Golden Sojourn in Bollywood Wonderland

CELEBRITY INTERVIEWS

THE SUPER STAR OF THE DECADE –Amitabh Bachchan (Amitabh on come back trail)

People say ‘Shahenshah’ barely survived; ‘Ganga Jamuna Saraswati’ proved a non starter. ‘Toofan’, ‘Jadugar’, ‘Main, Azad Hun’ and Agneepath’- all flopped. Discerning viewers said, the films were bad. But the off beat film ‘Main Azad Hun’ or sleek crime thriller ‘Agneepath’ were much better compared to his earlier block busters ‘Coolie’, ‘Mard’ or ‘Mr. Natwarlal’. Now Bachchan is bouncing back. There is a sudden rise in his popularity. An inane film like ‘Aaj Ka Arjun’ has become a box office hit.

Recently Amitabh, with wife Jaya, offered himself for a question answer session at a public function which was covered by MOHAN SIROYA.

Amitabh’s illuminating and revealing answers regaled the audience captivating them with wise cracks. And Jaya Bachchan no doubt gave him an inspiring support. There was an occasion when Amitabh lacked humor. He was asked as to what will be his very first question to Mr. V.P. Singh if they happen to meet? Amitabh avoided it by just saying he can’t answer that before the audience. After all, when one meets even a foe, at first don’t we say Good morning or evening? How do you do?"

He was asked why children love him so much?

Amitabh did not reply but put it to a boy (about 6 years old), Bete, why you love me? The Boy muttered something. He added But frankly, my own kids don’t like me as hero. They like Aamir and Salman Khan. Jaya added I also like both of them not because they are heroes but because I know them since their childhood and they have grown up before me.

Here are more interesting questions and intelligent inter action between the learned audience and answers:-

Q: Till last year, you have virtually boycotted the press and media but this year you have adopted a media blitzkrieg. Why this sudden change?

A: Well!, During those days, I had my own reasons not to have interacted with the press but now I realize that it was a mistake. If you want to communicate with large segment of the populace in an effective manner, then press and media is the best source.

Q: People say you are not only a superstar but also you rank from 1 to 10 in the hierarchy. What you feel about this?

A: Thanks to media and my viewers who have put this tag on me. But frankly, I don’t believe in this ‘Number game’. I have never considered myself like that. As for the selling of my films; Well! Good films will always sell. Some of my own films could not fare well because something must have been wrong with them. He ridiculed the superstition prevailing amongst film folks that films flop if they are released on an inauspicious day or in a bad week. Amitabh said he doesn’t believe in it. He emphasized that come what may a good film will always run and a bad film will always flop irrespective of what one does.

Q: Most touching moment in your life?

A: That gesture on the part of a fan from Baroda, who ran backwards, (reverse position) from Baroda to Bombay to fulfill his vow on my recovery after the ‘Coolie’ film accident.

Q to Jaya: What does she feel about Amit’s acting?

A: As an artiste, and not as his wife, I say that his name will be one among the tops, if not on the top, in the history of Indian films.

Q: What is acting? Expression of self or just a professional work?

A: What you see on the screen is an illusion. So it can’t be only a ‘Self’ but has to be a professional work too. Initially recognition is necessary as a professional. Thereafter it becomes a ‘Self Expression.’

Q: According to you which are your best roles?

A: Personally I felt very happy enacting my roles in ‘Anand’, ‘Namak Haraam’, ‘Abhimaan’, ‘Zanjeer’, ‘Amar Akbar Anthony’, Deewar’ and ‘Main Azad Hun.’

Q: Do you believe in religion?

A: Yes, I do.

Q: It is said that you are a short tempered man, you get angry easily.

A: What can I say? People perhaps feel that way because I often work in films where I am characterized as angry man. This is only a label on me, but I am not. (Here Jaya supplemented the answer - Yes, he gets angry when he sees inefficiency and indiscipline all around. He can’t tolerate bad manners too.)

Q: Now a days you are repeatedly saying that you will have a fresh approach to your roles, since your age (49 yrs.) does not suit the kind of dancing around the tree roles. But we find you are doing similar roles in ‘Aaj Ka Arjun’ and ‘Hum’ films.

A: Yes, I maintain that I will henceforth accept only those roles which will suit my area. ‘Aaj Ka Arjun’ was signed by me three years back. In ‘Hum’ I am actually playing role of an elder brother to two other heroes - Rajnikant and Govinda".

Q: Cinema has a big influence on youth. The present day films with Abundant violence and bloodshed have increased the rate of crime. What do you say about that?

A: Sorry! I don’t agree. It’s true that the films influence immensely, especially on the impressionable mind. But why seclude only films for the rise in crime? Andhra Pradesh is having the largest number of cinemas but the lowest rate of crime. Bihar is having less number of cinemas but the crime and violence is highest there.

Q: You have done all kinds of roles except of an advocate (Vakeel))? Why so?

A: The blame lies not with me but with my film writers. In fact only the other day, This point was mentioned to me by the writer Javed and God willing, soon I may play the Vakeel’s role too.

Q: What do you expect from life now?

A: God has given me all that a human being can aspire to have in this world. Only thing I want now is PEACE.

(Published in Lokmat Times, dt.19th Dec. 1990)

I regard any film as journey in growth for an actor

Aishwarya Rai

(On behalf of the Twin City Times (TCT) Mohan Siroya, had a chat with Actress Aishwarya Rai when her Bengali Film Chokher Bali was Screened at IFFI-2003 at New Delhi)

TCT: Chokher Bali is your first Bengali Film. Being the super star of Hindi films, would you again accept the regional film or other Bengali film?

A: It all depends on the maker’s reputation and the subject. Here for this film. I had the internationally reputed director-writer Rituparno Ghosh who is well known for aesthetically thought provoking films. The story of Chokher Bali was written by the noble laureate Ravindranath Tagore. When the script was narrated to me, the character of Binodini appealed to me very much. If such combination is offered, I will accept.

TCT: You are not Bengali still many of the dialogue were spoken by you. How did you achieve that?

A. I had to learn the language for giving authenticity to the character. But still I could not do full justice as many of the dialogues were in Shuddha Bengali or with a folk accent which I could not master, hence were dubbed by the expert dubbing artistes. All dialogues in English were of course dubbed by me.

TCT: Are you an actor’s actor or a director’s actor?

A. Final and foremost I am a professional. I cannot be juxtaposed in a frame. It’s a job for me and I will do the job, which would be appreciated by the viewers. I can only deliver the results, whether you call that as an actor’s method or the director’s.

TCT: Your role in Chokher Bali is highly appreciated. How did you prepare for this role?

A. (smilingly) Is it so? But my director used to tell me that I am not well prepared. Jokes apart, I got full motivation and guidance to play the role as was envisaged by the director Rituparno Ghosh who was my Guru. Of course, I did go through all the requisite homework like reading the novel, the script. But the main inspiration is evolving actress Ash into Binodini, the character was from the director only. He was humble and never allowed me to feel pressure of any sort on the sets.

TCT: What is particular impressed you about the character of Binodini?

A. Well, it had depth and all interesting hue of life like education, passion, youthfulness, and a streak of rebellion for the age old societal norms. Binodini’s persona had an in-built conflict, which required high caliber talent to display.

TCT: How you feel about the character of Binodini in Chokher Bali compared to your character as Paro in Devdas?

A. Actually Paro and Binodini are entirely different individual characters and we cannot draw any parallel or similarity between them. The ethos did not clash nor I had to repeat any nuances, which were depicted for Paro. While Devdas had the opulence, grandeur and was like an opera, Chokher Bali is earthy, simple but realistic to the core doing full justice to the period, and soul of the story which Gurudev Tagore had in mind.

TCT: Any particular scene in the film, which you liked most?

A. Well, it’s difficult to say that for me. Let my audience or the critics decide that. As far as I am concerned I regard the whole film as a journey in growth for an actor. And for this entire journey I have done full justice and I am satisfied.

(Published in Twin City Times dt. 25th Oct. 2003)

Anil Kapoor – With An Open Heart

(An Interview with Anil Kapoor)

Within two years of making his debut in Hindi films, Anil Kapoor has created ripples. With four releases in 1985 (Saheb, Yudh, Mohabbat and Meri Jung) and all of them successful, people are already beginning to refer to him as the next Superstar. Added to this, Anil has made it on his own steam without resorting to media gimmicks. And you begin to understand why this young actor among all his colleagues is inching his way to the top. Of course, he’s hard-working and fairly talented too.

MOHAN SIROYA had the opportunity to catch Anil Kapoor in one of his best moods (as admitted by the star himself). In a marathon interview with no holds barred and nothing kept off the record, Anil spoke at length on his profession, career, personal life and a variety of other topics. At the end of it all, he admitted that the interview was the longest and perhaps the best I have given to any magazine so far.

Prelude:- Once Anil Kapoor showed his readiness for an interview, I started on the formalities of star catching. I phoned his bubbly, efficient secretary Rakesh Nath, who fixed an appointment with Anil Kapoor, subject to a telephonic confirmation on that morning. So I again contacted Rakesh Nath who was ready with the confirmation of venue and timing for that day. At 11.30 a.m. at Chandivali Studios, I was surprised to receive a welcome arch at every stage at the studio, right from my entry at the gate to the untidy spot in a dilapidated structure where Anil was shooting. It was for a small shot, patchwork for the almost ready film, Subhas Ghai’s Karma.

The first session began in the air-conditioned makeup room at Chandivali Studios (Tape Recorded)

MOHAN SIROYA (MS): You are the most successful star of the last year. How do you feel about it?

ANIL KAPOOR (AK): (Pausing for a while) See, last year I had four releases viz., Yudh, Saheb,

Mohabbat and Men Jung. All were fairly successful. But I have still to give a block-buster on my own strength. I mean a smashing success like Deewar or Sholay or something like that. The day I give that, I will be much more happy than I am today. I feel this is just a beginning.

MS: Yes, I wish you best of luck for that day.

AK: Thank you very much.

MS: Has your success helped you in getting more films or enhanced your market value and image?

AK: Yes, definitely, success in the industry depends on clicking of films. Initially, people do value your work and talent. But that is the initial round. When you reach the second and third rounds of your career, then the producers who are commercial, believe in economics. If the actor gives the returns or has the initial power to attract the audiences to the theatre, then only the producers will sign you on the value you command and the money you demand. So up to 1985, I had those films which were successful due to my talent. In 1986, I have a few films which I signed on my talent, but which will also establish me as a crowd-puller. In 1987, of course, will come those films which will establish me as a star.

MS: Are you now in a position to dictate your own terms?

AK: Not yet.

MS: Do you differentiate in charging between a new and comparatively small producer, and an established producer? To be more explicit, what I mean is would you differently deal with the producer who is talented and sincere but cannot afford to pay your price vis-à-vis a big producer who may not be that sincere but can very well afford to pay?

AK: The payment part is not handled by me but by my brother, Boney Kapoor. So I won’t know about that. However, my own understanding is that, it is the big producer who does not pay you, whereas the small producers do pay in time. Of course! There are big and established producers who will pay you less because of their own reputation, banner and goodwill they command.

MS: When I said small I also meant a realistic film-maker.

AK: In that case, what I do is that if he cannot pay my price then I strike a deal for a cut-off in the price of the film he has sold for any circuit and accordingly we adjust the remuneration.

MS: Besides this, do you give any priority treatment either in allocating dates or in charging less to such realistic but talented film-makers?

AK: Yes, definitely I will do. In fact, I have done this in one or two films in 1985-86. However, where the dates are concerned, there is no question of priority as such. Everybody gets equal treatment. But I definitely make a concession in my remuneration.

MS: In that case then if you are busy, the small but realistic film-maker will have to delay his film, which will mean payment of heavy interest.

AK: In that case I may agree to give such producer dates in a big chunk so that we finish his work faster.

MS: In this industry all stars have some affairs with co-stars or are otherwise linked with them.

Do you believe that such link-ups by the interested parties in any way help the star’s career or their forth coming films?

AK: Well! You have really asked a very tricky question. Somewhere I am sure it has to be a media made result, you understand? Success and controversy both go together, that is, what I mean to say is if you are having media behind you that means people are talking about you. It might be for your work, for an affair or for any controversy, but there has to be some chatter. You have to give them stuff. Say for example there is a film released and you have done a good job in the film. Then, along with any affair if combined, it can give you a good boost. However, there has to be some limit in this although there is no hard and fast rule. At the initial stage, however, it might help you.

MS: Conversely it may mar your personal life, isn’t it?

AK: Yes, that is true, but besides that it may give you over-exposure also.

MS: And perhaps some controversy may also cause a setback to your career?

AK: Yes, especially in our country. Ours is basically a conservative country and there is a lot of culture and that kind of thing. So, today it can have a wrong effect and a certain section of the audience may not like you at all.

MS: Do you think you like such things like planting affairs?

AK: (Smiling) you see such things cannot be easily planned or planted. If there is any controversy involving stars, then they might not have planned it but it must have happened like that. However, one can avoid this as best as he can.

MS: But as you know some people deliberately plan such things. Last year two of the known stars, just to gain publicity for their sagging image had just spread certain stories, especially at the time of their film’s release. I wouldn’t take their names but I am sure you have understood. This also particularly happens if both hero and heroine are starring together in a particular producer’s film.

AK: Well, I don’t think such things are good. At least I will not do such things for myself.

MS: Surprisingly so far you have been able to keep up your Mr. Clean image far from even the hardcore gossipers. Is it because you are in awe of your wife Sunita or is it that you are an angel in this otherwise tinsel world of easy virtue?

AK: Of course, I don’t pretend to be an angel and I also don’t claim that I am a clean man.

MS: Since you are not an angel, and I for one do not agree that you have absolutely no affairs, then a question arises that in spite of such affairs, how do you manage to remain Mr Clean in the media?

AK: Yes, you can say that I didn’t have much of the good time because I have been too involved in my profession. You may say that for the last two years, I have been having an affair with my work. Since I also don’t believe in generating or planting any affair, I continue to devote my time and attention to my work. I can put my energy in improving myself as an actor rather than a lover. Those kind of things might help you temporarily but not in the long run.

(Here there was a brief halt in our talks after sharing AK’s lunch of fruits. From Chandivali Studio, we drove to Film City talking on the way for his next shoot Mr. India. On reaching there, we were again in an A.C. room sipping tea, talking and recording.)

MS: So you mean to say that you will continue to keep this clean image on record at least?

AK: Yes, I would try to keep it as much as I can. Let’s see, what happens in the future? There have been some link-ups in the past, you know with whom, I won’t mention. But I got full support from my wife, Sunita. She says she is very sporting about it. She says: Whatever you feel like doing you do it, but I should not come to know about it. But if I do come to know about it then I must see that you have good taste. So let us hope for the best in future too.

MS: Now, tell me what is your opinion on Star politicians? Is it desirable for screen actors or actresses to dabble in active politics?

AK: Well, I feel there is nothing wrong in stars taking interest in politics, especially when it can help the country at large. I fully appreciate what my elder colleagues Sunil Dutt and Amitabh Bachchan are trying to do. To a certain extent, you can say that they have achieved so much as far as wealth is concerned, that at least they won’t be influenced or succumb to money temptation. Similarly, they have seen and enjoyed so much power themselves, that they will be no more crazy for power.

MS: Wait, here I do not agree with you. Even at the time fighting elections there was propaganda from them on this line. But I personally feel that just because a person has enough money and power, it does not necessarily mean that he will not be corrupt. As the saying goes Power ya paise ki koi inteha nahin hoti. Similarly more money and power would induce a person to try for more and more. At least they become more power hungry, maybe in a totalitarian way, for fear of losing the power.

AK: Yes, maybe. But what is wrong with it? For every person there has to be some incentive to work. If seeking power and status can act as an incentive, then what is wrong?

MS: Well, it is not wrong if it is done without any ulterior motive or without any intent to favor or disfavor somebody.

AK: Well, in this world nobody takes up any profession selflessly. There has to be incentive in any activity.

MS: Now, another question. If given a chance or it is forced upon you to enter into politics as was claimed by Amitabh Bachchan that he was suddenly put in a cesspool of politics, would you venture to come out and accept that situation? Mind you, that this might be at the cost of your acting career.

AK: I think, I am too young for all this at this stage of my career. First, I have to concentrate more on my acting career than anything else.

MS: Now we talk about the only controversy which people called One-up campaign on your part that you have indulged, in your otherwise clean professional image. That was during "Andar Bahar" film making. You wanted to have priority in billing over Jackie Shroff and he also wanted the same.

AK: A lot has been spoken and written about it and this controversy has died its natural death. At that time I felt I was right in insisting on priority billing over Jackie since I am senior to him and in those days of my developing career, it was essential for me to insist on my position. Now I think we have both grown out of that situation.

MS: You mean at that time you were feeling insecure and now you both feel secured?

AK: Yes, exactly. At that time we were feeling unsecured and wanted to make a standing for ourselves, as we were at threshold of our career. While I had felt that I deserved prior billing over Jackie because of my seniority, Jackie felt that he was (Hero success) a bigger star than me and hence he should get priority. We both were right as well as wrong. Thereafter we both realized this.

MS: You mean you both do not have any hang-ups or hassles over priority billing now?

AK: No, now we will not fight on this silly matter. Now we both feel secure and it is immaterial either for him or for me as to whose name appears first in the credit. After all as we all know "Water will find its own level. So why should one bother about raising such an artificial level?

MS: If a chance comes to you to take up an art film assignment which is really good, would you accept it in spite of your busy schedule and low payment involved in it?

AK: Of course I would love to. In fact, one such film M.S.SATHYU’s Kahan Kahan Se Guzar Gaya was accepted by me much earlier and the same is likely to be released this year. I hope this will establish me in the art circuit too. As mentioned, a couple of more art films I may sign this year.

MS: Can you name them?

AK: Yes, one is Vinod Chopra’s film Parinda.

MS: You mean Vidhu Vinod Chopra who has made Sazaye Maut and Khamosh?

AK: Yes, yes, the same Vinod Chopra. And the other film is (untitled) of Zafar Hai. Negotiations are still going on.

MS: Let us hope that you do them. Now come to the much talked about question. As you are aware, the media have picked you up as a superstar in the making, a successor to the mighty Amitabh Bachchan. What measures are you envisaging to attain that position in the fastest possible time and then to retain it as long as you can?

AK: (With an embarrassed but elated smile) First of all, I don’t agree with the media. They can very well and conveniently put you at that kind of situation which can even prove embarrassing to an artiste like me. That makes our survival a little more difficult. They need something to talk about. There has to be some stuff. You cannot speak unless there is some material to speak. They (media men) have found some material in me. Correct?

MS: Yes, very correct.

AK: Hence they can very easily speak about me on my talent. I think the same thing happened with Kamal Hassan when he first came to Hindi films. He had made an entry with a bang in Ek Duje ke Liye and the media had also declared him as the superstar in the making. See what happened.

MS: I think there is nothing wrong in that and why should you feel bad about that? In fact each aspirant has to have a dream before him which he should strive to achieve. That is the secret of struggle. The media men or the film-goers, may have a particular image of their favorite actor or actress and out of their adoration and appreciation they would like to see him or her at a particular exalted position where some heartthrob is already there or has been there. So, the media or the film-goers can feel that Amitabh Bachchan may be a superstar; but he’s not going to remain there forever. Why should they not desire to see someone whom they love or admire come to occupy that position? In fact, an aspirant should take it as a challenge.

AK: Yes, I fully agree with you. But one big snag which I see in such a situation is that the people’s expectations go very high and if, God forbid, people feel that one has not fulfilled those expectations, then his downfall becomes sudden and imminent. However, we cannot stop the media or the film-goers from expecting what they want from us. And I wholeheartedly welcome that.

MS: I was asking you about the action plan you have, if any, to reach that position and remain there.

AK: I have not understood exactly what you mean.

MS: See, like modern management concepts in any profession, a target has to be aimed at and then one has to plan his own strategy taking into account the SWOT factor of management by objectives (MBO). By SWOT I mean strengths, weaknesses, opportunities and threats. One has to consider all these factors in the milieu one is operating and then plan certain strategy and actions which can help him to achieve the target. Have you thought of any such thing?

AK: You see, nothing is static. These strategies and plans change every time according to the situation, of your own growth, career-graph, etc. You can’t have a fixed strategy for all the time. Even according to the audience’s demand you have to change.

MS: That is alright, but I am hinting at the basic strategy on which you have carved your career-graph to proceed ideally to achieve the targeted position, that too in the present circumstances.

AK: In the present circumstances, yes! Presently my strategy is to come in as few films as possible and still remain in constant news. The more in news you are, the more in the minds and eyes of the audience. That’s of course a bit difficult.

MS: It’s a good point indeed, very clever.

AK: Yes, you see, doing lesser films means less chance of flops especially in terms of percentage. For example, last year I had only four films. All were successful; hence I had achieved 100% success. Same success of four out of say eight releases would have left me with only 50% success. At the same time by remaining in news you are constantly in demand of the audience. My performances and my work linger on in their memory for a long time. That’s sustenance. However, it’s no doubt a tricky thing. There are instances where even a large number of releases became hits and the person was overnight catapulted to number one or top position.

MS: Very true! But any fast churning out doesn’t help. For instance, Raj Babbar, Rajesh Khanna or even Jeetendra each had more than 8 to 10 films last year, but mostly all flops. Raj Babbar, by having acted in a large number of films at a time, no doubt rose sharply, on stardom, but unfortunately never retained his position. His success graph in comparison to his number of films is perhaps the lowest. On the other hand Amitabh’s case is reverse. Don’t you agree to this phenomenon that only the numbers do not count?

AK: Till today yes, I agree. Maybe after 2-3 years, I may change my opinion.

MS: Tell me what are your strengths and weaknesses in comparison to the by-gone stars or your own contemporaries and competitors in the field.

AK: Well! My weaknesses are more than what my strengths are. I am trying to overcome my weaknesses and make them my strong points. I tend to get too much involved, too tensed-up or charged in a given situation. I want to change this into relaxation, to be more and more relaxed. Extreme tension or charging had an adverse effect on my work as well as my health. I am now learning to use my energy in generating more creative work than spending on excitement or tensions. Now I am trying to emote more, creating work impulses to be more natural. My other weakness, I think is my physical appearance.

MS: What? It is not a weakness. It is a nice face and your appearance is impressive.

AK: Yes, but I would like to go more with the character I play.

MS: What is wrong with your face then? I think you have a softy; round and clean chocolate face to be a teenage, romantic lover and at the same time you can be as macho as an angry man a- la Amitabh. It’s a good combination to be romantic and macho, both in one. Rajesh Khanna for example was only fit for romanticism and not as a macho man, whereas Amitabh is more on macho side, more effective with an angry image and less of romanticism. You can be an ideal combination as the role demands. Examples are Mashaal and Meri Jung or even your earliest Woh Saat Din.

AK: (Pause) It’s a tough thing to be, yes! And now I agree that in that sense this is my strong point. I think even Raj Kapoor in his hey-day had that type of softy face and unique combination of vulnerability and strength. Yes, that advantage I have. I am accepted in such a combination. My other strong point is, of course my age. I am comparatively much younger than what my contemporaries are and that gives me enough elbow room to try and win my own battles.

MS: That brings yet another question to my mind. Contrary to the prevailing belief that an early marriage and fatherhood destroy mass adulation for any promising young hero, in your case, we find that marriage to Sunitaji and arrival of your first baby actually boosted your popularity, brought you spectacular success and also built up your confidence. Do you agree?

AK: Yes I fully agree. There are young and old persons in this profession, who feel that large sections of audience do behave in this manner, have that type of psychology. But I think such reactions or beliefs do not last long. One gets used to them while remaining in the mainstream. Normally, an insecure person or a starter feels that such an early marriage will affect his career or image, but if one is strong in his convictions and wants to get married then why not go ahead with it with full confidence and face the situation squarely and boldly? To tell you frankly, I too felt initially the same way, scared a bit, but then I had in-built confidence in me and my abilities. Even my life partner Sunita had fully supported me. Now I feel I am successful. I have developed my confidence also what I can do, I have done. That’s it.

MS: Is it also a stroke of luck?

AK: Maybe. But I tell you that all big stars became big only after marriage and acquired more popularity. Take Amitabh, Rajesh, Jeetendra or Mithun Chakraborty.

MS: Sorry, it is not true except in case of Amitabh. Rajesh had already reached his peak before marriage. Jeetendra had ups and down twice before marriage era. So, is the case with Mithun. Another case of declining marriage was of Dilip Saab and Saira Banu.

AK: No, in fact in case of Dilip Saab and Saira Ji, the decline had already set in before their marriage.

MS: Yes, you are right to that extent. Remember what happened to Jeetendra? After marriage but prior to Himmatwala there was a bad patch. Thereafter a good time, rather top success with Mawali, Maqsad and Tohfa, in a row. But last year again he had a lean patch. I am only talking about starters getting married and not of those who were in the industry for years. For example take Jackie Shroff. Why is he shying of marriage, though Ayesha is pressurizing him?

AK: Yes, I agree. Perhaps till 30 years of age, I should not have thought of marriage. But you know, I loved Sunita so much that to have her as my wife was the greater urge in me, than the lure of immediate career success. Fortunately my love has triumphed over this impediment. I am basically a family man, and without wife and child perhaps I was feeling incomplete. That’s why I went ahead with the matrimonial bliss.

MS: Behind every successful man, there is a woman. Of course, here I mean, besides his wife and mother. An artist must have inspiration from a woman other than these two. Who is yours?

AK: Well! I can say that there has been very strong influence of Shabana Azmi on me. And I owe a lot for my career not only for Shabana but to her husband Javed Akhtar too. In fact, every film, every act of Shabana has inspired me in my pursuits. They both have a big hand in my present molding.

MS: Who are your idols among the actors & actresses?

AK: Amitabh Bachchan, no doubt. He has been a phenomenon for quite long. And on the foreign screen, Anthony Quinn.

MS: What role does the knowledge of language play in being successful as an actor or actress?

AK: A great deal indeed! Without good knowledge you can’t have flawless dialogue delivery and without good dialogue delivery, an actor cannot be successful. Good dialogue delivery is a must, besides your expression, timing and emoting also count.

MS: Very right. Successful examples are of Raaj Kumar and Dilip Kumar. Whereas, Kamal Hassan is a failure because of this language trouble alone.

AK: Yes, you ought to have a mastery over the language. The greatest asset of Amitabh Bachchan, according to me, is his powerful dialogue delivery, his clear diction, with the right punch wherever needed. Other examples are of Rajesh Khanna and Sanjeev Kumar. And this is true all over the world, for any language. I am also lucky in this. You must captivate and hold the audience by your spoken words.

MS: What about directors? You know, the great Satyajit Ray had often mentioned that he won’t venture to take up a Hindi film mainly because he lacks the knowledge of the language. He took up on Hindi film Shatranj ke Khilari and that unfortunately proved him right. By the same criteria what do you think about Bapu, the successful South director, who doesn’t know much of Hindi but still has been a great success in Hindi films?

AK: Bapu’s case is entirely different. I admire him and he makes up for his Hindi by other overwhelming qualities. So far he has worked with young educated artistes for Hindi and here the communication has always been in English. Further, he understands the artistes and the artistes also understand him about what he expects. And that [is] what really matters. Then there is always a translator for those who do not understand or speak English. To control dialogue delivery, there is a dialogue director, besides the writer and language-expert assistants. However, so far the fact, that Bapu has made mostly remakes from Telugu and Kannada films. Perhaps, I don’t know if he will be equally successful if he has to make an original Hindi film. Otherwise Bapu is basically a brilliant and creative director. As for myself, I have developed very good vibes with him after making three successful films together. Bapu is far ahead of many others in cinematic techniques and perception.

MS: Who are your favorite co-stars and directors, besides Bapu of course?

AK: Among directors, there are [a] lot besides Bapu. Say, Subhash Ghai, Mahesh Bhatt, Shekhar Kapoor, Feroz Khan and others. Among co-stars, well! I enjoy working with Amrita Singh. She is so young, fresh and vibrant and one of the best in the younger generation actresses.

MS: She had done well with you in "Saheb".

AK: Yes, and recently she has given an excellent account of her acting prowess with me in Chameli Ki Shadi. Our next film now is Thikana under the baton of Mahesh Bhatt.

MS: Any unfulfilled ambitions?

AK: Humm... Very difficult to say. (Pause). I would like to work under popular Indian directors like Raj Kapoor, Manmohan Desai and Ramesh Sippy.

MS: Besides acting, what other job do you relish?

AK: I enjoy doing physical exercises, every morning at least for half an hour. I also enjoy doing yoga.

MS: What about reading?

AK: Yes, I am a voracious reader once but frankly now I hardly get any time. Still I read a lot of magazines and newspapers.

MS: What about social work?

AK: Well, at the moment the social work I do is to entertain people. Time doesn’t permit anything more.

MS: What about attending fund-raising plans or project meetings/functions of Lions/Rotarians or other such service organizations?

AK: Of course, whenever time permits, I do accept such invitations. In fact, a lot of people have come but obviously I can’t oblige all. I have to pick and choose, but I do attend (I went to the Brabourne Stadium for Kishore Kumar Night).

MS: I can also vouch from my personal experience. A few months back, you did attend a lions Club’s function where I was also present.

AK: Hey! You caught me there too.

MS: At this stage, if any directorial assignment comes to you, would you accept?

AK: Definitely no. I am not yet prepared for that.

MS: What about producing your own films?

AK: No! Not at this stage.

MS: What’s your opinion about National Film awards and Film Fare awards?

AK: I myself got a Film Fare award last year for my work in Mashaal. What better opinion can I have? Very encouraging and good indeed! As for the national awards, I don’t know much as to how they are awarded.

MS: What’s the secret of your success? In- born talents or something else?

AK: I feel hard work, talent, performance and patience.

MS: And the other most important element?

AK: Yes, it’s luck, very very important and essential.

MS: What about the role of training?

AK: Well! Not much, may be to a limited extent. You see without training or talent, people have been successful in this industry just by sheer luck. Conversely most talented, whether in- born or acquired, have failed because of ill-luck.

MS: Did you yourself take any formal training before you started?

AK: Yes, I had a one-year stint with Roshan Taneja.

MS: Which method of acting do you imbibe in your style? Stanislavsky method or......

AK: You see besides Stanislavsky’s basic method acting, I do try and combine my own that is an instinctive style of acting. Depending on what role and with which director I am involved, I chalk out my style and method.

MS: See, there are different types of directors who employ different techniques to take best out of an artist. One such method is to challenge the ability of the performer, throwing challenges or even insulting the persons before others. One such director, among the great, was Alfred Hitchcock. He used to openly rebuke his heroines or heroes. And in the next take the shot used to be perfect. By chance, if one of your directors employ such a technique with you, then how would you react?

AK: No, sorry! I would instantly protest. Nobody has done such a thing with me so far and I won’t tolerate such misbehavior.

MS: Sorry, you can’t call it misbehavior. In fact it is merely a negative motivation to extract the best out of an artist by arousing his self-esteem. It’s not intended in a real sense. It’s like scolding by a father to correct his erring child.

AK: I think, it’s the director’s job to understand his own actors and their psychology, to interact with them, to make them more happy. Hence he should adopt that technique which would really make actors work. I for one, definitely would feel bad on that technique you said. He can’t expect a good performance out of me by demoralizing or humiliating me.

MS: In a recent interview, Dimple had appreciated such a technique. She was on record to admit that one of her directors had tried this with her. Her immediate reaction was that though she was very offended, she took it sincerely and that resulted in giving one of the best shots of her career. Afterwards the same director while apologizing congratulated her for an excellent performance.

AK: Maybe, no comments.

MS: Besides Karma and Joshiley which are the multi-star movies, and other forthcoming films on which you bank for your rise and success?

AK: There are many. My own home production Mr. India opposite Sridevi, Feroz Khan’s Jaan-Baaz, Mahesh Bhatt’s Thikana, K.C. Bokadiya’s Pyar Kiya Hai, Pyar Karenge and a few are on the verge of release. Another half a dozen may come during the year or early 1987, including Shekhar Kapoor’s Joshiley and Karma.

MS: Now, my last question. Anything more you would like to add?

AK: Oh, no! It’s more than enough. In fact people accuse me that I talk less or don’t have time to talk. "Par Main Kya Karun, Sala time hi Nahin Milta" (I just can’t find the damn time). Today I don’t know how I spoke so much and so well really. I think I did not give so much time to any other magazine or reporter so far. You definitely caught me in a good mood and rather provoked me to open up instinctively.

MS: Perhaps. I am indeed grateful for your sparing not only your valuable time but also sustaining your good mood throughout this tete- a- tete. I appreciate it. Lastly, on behalf of myself and my Editor, I extend my hearty thanks. I hope you have also enjoyed this.

AK: Yes, definitely I have. Ok, bye! And good luck to you and Picturpost.

(Published in PICTURPOST, MAY 1986)

Striving for Sweetness

Anu Malik

The melodious sound of success has led Anu Malik to aim to be a top music composer today, feels Mohan Siroya

ANU MALIK, the son of yesteryear’s celebrity music maestro Sardar Malik, of ‘Saranga’ fame created a stir when top producer-director, Manmohan Desai signed him on to compose music for his block-buster film ‘Mard’. But Anu Malik did not betray Desai’s confidence and the popular scores of the film were proof enough. After that Anu did not look back as big offers kept pouring in.

Tell me about your career after Mard?

"I feel, I am still a bachcha, trying to learn the art of survival in this most competitive world. Every moment I feel I have to learn something new or else I will be left behind in the rat race. Apart from the last two years, when I lagged behind because my earlier success had gone to my head and I had become smug, I feel I have managed quite well. Today I have about 15 films in hand mainly because I rely my own instinct and creativity. I am making some new musical experiments in my forthcoming films Chamatkar, Kamzarf, Dil Ne Ekrar Kiya, Laat Saab and Gopala. I am now quite satisfied with what I have done".

Who has been your inspiration?

First, my own dad Sardar Malik. Then the late Shankar Jaikishan and now Laxmikanl Pyarelal. Whoever thinks that LP are finished is living in a fool’s paradise (the reference was obviously to a statement by Nadeem of Nadeem-Shravan team that LP are finished and that he will now rule the roost). A temporary setback cannot stem a fountain of talent. LP are my current inspirations and I have the highest regard for them.

What do you feel about the present trend of idolizing a set of music maestros at the cost of other talents?

I feel it’s the work of a person which makes him/her inferior or superior and not the labels, or recognition that some people gel. I am of the opinion that one should not gel carried away by a strong current as one gets thrown out of the stream. As for myself, I feel I am an insecure person. This feeling of insecurity keeps me on my toes.

Speaking of trends, what musical trend you envisage for tomorrow?

Mithas, only mithas. Music must be sweet. For instance, listen to the melody in ‘Jaanam’, Take Mere Dil Ka Pata Tumhe Kisne Diya. It is not only rich in lyrical content but it reaches deep down to your heart. Music is no one’s monopoly. To give something trendy you have to be in top gear. The day I feel I am in lower gear, I would prefer to retire rather than dish out worn, oft repeated tunes.

What do you think of the quality of your own music?

It is instinctive. Maybe 20 per cent inspired but 80 per cent my own. People wrongly accuse me of Lifting a folk tune for ‘Maa’ film score Barsat mein jab aayega sawan ka mahina. In fact, I was merely inspired by a UP folklore but the composition is the result of my own creativity.

What do you think about the role of a lyricist in the success of music?

"It’s like choli daaman ka saath. Both must be attuned to each other". Is that the reason for a monopolistic trend of permanent pairs of music-composers vis-a-vis lyricists? For example- Nadeem Shravan or Anand Milind seldom do without Sameer or LP sans Anand Bakshi or Bappi Lahiri devoid of Anjaan or Indivar.

It’s unfortunately true. May be a part of a clique but more than that it’s a matter of one’s own ability to adjust. As for myself, I can establish my rapport with any lyricist. I have worked with diverse lyric writers from Hasrat Jaipuri to the latest, Faiz Anwar who has written the ‘Jaanam’ song Mere dil ka pata".

Do you compose the tune first or the tune is composed after the lyrics are written?

Well both ways it’s possible. Since I am a ‘situational’ music man who composes music apt to a situation in the flow of narrative. I prefer to compose my tunes after the lyric is given. But there are exceptions to this practice which have become hits. For instance, I composed O Radha Tere Bina Shyam Hai Aadha from the film Radha Ka Sangam and only afterwards the lyric was written. Conversely my chart buster song from the film Jaanam, - Mere Dil Ka Pata was written first by Faiz Anwar and later I composed the tunes.

Generally it is noticed that you give preference to Anuradha Paudhwal. What about patronising new talents?

"Basically Anuradha Paudhwal is a good singer so she is a worthy choice. I have also taken Lataji whenever the situation demanded, for example in Radha Ka Sangam. As for the new talents I am all for them. But where are they? Let any capable Surwala or Surwali come to me and I will definitely fall head over heels for that talent."

Do you come across any interference or any dictation for giving a particular type of tune from the producer?

"No, generally not. It’s always my practice to first give the producer a large number of musical mukhdas tuned to the situation. The producer then selects out of that. Thereafter, the musical sittings are done.

There is a difference between interference and being present at the sitting. A producer can point out a good tune which at best can inspire an original composition but a ditto copy is never allowed by me."

Lastly, tell us something about what you want to achieve in the future.

Well! my ambition is to last long in the world of cinema and not get forgotten just after giving two to three good compositions in succession. I would like to follow the footsteps of stalwarts like Naushad, C. Ramchandra, Shankar Jaikishan, Madan Mohan, Roshan or Laxmi -Pyare whose tunes still linger in our ears for the last 30 years and will perhaps continue to linger till cine music survives. Only the work clicks in this industry. And I would like to be known by my work. I don’t believer in the ‘number’ game -being called number one music director etc. What I care is that people must recall me as a good music composer. That’s all. By this yardstick I aspire and will strive to remain on top till next decade at least

Amen!

(Published in Sunday Free Press 19 Apr, 1992, Lokmat Times, 11th Jul. 1992)

I Would like to do something different... memorable

(Renowned Bhajan and Ghazal singer Anup Jalota talks to Mohan Siroya)

IS the ghazal boom still on?

It has already reached its saturation point People are no longer crazy now After the saturation point there is no more room for growth. It will be enough if the singers maintain the quality Otherwise, they will all go out of the market.

Does the same apply for bhajans too?

No, bhajan has a different base. It has a relation to our heart and a devotion al touch. When a child born, the mother shows the child the portrait of Rams or Krishna. This religious remembrance always remains with the person. Bhajan is, therefore, deep rooted in our culture, tradition and ethos.

It is said that ghazals became popular because there was hardly any light bhajan singer of repute available, except perhaps your father, Puroshottamdas Jalota and Ms. Subbu Laxmi. Much later bhajan singers like Hari Om Sharan, Nandini Sharan and you came on the scene and popularised bhajans.

"It’s a wide-spread misconception that I started with ghazals and then switched over to bhajans, or that earlier bhajans were not popular. My first lesson in music was given when I was a tiny tot with the evergreen hot favourite ‘Thumak Chalat Ramchandra Bajat Painjaniya’. At the age of seven, I had given my first public performance on stage at Lucknow and that was with a bhajan.. In fact, during those days people used to like bhajans more than ghazals, even in Lucknow which was supposed to be the grooming place for Urdu language and ghazals. And the reason was that, during those days we had music maestros like Madan Mohan, C. Ramchandra, Jaidev, Roshan, Naushad etc. who gave us good ghazals in films. To date nobody has matched the talent of Madan Mohan and the singing style of Lataji or Talatji.

Can we ever forget those immortal ghazals from ‘Adalat’- ‘Yun Hasaraton Ke Daag Mohabbat Mein Dho Liye’ or ‘Unko Ye Shikayat Hai’ or the ghazals from ‘Anpadh’?’ Hence people were not interested in listening to other ghazal singers, except the late Begum Akhtar. But bhajans were few in films. A time came when we lost those magical music composers and lyricists. The standard of film music went down, the melody died. People started looking for better music, which was provided by outside singers in the form of ghazals. That was also the time when Mehdi Hassan from Pakistan came (just after the release of Raj Kapoor’s Bobby") and instantly, he captured the audience and created a craze for ghazals in India. After that Jagjit Singh came, Ghulam Ali came, and I came, followed by a galaxy of singers like Pankaj Udhas, Talat Aziz and Penaz Masani. But in all that period, it was not that I was not singing bhajans. When I came to Bombay to make my career, I was first offered a film ‘Shirdi Ke Sri Sai Baba’ in which I was required to sing only bhajans. The film was a hit but the bhajan discs also sold well. And even in concerts, people started making ‘farmaish’ for bhajans. Thus was born the bhajan craze and people now say that I am a bhajan king. But the fact is that I used to sing ghazal and bhajan both, light or classical. I like bhajan singing and I prefer it because in India there are not many bhajan singers.

Bhajan is not a commercial thing. It is sung in temples, places of worship, pious gatherings and religious events free of charge. In fact I also don’t charge for singing bhajans if the organizers have kept the concert free. I charge only because the organizers make money out of it. Then why should I not charge my fees? After all, I am a professional. Well, I won’t say that I am equally adept in both forms. After all, one form has to be better than the other".

Which is better for you, ghazal or bhajan?

Well, some think that I am best while singing ghazals but others feel I have my on forte in bhajans. Therefore, I leave it to my admirers to judge.

What is most essential - the words, the melody and rhythm or the style of singing?

"Ghazal is a poetry, poetry of love, romance and wine. When we compose a ghazal, we think about the Lyrics. If it is sad then, it can’t be composed in fast rhythm which people like. I always compose on some raga which enhances the effect of the ghazal. If the lyrics are for ‘sharab’, we can sing it fast and in an lighter way. However on stage if you sing difficult Poetry people don’t follow and don’t enjoy. When we perform on the stage, the poetry is not perhaps that important as the rhythm which people can appreciate instantly. So, whether we like it or not we have to keep to the light, romantic and sharabi type of lyrics when singing on the stage. But in bhajans, although the rhythm is important it is not that vital. It is the spiritual feeling that is important. To carry the audience with you, therefore, while singing bhajans the singer must exude the emotions of lyrics thru’ his voice and tune".

Is that the reason why the standard of ghazal has deteriorated so much that it is called Sadak chhap gana by some?

"Yes, you are right. The standard has indeed gone down if compared to the rich past we had in ghazal singing. The traditional form is now converted into a chalu filmy type which is indeed very sad.

But then this degradation is not confined only to ghazals. It has even eroded the values in life. Where are those audiences who can appreciate good ghazals? I shall tell you an interesting incident that occurred recently. In a concert, one of my fans came and congratulated me for one of my ghazals. I asked him which one he was referring to and he cited ‘Maiya Mori Main Nahin Makhan Khayo’. We all laughed heartily. Now, if this is the calibre of our audience then tell me if I sing Jauk or Ghalib who will appreciate it? Of course. I do perform pure ghazals in Urdu when there is an appreciating and understanding audience. I am also against the westernization of ghazals into a disco form. It amounts to corrupting the taste. I perform bhajans continuously for two and a half hours and people enjoy to the hilt. Similarly if a ghazal with simple words is sung, there is no reason why the audience will not enjoy."

. What about film assignments whether as a composer or a singer?

Recently a film was released Tohfa Mohabbat Ka’ in which I had composed the music and also sang the songs. My popular song ‘Maiya Mori Mai Nahin Makhan Khayo was picturised on me and Hema Malini. I enjoyed composing for that film. I have also composed the music for Aaja Mere Lal and Maut Ki Sazaa. There are a few more films for which talks are going on. I have, of course, sung in quite a few films. But I enjoy stage concerts more as that brings me near to the people.

Now something about your personal life. After your divorce with Sonali, she gave a statement accusing you of being impotent. What’s the fact?

"Well she is now no more my wife. I divorced her, not she. That was very important for us, for my mental peace and for everything in my life. The reason was that she was having an affair with my tabalchi. No man worth his salt can tolerate that. First, I tried my best to counsel her and I gave enough time for this but she persisted in her waywardness. She had completely betrayed my confidence and trust.

And if there is any truth in what she has alleged, then how could it be that she had conceived my child earlier? In spite of my strong protestation she had gone and aborted. That was the greatest shock for me and that had sown the seed of discord. After that she never wanted to bear any child. She was afraid that her career may be ruined by having a child. I am not surprised that in frustration she shielded her own misdemeanor and immoral act by accusing and maligning me in public. To say the least I feel very sorry for that and I feel personally ashamed for such a blot in my otherwise clean and crystal cleat life. People respect me and my family very much. Thank God, it’s all over now. I am now a much relieved man, with complete peace of mind. Now I can wholeheartedly concentrate on my