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Cinema@100

The man and his road to Mussoorie

A writer for all seasons – and who periodically interests Bollywood – Ruskin Bond talks about writing, India, and sex.
by Humra Quraishi

What’s Ruskin Bond doing in New Delhi at this time of year? This is exactly what I asked him, in our very first meeting, this week. Though I have been reading him for years, I never got to meet him. And when I finally did, the conversation between us simply flowed. I think popular and ‘ongoing’ writers (he has been writing for over half a century) like him follow certain basics and that’s what attributes to their success – besides good writing, of course.

The contributing factors are being absolutely down to earth and no shying away from talking about the twists and turns of their lives.

Ruskin Bond’s writing has attracted Bollywood on three occasions – Shashi Kapoor made the film Junoon based on Bond’s novel The Flight Of Pigeons, while Vishal Bharadwaj adapted two of his stories, The Blue Umbrella and Susanna’s Seven Husbands (which was named Saat Khoon Maaf), both of which were critically-acclaimed.

 

Anyway, getting back to the basic question, why did the very private man leave Mussoorie and land here now, and he said: “For one, I had to interact with children from three schools — two Delhi schools and one in Karnal and then one of my new books gets launched.”

The 79-year-old Ruskin Bond’s latest work is Hip Hop Nature Boy, a collection of short stories released in 2012, while Roads To Mussoorie was launched here in New Delhi in 2005, when I met him for the first time. He had this to say right at the start of our conversation, “Instead of a Foreward I am writing a Backward, because that’s the kind of person I have always been. Very backward. I write by hand instead of working on a computer. I listen to the radio instead of watching the television. I don’t know how to operate a cell phone”.

ruskin bondHe adds, “Sometimes, I read books upside down. If I have to read a modern novel, I will read the last chapter first, usually that’s enough. Sometimes, I walk backwards. In this book, I take a backward look at people I have known and interesting and funny things that have happened to me on the way up to the hills or down from the hills”.

Focusing his attention to the present-day situation in Delhi, I asked him about the spurt in rape cases. He said, “It could be the sexually explicit films being screened on the television, affecting young minds. Then, they are never told that romantic love is one thing and sexual anarchy is different. Our society is too repressed, so people try to break free and go on a rampage. Crime is worsening here, the situation wasn’t so in the 60s when I had lived here with my father who was an Air Force officer.”

Going by the photographs I had seen of Ruskin Bond, I was sure the writer would be one of those ‘difficult-to-draw-into-a-conversation’ types. But then, as they say, looks can be deceptive. And last week, in New Delhi’s heat and dust, he and I sat and chatted for almost 45 minutes. He was spontaneous, straight forward, and absolutely down to earth.

Excerpts from the interview:

Have you ever experienced loneliness? You haven’t married and have no constant companion.

I stay with an ‘adopted’ family, so that way the apartment is full of people. The apartment has four rooms and we are twelve people living in it. The family consists of a set of parents and their two sons who are both married and have children. Also, this profession – writing – is such that you can only pursue it in solitude. You have to be alone so that you can write. In the evenings I do go down to some friend’s home for a chat and a drink. I have two or three such close friends.

A lot of your readers, including me, have this little complaint about your writings – there’s very little focus on sex or say sexual romance. Why?

(Smiles, nods) You’re saying this, but once, during the Emergency, I was hauled up in court on charges of obscenity. Yes I was, for my novella titled The Sensualist. I had to appear in court, though I was later acquitted. And I must tell you that there was nothing explicit in the book — maybe some sexual references in a romantic context.

Why do you think there’s this sexual fury and madness today, in the form of so many rapes taking place?

Sex in a context – that is, sex in romantic love – is one thing, but sexual anarchy is totally different. Our society is too repressed and so people are breaking free and going on a rampage. Sexually explicit films are shown on television and this affects viewers as well.

Why did you decide to settle down in India, when you had the option of moving to the United Kingdom?

My mother did send me to England, but I returned. I wanted to be back and live here in India, although my two siblings are settled in Canada. I chose Dehradun and later moved to Ruskin Bond in his teenage yearsMussoorie, because earlier my mother and step-father (my mother had re-married, a Punjabi businessman) lived there. Later, I didn’t want to live in a town which was too far from New Delhi, because of my writing and meetings with my publishers.

You have always worked as a freelance writer. How difficult does it get on the financial side?

Financially, the going has been tough. All my life, I have lived in rented accommodation. It was only in 2004 that I managed to buy an apartment in Mussoorie. I wrote and wrote, for just about any publication in the country, be it a sports publication or Yojana. In fact, I must tell you this funny incident – that time Yojana was being edited by Khushwant Singh and though I’d sent a romantic and sexually explicit story, he published it in Yojana!

How do you manage with writing long hand in this age of computers and laptops?

Earlier, I used the typewriter but lately I had a back problem so I stopped typing. And now I use longhand. That’s the way I give my manuscript to my publishers. It’s a fairly neat hand!

You are a white person with a Christian name. Have you ever felt insecure on account of your minority status?

No, not now, maybe when younger. In fact, during the Independence phase I remember being hit by a stone in Dehradun. But nothing now.

You had just mentioned that your mother had married a second time – a Punjabi businessman. Do you have any half sisters or brothers and how did your stepfather treat you?

Yes, I have a half sister – Premila Singh – who lives in Ludhiana. She is about ten years younger to me. She even visits me at Mussoorie. Regarding my stepfather, he was okay. I was free to do what I wanted, he didn’t interfere in my life.

This interview was first published in The Tribune.

(Pictures courtesy www.indianexpress.comwww.memsaab.comwww.hindu.com,

Categories
Enough said

On Gulzar’s 77th birthday

What is left for poet and lyricist Gulzar to write about? A book of short stories for children, of course!
by Humra Quraishi

Last week, I just let myself be, sapped of all energy by news of crimes and killings all around us. I find that when I’m sad or in despair, reading a good book really helps.

And a great book couldn’t have come at a better time, or with better timing. I read the recently-released volume on Gulzarsaab, In The Company Of A Poet: Gulzar in conversation with Nasreen Munni Kabeer.

Gulzar turned 77 on August 18 – he was born in 1936 in Punjab. The book chronicles his thoughts, views and experiences and illustrates several points with his verse. Laced with these are details of his childhood spent his ancestral village in the undivided Punjab, his school days in old Delhi, his early days in Bombay where he’d worked in a garage before moving to the film world, where he associated with such luminaries as Balraj Sahni, Sahir Ludhianvi, Bimal Roy, RD Burman and several others.

rakhee and gulzarThen there the personal details of his life, ‘his deep connection with his wife, the legendary actor Raakhee, his daughter Meghna and his grandson Samay.’

I met him for the first time in the summer of 2005, for an interview for a national daily. He was staying at New Delhi’s India International Centre (IIC), so it was decided that I meet him over breakfast at IIC’s tea lounge. And though we spoke of several things, the most enduring image I have of him is how the tears flowed down his cheeks as he spoke about his bond with the Kashmir Valley.

“Somehow, the Kashmir Valley always fascinated me to such an extent, that Raakhee and I decided to go to Srinagar for our honeymoon. We often teased our daughter Bosky that she was conceived there in the Valley…”

He’d added, “Kashmir is an integral part of my emotions, it’s a region which is close to my heart. I was even planning to make a film on the Valley; I’d named the film Iss Vaadi Mein, and it was based on Krishna Chander’s short story collection Kitaab Ka Kafan. It dealt with two lovers in the two parts of the Valley and how they try to overcome the military barriers. Sadly, the film could not be made as the Kargil War had broken out.”

The good news is that Gulzarsaab is nowhere near retiring – his latest collection of short stories, Half A Rupee Stories, was recently launched here in Delhi. And though a family emergency prompted me to skip the release function and go to Uttar Pradesh, on returning I was touched to learn that Gulzarsaab had dedicated one of the stories to me. The story, centred on the Kashmir Valley, comes with this line about me: “We share a lot of Kashmir, though neither of us is from there.”

The genius writer is currently working out the plotlines of several books. “There are several books in my head,” he says. “I want to complete them. Writing is very important, it is a shock absorber. It has the capacity to absorb all upheavals, shocks, pains, all the conditions you’re going through. It is like driving along a road which could be uneven or bumpy. Writing then becomes your vehicle, it takes you along and you go atop it, as though you were riding a tiger.” He is also translating Rabindranath Tagore’s books for children. “I love writing for children and I find it very fulfilling,” he says. He adds, “Today, we are snatching the childhoods of our children by putting them too early into the formal education system. We are shrinking that crucial phase in their life. My worry is that in the coming years, children could get extremely lonely, especially in urban locations.”

(Pictures courtesy Amit Kanwar and www.missmalini.com)

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Cinema@100

Finding her feet after marriage

Vyjayantimala Bali combined beauty with formidable dancing and acting talent, but it was her marriage that actually helped her blossom.
by Humra Quraishi

I first met dancer and actor Vyjayantimala Bali in the spring of 1990, here in New Delhi, at the Kamani Auditorium. But whenever I met her even after that first meeting, she always stopped to chat warmly. I have always found her to be extremely cultured and friendly as a person.

When I first met her, she had been rehearsing for her solo performance, ‘Om Shantih! Om Shantih! Om Shantih!’ It had been just a day after her show, but she was completely relaxed, dressed casually in a cotton salwar kameez, her short hair tied back in a ponytail, her manicured fingers sporting several rings. “Through this form of art – dance – I want to convey the message of peace…I carry my ‘Om Shantih books, manuscripts on dance, just about everywhere. I am doing research on the traditional temple dance forms, and I am curious and want every detail explained to me by scholars and pundits.”

VyjayanthimalaShe firmly believed that there was something very spiritual about Bharatnatyam, or what could explain how it had survived the ravages of time? But then we moved on to chatting about her career as a successful actor who was known for her formidable dancing talent, her inclination towards dance, her marriage to an unassuming doctor, and how it is difficult for a woman to survive in a man’s world.

She said, “As a shy five-year-old, I performed Bharatnatyam for the Pope in Rome.” She went on to add that as a studious, introverted Class 10 student, her dance performance – this time for a Madras audience – caught the attention of the producers of AVM Production, and her very first film, Bahaar, with its emphasis on dance, left the audience spellbound. “Of course, my other 54 or more films continued to do, till 1968, when I opted for marriage. Thereafter I did not retire, but I relinquished films,” she quipped.

Excerpts from an interview:

When you were so inclined towards classical dance, why did you move towards films and put dance in the backseat, that too in the most creative years of your life?

First of all, even in my films, my dancing influenced the films and not the other way round. All through my film career, my dancing continued. In fact, after shooting, I’d return home to a totally, non-filmi atmosphere, where I would only have traditional arts and music and dance.

Also, I never opted for films. I joined the film industry only incidentally. I come from a traditional South Indian family, and being the only child, I led a very protective life. My grandmother wanted me to study further, but one of the directors of AVM Productions was a close family friend and when he saw one of my dance performances, he coaxed and convinced my grandfather to let me take a role. It wasn’t a romantic role but one that centred on dance. At that point, I didn’t even realise what acting was. The film was a big hit, and other films followed.

Did you ever repent joining the film industry?

Never. I have no regrets. The film industry treated me with so much love and affection.vyjayantimala bali and dilip kumar

Your name was linked with the Raj Kapoor camp…

(Looking straight at me) That was gossip. Gossip will always be there. As a film star, you are in the public eye. All this was a lot of exaggeration, especially where the RK camp was concerned. Tell me who wasn’t linked with them? In fact, all these ‘links’ are needed to boost the film, [they are] publicity gimmicks. Even in the West, all actors are linked with their co-stars for this very purpose.

Which, according to you, have been your most memorable films?

What I consider to be my best are Ganga Jamuna, Madhumati, Amrapali, New Delhi and Naya Daur.

And your favourite co-stars? 

Well, I did the most number of films with Dilip Kumar…

When your son Suchindra sees your films, how does he react?

(Laughing) He’s quite appreciative but when he’s watching one of my films and I happen to be sitting nearby, he looks at me in wonder and says, ‘Mummy, is it really you who has done all that!’

And how do you react?

I am no different. I feel the same way. I really can’t believe it’s me.

 

You quit films after marriage. You are still being offered roles but you refuse them. Why?

See, after my marriage, it was a mutual decision that I should relinquish films. And I feel that it was a very wise decision, because at that time I was at the top. Even now I am being offered roles, but I decline them. Why would I play mothers’ roles?

It is said that your late husband, Dr Bali, wanted you to quit the film industry and that’s why you did so.

No, it was a mutual decision. He was too gentle and considerate and suave to ever force his views on me. He was a Godsend to me (throws up hands as if thanking God)

How did you meet him?

That was the most interesting phase of my life. During a film shooting in Bombay, I wasn’t too well so the director got him to treat me. That’s how it started. And slowly I realised that when he didn’t come to see me, I missed him a lot. That’s how I knew it was love.

How long did it take you to realise that you were in love with him?

He told me that I realised it much later, though he had realised it earlier. I loved his company. He was a very gentle and kind person.

With her son SuchindraHow did you drift towards politics?

My husband thought that I had the makings of a politician, so he wanted me to join politics. It happened over time…in the beginning, we toured Tamil Nadu and saw the chaos around us, how funds were being misused, the people’s disillusionment with the administration. Whenever we toured, we saw another reality: how people loved Mrs Indira Gandhi. So when we visited New Delhi, we met her and told her the state of affairs, and about my inclination towards politics. She was very encouraging.

But weren’t there any apprehensions, with you being former film star?

People knew I was a very serious person. I wasn’t simply hopping from one profession to another. I quit the film industry in 1968 and entered politics in the early 1980s. Nor was I a party jumper; people knew about my integrity.

It was said that your husband was the guiding force and didn’t let you take any independent decisions…

That’s wrong. But it is a fact that I never said ‘no’ to whatever he said, because I had faith in him. I knew whatever he advised me or did was for my good. We had that kind of bond, our relationship was very strong.

Once you took up politics, was he ever uneasy with you being away from home for days?

We always traveled together. Why should I have traveled alone? Even on the tennis courts or golf course, we were always together. I changed totally with him in my life; earlier I was known to be introverted and closed, but with him around, I was full of confidence and courage. I’d developed an interest in tennis and golf, and my interest in dance became an obsession because he loved Bharatnatyam.

How did you cope after his demise?

After his death, I thought of leaving everything – dance, politics – but then I’d think, how could I leave these things? He’d have wanted me to continue.

“Dr Bali died in 1986 because of a brain haemorrhage and the unavailability of a life-saving drug, glycerol. We needed 10 bottles of glycerol, but managed to procure only one bottle. It wasn’t available at any cost. You can imagine how I must have felt! With all the resources at our disposal, we couldn’t save him because that particular drug wasn’t available. And with that I decided to set up the Dr Bali Pharma Trust, so that we could provide life-saving drugs to those battling for life.”

There was a controversy about your husband’s will, which was contested by his first wife and her sons. How did you fight that legal battle?

My son and I won in the Court. Truth does prevail. Unpleasant things keep happening, what to do? But one must have faith in oneself. I believe in this line, ‘Thus, above all, to thine own self be true’.

Is it tough for a woman to survive in politics?

Yes, it is very tough for a woman to survive. It is dominated by men. Even on all these marches or walks or public meetings, women are jostled and pushed around. It is truly terrible.

(Pictures courtesy www.kino-teatr.ru, photogallery.indiatimes.com, www.hindu.com, filmsplusmovies.com)

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Enough said

A dash of humanity

Three academics in Delhi have set up a trust that will encompass the spectrum of Humanities Studies in the country.
Humra Quraishiby Humra Quraishi

Last week, I wrote about Kolkata’s Presidency College introducing ‘Love’ as a subject in its curriculum. Now there’s another bit of good news from the world of academia – three senior academics in New Delhi, Rakesh Batabyal, Mahalakshmi Ramakrishnan and Antony Thomas have set up the Humanities Trust.

What for, you ask. I quote Dr Batabyal (in pic above), “The Trust will try and encourage high quality in humanities education, which will include research and publication in different languages of Indian and other societies. The Trust also seeks to come to help the teachers of classical languages, liberal arts. Its centre for advanced study will try and spread the message of Indian philosophy and culture, through high standards of research that it will try and promote.”

This Humanities Trust has a definite plan to set up several concrete platforms to reach out to the masses. In fact, these academics want to reach the masses through this Trust by setting up the Institute of Advanced Studies (HTIAS), Curriculum Resource Centre (CRC), Humanities Bibliospaces and Espaces: New libraries for schools in remote areas and for students from deprived sections (HBE), Centre for the Study of Philosophy of Religion and Secularism (CSPRS), Centre for Studies on Institutions (CSI), Centre for Indian Nationalism (CIN), to name a few initiatives.

Dr Batabyal adds, “With the declining quality in education, particularly in public education delivery, there is an urgency to intervene in the education system by starting an Institute of Advanced Studies. The Institute will house scholars from across the country and the world who would use its residential character to congregate and discourse on issues and areas designed broadly by the Institute. The active training, publication and seminar programmes of the Trust aims at disseminating the work of these scholars and their discussion to hundreds of other institutions of education, which would bring the cutting edge knowledge paradigms closer to those who do not have access to these.

“The  Curriculum Resource Centre (CRC) shall be an ongoing archive, documentation and facilitation centre for curriculum development across education segments. These will be made available to institutions to enable long-term development as well as for short-term modules. The centre will provide the training for educators in the using of these curriculum frameworks as well. The Trust shall also seek to develop a centre for the study of religions – the philosophies, history and evolution of newer belief-systems. It will also seek to promote the understanding of secularism through research, seminars and teaching modules on conceptual issues, thinkers, philosophical questions related to the subject.

“The endeavor is to truly integrate the idea of humanism with that of inquiry. The Trust shall study the origin and trends in the growth of institutions across the world, particularly the democratic institutions. Legislation has been the finest art of human kind and therefore study of legislating institutions shall be studied in close conformity with the changing patterns of humanistic expressions.”

He signs off by saying, “The study of the unique phenomenon of Indian Nationalism will be encouraged in the context of its anti-colonial past and globalized present. There will also be emphasis on the comparative history and process of nation-building in different parts of the developing world.”

Humra Quraishi is a senior journalist based in Gurgaon. She is the author of Kashmir: The Untold Story and co-author of Simply Khushwant.

(Picture courtesy utcp.c.u-tokyo.ac.jp)

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Cinema@100

Sita was a politician, too

She was television’s heartthrob in the 1980s. But after her marriage, actor-politician Dipika Chikhlia completely vanished from the television scene.
by Humra Quraishi

I had interviewed Dipika Chikhlia in the summer of 1992 in New Delhi. She had already finished playing Sita on the small screen adaptation of the Ramayana, and was wildly popular for her on-screen demure grace and good looks. That year, she had also been elected as the Bharatiya Janata Party’s MP from Baroda.

It was said that after her phenomenal success as Sita, Dipika received scores of marriage proposals, at least one a day. From doing a few roles in minor films to suddenly becoming the nation’s darling to then entering politics, it was one big non-stop journey for Dipika as she juggled fame and recognition with a desire to work for people. Today, she is well-settled into family life in Mumbai, and has two lovely daughters.

After trying to get through to her for three consecutive days, I finally had the chance to fix an appointment with her. She answered the phone herself, speaking in a low voice. She consented to giving an interview but with a polite request, “It shouldn’t be more than a few minutes long. I have to leave for Parliament at 11 am.”

We met in a cramped room in Gujarat Bhavan in New Delhi. She looked so different from the glamorous girl that had charmed the nation as Sita. The sari she was wearing was a simple print on cotton. Her hair was tied up in a neat plait, and her long nails were painted in a shade of mauve. Her lips had the faintest touch of lipstick.

She sounded earnest enough throughout the interview, giving the impression of a young woman sincerely wishing to contribute to the political sphere, but she also sounded somewhat confused. She even contradicted herself a couple of times, but with every such contradiction, she carried on with a gentle smile.

Excerpts from the interview:
Why did you join the BJP?
Why not? Actually, my grandfather had actively worked for the RSS (Rashtriya Swayamsevak Sangh), so I had an RSS root in my family.

Do you agree with the opposition parties’ charge that the BJP is a party with a communal outlook?
No, it’s not entirely communal. Maybe it has a tinge of communalism. That’s all.

Just now you said that your party, the BJP, has a tinge of communalism. Do you feel this is okay in the national perspective?Dipika Chikhalia
I meant that others think that the BJP has a little bit of communalism. Not that it is actually there.

Then why don’t you clear this misunderstanding?
Why? What’s wrong with it?

You won the elections on the BJP ticket. Did other parties also want to give you a ticket?
Yes. Other parties also wanted to give me a ticket, but why talk about that now?

You are going to get married shortly. How will you manage your political life?
Yes, my marriage is fixed for November 22. Regarding my television work, I am winding it up. And as for my political work, I am appointing managers to look after my constituency. Actually the Baroda electorate cannot be taken for a ride. I just could not say to them, ‘Thappa kamal par lagao (Cast your vote for the [BJP’s] lotus’. I had to really work hard.

Do you think you won because of the Sita image you portrayed on the small screen?
No, not really. They voted for me because they found me to be a young and enthusiastic woman.

Did you have any problems with your electorate because on the small screen, you started by portraying Sita and then played Hyder Ali’s Muslim wife?
No, why should the electorate object? As an artist, I can portray any character, be it Christian, Sikh, Hindu, Muslim. I respect every religion.

What are your comments regarding the Babri Masjid?
No comments. I don’t want to give any personal comments.

Is your engagement to the owner of Tips And Toes’s Hemant Topiwala an arranged match or a love one?
It’s a totally arranged marriage. Both the families have known each other for years, but before giving the final consent, I went out with him. Then I said yes.

You are most famous for playing Sita. But in one of your earlier films, you played a character that was near vulgar. Why were you so desperate to get any role at all?
Yes, I admit that in one of my earlier films, I was badly conned. It was my biggest mistake. It wasn’t like I needed the money or that I was desperate for a film role, I was just conned. I am a practical and straightforward person, and I could not understand the shady ways of that film producer.

(Pictures courtesy myvideos.in, www.india-forums.com, www.theunrealtimes.com)

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Cinema@100

‘There is more sleaze in Parliament than in Bollywood’

Author, lawyer and former diplomat Bhaichand Patel speaks on his fasination for Bollywood, acting in films and cinema’s leading ladies.
by Humra Quraishi

Bhaichand_PatelBhaichand Patel is a Fiji national who lives in New Delhi. This former lawyer-turned-UN diplomat is today better known as an author and editor. He has edited two books – Chasing the Good Life – On Being Single and Bollywood’s Top Twenty; Superstars of Indian Cinema. He had previously written a non-fiction book, Happy Hours, The Penguin Book of Cocktails and recently launched his very first novel, Mothers, Lovers and Other Strangers, which is set in Mumbai and Bollywood.

These are excerpts from an email interview:

Your home has photographs of some of the leading heroines of yesteryears. Also, a year back, you edited a volume on Bollywood. Very recently you launched your debut novel, Mothers, Lovers and Other Strangers which has Bollywood in the background. Why this fascination for the film industry?

I grew up in a small town on an island in the middle of nowhere, Fiji. The only recreation available to us as children were sports and the movies. At one time, I saw three or four films a week, both Bollywood and Hollywood. I fell in love with Madhubala at the onset of puberty. Movies have always fascinated me. I am somewhat of an authority on Hindi films made in the 1940s and 1950s. My previous book was on twenty top stars of Bollywood, beginning with KL Saigal and ending with Kareena Kapoor.

Who are your closest friends in the film industry?

I am close to the Samarth family. While I did not know Nutan, I knew her mother Shobhana Samarth and her sister, Tanuja, is a close friend. I have known Kajol from the time she was sitting in a corner doing her homework. I was touched that she (Kajol) came all the way to Delhi for a few hours to launch my last book.

Shyam Benegal, Kumar Sahani, Mani Kaul and Saaed Mirza are filmmakers of my age group. We used to hang out together in our younger days. I knew Salim Khan, father of Salman Kajol, Bhaichand Patel, Minu TalwarKhan, when he was a struggling young actor, fresh from Indore. Later he became a successful script writer as part of the Salim-Javed team.

I have many journalist friends in Mumbai who write on Bollywood. When I practiced law in Bombay we had people like Dilip Kumar, Dev Anand and Meena Kumari as our clients.

If you are offered a film role today, say the role of a father, would you take it?

I am so desperate to act, I am willing to dress in women’s clothes and do a belly dance if a filmmaker asks me to do that to get a role. It won’t happen. I can’t act to save my life! The role of the heroine’s father would be a godsend, especially if I get to cuddle her!

There is a dark side to the film industry. Comment.

Some of the nicest people I know work in the film industry. It is the only industry where your caste, religion or background does not matter. If you have talent as an actor, director, musician, or technician you will succeed. As an actor in a lead role it helps to have good looks. But looks alone won’t take you far. If you are not talented, no amount of strong connections will help you.

Bollywood's top 20Of course there is a dark side. There is sleaze in Bollywood, like everywhere else. I don’t think there is more sleaze in Bollywood than in our Parliament. There is, of course, the infamous casting couch where actors, male and female, have to sleep with someone to get a role. But most actors don’t indulge in that.

While the superstars are paid crores of rupees, the vast majority in the industry are paid a pittance, sometimes not at all. It is not easy to succeed in Bollywood with so much competition from so much talent. My novel, Mothers, Lovers and Other Strangers, draws on the darker side of Bollywood.

What are your thoughts on actor Jiah Khan’s suicide and Suraj Pancholi’s involvement in the issue?

Jiah’s tragic death is a good example of the pitfalls of the industry. She was lucky in that she got the lead role in her very first film. That too, opposite Amitabh Bachchan! Afterwards, it was downhill all the way for the poor girl. There are hundreds out there like her, hanging on for a chance to get a break and they never get it. They are sometimes too ashamed to return to the small towns they came from. They often end up in pathetic situations. Sometimes it ends even more tragically, as was the case with Jiah. We only look at the leading lady in the front, and forget about the boys and girls behind her in the chorus. Sometimes I wonder what kind of lives they live, how much they earn.

I think it is unfair to blame Suraj Pancholi for what happened to Jiah. He was nowhere near her when she killed herself. Of course they broke up and she must have been emotionally upset. It happens all the time in relationships. Did Suraj have any inkling that she would commit suicide? Did he instigate her to commit suicide? Why blame him for something she did on her own free will? If she could not cope with a broken relationship why blame him?

(Pictures courtesy Bhaichand Patel, victoriamixon.com, www.exoticindiaart.com)

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