'EK DUM JHAKAAS'

MY INTERVIEW WITH MR. INDIA: ANIL KAPOOR

'Stars who repeat themselves and remain popular are more talented'


BY ADIL RASHEED / 23 February 2005

Anil Kapoor, one of the most accomplished stars of Bollywood, has never failed to surprise his fans. At a time when the youth of the subcontinent used to painstakingly dress themselves up and strut about in his style, the screen idol altered his looks and changed his mannerisms.

When the critics touted him as a superstar in the making he preferred to prove his mettle as an actor instead and did meaningful cinema at the expense of glamorous roles.

So when this maverick veteran calls himself an overrated actor one does not know what to make of the statement. Perhaps it is plain modesty or a subtle ploy to offset his critics. City Times spoke to this sharp-witted actor about his role in the forthcoming film Bewafaa and his other promising ventures.

You are probably the only star in Bollywood who does not need a tailor-made role. In fact, every role you do appears tailor-made for you after you have done it. By all accounts you have hardly ever given a poor performance. Still, it seems you have been denied the critical acclaim you deserve. Do you consider yourself an underrated actor?

Not at all. Far from being underrated, I would call myself an overrated actor. I think God has been very kind to me. I have been very fortunate in being rated among stars who are far more talented and good-looking than I am. I have been in the film industry for about 25 years now and have enjoyed the love and respect of the audience. I would say I have got more than I deserve.

Let's take the movie Karma as a case in point. In that movie you were pitted against the biggest stars like Dilip Kumar, Naseer and Anupam Kher. And these stars gave one of their best performances in the movie. Still, it was your performance, which stole the show. And this is by no means an isolated case. People love you for your roles in Meri Jung, Tezaab, Mr India, Taal etc. 

You see Karma was the film, which made me a star. Getting a chance to act with such great actors worked to my advantage. I had nothing to lose. This is the benefit of working in a multi-star film. You are suddenly part of the big league.

You have never hesitated doing cameo roles. Other Bollywood stars usually make a lot of fuss about the length of their roles. But you have been a trendsetter in this regard.

Well, it works differently for different actors. Every actor is entitled to make his or her own decisions and it will be wrong to pass judgment on the way actors should select their roles. All I can say is that doing cameo performances has worked well for me. It clicked for me in films like Biwi No. 1 and Taal. To me, the length of a role in a movie is not very important. A short role can make a big impact. It is the quality of the role that matters.

You have repeatedly changed your image and style of acting. At one point in time youngsters used to copy your style and mannerisms but you changed your look, your style of acting and even your type of films. Why?

It is important for an actor to keep changing and evolving. It is good for his longevity. One should also know when to effect the change. It has to be done before your style begins to wear off and people start tolerating you.

It also requires a lot of talent. There are stars who keep repeating themselves without being able to break the cast as it were?

I think the stars who keep on repeating themselves and remain popular are more talented than those who are forced to change their style. Really! I regard them as more talented and I give full credit to them.

There has never been a controversy or an incident that has affected your reputation as a star and as a celebrity. You have had a stainless career. How did you accomplish this remarkable feat and what are the things, which contributed to your success?

I am very proud of myself in this respect. I can even say that I am very arrogant about this. My family, my friends and India mean a lot to me. One really needs the blessings of one's elders to be successful in life. Again, there is no substitute to hardwork. One also has to be at the right place at the right time. All these things are very important in making a person successful in life.

Bewafaa seems to be in line with many of your recent films, which deal with human relationships such as Armaan, Rishtey, Badhaai Ho Badhaai, Om Jai Jagdish, Judaai, Hum Aapke Dil Mein Rehte Hain, Hamara Dil Aapke Paas Hai, and so on. So would it be right to say that you have made a conscious effort in doing roles, which are closer to life and to the human condition?

No. There is nothing like that. There has not been any conscious effort in this regard. You have failed to mention my recent film Musafir, which is a highly stylised film. And my forthcoming movies No Entry and My Wife's Murder are totally different from the kind of films you are referring to. I have never tried to follow any trend. I did Bewafaa because the movie has been made by the accomplished filmmaker Boney Kapoor, who is my brother, and has been directed by the highly acclaimed Dharmesh Darshan. It has been an honour for me to work with these stalwarts in this film.

Bewafaa has a lot in common with Lamhe. Is it true?

Dharmesh has said that he was inspired by Lamhe to an extent. But he has given Bewafaa a totally different dimension. Even my role in the movie only has a partial semblance with my role in Lamhe.

Are you satisfied with the way the movie has been made?

I am more than satisfied. Everybody has come out trumps. Akshay has never acted better. Kareena has never looked more beautiful. The music of the movie is excellent and I think this is the best film Dharmesh has ever directed.

Do you come to Dubai often and how do you find it?

Yes! I keep coming to Dubai. I was in the city during the DSF. But I had to cut my visit short due to the release of Musafir.

I simply love Dubai. I love its restaurants, its sights, its cleanliness, its people. In fact, if I am asked to hold a dual citizenship of any place after India in the world it would be Dubai.

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A VOICE SO THRILLING WAS NEVER HEARD IN SPRING TIME FROM THE CUCKOO-BIRD

THE LEGENDARY LATA MANGESHKAR

 'Older films more heroine-centric'

BY ADIL RASHEED / 8 February 2005

Imagine! Anarkali having the voice of Lata Mangeshkar and the charms of Madhubala and still failing to make an impression on Emperor Akbar, the great patron of the arts. The celebrated song sequence from Mughal-e-Azam is the most willing suspension of disbelief in Bollywood history.

City Times got a chance to ask some questions about this epic film from none other but the living legend Lata Mangeshkar herself. The movie, in its all-colour and digitally enhanced version is set for release in Dubai soon.

Have you seen the new-look Mughal-e-Azam?

Unfortunately, I have not been able to see the new version of the movie until now. But I have been awestruck by the changes Naushad saab has so painstakingly and so successfully made through the new digital recording. I have a cassette of the newly treated music of the movie. It's splendid. The quality of the music has been enhanced and in some places chorus has been introduced. What is amazing is that my voice in the songs remains the same. I did not have to go and record the songs again. What is also remarkable is that the essential quality of the music has been retained.

In fact, the whole exercise of reviving the movie with the help of modern technology for a new generation of audience has proved to be very successful. It has been extremely well-received and I have been hearing a lot of praise from all quarters. It seems as if new life has been breathed into this almost 50-year-old movie.

The movie set a new benchmark in your illustrious career. Out of its 12 legendary songs you have sung nine. It's a remarkable feat considering that other stalwarts as Bade Ghulam Ali Khan, Shamshad Begum and Mohammed Rafi had just one or two songs in this epic.

The credit definitely goes to the filmmakers and to Naushad saab. You see in those days, directors used to make a lot of heroine-oriented films. So, there were a lot of songs for the heroines. Mughal-e-Azam was no exception. This is the reason why I had more songs than the male singers.

Again, Naushad saab wanted that all songs sung by Madhubala, who played Anarkali in the movie, should be sung by one singer only in order to give consistency to the voice. Earlier, music directors were very particular about these things. Now-a-days, sometimes I sing a few songs for a heroine in a film and others are sung by Alka (Yagnik), which is fine. But earlier this was not the case. I guess, this is the reason why I ended up singing so many songs in the movie.

Did you try to make your voice more sprightly and vivacious to suit Madhubala's character in the movie?

Yes, it turned out well. A lot of people ask me if I change my voice in order to match it to the personality and style of the actress playing the part. I think I do not modulate my voice to an extreme. I, however, keep in my mind who am I singing for. Before the recording of a song, I make it a point to know who is the actress for whom I am singing and what is the situation in the movie for which the song is being sung. Sometimes a song is being sung in a serious tone, but the actor enacts it in a cheerful manner. These are things one should be careful about.

Your songs in Mughal-e-Azam have a lot of variety. You have the classical Mohe Panghat Pe Nandlal, the Qawwali Teri Mehfil Mein Qismat Azma Kar, the Naat Bekas Pe Karam and the daring Pyar Kiya to Darna Kya. There is a lot of depth there.

Yes. You see Naushad saab was very particular about the fact that the music of the historical film should reflect its time and setting. Almost all the songs of the film are based on classical raagas for example Mohe Panghat Pe. Though in Pyaar Kiya to Darna Kya western instruments such as violins have been used, they evoke a completely Indian and a historical feeling. Similarly, Naushad saab used classical music for his movie Baiju Bawra which was a big hit of its time.

A lot of hard work used to go into the music of films in those days. I remember, we used to rehearse for eight to ten days before the recording of songs and Naushad saab used to explain to us the story of the movie and the situation of the songs, until we all got it very clearly in our minds.

There are many singers in the Hindi film industry who have come and gone. Many of them were very talented and even popular but they did not have the profundity and longevity to match with your eminent status. What is the secret of your everlasting appeal?

I do not know. I can only say that I have been singing since I was five years old, when my father used to teach me classical music. After he passed away, I learnt music under Aman Ali Khan saab and then I started singing for films. I can only say that I am an honest artiste. Some people call it professionalism, others call it a single-minded approach, but for me music is my only wealth. Of course I have such wonderful fan following. But I never looked for anything in life beyond my music.

Do you think the remix industry is popularising old songs for the new generation or is it doing a disservice to the cause of Indian music?

I think it is doing more of a disservice. They are destroying the beauty of the old songs and promoting indecency. Upstart singers dancing in skimpy clothes with little talent and training can hardly promote the cause of Indian music. It is sad that the young generation is being given a heavy dose of Western music by our media and the youth are generally ignorant and uninterested in learning Indian music, especially classical Indian music. The exponents of classical music are few and are ageing and the danger is that this great heritage of our country may not pass on to future generations.

Do you plan to come to Dubai for the premiere of Mughal-e-Azam?

I am sorry I cannot come this time. There is a marriage in our family and I have some commitments that I had set aside for the month. But, I would like to come over to Dubai in the future. 

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AZIZ MIRZA: MARRYING COMMERCE WITH IDEALISM

BY ADIL RASHEED (Staff Reporter) / 11 January 2005

 "The absurd is deliberate," says the spontaneous Aziz Mirza. It is not an excuse but a technique of satire with which this eminent Indian film director-producer has married his socialistic outlook and realistic genre with the fantasy-tinted commercial productions of Bollywood.

The results have been mostly successful, though sometimes they verge on the absurd in a more literal sense. But the genius is genuine as was revealed in a meeting with the man during his recent trip to Dubai for the promotion of the Gulf India Film Awards, GIFA, to be opened on January 26.

How does a socialist like you reconcile with his ideals in the commercial filmmaking world of Bollywood?

Good question. But the important thing is that I am succeeding in marrying the two aspects. I make realistic films, which are commercially successful. It has been my belief that one has to make films about the common man in order to reach out to a wider audience. Fantasy films are forgotten soon. But movies which are socially relevant are remembered for a long time. Take Raj Kapoor's movies for instance and let me say here that even Mughal-e-Azam was a socialist film.

Was Mughal-e-Azam a socialist film? Are you talking about Anarkali being a commoner.

All I am saying is that there are elements in that movie, which are socialistic. Again, my films are modern. I do not ape western movies, but my films are quite modern in their approach and in the subjects they deal with.

But your film Phir Bhi Dil Hai Hindustani was not successful in reaching out to the masses. It was a satire against the growing commercialisation of the media and the Indian polity, but there was a dichotomy in the message and the medium. The movie contained many formulaic scenes and songs, which are said to have been added later for commercial reasons. In the end the film appeared lopsided and it neither satisfied the socialists nor the audience?

The movie employed the so-called 'filmy' scenes as elements of the absurd, but the audience probably could not understand the spoof. It was all ironed out at the outset. The absurd in the movie is deliberate.

What I tried to show in the movie was how the hanging of an innocent old man was turned into a great advertising and PR circus by the media and the politicians. The story about the rape and murder of the old man's daughter and his subsequent revenge is a simple story shown umpteen times in movies. But that was not what I was focusing on. What I was showing in the movie was how the media announced a bumper prize for giving the right name of the hangman's wife.

But journalists took exception to their depiction in the movie, though the film shows two responsible scribes being instrumental in saving the old man's life. Let me also tell you that the film was well-received by the Leftists. I got a letter from the politician Sitaram Yechuri that he loved the movie. The film was screened by the Left parties during their May Day celebrations.

But you were not bold enough to take up such a theme again. You resorted to making a 'safe' romantic film Chalte Chalte which played to the galleries.

But it was not a bad film. I am not ashamed of making it.

But you wanted to make a hit film. It was your over-riding concern.

Yes! A hit film was important for me at that time. And Chalte Chalte was a big hit. But the movie is not an analysis of marriage. I repeat, it is not an analysis of marriage. The two lead characters are incidentally married.

Why do you think the Indian film industry, despite being the biggest in the world, is not taken seriously abroad. We have many Japanese and Chinese stars and directors in Hollywood, but very few from India make it out there. Who is to blame?

I think the media is to be blamed. We are simply too apologetic about our films and the way we make them. It's time that we stop being apologetic about our commercial constraints just as Hollywood isn't.

Secondly, we steal a lot from the West. We should stop it. It leaves us with little conviction to project the original work being done here. Unless, we admit our faults and accept our shortcomings we will not progress. We have to develop the faculty of innovation and experimentation. We just like driving on a straight road without moving the steering.

What are your forthcoming ventures?

I am planning to do a crossover film but I would not like to divulge more now. Obviously at 60 one does not engage in projects one likes doing at the age of 20.

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A WOMAN OF SUBSTANCE

'I THINK I AM TOO PLAIN FOR BOLLYWOOD': PERIZAD ZORABIAN

BY ADIL RASHEED (Staff Reporter) / 29 January 2005

Perizad Zorabian calls herself an unrealistic person. Small wonder! For an elfish creature like her can hardly be realistic.

So even if this svelte and sensational star of Jogger's Park declines more offers than she accepts at the early stage of her acting career it is perfectly understandable. After all, the laws of reason do not apply to ethereal beings.

Meanwhile, some of Perizad's admirers in Dubai got lucky when the lady turned up in red at the premiere of the Hindi movie Padamshree Laloo Prasad Yadav, which was held in the city last week. City Times got this bright and rising star to take time off for a chat.

What brings you to Dubai right now?

I am part of the Global Indian Film Awards (GIFA). The event is being televised and the whole approach is to discover GIFA and Dubai for everyone in India through me. It is a very exciting thing because I am going to be having fun and let my hair down and the camera will be following me everywhere I go.

We are all waiting for your next movie after Jogger's Park. It has been quite some time now?

I am a very unrealistic person. I only do films that I believe in. I don't know whether the strategy is going to work or not but I want to be known as an actress. Even if I do ten films by the end of my career, they should be ten solid films, ten great performances. There is a film called Morning Raga that came after Jogger's Park.

It released a month ago but it has not been released internationally. It has got me a lot of critical acclaim. I have just completed shooting for the film Devaki and a British film with Malcolm McDowell. I have two Hindi films whose production starts next month.

Some critics say you are too beautifully un-Indian for Bollywood?

Am I too beautiful? I don't think so (laughs). I don't think there is anything too beautiful for Bollywood. In fact, I think I am too plain for Bollywood. I am definitely not very Indian looking. I don't fit the stereotype.

Do you think Bollywood is growing out of its fixation for stereotypes.

I am so grateful to Bollywood that it is mature enough to pick someone like me for playing a leading lady in a movie. This wouldn't have happened five years ago. So it is a great sign. And for me to be part of the GIFA and be part of the mega event is also a sign of accepting unconventional people. I want to salute and thank Bollywood for that.

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POOJA BEDI ON THE ARC OF HER LIFE

‘I WANT TO EFFECT A PROCESS OF CHANGE’

BY ADIL RASHEED / 6 March 2005

“The measure of life lies in its experiences, not achievements," says Pooja Bedi, her eyes sparkling. In a flash, the twin windows to the soul bare the hidden traumas and the irrepressible zest for life that define the former Kamasutra model and daughter of actor Kabir and danseuse Protima Bedi. The model-actress-author-television host, was in the city to host a fashion show. City Times cornered her for a quick chat.

It’s been a long time we’ve seen you in a movie. Why have you disappeared from the scene?

When I got married, my ex-husband said it was necessary to interrupt everything. He didn’t want me to continue in the glamour line. Fair enough. So I quit everything and became this perfect wife and a perfect mom and have two little kids, Aliya and Omar. And then I got divorced. After that, I thought I have to do something with my life. So I started writing. I wrote columns for magazines and I wrote a book on my mom called Time Pass, which was published by Penguin and was among the top ten on the national bestseller’s list. It was a lovely experience. And then The Times of India Channel Two approached me to do a show for them called Not Just Page 3 and I started hosting that. The show took off so well that after almost six months they are shutting it down and starting a whole new show called Just Pooja, which begins on March 19.

Do you think being an author and a show host gives you more liberty as an artist than being a model or an actor? 

 Well! I simply don’t want to play characters any more. Ever since I was back in the media spotlight I got many offers from filmmakers. I had about 40 film offers out of which say 10 were really good but I turned them down. I also got offers to do TV serials, theatre roles and even item numbers but I turned them all down. I simply don’t want to play a character anymore. I just want to be me. I want to effect a process of change. There’s a very good quote, which says if you want to plant for a few months plant flowers, if you want to plant for a few years plant trees and if you want to plant for a lifetime plant ideas. I think sowing good ideas into people’s minds could help in changing their outlook which would in turn help overcome many of the social problems which we usually do nothing about except crib.

The Indian film industry, at times, deals with its underdogs in a very unkind way. If a young actress speaks out against her director or an interviewer upsets a superstar, the results could be very dire. You had a very unnerving experience yourself in this regard.

In Rome, one should do as the Romans do. If you can’t take the heat stay out of the kitchen. Every organisation has its own code of conduct and its set of dos and don’ts and if you violate those then you have to face the consequences, as you are up against that organisation. The same applies to the film industry. Besides, the people in the film industry are very progressive, educated, articulate and wonderful people. There is a great sense of camaraderie and a feeling of fraternity among all its members. Yes! There are a handful of people there who are from the old world but they are not those who are ruling the industry today.

If you were to meet the Pooja Bedi you were 15 years ago, what advice would you give her?

I would say you are doing fine and just enjoy the journey. Yes! I have grown wiser. But the experiences of life should help you become better, not bitter. I take everything that happened in my life as a positive experience, even if it relates to the one with my ex-husband. Here is a person I spent 12 years of my life with and a majority of the 12 years were good years and I thank him for it. I have two beautiful children with him. However, when things got terrible, we did ourselves a great favour by parting ways. The quality of life is not determined by what happens to you but by your reaction to what happens to you. The measure of life lies in its experiences not in the so-called achievements. 

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JUST A TAD BAD

BY ADIL RASHEED (Staff Reporter) / 27 January 2005

Gulshan Grover does not wear his humility on his sleeve. He would rather flaunt his ‘Bad Man of Bollywood’ tag than dispel any wrong notions of a largely credulous audience. But speaking to a bevy of fans at the premiere of his movie ‘Padamsree Laloo Prasad Yadav at the Grand Cinema in Dubai on Tuesday night, Grover was the picture of a gentleman. City Times spoke to the veteran actor about his films, his style of acting and his forays into Hollywood.  

Padamsree Laloo Prasad Yadav’ is coming after a long time. The last time the Bollywood audience saw you was perhaps in Boom. Are you too busy with Hollywood that you have little time for Bollywood?

Well, I am dividing my time between both the places.

I am primarily a Bollywood actor and I work in Bollywood. But I keep going to the West to do films there. I had for some time reduced my work in Bollywood, but now I am back doing a lot of work here.

After Boom I did Dil Mange More and one or two more films. Laloo is releasing now and after that there are some very good films coming. A film called Dus with Sanjay Dutt, Suniel Shetty, Abhishek Bachchan, Zayed Khan, Shilpa Shetty, Esha Deol, Riya Sen, Diya Mirza and me ‘Bad Man’. Then there is a film Tathastu produced by Nitin Manmohan and directed by Anubhav Sinha. They are the people behind Dus as well.

Tathastu for which I was shooting until yesterday has a star cast of Sanjay Dutt, Amisha Patel, Jaya Prada and yours truly. If Dus is an action film, Tathastu is a very emotional and touching film. 

Tell us something about your upcoming movie in Hollywood with George Clooney and Matt Damon, where you and Sanjay are playing father and son.

Unfortunately I didn’t do that film because of many reasons. The film was to be shot in Saudi Arabia, but I decided to opt out. However, I am starting work in another Hollywood film — Goldie Hawn’s film called Ashes to Ashes. 

Bollywood actors are usually reluctant to do Hollywood films. Why?

When you are successful as an actor in your country, it is difficult to start afresh in another place. Then Hollywood demands trained actors. I for one had the advantage of having done an acting course and being an acting teacher. But there are many actors who have done brilliant work, but haven’t done any course in acting. 

But you have refused to settle down into any comfort zone. You have always tried to cast your net wide.

My belief is you have to keep growing. Every three or four years you have a new generation of filmgoers watching films in theatres. So you have to keep growing in terms of your craft, in terms of your approach. You have to make sure that you are appealing enough to the next generation of filmgoers and the gap is not 20 years but it may be just three or four years. Secondly, I believe when you are running, you cannot look back at the milestone and say I have run seven miles. Just keep running and then people will tell you have run 200 miles. 

Are you still looking for a heroine for the Hollywood film, which Aishwarya could not get?

The whole thing was misquoted. A studio had asked me to help them suggest some girls from India, which they do from time to time, or if they are taking an Indian actor they phone and ask me to how I feel about it. That’s all. And I’m sure Aishwarya, being beautiful and talented, will do many films. However, that particular project is on hold at this moment. 

How do you find Dubai? How often do you come here?

I came here while I was doing Boom. I didn’t get a lot of time to see the city at that time. But I love Dubai because of its energy and because the way it’s expanding. I will like to applaud the government for expanding the infrastructure with the expansion in business and the increase in population. I see many new bridges and roads being built here. In other countries and cities, there is only growth in terms of number, in terms of shopping malls and restaurants. But here the infrastructure is keeping pace with the growth which is commendable. 

You have done all kinds of roles. Still you are persisting with the ‘Bad Man’ image. Do you think it is very constricting nowadays to typecast someone especially a talented actor?

The thing is that you are only typecast if you want to be. The casting boundary is like a paper wall. If you have the guts you can kick them anytime, like I have done it many times. You see if there is a brand, such as coke, which is supposed to quench your thirst but it also helps with your digestion it’s alright.

So, primarily if I am known as a villain and people love me for being one, then I love doing it. I am a bad man.

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NAUSHAD SAHEB: ONE OF HIS LAST INTERVIEWS

 BY ADIL RASHEED / 15 February 2005

By all accounts, the Hindi film industry has not seen a more sincere and dedicated proponent of Indian music than the legendary music maestro Naushad. There is also probably no composer who has popularised Indian classical and folk music among generations of music lovers in the way this highly acclaimed music director has.

Never hesitating to compose music inspired from classical Indian Ragas, he has been successful in making many stalwarts of classical Indian music like DV Pulaskar, Amir Khan and Bade Ghulam Ali Khan to sing for his compositions.

The maestro has also been a great innovator and in step with modern times. Naushad Ali was one of the first to introduce sound mixing and the separate recording of voice and music tracks in playback singing. He was the first to combine the flute and the clarinet, the sitar and mandolin. He is said to have introduced the accordion to Hindi film music and was among the first to concentrate on background music to extend characters' moods and dialogues through music.

His recent first for Hindi cinema is his re-recorded rendition for the epic Mughal-e-Azam in Dolby digital sound. However, he has ensured that the singers' voices are restored in their pristine purity in the process.

City Times spoke to the great Naushad Ali in person to know about his recent tour-de-force among other things.

How challenging was it to re-record the music of Mughal-e-Azam in new digital format?

It has been a long and arduous process. I would say the whole film has had a reincarnation or Punarjanam as we say it in Hindi.

It took me more than one year to re-record the music in the dolby sound. It was difficult to maintain the tempo of the earlier compositions. You see it was not a spontaneous process where musicians are sitting and playing on their instruments. We had to add layers to the music. We had to do it part by part, bit by bit.

I had to measure each segment and sometimes break it after the fourth or sixth foot. And then we sent the picture and sound negatives to Hollywood. So a lot of effort and care has gone into the entire process. And I must say I am satisfied with the results and the whole effort has been well-received by the audience.

Do you see other Indian oldies being revived in the same manner?

Yes. Efforts are under way to re-release BR Chopra's Naya Daur in an all-colour and dolby sound format. Similarly, revival of many other projects are being considered as we speak.

The only hitch is that these projects entail a lot of expenditure — even more than the original cost of the movie's production. Still it is nice to see that the new-look Mughal-e-Azam has opened the floodgates for the revival of classics in modern format. Now younger generations can marvel at the accomplishments of filmmakers in the past by seeing their work in the way they are used to viewing movies.

Do you think a film like Mughal-eAzam could be made again?

Why not. In fact, I would say Akbar Khan's forthcoming epic Taj Mahal may match if not surpass Mughal-e-Azam in sheer stateliness and grandeur. If the world was awestruck by the Sheesh Mahal in Mughal-e-Azam, here (in Taj Mahal) we have many such palaces and a much bigger production. I am composing the music of Taj Mahal and I hope and pray the movie does well.

Mughal-e-Azam is being re-released in Pakistan also. The film is an all-time favourite among Pakistanis as well. So how do you view this significant development?

I think it's a very good sign. It just shows that people on the other side of the border relate to and marvel at our accomplishments. The remarkable thing is that a 40-year-old film is helping bring the two people closer. I just hope that the movie is able to facilitate greater interaction and friendship between the two countries. The feeling is indeed overwhelming.

We have heard you have not been keeping well these days?

Yes! I have some infection in my lungs and I am also suffering from arthritis. I use a walker now-a-days.

Would you like to send a message across to your followers.

My message is simple. Please preserve the rich heritage of Indian music. Please explore your own legacy and develop it further. There is a lot of wealth hidden in our cultural heritage so let us not ignore it. There is more to art than vulgarity. Please opt for a higher entertainment.

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SATISH KAUSHIK: FALSTAFF OF FILMDOM

BY ADIL RASHEED / 22 January 2005: The genius of Satish Kaushik lies in his simplicity. A self-proclaimed 'loser', this immensely talented and successful actor-director of Bollywood films has loved and lived life through all its vicissitudes.

In front of the camera he comes across as a delightful comedian, behind it his lenses grind to mirror all the shades of our society and the general human condition. City Times interviewed this Falstaff of filmdom recently and learnt more about his experiences in life and movies.

You have come a long way from the Roop Ki Rani Choron Ka Raja days. How did you learn from your early setbacks?

You see I have always romanticised the 'loser' in my films. My hero in Mujhe Kucch Kehnaa Hai is a loser who cannot tell his beloved throughout the length of the movie that he loves her. My fascination for the loser is because I myself am a loser. After graduating from the National School of Drama I worked in a textile factory in Mumbai for one year, not knowing what to do next. With my gifted face I did not know who would give me a break. So I went back to theatre to get noticed.

I strongly believe in the winning quality of the loser. If a loser has a big heart and goodness in him he will ultimately triumph. You see, a loser adapts and grows with age, which is very important for a creative person. I strongly believe that a creative man must make a classroom for himself with a blackboard in front of him. You must create space for yourself. You must have a student-like approach throughout your life.

What is an actor from the National School of Drama doing in the commercial world of Bollywood?

I do not see any contradiction in this fact. A good commercial film has to sustain the interest of the audience. It has to be nicely packaged. And so it has to be highly artistic. Vaada, for instance, is a highly artistic movie and is also a good example of hard-core commercial cinema.

In fact, my education at the National School of Drama has helped me in making movies in Bollywood. I have developed a keen eye for the finer details and nuances because of my education. If you observe, most of my films deal with human relationships. For example If Hum Aap Ke Dil Mein Rahte Hain was a film on contractual marriage, the next film Hamara Dil Aapke Paas Hai was about an unmarried couple living together without having a physical relationship. So, my theatrical background has helped me in dealing with human subjects in my films successfully.

Does your acting help in your work as a director?

Yes, it does. I can relate to my actors better. I can give them a clear idea about the nuances of a scene and the sense of timing too. I am a director who acts out the scenes for my actors. And I never carry the script in my hand. I remember all the dialogues as I am an actor myself. I somehow cannot contain the actor within me. I am still doing theatre. I have done about 80 shows of the play Salesman Ramlal, the Hindi adaptation of Arthur Miller's play Death of a Salesman. I did it in Dubai last year. Some of the critics have even gone so far as saying that my performance is better than Dustin Hoffman's enactment of the character in the English original.

What brings you to the UAE? How has your trip gone so far?

It's been wonderful. Dubai is a great place to shoot. To me it's a home away from home. It's like a highly organised Mumbai. During this trip I was struck by the magnificence of the Hatta mountains. They are simply awesome. Just watch them in my new film and you will know what I am talking about. 

What's the new film you are shooting for?

We are shooting the final few scenes of Milenge Milenge. Three scenes and three songs to be specific. It is a dreamy romantic film or should I say a comic-strip romance. It’s unlike any movie I’ve done so far.

You keep breaking the cast as it were. Vaada, Tere Naam and Mujhe Kuchh Kehna Hai are quite different in style and content.

I like taking up challenges and making different kinds of films. It is creatively very satisfying. A director needs to be excited about every project that he takes up and variety helps.

Vaada was a great experience. I always wanted to do a thriller. I experimented with different camera positions in this film. I am particularly fond of the train sequence. It was also very satisfying to see the actors perform so well. Tere Naam was a very serious and dark film. It was a remake of the South Indian movie Sethu. Producer Sunil Manchanda and I believed in the film because it was a very pure and moving tale. It was nice to see that it was well-received by the audience.

You said you were pleased with the performances of your actors in Vaada

I am not the only raving about the work of Arjun Ramphal and Zayed Khan in the movie. Critics are all praise for Zayed’s and Arjun’s performances. Remember, both of them had been written off as good-looking hunks. Here they have proved their mettle as actors. Arjun, for one, has acted splendidly. He has held the film together.

How is your favourite film project Mritak coming up?

The script is ready. It is going to be a movie based on the true story of a man who has been officially declared dead. The man, Lal Behari ‘Mritak’ has been running from pillar to post for decades to establish his identity and prove to the courts that he is still alive.

I met this man, who hails from Azamgarh, eight years ago while I was doing Mujhe Kucchh Kehna Hai. We also helped him get a passport so that he could receive the Ignoble Awards in the US, conferred on him recently. The problem was how do you get a passport for a man who is legally dead.

Will Anil Kapoor be playing the lead role?

No. After discussing the matter with Anil, we have decided that a new actor should take up the role. It is going to be a very different kind of film so a fresh face could be more appropriate. We are also considering Pankaj Kapur for the role. He is one of the best actors in the country.

You see, the story of Lal Behari ‘Mritak’ may appear strange but it is a universal story. It is the biggest drama of life. Everyone in this world is trying to assert oneself and making one’s presence felt. Even countries are struggling to assert their identity. Superpowers are exerting pressure to gain respectability. In shark contrast, here is a simple man who is merely trying to put across the point that he still exists.

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VASHU BHAGNANI: MODESTY PERSONIFIED

BY ADIL RASHEED / 15 February 2005

He is a 43-year-young multimillionaire who has produced some of Bollywood's biggest blockbusters over the past decade. Still, the unassuming Vashu Bhagnani does not mind getting up from his chair to apologise for a slight delay in the appointment. Truly, the measure of the man, any man. 

The filmmaker was at the Khaleej Times office the other day, speaking about his passion for cinema and his plans to launch his son Jackie in a stellar role...

What is the fun in being a producer? Put up with star-tantrums, the demands of the director, the fear of an out-of-control budget, the uncertainty of the box office! 

It's just like a mother giving birth to a child. No one understands the pain she goes through, but a successful birth is a source of great joy to her. It is simply indescribable. The same is the case with the producer of a film. The fun comes when you have delivered the baby.

How difficult is it to launch a new star? The gamble paid off with Tushar Kapoor in Mujhe Kuchh Kehnaa Hai, but Ritesh Deshmukh's 'Out of Control' bombed at the box office...

A lot of people were apprehensive about my selection of Tushar as hero for Mujhe Kuchh Kehnaa Hai. I had Bobby Deol, Abhishek Bachchan and Hrithik ready to do the role. But I chose Tushar because he fit the bill perfectly. I wanted this boy next door look, a hero who is unable to speak out his love for his beloved. The script demanded it. The film was a hit and my decision was vindicated. Out of Control was not a hit film. But Ritesh proved his acting skills in the movie and today he is delivering hits.

You are still not afraid of taking risks. You are making a film with Khalid Mohammed whose two films have flopped...

Fiza was not a flop. Tehzeeb flopped. Fiza made good money, more money than Veer-Zaara. The movie I am making with Khalidji is Silsilay, which is about four girls. There is also a surprise guest appearance by a big star. So that's why I am feeling safe in making the movie.

You enjoy doing films with David Dhawan. Tell us something about your forthcoming movie Shaadi No. 1 with the director...

Yes, we are shooting for the film right now. We will also be shooting in Dubai in April. I'm here to scout for locations.

What is the mystery behind the suffix No.1, which appears in many of your movies?

Actually we wanted the title Coolie for our movie. But we could not get that title because of Manmohan Desai's earlier film called by the same name. So I proposed the suffix 'No. 1' to solve the problem.  The rest is history... Hero No.1, Biwi No.1, and now Shaadi No.1. 

The mantra that raunchy movies do good business has been proved wrong recently as some such films have failed at the box office. What do you have to say about this?

It is sad and unfortunate that some filmmakers have a herd-mentality. If Murder was a hit, it was not because it had a few steamy scenes. The film had a good script and it dealt well with a bold subject. Indecency does not sell a film. This is just a passing phase and it is all a result of myopic thinking.

You are launching your son Jackie in a forthcoming movie?

Yes, in my next film. He's 21. I plan to release the movie by end of 2006 or early 2007. I intend to take up the project by October this year. It probably will be a romantic film. 

Are you making a film with Raj Kumar Santoshi?

No! We have decided against it. He is a big director and a close friend of mine. We had a lot of sittings together. But things did not quite work out.

How are so many filmmakers turning to Dubai nowadays?

Dubai is very close to Bollywood. It takes less time to come to Dubai from Mumbai than say to Kolkata. Crossing the customs here is just like crossing the border. If Dubai could have a film studio of its own things would be even more wonderful. The only problem is the long summer here. Otherwise, Dubai has the potential for becoming a major movie hub in the region. 

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CHANCE MEETING WITH MR PRANNOY ROY

 

BY ADIL RASHEED / 21 June 2004: He was standing there. Smiling. Looking in my direction, or so it seemed. I, with my two-year old son in a pram, was standing outside a kids wear outlet at the BurJuman Centre, when this chance meeting with Prannoy Roy took place. Yes the man who has revolutionised television ...

in India and who is the chairman of NDTV channel was right in front of me. I was puzzled, unsure and blurted out an enquiry. "Good Evening. Are you ..er.. Mr Prannoy Roy?"

"I am," he said as his eyes marvelled my amazement. Seizing the moment, I introduced myself and said it was people like him who led me into journalism. "And you are regretting it now?" the angelic face smiled.

"Well they say the print media is not as challenging as the electronic media, and not so lucrative at that," I replied.

"No! print media is important. It helps in honing your skills," he observed. I agreed.

"Tell me, how is NDTV doing in Dubai. Are people really watching it with interest," he said showing concern. I assured him that the channel was quite popular in the Gulf region. However, I later realised I should have told him not everyone was able to afford to watch the channel as it was part of an expensive package.

BurJuman was bristling with activity at that time, but few expected to find a celebrity in their midst. So the two of us continued, uninterrupted. Roy, who was on a stopover visit to the country, was all praise for the UAE and the way Dubai Media City was coming up. He said the future looked bright for the country and wondered what kept India from attaining such a high level of development.

Then, he asked me to tell him more about the UAE and its people. I humbly stated that the country was enjoying great prosperity primarily due to the broadminded and hospitable nature of its people.

The wise and enterprising leadership of the country has not only benefited the lives of its own people but millions of lives worldwide.

As I spoke I observed he was listening to me intently. It was a little embarrassing, if not rude, for me to do all the talking. But, I found out that this bright man who has revolutionised television in the subcontinent is of the self-effacing kind and is a very good listener.

"It's nice to know about Dubai from a fellow journalist," were his parting words. Now there is humility for you. One does not meet a famous person in a shopping mall every day. More importantly, one does not meet a thorough gentleman that often.

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