Photographic time travel
A photographer had his lens trained on news-making stars in the '80s and shares some intimate insights drawn from personal interactions with these personalities
Movie stars were just as captivating off-screen as they were on-screen and these rare photographs—and the memories associated with them—prove just that.
AN ASPIRING ACTOR HAD DRIVEN FROM PUNE IN HIS NEWLY PURCHASED CAR; JACKIE [SHROFF] SAT IN HIS CAR AND MADE HIS WEEK
When Amitabh Bachchan was off press
As Amitabh Bachchan crosses the lan dmark age of 80 this year, I am reminded of the many times I have crossed paths with him, the most memorable for me being the times he released two of my books (the first by himself an d the second, jointly with Aishwarya Rai) and the time he did an interview with Rajesh Khanna.
When I shot this picture of Bachchan in the mid 1980s, however, he wasn't on talking terms with the press. The quarrel was from the year before I became a journalist so, as a rookie, I was excited about photographing the superstar and watching him in action. Bachchan had turned up for the mahurat of family friend Romesh Sharma’s Diljalaa (1987). There was no army of bodyguards surrounding him in that more innocent era but I recall him deftly handling the inevitable crowds that resulted from his entrance.
I remember calling Amitabh years later, the morning after Kaun Banega Crorepati first aired, and complimenting him on this turning point in his life. When he asked me, “Why don’t you participate as a contestant?” I replied, “No thanks. I like putting others in the hot seat.”
Asha Bhosle shyly played with her braid
Though I would largely interview and photograph film stars as a reporter, I actively pursued greats in parallel cinematic fields, too. I was over the moon when RD Burman agreed to a joint interview with his wife an d muse, the legendary songstress, Asha Bhosle.
Frankly, I was amazed at the dynamic between the two. Pancham, as he was fondly known, was rather serious, belying the fun image I had of him courtesy the many numbers of his which my gen eration had grooved to. On the other hand, the conservatively clad, make-up-free Asha was given to fits of coy laughter while playing shyly with her braided choti. But that voice! It was the same that had added extra sizzle to vamps like Helen (Piya Tu Ab To Aaja, 1971),
Bin du (Mera Naam Hai Shabnam, 1970) an d Aruna Irani (Sapna Mera Toot Gaya, 1975).
Madhuri Dixit likes a good laugh
I shot this picture of an extremely slender Madhuri Dixit alongside Anil Kapoor on the outdoor shoot of Ram Lakhan (1989). Madhuri was not yet a star then... but what a difference the n ext few months made to both our lives. I became the editor of Movie magazine in October 1988 an d within a month, Madhuri Dixit had become a huge star after she danced up a storm to Ek Do Teen in Tezaab (1988). We were among the first to feature her solo on the cover of a magazine.
Madhuri and I have had many casual chats over the years an d she does like to let loose her famous tinkling laugh in real life too. Once, I was narrating how I had managed to lock myself out of my own car and she found my use of the word ‘manage’ hilarious. But, she is lace threaded with steel.
Jab Rekha and I met
Rekha and I first met during the shooting of Deepak Shivdasani’s Ladaai (1989) at Mehboob Studios. She was a photographer’s dream. When my colleague Patrick Biswas introduced me with: “This is Dinesh. He is a…” Rekha interrupted icily, “Journalist.” She added, “I can smell one, instantly.” I cheekily
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shot back, “You must have a good nose for Eternity. That’s what I am wearing now.”
After five years had elapsed, I met her again, this time with an appointment for an extensive interview about her turning 40. She broke the ice at her Ban dra office with: “I have met you before. On the sets of Ladaai. You were accompanied by Patrick. You were sitting with Dimple. You were wearing a beige shirt.” Her memory is astounding.
Manmohan Desai and his dry wit
I captured this moment between filmmaker Manmohan Desai and his director son Ketan while they were having an intense creative conversation. This was circa 1985, and the senior Desai was practically the king of the box office, having helmed blockbusters such as Sachaa Jhutha (1970), Dharam Veer (1977), Amar Akbar Anthony (1977), and Naseeb (1981). Subsequently, however, Desai faced a stark reversal of fortunes.
I prefer to remember him at his witty best in his prime when I saw him on the sets of Coolie (1983), one of the first shootings I attended as a reporter. For one sequence in the film, Amitabh Bachchan had to lift the slender Rati Agnihotri, while Rishi Kapoor had to lift Shoma Anand. Director Manmohan Desai ribbed Rishi, “If you are unable to lift Shoma, I will make her lift you.”
Deepti Naval, the poetess
Deepti’s sense of style, like her choice of films, is highly individualistic. She wears sarees with unique flair and I found her Versova residence truly one of a kind—with plants galore, curtains instead of doors and a glass centrepiece placed on a stack of books.
We had the late veteran actress Nadiraji in common—we were both close to her. Nadiraji was extremely possessive of her library where Keats and Mirza Ghalib rubbed
MAKE-UP-FREE ASHA WAS GIVEN TO FITS OF COY LAUGHTER WHILE PLAYING SHYLY WITH HER BRAIDED CHOTI
shoulders with the books I had authored. I once borrowed a book of poems penned by Deepti from Nadiraji, and committed the cardinal sin of losing it. Nadira never let me hear the last of it till I chanced upon the book while Diwali cleaning, and returned it. Deepti’s poems, some of them profoun d, gave me an insight into her mind.
Shammi Kapoor & Sanjeev Kumar's unusual friendship
I shot this group picture [above] with several top stars of the day at the mahurat of Allah Rakha (1986). Seen from left to right are: Sanjeev Kumar, Shammi Kapoor, Meenakshi Seshadri Jackie Shroff, director Ketan Desai, Anupam Kher, Raakhee and Rati Agnihotri.
The Shammi Kapoor-Sanjeev Kumar frien dship was already decades-old by then. They first teamed up in the '60s as friends with opposing ideologies in Sachaai (1969). Then Shammi cast Sanjeev as the leading man in his first directorial venture Manoranjan (1974) and they continued to work together in films like Vidhaata (1982). Sanjeev couldn’t
do Allah Rakha because of health reasons and the cast underwent major changes, but it was good to see the camaraderie between the two veterans at the mahurat.
Jackie Shroff—always grounded
It shocks me to realise that I have known Jackie for 40 years now! To his credit, he has kept it real all through these years and remains grounded. I could ask him to pose on the none-too-clean ground in the midst of a busy shooting location... and he would oblige.
Three years ago, he came as a guest to my media workshop... and was in no hurry to leave until he had well an d truly charmed each participant. Radiating amiability, he spoke on the importance of being mentally prepared in this profession, shared the importance of breathing techniques and spouted accessible philosophy. Ajay, an aspiring actor, had driven from Pune in his newly purchased car; Jackie sat in his car… and made his week.
Anita Raj is t(hat) girl
The 1980s were when every star worth their salt was frantically dividing their time between two dozen films. Anita Raj was one such busybee whom I regularly bumped into at the studios and exchanged pleasantries with. I saw her sporting this hat once and insisted she pose because I thought it transformed her angular face very fetchingly.
Later, I met her at the Snowman’s ice cream parlour at Breach Candy and both of us let out a whooping cry like two Red Indians. Though I interviewed her only once, she was always warm.
Danny the well-dressed villain
Unlike his junior, Gulshan Grover, Danny Denzongpa didn’t really believe in outlandish costumes to signal menace. On the sets of Oonche Log (1985) featuring Rajesh Khanna and Salma Agha, Danny was nattily dressed in boots and an equestrian jacket with leather elbow patches. Despite having directed Khanna and his then-girlfriend Kim in a thriller, Phir Wahi Raat (1980), Khanna an d Danny didn’t confab in between shots and sat in different corners.
Dinesh Raheja is a reputed film historian, columnist and TV scriptwriter who has been writing on cinema for over three decades.
DESPITE HAVING DIRECTED RAJESH KHANNA AND HIS THENGIRLFRIEND KIM IN PHIR WAHI RAAT, KHANNA AND DANNY DIDN’T CONFAB IN BETWEEN SHOTS AND SAT IN DIFFERENT CORNERS