December is a particular month, marking because it does the dying anniversary of Dev Anand and the beginning anniversaries of Dilip Kumar and Raj Kapoor. Waheeda Rehman goes again in time and brings alive reminiscences of this league of fantastic gents. “I really feel l lucky to have labored with the highest three,” she says softly earlier than she rewinds…
“Dilip Kumar might specific a lot emotion, a lot dard”
Dilip saab and I did 4 movies – ‘Dil Diya Dard Liya’ (1966), ‘Ram Aur Shyam’ (1967), ‘Aadmi’ (1968) and later ‘Mashaal’ (1984). Sadly, solely ‘Ram Aur Shyam’ labored. Nonetheless, it’s been an honour to have labored with such an ideal actor.
On the primary day of taking pictures ‘Dil Diya Dard Liya’, I used to be naturally nervous about sharing the display screen with Dilip saab. However he was an ideal gentleman, swish and supportive. Dilip saab had a specific fashion of working. He’d do many rehearsals. He’d ask me to make use of glycerine even through the rehearsals to get the ‘whole impact’. Sadly, glycerine didn’t swimsuit my eyes. Generally, I’d get exhausted with the try-outs. So, I’d take a break, relaxation after which start anew. As a result of the satisfaction of working with the most effective is one thing else. In a single close-up shot and with out dialogue, he might specific a lot emotion, a lot dard… he was implausible!
These days there have been no vans. The make-up rooms and studios had been in horrible situation. So, as soon as we’d prepare, we’d want sitting on the set. It was the most effective place to speak, focus on our earlier movies and likewise new tales. As soon as Dilip saab had narrated a narrative thought a few younger woman being buried in ice and found years later by her previous lover. The story left me intrigued. Whereas Dilip saab and Raj (Kapoor) saab would get pleasure from discussing ideas, Dev (Anand) saab largely remained quiet.
I used to be at all times inquisitive about images. I’d carry the digicam round my neck – even when in full costume – and take fascinating pictures of my co-actors and issues round. Dilip saab as soon as chided me in jest saying, “Itne acche kapde pehenkar, kya ladkon ki tarah digicam lekar ghoomti rehti ho! (Having worn such good garments, why do you roam like a boy, carrying that digicam round)”. Alternatively, Raj saab could be sport. I used to be taking photos whereas on our flight to Moscow. He instructed, “Go that facet and take photos. The sunshine is best there.”
Whereas taking pictures for ‘Dil Diya Dard Liya’, simply to have some enjoyable, we’d deliberate that every artiste would get lunch from dwelling for the remainder of the unit flip by flip. In the future lunch got here from Pran saab’s dwelling, someday from mine and so forth. However no lunch got here from Dilip saab’s home. So, we teased him, “Hamein nahin pata tha aap itne kanjoos hai (We didn’t know you’re such a miser).” He sweetly smiled and stated, “There’s nobody at dwelling to do this.” He was single these days. I used to be glad when ‘Ram Aur Shyam’ clicked on the box-office. Koi toh image chali unke saath (Atleast one film with him grew to become a success)!
We labored collectively in ‘Mashaal’ after a few years. He was mellow and quiet. The well-known ‘Aye Bhai!’ scene was shot in Fort. I’d be known as at eight pm. We’d shoot by way of the evening until 5 am. I keep in mind telling Yashji (Chopra) that I had youngsters and it was tough to work at evening. However Yashji stated the scene was such, we couldn’t shoot it in a crowd. The influence the scene created continues to be remembered.
My final assembly with Dilip saab was maybe on his birthday some years again. He was attempting arduous to recognise folks. He tried to put me too. me, his eyes turned moist and so did mine. He was actually extraordinary. Saira (Banu) taken care of him so devotedly. Unko toh salaam karna chahiye (She deserves a salute). She’s actually the heroine of his life.
“Raj Kapoor could have had the popularity of being a girls’ man, however he was so protecting”
My first movie with Raj saab was ‘Ek Dil Sao Afsane’ (1963). Sadly, it didn’t work. The second was ‘Teesri Kasam’ (1966). We had been stunned {that a} glamorous man like Raj Kapoor had agreed to play a country character. Lyricist Shailendra, who produced ‘Teesri Kasam’, was Raj saab’s shut good friend. That’s why he agreed to do the movie. Director Basu Bhattacharya additionally had nice conviction in Raj saab.
Raj saab was at all times nice firm. In between pictures, he’d narrate varied story concepts together with these of his future movies ‘Mera Naam Joker’ (1970) and ‘Satyam Shivam Sundaram’ (1978). In the future, one thing concerning the specific shot didn’t appear proper. I informed Raj saab why don’t you information the director as he was a newcomer. Raj saab replied, “I agreed to be right here as an actor. And I’ll behave like one. I don’t need the director to really feel that I’m making a degree to point out I’m higher than him.” That was a commendable high quality in him.
Raj saab’s thought was that my character Hirabai (a nautanki dancer) and his Hiraman (a bullock-cart driver) ought to meet ultimately. He was in favour of a commercially viable ending. However I stated a cheerful ending wouldn’t have justified the title ‘Teesri Kasam’. Hiraman’s ‘third promise’ was that he’d by no means once more ferry a nautanki dancer. Additionally, if the ending had been to be modified, the title would additionally need to be modified. Author Phanishwarnath Renu (the movie was primarily based on his brief story Mare Gaye Gulfam) was not in favour of fixing the story or the title.
Even with a cheerful ending, the movie would nonetheless haven’t labored it because it was too arty. Having stated that, the cinematography by Subrata Mitra (a part of Satyajit Ray’s group) was sensible. He gave a wonderful delicate impact to the movie. ‘Teesri Kasam’ gained the Nationwide Award for Finest Function movie.
‘Teesri Kasam’ was additionally the particular entry on the movie competition in Moscow. Raj saab could have had the popularity of being a girls’ man, however he was so protecting of me. He cautioned me to not be too pleasant with the interpreter and others round. He stated caringly, “Malkin (the best way he addressed me in ‘Teesri Kasam’) zara sambhal ke! Idhar udhar muskurate huwe mat chale jaana (madam, please watch out. Don’t get carried away flaunting your smiles)!” After I informed him my sister was with me, he joked, “Sister ko pata bhi nahin chalega (Your sister gained’t even know) when you may be carried away!” Although I loved working with Raj saab, given the truth that we had two flops, our pairing was not repeated.
“I used to name Dev Anand a good flirt”
I used to be an ideal fan of Dev saab even earlier than I joined movies. I cherished his pairing with Madhubala. I had not imagined that I’d characteristic with him in my first Hindi movie. I used to be launched to Dev saab on the set of ‘C.I.D’ (1956) because the woman from Chennai. I addressed him as ‘Dev saab’. He reacted sharply, “No Dev saab!” I then requested, “Can I name you Anandji?” He retorted, “No, no… name me solely Dev.” I stated, “You’re my senior. How can I tackle you by your first identify?” He defined he couldn’t work with anybody, who addressed him so formally.
The subsequent day, aadat se majboor (out of behavior), I addressed him as ‘Dev saab’. He didn’t reply despite the fact that he was inside listening to distance. When this occurred yet another time, I requested him why he wasn’t answering. He stated, “I informed you no ‘saab’, no ‘ji’ and no ‘Mr’.” He was the one hero, who insisted I name him by his first identify. Someplace, he made me really feel relaxed. We then went on to share a effective understanding, a consolation zone. I did seven movies – the utmost I’ve completed with any hero – with him.
After ‘C.I.D’, I signed ‘Solva Saal’ (1958) and ‘Roop Ki Rani Choron Ka Raja’ (1961) with Dev saab. Round this time, my mom had an enormous coronary heart assault and handed away. I used to be devastated however work needed to resume. My three older sisters had been married and settled. I informed Dev saab that I used to be feeling lonely and that I didn’t wish to work anymore. I wished to go away Mumbai. He stated, “I perceive your grief however time is a healer. And what’s the fault of the producers? Full these two photos and within the meantime determine your future.” He requested me if I wished to get married and whether or not I had somebody in thoughts. After I stated no, he remarked, “Then why do you wish to return and dwell along with your married sisters?” It made me assume. Right this moment, I worth the nice recommendation he gave me as a result of it modified the course of my life.
A big reminiscence of our affiliation is ‘Information’ (1965). A number of scenes stay memorable from the movie. One such was the scene earlier than the music Dil dhal jaaye, which sensitively hints on the rising distance between our characters, Raju and Rosie. One other was the scene simply earlier than the music Aaj phir jeene ki tamanna hai, shot on a sadak (avenue) in Udaipur. The scene has me telling Raju, “Ghungroo bandho!” Dev saab later informed me, “I felt awkward taking pictures the scene in public. However you had been so bindaas. Didn’t you are feeling acutely aware?” I stated if I bothered a lot it might have required so many retakes. I simply switched on and off believing that simply the 2 of us had been there.
At any time when he met his heroines, together with Nanda, Sadhana, Asha (Parekh) or me, Dev saab would affectionately put his hand on our shoulder. However we women by no means minded it as a result of he had such a clear vibe. But when others had been to take action, we’d transfer again. The heroes would comment, “Arrey waah you don’t object to Dev saab. However once we come even a bit shut, you progress away.” Some folks had a lecherous vibe. They wouldn’t depart your hand in the event that they occurred to carry it… however Dev saab gave you a protected feeling. That’s why I known as him a ‘respectable flirt’.
Until ‘Prem Pujari’ (1970), Dev saab carried the identical youthful perspective. He had large power. I’d tease him saying he was like an ‘Eveready battery’, at all times charged. Fortuitously, we shared the identical optimistic perspective: Overlook the previous – each the nice and the dangerous – and look forward. That’s why we obtained alongside. When a movie of ours had flopped, Dev saab stated, “Regardless of whether or not a movie runs or not – there’s Dev Anand, there’s Waheeda Rehman. Your identify and mine has been engraved on stone. No person can wipe it. So, transfer on and welcome the longer term.”
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