think of it, neither remakes nor sequels have succeeded in matching the Charisma and charm of the original films. Shah Rukh Khan’s ‘Don’ was, to say the least, just a travesty of the original film starring Amitabh Bachchan. As regards ‘Umrao Jaan’, it fell flat on its face at the box-office, provoking critics and connoisseurs of good cinema to dismiss it as a completely lackluster attempt in which the main players looked disappointingly shallow and ineffective.
Comedy is a genre in which our filmmakers have perennially found limitless box-office possibilities. So, we have had the sequels like ‘Lage Raho Munna Bhai’ and ‘Phir Hera Pheri’.
Both these films, no doubt, did good business at the box office, but there is a general critical consensus that they we are not in any way as interesting as the original ‘Munna Bhai MBBS’, and ‘Hera Pheri’. In fact, well-scripted and ably-directed ‘Hera Pheri’ raised gales of laughter in cinema halls, so irresistible was its humour.
But the comedy that we saw in the sequel ‘Phir Hera Pheri’ lacked natural flow and spontaneity. At places it was grossly overdone. And, in the concluding reels of the film, the comedy degenerated into irresponsible and tasteless farce.
Years later Roop K Shorey, when he had lost his Midas touch and his films had started flopping at the box office, thought of reviving his sinking fortunes by producing and directing a remake of his old classic ‘Ek Thi Ladki’. The remake was ‘Victoria No. 203’ was released in the early 70s.
It was a rib-tickling comedy with Ashok Kumar, Pran and Saira Bano in main roles. But the remake of this film with the same title that was released recently was outrightly rejected by the masses, although it had two talented actors - Anupam Kher and Om Puri - performing in it the roles which in the original film had been performed by Ashok Kumar and Pran. However, not all remakes have been flops.
As regards Sanjay Leela Bhansali’s ‘Devdas’ with Shahrukh Khan, Aishwarya Rai, and Madhuri Dixit in the three main roles, many critics - and also a large number of viewers - think that though it might have been a moderate commercial success at the box office, it lost much of its appeal because too many liberties had been taken with the text of the original novel. Besides, those who had been Dilip Kumar in Bimal Roy’s ‘Devdas’ thought that Shahrukh Khan was a totally wrong choice for this role.
In 1953 Filmistan Studios made a film entitled ‘Anarkali’ with Bina Rai and Pradeep Kumar in the lead. The film was made on a very modest budget, but it was one of the most successful films of 1953, enjoying a silver jubilee run in many cities. K Asif’s ‘Mugal-e-Azam’ (1960) was of course the same old story of the legendry Anarkali. So, it was, in a way, a remake of the same old film. But ‘Mugal-e-Azam’ was a mega-budget film compared with which ‘Anarkali’ looked a mighty poor thing. Of course, ‘Mugal-e-Azam’ was far more successful at the box-office than ‘Anarkali’.
So, ir would be wrong to say that all remakes invariably fail at the box office. A few of them do turn out to be hits. It, however, depends who is making it. But when all is said, it is now generally being felt that we should leave old classics alone, because their memory is so deeply entrenched in our collective psyche that anyone tinkering with them appears to us to be committing some sort of sacrilege. There are certain old films which most of us are inclined to think, and rightly so, that they cannot be remade.
For instance, imagine Ram Gopal Verma or some other filmmaker attempting a remake of Guru Dutt’s ‘Pyasa’ or V Shantaram’s ‘Do Ankehn Barah Haath’, or Mehboob Khan’s ‘Mother India’. Imagination boggles at the possible results. (PTI)

Betwitching Actresses of Past

Zeenat Zafar

Old wine is guaranteed to give audiences a bigger high than anything new that Bollywood can rustle up. Sample this: Pritish Nandy Communications is eager to pair garam Dharam with the Dream Girl of yore, Hema Malini, in an untitled film. Cameras are set to roll once Dharmendra gives his nod to the script, which Hema Malini has already approved of. That isn't all. The doe-eyed beauty, whose face can still launch a thousand films, is also going south to play a lead character role in Kamal Hasan's next film Marmayogi.
If Hema Malini has her schedule for this year chalked out, so has Jaya Bachchan, who is starring alongside her son, Abhishek, in the fantasy action film Drona, slated for a mid-2008 release. And Shabana Azmi is toying with the idea of playing the late Benazir Bhutto. Azmi's 2007 releases, Honeymoon Travels, Dus Kahaniyan and the satirical Loins of Punjab Presents, among others, had seen the actress, as always, in riveting roles, endorsing her versatility.
Now that Bhutto is no more, she could perhaps have yet another meaty role in her kitty. In the early Eighties, Azmi had begun to prepare for the part, intently studying Bhutto's body language and mannerisms. But the proposed biopic on the Pakistan People's Party chief to be directed by British-Pakistani author, playwright and film-maker Tariq Ali, had to be shelved because of the predictable Indo-Pak differences. Industry sources now claim that there are chances of the Shabana Azmi-Tariq Ali project being revived.
So what is it that makes these so-called actresses of yesteryear-Waheeda Rehman, Hema Malini, Rekha, Sharmila Tagore, Shabana Azmi and their ilk-all-time favourites, not just with audiences but also with film-makers? What makes young, top-notch actresses pale into insignificance in their presence?
In the past, dancing skill wasn't mandatory, histrionics was. A show of skin wasn't imperative; grace and elegance were the much sought-after traits. Film-maker Pradeep Sarkar, who had zeroed in on Hema Malini and Jaya Bachchan to play "key roles" in Laaga Chunari Mein Daag, seconds that. "These senior artistes have grace, elegance and oodles of talent. That is why they are still in demand," he reasons, adding, "Hema Malini's role as a courtesan in Laaga Chunari… was important and it was by no means a cameo. Only she could have enacted it. The script demanded an actress of her calibre, which is why I decided on her. Ditto for Jaya Bachchan."
But while Sarkar fell back on the demands of the script, film-maker Goutam Ghose had actually relied on Rekha to recreate the Umrao Jaan magic in his film Yatra. At the time of the release of the film Ghose had mentioned, "Rekha as Umrao Jaan is part of the collective memory of the audience." Ghose, however, tailored the script to depict a metaphorical journey over the years but tried to retain the sense of mystery associated with the actress.
It is perhaps this sense of mystery that adds to the timeless appeal of these artistes. In fact, R. Balki, director of Cheeni Kum, baulks at the expression "yesteryear artistes". "That's unfair," says the film-maker who had conceived of the May-December marriage between a 34-year-old woman and 64-year-old man with specifically Tabu and Amitabh Bachchan in mind. "I wanted to bring together that pair. But as far as actors like Sharmila Tagore, Hema Malini et al are concerned; they are still going great guns. If the script demands it, they can still play the lead and carry a film single handedly," he says.
Film-maker Sudhir Mishra agrees wholeheartedly. While his recently-released film, Khoya Khoya Chand, starring Soha Ali Khan and Shiny Ahuja, was based on Meena Kumari's life, he is keen to work with one heroine in particular who had scorched the silver screen in her heyday. "Given a chance, I would love to work with Waheeda Rehman," he says. "She is such a great artiste. She has aged so gracefully and is so talented. Unfortunately, today mediocrity rules the roost and not many producers would want to back a film with a senior artiste in a substantial role."
While that may be partially correct, the veterans themselves are happy with the present state of affairs in Bollywood. "It's fun to work with actors we were paired with when we were young," says Hema Malini. "It's a feeling of déjà vu." Baghban and Baabul saw her being successfully paired with Amitabh Bachchan. And now that there is a possibility of her being able to work with Dharmendra after over two decades, Hema Malini couldn't possibly have asked for more. INAV

Bollywood politicians

Zeenat Zafar

Films and politics have remained two of the most exciting and rewarding activities on the Indian scene. Politics has offered new opportunities for fading film stars to play heroes and heroines, this time in real life. Vinod Khanna was not very active in films when the BJP offered him the Lok Sabha seat from Gurdaspur and gaining from a BJP wave, he won. For a long time, Raj Babbar was a "Trishanku" in Bollywood, swinging between hero and villain's roles and the call from Mulayam Singh Yadav to join the Samajwadi Party must have come as a welcome relief.
When film stars join politics out of strong commitment or a genuine desire to do public good, their credibility is intact. Sunil Dutt who had a clean record in public life entered politics to help Prime Minister Indira Gandhi, a family friend who had nominated his wife Nargis to the Rajya Sabha. Dutt, along with Nargis, had entertained jawans at border posts and helped her in starting the Spastics Society of India. After Nargis died, Dutt continued the good work. The Nargis Dutt Cancer Foundation did admirable work and Dutt undertook long peace marches in India and abroad to defuse militancy in Punjab and seek a ban on nuclear weapons. Dutt held fast to the Congress ideology and kept winning the Lok Sabha seat from Mumbai North-West even on occasions when the Congress drew a blank in the rest of the city. Politics could do with more Sunil Dutts.
Amitabh Bachchan's brief stint with the Congress was due to his friendship with Rajiv Gandhi, but his political career floundered following the Bofors scandal that tarred and feathered Gandhi. Hounded by the V.P. Singh government and the media, Bachchan made a quick exit from politics and vowed never to return. Nearly 10-years later, he was back in party politics, campaigning for his "friend and younger brother", Amar Singh of the Samajwadi Party and its leader, Mulayam Singh Yadav, both of whom had shattered the dream of Sonia Gandhi to head a Congress-led coalition at the Centre. Was this a repeat of the "Namak Haram" role for Bachchan?
On a recent television programme, Shabana Azmi, Independent member of the Rajya Sabha, argued that her status without any party affiliation helped her credibility and won her difficult battles. "I can talk to the Prime Minister, his cabinet colleagues and State Chief Ministers and move things. This may not be possible if I wore a party label. My actions would be mis-interpreted as political and vote catching moves." To a certain extent, she is right though Sunil Dutt's links with the Congress did not hamper his effort to "move things."
Ideology apart, how significant is the selfishness motive which has drawn film stars to politics? Vyjayanthimala Bali, after an undistinguished stint as the Congress MP, was denied a party ticket for the Lok Sabha. Miffed, she immediately joined the BJP. No questions of ideology here, only self-interest. Sometimes, pure luck carried some of the film stars to dizzying heights in politics. Remember Dipika, who played Sita in Ramanand Sagar's TV serial, "Ramayana"? Exploiting the Hindutva fervour generated by the serial, the BJP nominated Dipika for the Vadodara Lok Sabha seat, which she won. She spent one term in the Lok Sabha without speaking a word.
Film stars, according to him, could achieve more by way of social causes, by remaining outside active politics. Veteran star, Dev Anand, agreed. He started a unit of the Janata Party immediately after the Emergency was lifted, but soon gave it up in disgust because of in-fighting and ego clashes. "I do not go near politics now," he confessed.
In trend-setting Hollywood, a failed actor Ronald Reagan became the Governor of California and then a Republican President of the US. His Teflon charm hid the fact of his being a total failure in the job. His ignorance of international affairs was abysmal and one felt he was acting all the time at the White House.
Top Hollywood stars did take interest in politics, supporting the Republicans or the Democrats as per their conservative or liberal leanings. But few of them entered active politics and made a run for office. Actors like Marlon Brando, Paul Newman, Dustin Hoffman and actress Meryl Streep came out against war hysteria, nuclear threat, and injustice to Native Americans and free availability of deadly guns. Issues interested them more than political plums. INAV.

Working with Kajol a wonderful experience

After Amir Khan, it is Ajay Devgun's turn to prove his directorial talent and versatility. By the time you read this, his directorial debut U Me Aur Hum will have hit the theatres. With U Me Aur Hum, Ajay Devgun joins the bandwagon of actor-directors. It's been a long journey from action hero in films like Jigar (1992) to comedy in Ishq (1997) to intense drama in a chain of films as an actor to reckon with. This led to his production house of television software and films. Direction was in the wings, waiting to be called centre stage. He is his cool self on the eve of the release of his film at least to outward appearances and matches each question with equal wit, the signature silent and crooked smile of amused tolerance often cracking up that unconventional face. Let us see what he has to say to Shoma A. Chatterji
Has direction always been a part of your dreams?
As a matter of fact, it has been a long-time dream-come-true for me. To tell the truth, my training in direction began when I was eight or nine years old and was part of my father's technical and editorial team when he made films. Then, I happened to assist Shekhar Kapoor quite early in my career long before I made my debut in Phool Aur Kaante as an action hero doing my stunts myself. I bided my time and also got familiar with the logistics of production by creating my production banner beginning with Hindustan Ki Kasam in 1999 and Raju Chacha the next year. The fact that they bombed at the box office did not discourage me but made me wiser in choosing my directorial script and film with care so that it does well.
What drove you to direction?
I've been an actor for 16 years now and there have been the usual ups and downs with a few big hits, a few smaller ones and some super flops too. It is logical for an actor to extend himself to other areas like direction. To tell his audience a story he believes in. I had this story in my mind for a long time and then one fine morning, I just sat down and wrote it out. As I was developing the storyline into a full-fledged screenplay, I realised that the best way to tell the story was to tell it the way I wanted it to be told and who else could achieve this but me as director? Of course, I then got other writers to collaborate on the idea and give the screenplay the right shape. After that, it was smooth sailing.
As an actor, you have had your share of action films, dramatic films, contemporary films and historical films. What genre did you choose for your directorial debut?
I am not about to give the story away about which genre the film belongs to. I would leave it to my audience to draw its own conclusions. Let me just tell you that it is a commercial film with all the ingredients like dance, music, drama, songs and cinematic strategies like the flashback structure that have gone into the making of U Me Aur Hum. I can definitely tell you what film it is most certainly not - it is not an action film. I want to reach a wide audience and this is the only way I can attain my objective. I am honest in my intentions and I have made an honest film. That is all. I only hope that I have succeeded in telling my story the way I wished to tell it and that my audience understands it the way it has been told. U, Me Aur Hum is about love, life and relationships. The aim is that people must come out of the theatre with a smile and feel good.
You have directed your wife Kajol in this film and also acted opposite her. How was the experience?
Working with her has been a wonderful experience. She is a wonderful actress in her own right. But that does not mean that I will cast her in every film I direct. It would depend on whether there is a character for her to portray. When a director makes a film, actors like her help convey the message rightly. I have other good actors too like Divya Dutt, Helen, Karan Khanna, Isha Sharvani and Aditya Singh Rajput in my film. They have all done me proud. It is the story of three couples and how the successful marriage of one couple helps mend another's relationship and how the third is urged to tie the knot. I will continue with direction as it is my favourite hobby or you can say a passion. I will not make a movie only for the sake of it, but will do it only when a right script will come my way.)

Father of Indian cinema

A C Tuli

Imagine a man who, till the age of 40, was, so to say, a jack of some half- a-dozen trades but master of not even one. And that man was Dadasaheb Phalke, now respectfully known as the Father Of Indian Cinema. Born on April 30, 1870 at Trymbakeshwar in Nasik, Dhundiraj Govind Phalke was the son of a Sanskrit scholar. The family moved to Bombay when the senior Phalke joined the teaching faculty of Wilson College Bombay.
Phalke joined J J School of Arts in 1885 for a course in drawing, and then continued his studies at Baroda’s famous Kalabhavan, where he learnt photography and architecture. At the age of 33, he joined the Archaeological Department of the Government as a draftsman and photographer. He also worked in a photographic studio at Ratlam and learnt three-colour block making and ceramics. As if this was not enough, he went on to work as stage make-up man, and later as assistant to a German magician.
And then on Christmas day in 1910, the 40-year-old Phalke happened to be present at the screening of the film, ‘The Life Of Christ’, which was held at the American - Indian Cinema in Bombay. He resolved to make films in which stories of Hindu gods and great mythological kings of India shall be presented. To acquire complete knowledge of the technique of filmmaking, he studied books, and also regularly watched films released in Bombay.
Phalke sailed for England to purchase the necessary equipment and also to acquaint himself with the technical aspect of filmmaking. He stayed in London for two months, during which he met and interacted with people who knew a lot about filmmaking. He was first discouraged by them, but his deep interest in films and his vast technical knoweldge so impressed them that they willingly came forward to help him achieve his aim. Phalke purchased a Williamson camera, a perforating machine, developing and printing equipment, and some raw stock. He returned to India on April 1, 1912.
Phalke launched ‘Raja Harishchandra’, the first full-length Indian feature film that was destined to prove a landmark in the history of Indian Cinema. But there were many obstacles in his way. The first and foremost was of course lack of finance. He raised a loan of Rs 10,000 by pledging his insurance policy. Some friends and well-wishers also helped him tide over this difficulty. Phalke then went ahead with the shooting of the film.
Phalke visited England again to bring home a new set of equipment. But the outbreak of First World War created obstructions in his way. It was difficult for him to raise finance for films when the world was living in turbulent times. Therefore, he had to stop the making of feature films for a few years. During this period, however, he made many short films, some of them documentary type, and these were liked wherever they were screened. Some important short films made by Phalke are : ‘Pithache Panje’, ‘Mr Sleepy’s Good Luck,’ ‘Animated Coins’, ‘Vachitra Shilpa’, ‘Kartik Purnima Festival’, etc.
Then, in 1917 his company Phalke Films was incorporated into the Hindustan Film Company, with Phalke as working partner and five others as financing partners. Three significant films produced by this concern were- ‘Lanka Dahan’ (1917), ‘Shri Krishna Janam’ (1918), and ‘Kalia Madan’ (1919). While the role of Lord Rama in ‘Lanka Dahan’ was performed by Salunke, Phalke’s own daughter Mandakini enacted the role of child Krishana in ‘Shri Krishan Janam’ and ‘Kalia Madan’.
Phalke made mostly mythological films. But new filmmakers were now coming up, and they excelled in making films of a genre other than the mythological. For instance, ‘stunt film’ was a genre much liked by the young viewers, but Phalke had never attempted this genre. Phalke thus started facing the heat of growing competition.
But persuaded by friends and well-wishers, he tried his hand at making a talkie entitled ‘Gangavataram’, which was released in 1937. The film however flopped, and with that Phalke’s career as filmmaker came to an end. He died on February 16, 1944 at the age of 74.
However, there is no denying that this humble man who made a humble beginning by making India’s first feature film, is today enjoying an iconic status. He is rightly called the Father Of Indan Cinema. It was he who laid the foundation of the world’s largest film industry. No wonder that the prestigious Dadasaheb Phalke Award is known after him. Instituted in 1969, it is the highest national award for film personalities. Dadasaheb Phalke Award is conferred on eminent film personalities who have made a significant contribution to Indian cinema. It is not just actors and film directors who are considered for this award. Veteran music composers, distinguished lyricists, popular singers, and dedicated film producers are also considered for this award. The award is conferred by the President of India. (PTI

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