SUCCESS AND FAME IS TEMPORARY. THERE TODAY, GONE TOMORROW.

- WAHEEDA REHMAN

“I’ve Never Feared The Future”

Courage is something I learnt from my father ( district collector Mohammed Abdur Rehman). As a child, when I was learning Bharat Natyam, my relatives asked him, “Kya Musalman ladki ko nachaaoge?” His answer was, “Art is never bad. It’s the human being, who errs. How you conduct yourself is important.”

I lost my father when I was 13. At 17, I came from Visakhapatnam to Mumbai with my mother ( Mumtaz Begum) to do Guru Duttji’s CID ( 1956), directed by Raj Khosla. I laid down my conditions before signing the agreement. That I’d not change my name ( the makers wanted a commercially viable name). That I’d only wear costumes, which I approved of.

I told my mother that if they didn’t agree, we’d go back. Raj Khoslaji was taken aback that a young girl was so unbending. I told him I was ready to work for 24 hours if need be. But certain things would be in accordance to me. It’s not slavery. We respect you; you should respect us.

“Guru Duttji Was Extremely Sensitive”

I’m proud to be part of Guru Duttji’s films. Even 50 years later, they’re talked about. They’re classics. I’ve made no contribution towards them… I just happened to be part of his great films – Pyaasa, Kagaz Ke Phool ( 1959), Chaudhvin Ka Chand ( 1960) and Sahib Bibi Aur Ghulam ( 1962). Guru Duttji spoke little. He’d just observe. But he was extremely sensitive. If I had difficulty in saying the lines, he’d ask writer Abrar Alvi to change it. He believed no matter how beautiful the lines, the actor should be able to say it.

In Pyaasa, I had to let out a scream on reading the news of Vijay’s death. I couldn’t bring myself to do that. Guru Duttji joked saying, “Girls scream for anything. Strangely, you’re finding it hard.” Then he said, “Okay, just crush the newspaper and we’ll slide down the camera.” The subtlety worked. He encouraged me to read.

Just after the silver jubilee of Pyaasa, my mother suddenly passed away of a heart attack. It was the darkest phase of my life. For one year, I dreamt that she was alive and we’d buried her in haste. I was plagued by these thoughts. I was doing Solva Saal ( 1958), with Dev ( Anand) then. I told him I wanted to go back. I didn’t want to work anymore. He said, “I know it’s shocking. But you can’t walk off like that. Complete the film and think in the meantime.” Once, Baby Naaz and I were rehearsing a scene for Kagaz Ke Phool ( 1959). She had to accuse me of taking her parents away from her. I had to say, “Maine kuchh nahin kiya. Main khud akeli hoon.” But before I could complete the dialogue, I burst into tears. I related the lines to the loss of my mother. Guru Duttji announced pack- up saying, “Go out with your sisters, watch a film. There’s no need to come at 9 am tomorrow. Come only after you feel rested.” That was thoughtful of him. Eventually, I got hold of myself. The traumatic experience helped me evolve as an actress. Also, the survival instinct kicked in. Another high point remains the song Waqt ne kiya kya haseen situm. The photography ( V. K. Murthy) with the play of light and shade stood out. There’s no lip movement. That intensified the emotions.

“I Carried Meena Kumari’s Paan Basket”

I did many films with Sunil Dutt including Mujhe Jeene Do ( 1963), Meri Bhabhi ( 1969) and Reshma Aur Shera ( 1971). He was a friendly and progressive man. I grew close to Nargisji while working with Sunil. Once all of us went to Moscow for a film festival. Sunil took along Meenaji ( Kumari) for treatment as she was suffering from a liver ailment. Meenaji enjoyed having paan. Her niece, who accompanied her, carried around her huge basket of paan. Sometimes, I’d carry it too. Later, all of us travelled to London. Nargisji and I’d rush to shop at Selfridges at 8 am. Nargisji was down- to- earth. There was no fuss about her. Just a lipstick and an eye pencil and she’d be ready. Meenaji, on the other hand, was always well- groomed and poised. She had excellent skin.

“Rosie is in every woman”

The credit for Guide ( 1965) goes to Goldie ( director Vijay Anand). I was advised not to do Guide. But I believed in the character. There can be Rosie in every woman, in every country, in any era. Sometime back, when Asha ( Parekh) and I’d visited Kutch – a guide there told me that Rosie is our first feminist and Aaj phir jeene ki tamannah… the first feminist song. Rosie doesn’t leave her husband ( Kishore Sahu) crying. She slaps him before walking out. To hell with the husband and the world. Goldie presented the characters with dignity. Rosie and Raju ( Dev Anand) live- in but there was no cheapness in that. Tere mere sapne… was shot in three takes by Fali Mistry. Two shots before sunrise and one at sunset. We’d reach the location at 4 am for rehearsals. There was no time for retakes.

Many actresses wanted to play Rosie. In fact, Padmini and Leela Naidu wrote to me separately saying, ‘ If you don’t want to do Guide, please let us know.’ Initially, Chetan Anand was to direct Guide. He wasn’t keen to take me. Even Tad Danielewski didn’t want me for the English version. He thought my English wasn’t good. Also, I’d refused to do the kissing scene in the English version. But Dev insisted that he wanted me. He felt comfortable with me.

“Dilip saab played safe

always”

Dilip Kumar’s a great, great actor. He was a cooperative co- star. I enjoyed doing Dil Diya Dard Liya ( 1966), Ram Aur Shyam ( 1967) and Aadmi ( 1968) with him. But I guess he wasn’t courageous enough. He played safe all the time. He’d only work with top heroines, known music directors… Even subject wise, he played safe. When I was doing Satyajit Ray’s Abhijan ( 1962), he said, “Waheeda, do me a favour. Please put in a word on my behalf to Dilip Kumar. I want to work with him.” I conveyed that to Dilip saab. But sadly, he didn’t seem interested. What a combination Ray and he’d have made!

“My husband was a handsome man”

I met my would- be husband ( Shashi Reiki aka actor Kamaljit), an extremely handsome man, during Shagoon ( 1964). He liked me then. But he had placed his hopes on the film, which flopped. His film, Son Of India ( 1962) with Mehboob Khan saab hadn’t worked either. Heartbroken, he left India. He set up a boutique in Canada. Years later, when he was in India, Yash Joharji, his friend, told him, ‘ You used to like Waheeda. Why don’t you propose to her? I guess she’s ready to marry.’ He proposed to me and we got married. In 1997, my husband suffered a stroke. Simultaneously, my mother- in- law was hospitalised. Everything was going wrong in our lives. It was a tough period. After my husband’s demise in 2000, I shifted from Bangalore to Mumbai. I began getting offers for films ( Om Jai Jagadish, Rang De Basanti, Delhi 6). It was God sent.

“I never thought I was

beautiful”

My hair had started greying rather early. Every 10 days, I had to touch it up. I found it tiring. During the time when my husband was unwell, it escaped my mind to dye my hair. When I came to Mumbai everyone was shocked to see me. Helen, Sadhna, Nanda… all said, “Khuda yeh kya kiya tumne!” But I just let it be. When you accept reality, you’re relaxed. Once I’d attended a function, when Sunil said in jest, “Waheedaji’s unfair. Being younger than us, she’s stopped dyeing her hair. Now our secret is out!” I believe beauty lies in the eyes of the beholder. Honestly, I never believed I was beautiful. I just photographed well. I thank the cameramen for that. Also, I believed in keeping it real. ( Smiles) Amitabh Bachchan once mentioned that he’d heard stories about me carrying my own make- up box and even sitting under a tree and applying it myself in the absence of an assistant. At the peak of my career, I went to Crawford Market to shop with my sisters. I believed without make- up no one would recognise me. But someone did and we fled from there.

“I feel closer to God

amidst nature”

I’ve always been interested in photography. I’d carry a Rolleiflex camera when we shot outdoors. I’ve shot sunsets, landscapes and my co- stars including Nanda, Raj Kapoor and even Satyajit Ray. Dilip saab would joke, “Jab dekho ladkon ki tarah camera lekar ghoomti rehti ho!” Recently, my son Sohail urged me to go on a safari to Kenya with professional photographers. I enjoy shooting wild life. I feel close to God amidst nature. There’s no pretension, no hypocrisy. You’re just yourself. You don’t have to impress anyone.

“I’m not stuck in the past”

I don’t watch my films as I get critical about my performances. Success and fame… all is temporary. There today, gone tomorrow. Everyone goes through upheavals. I’ve been through a lot of emotional and financial ups and downs. But I like to enlarge the positive things. I avoid negative people. You can aim for the sky. But when in trouble, look at the millions below you. I believe I’ve no sorrows in life. I don’t mind being born as Waheeda Rehman again. But I’d definitely do it better.