17.06.2020
Year: 2014
#lLettersToMother/ Part 3
Location: Bhaidas Auditorium, Mumbai
There is a lot of excitement outside and inside the auditorium because Shri Narendra Modi, Chief Minister Gujarat is attending the Image book event. The program begins on time and after a long round of speeches, it is finally time for Modi to speak.
He jokes that the book would not have been possible without the combined efforts of two persuasive people, the first who saved the pages of a diary destined to turn into flames and the second, poet Suresh Dalal who did not give up on his idea.
I remember the evening clearly because I am in the auditorium, a special invitee from Suresh Dalal and sitting in the hall that day, listening to so many stories, I had no idea that one day, I was going to translate the same book into English but I guess that’s the beauty of life, it is full of surprises.
To be continued1h

16.06.2020

Year: Sometime in 2000
Location: Gandhinagar, Gujarat
It is a normal evening and Shri Narendra Modi, now Chief Minister Gujarat is in his garden, tearing up his diary pages and throwing them into the bonfire. Suddenly, a friend arrives and is led to the garden area. He is shocked to see what his friend is up to and snatches the rest of the pages from him. He is angry and reprimands him to never do that again.
Modi argues but his friend is in no mood to listen and when he leaves, he carries the remaining pages with him.
To be continued

15.06.2020

Year: 1986

Location: Gujarat

Narendra Modi is an ordinary party worker of the RSS and every night after a hard day’s work at a Shibir organized by him in a faraway location, Modi sits down by the night lamp to write his diary wherein he expresses his innermost feelings to mother Goddess whom he addresses as Jagat Jananai.

The communications are at times abstract, at times philosophical but most of the time, overwhelmingly emotional. Probably that is the reason every few months, Modi lights a bonfire and burns up his diaries.

He has been doing this for years, rather decades…

To be continued

Dear Mukesh Bhatt

While in Seychelles we spent a lot of time together, traveled to locations in a large bus playing Bollywood hit songs. Everyone was so happy both on and off the sets. Every evening was a party with ample of food and laughter and nobody was in a hurry to say good night.

One evening we decided to trail your journey and you looked for a picturesque spot to chat uninterrupted. Over elaichi chai served in fancy cups the mood was perfect to roll your story…

You said you began your career as secretary to Smita Patil and after her demise in 1986, you didn’t want to continue as a secretary to anyone. You were depressed and stopped working but you hung out with brother Mahesh Bhatt on his sets and felt better. One day, you told him you were contemplating setting up your production company. Mahesh was encouraging, so without much ado, you announced Vishesh Films named after your son.

You had a company now but didn’t know how to begin a film, you were still hanging out with Mahesh and friendly with all his actors, particularly Sanjay Dutt, you decided why not make a film with Sanjay Dutt directed by Mahesh Bhatt. Everyone in the team was affectionate and supportive and the film completed in nine months. It wasn’t a super success but it gave you financial stability and more important, confidence. You told me that you purchased your first car and your editing room after the release of Kabzaa.After an easy start Jurm with an old friend Vinod Khanna was a nightmare because the man who went to America wasn’t the same man who returned. The new Vinod was mysterious and unpredictable, he cancelled dates at random and you were depressed when he reported to work and depressed when he didn’t. The delay in release added to severe and you wondered if becoming a producer was a mistake. It was during this lowly phase, when pressures mounted you strolled into a party just to let your hair down unknowing that an opportunity awaited you in the guise of Gulshan Kumar of T Series. Kumar mentioned that he was venturing into production and if you agreed it could be a joint venture. You were not sure if it was a right move but agreed. The film was Aashique, year 1990 and rest is history.

Dear Pooja
You must remember that adventure is not part of my DNA but for some mysterious reason, you were hell bent on treating me to one adventure after another as soon as I landed in Seychelles.
First, Jugal Hansraj and you took me on a water boat ride during the high tide. With a scorching sun on top of us and salty water lashing on our faces, you drove the boat fast and furious like in action films. We galloped over angry waves but Jugal and you were unstoppable! I was certain that we were not returning alive, but we did!
Jugal and you were so euphoric that you’ll wanted to do it all over again. Thank God the boat man declined and better sense prevailed.
Dinner time, Jugal cracked witty jokes like ‘Lucky table is getting laid’ and come morning, both of you were ready for more mischief. You strolled into my room and asked me if I was game for a drive to the beach? II was, unprepared for what awaited me.. You suggested I go parasailing and convinced me it was the easiest experience. Trusting you I submitted to an impulse. Two men fastened me with belts, the third, whispered instructions and before I could blink, the ropes were set free and I was in the sky!
The higher I went, the faster was my heart beat. Everything that looked divine from the ground appeared sinister up-close. I hated the mountains and the clouds. As I swayed over rocks, pastures, I shut my eyes and chanted Hanuman Chalisa. The Gods heard me and descended me gradually but my perils were far from over.
On landing I was unable to unhook the belts and activate my life saver. The boatman was far away and I had water inside my nose, mouth and drowning. He made it in nick of time and rode me to the shore safely.
I was given a resounding applause by the team but I knew Ill never do this again.
In the evening, photographer Rakesh Shreshtha showed me these images and a smile crossed my face. Had it not been for you Pooja, I would’ve never experienced this. Let’s go back to Seychelles again, will you join us Jugal and Jitesh?

Dear Pooja

I look at this picture and my mind rewinds to year 1997 in Seychelles. The door of your hotel room was ajar and I walked inside to find you searching for a clean shirt bending over multiple suitcases. You have not found time to organize your laundry and are wondering what to wear when the reception calls to say that everyone is waiting for you. You shut the suitcases and charge towards the elevator.

An hour later, we are parked by the poolside and you tell me your story of why you turned a producer. You said you had been flirting with the idea for a while but did not muster courage to commit and then dad/ Mahesh Bhatt explained that the only way to make films you believe in, is by turning filmmaker yourself. Soon you found a script you believed in and you announced Pooja Bhatt Productions.

You said the first lesson you learnt as a producer is to only green light the best script, the second, is to remain convinced of your choice till the end. You chose Tamanna as your debut production knowing it will not be a commercial grosser but you wantedbegin small and artistic and the family supported your decision.

To shoot at Seychelles was your chachu Mukesh Bhatt’s idea, carting three units Mahesh Bhatt’s Papa Kahte Hain, Vikram Bhatt’s Fareb and your Tamanna together at the island was a business proposal and also bonding time for everyone together post shooting.

It was your debut film but you were so peaceful, less anxious, more contained, it was probably the effect of the island. I noticed that now you enjoyed your own company and mentioned it to your dad, Mahesh Bhatt at dinner. He smiled, said, now you are cooked with pain. Perhaps you are, you have keen observations on life now, of relationships, you desire to pause and introspect, promise to return to Seychelles from time to time because life in Bombay is killing the soul.That was in 1997 I’m curious to ask, when was it last that you returned to Seychelles Pooja Bhatt?#PoojaBhatt # MaheshBhatt #MukeshBhatt #VikramBhatt

09.06.2020

Dear Basuda,
I met you for the first time when I visited your set of Madhu Malti to interview Sachin and Sarika, shooting at a remote college in Andheri. I think this was soon after the release of Geet Gata Chal. There was a major electricity breakdown on location that afternoon and all of us – you, Sachin, Sarika and me were parked in the lawn outside chatting leisurely.

Since all of us were young with plenty of time on hand and no distractions like mobiles, the bonds were instant and we kept meeting again and again.

Madhu Malti never got released and Sachin-Sarika never worked together again, but you did another film with Sarika soon, Griha Pravesh (1979)  and I often hung around on your sets. Shabana Azmi had around that time, signed Sparsh with Naseerudin Shah to be directed by Sai Paranjpye and produced by you. Your wife Rinki Bhattacharya was doing costumes for Shabana and decided to dress her in her own sarees and Shabana was game for it. The winter jackets draped with exquisite shawls however was Shabana’s idea, she was in double mind whether to wear a French bun or a braid for the character and I lured her towards the braid because I felt the bun would look too sophisticated. (That was the beginning of my career as a costume designer with Azmi but that’s another story, so another time).A decade or more went by, now Sarika lived in Madras but every time she was in Bombay, she visited you at your beautiful home and I often accompanied her. It was during one such meeting over fragrant tea, you narrated Sarika and me the story of Aastha, and both of us were alarmed! That’s when you told us the backstory, a true incident where you saw a homemaker accompanied by her little son in a show shop. The little boy tried a pair but on reading the price tag the mother left the shop without purchase. Another woman, at the same shop, observed this and handed her a box of shoes outside. The child was overjoyed and the mother unwittingly gave into temptation. Nobody expected Rekha to agree to the role but she did and made her character unforgettable. You were happy with the response to the film and a few months later, died peacefully.

Dear Basuda,

Date – June 8th, 2020

On 4 June amidst escalating fear of approaching cyclone and escalating Corona,you quietly made your exit without the slightest fuss,just like all your characters in your films.By the time we emerged from our fears we discovered that the marvelous director Sara Aaakash was gone.
The headline on the news channel ‘Basu Chatterjee no more’filled me with sadness. Your contribution in our lives over the last four decades cannot be summarized in a column.Nobody connected with us,the middle class as you did.In a quiet corner of our memories,we still retain the innocence of Piya Ka Ghar, the fragrance of Rajnigandha, the music of Chitchor & the wisdom of Swami.
There was acceptance in Khatta Meeth,aspirations in Manzil, conflict in Ratan Deep, endurance in Apne Paraye, struggle in Jeena Yahan, mischief in Shaukeen,anger in Ek Ruka Hua Faisla and celebration in Chameli Ki Shaadi.
Your detractors said that you stopped connecting with your audience in your later films, I feel you were ill-adjusted with the changing trends,which can & does happen to the best of filmmakers,what is important is that you tried to stay relevant without excuses of age.
I have been on your sets & watched you brief Zarina Wahab & Shabana Azmi before a scene,quiet,affectionate & sometimes reprimanding.
You disapproved of makeup, of actors taking any liberties in costume or hair that was out of character & which is why you shot the best of your songs in the background.You said to me in an interview ‘Normal people don’t sing and dance when they are happy or sad so why must actors do it unless the subject demands it’.
In the 90s I was on the Advisory Panel of the Central Board of Film Certificate,the same time as you & we shared many committees together.You were against censorship of any kind & solely responsible for Deepa Mehta’s Fire India’s first lesbian film in the year 1996 to be cleared & you did not change your stand even after laathi charges at cinema halls.
Your films reflected values,the common man enriched from your stories but when your time was up,you exited quietly, without a song or a dance just like your characters.