Bollywood actors and filmmakers share their fondest memories of Veeru Devgan who helped them pull punches on the screen for almost three decades
Natasha Coutinho, Avinash Lohana, Himesh Mankad (MUMBAI MIRROR; May 28, 2019)

Flying punches, gravity-defying kicks, blood and dhishoom dhishoom, the Bollywood audience of the 1980s and ’90s loved all this, and Veeru Devgan delivered stunts in plenty, stylishly packaged in films like Kranti, Loha, Himmatwala, Khatron Ke Khilaadi, Dilwale and Phool Aur Kaante to compete with the gun-slinging Westerns. On Monday, the action director-turned-producer-director breathed his last in Mumbai. He was 77.

Through the ’70s,’80 s and a sizeable part of the ’90s, Veeru Devgan was the man to go to for action sequences. “He worked systematically, within a budget, with creativity. He’ll be remembered as an iconic action director who always wanted to make a film,” shares producer and distribution partner Suneel Darshan.

Boney Kapoor agrees that Veeru ji was among the best in the industry, always ready to try something new, and was in demand for the longest time. “His Hanuman sequence in Mr India is unforgettable while Sanjay’s (Kapoor) ‘test’ on the bridge in Prem was brilliantly executed. The train robbery in Roop Ki Rani Choron Ka Raja still remains way ahead of similar sequences attempted by international stunt coordinators later,” he eulogises.

Gulshan Grover lauds the action director for redefining kicking techniques in Hindi cinema. “Since not everyone is flexible, he made the actor wear trousers and shoes on his hand and punch. This translated as a mighty kick on camera, a trick I incorporated in one of my early Hollywood films, The Second Jungle Book: Mowgli & Baloo,” informs the ‘Bad Man’.

Shatrughan Sinha reveals that when they were doing Mere Apne in 1971, while the film’s action director was Ravi Khanna, debutant director Gulzar got Veeru ji to choreograph most of the action. He goes on to confide how the fight master played Cupid for him and wife Poonam on the sets of their film Dharti Ki Godh Mein, spiriting away his future mother-in-law so he could ride away with his lady love during an action scene. He remembers Veeru ji as a disciplined man who fasted twice a week and after he retired, was happy to devote himself to his family.

He was like family for Anil Kapoor who’d walk in and out of his house and gratefully recalls how Veeru ji made action scenes safe and easy for him when he was just starting out as an actor. Jackie Shroff agrees, describing him as an ever-smiling, gentle soul. “He took care of actors like his children and made the biggest action sequences simple for us,” shares Jackie who’s worked with him in Izzat, Police Officer and Doodh Ka Karz.

Anil adds, “During shooting, if we ever fell short of money, Boney would unhesitatingly turn to him, he was always there for us. His contribution to Mr India was immense.”

Kumar Mangat whose association with Veeru ji spans 38 years since he was a production manager, reiterates Anil’s claim: “When I turned producer, Veeru ji bailed me out whenever I ran out of money. He didn’t even charge me for the action in Qayamat Ki Raat and after Ajay was launched as an actor, he told me to manage his work.”

For Shakti Kapoor he was a “royal man” who always stayed in five-star hotels when in Chennai or Hyderabad. “And whenever I was there, he’d insist on having dinner together. He was the highest paid action coordinator in India and technically very sound,” he says, recalling Veeru ji telling him to help his introverted son open up before he got into films. “I’m happy he saw Ajay become a superstar.”

Ajay’s director-actor buddy, Sajid Khan, remembers how, as teenagers, they’d hang out at his building in the evening. “As soon as Veeru ji arrived, Ajay would go home even if we were in the middle of a cricket match. He pushed Ajay hard because as the best action director’s son, he had to be the best action hero. And till the last day, Ajay respected and cared for him like a good son.”

The memories come flooding for Harry Baweja for whom Veeru ji was a “pillar of support” when he produced and directed his first film Dilwale. “He treated me like a younger brother,” he says emotionally.

Another filmmaker Milan Luthria reminisces how when he had to wait for Ajay’s dates, his father would call him into his cabin and promise to help. “It is unheard for someone to have done over 500 films and never have a disagreement with anyone,” Milan asserts.

Aditya Pancholi recalls the Rs 100 baksheesh he got for fearlessly standing at a high point and jumping on boxes at Madh Fort for an action scene in Dus Numbri while producer-director Rajiv Rai who worked with Veeru ji in Tridev points out that the ’80s were tough times for action directors because of the lack of CGI and VFX. “But there were seldom any accidents on his sets. He was the Amitabh Bachchan of action, he worked with many cameras and I learnt a lot about technique from him,” Rai remembers from London.

Anees Bazmee who’s returned from the shoot of Pagalpanti in London, flashbacks to how in the ‘90s, when films had three-four busy heroes, Veeru ji helped resolve date issues and when that was not possible, would shoot with actors separately in a way that the audience didn’t realise it. “He was brilliant!” raves the writer-director.