As told to Roshmila Bhattacharya (MUMBAI MIRROR; July 4, 2020)

My association with Saroj ji started in the late ’80s, on the sets of Karma. Subhash ji (producer-director Subhash Ghai) and she shared a great tuning, which was evident when she choreographed songs like “De Daru”. We were simultaneously working on the Mr India songs, like “Karte Hain Hum Pyaar Mr India Se”, “Zindagi Ki Yahi Reet Hai” and the unforgettable “Kaate Nahin Kat Te”. In the ’70s and the ’80s, our songs were overshadowed by the action; Saroj ji, a fan of yesteryear actresses like Vyjayanthimala ji and Madhubala ji, brought old-world charm and grace back into filmi naach-gaana. In “Kaate Nahin Kat Te”, we tried to recreate Kishore Kumar and Madhubala’s chemistry.

A year after Mr India, Tezaab released. Madhuri (Dixit) was still a relative newcomer when we handed her over to Saroj ji. After two weeks of rehearsal, she called Chandra (director N Chandra) and me to Satyam Hall and Madhuri performed to “Ek Do Teen” for us. I was blown over by the moves and the energy. We shot the song in Mehboob Studio and watching it, I was like, “Oh God, what do I do!” I got them to shoot a male version with me which was not there in the script in front of where Shah Rukh’s (Khan) bungalow stands today.

Subsequently, Saroj ji directed me in several other chartbusters, including Ram Lakhan’s “My Name is Lakhan” and “O Ramji”, “Dhak Dhak Karne Laga” in Beta and Taal’s “Ramta Jogi” to name a few. They were all a team effort, with huge contributions from the directors, the composers, the lyricists, and of course, the cinematographers. Ashok Mehta and Baba Azmi lit up the screen beautifully in the close-ups and framed the long shots beautifully, thereby enhancing Saroj ji’s choreography.

My leading ladies, including Sridevi, Madhuri, or Aishwarya (Rai) were fabulous dancers while I’m technically not a dancer-dancer. So, I’m grateful to Saroj ji that on screen I did not come across as any less. She was aware that my style came from within and knew what I was capable of. She played to my strengths and presented me in a way that I looked both romantic and macho.

When I was in acting school, I’d learned that in Bollywood choreography, we have pure dance and playback choreography. She excelled in both, her mastery over the latter helping me tremendously. Thank God for Saroj ji, who made me look like a dancer on screen. Her contribution to my career was immense. She was a genius and couldn’t work with anyone mediocre. She had great leadership qualities, evident in the way she dealt with the dancers, filmmakers, and artistes. I will always remember her beautiful smile.
----------------------------
Despite having two left feet, Anil Kapoor says Saroj Khan made him feel like a dancer
As told to Upala KBR (MID-DAY; July 4, 2020)

Saroj ji [Khan] was meant to give several more years to Bollywood. Her contribution to cinema is something no choreographer can match in one lifetime. She changed the craft by bringing back the old-world charm.

Subhash Ghai and Saroj ji were magical and often chose to work together. We were introduced during the filming of Mr India with Sri [Sridevi] and Tezaab [with Madhuri Dixit-Nene]. Madhuri was just starting her career when she recorded the song Ek do teen by Laxmikant-Pyarelal. Saroj ji had choreographed [the number]; N Chandra [director-producer] and I had gone to Satyanarayan hall to catch a glimpse of it. Like a proud guru, Saroj ji asked Madhuri to perform the entire song in front of us. Considering Madhuri had rehearsed extensively, she aced the entire number in one shot. I gained tremendously from her as these songs [have now] become iconic, which invariably lead to the success of the film. [There were times], when I'd be on set to watch, admire and appreciate them even if I was not required for the shoot.

Cinematographer Baba Azmi and Saroj ji were a lethal combination. Once they took over, the directors had to take a backseat. Kaate nahin kat te from Mr India and Dhak dhak from Beta were the fruits of their effort. While shooting for [the song] Dhak dhak, our aim was to make it as appealing and passionate as the song Kaate nahin kat te, which is one of my favourite numbers.

Saroj ji always maintained a beautiful element in her choreography; she would ensure to produce sensual numbers with dignity and aesthetics. [There was a notion] that make male actors required a male choreographer, but she gave me some iconic numbers like Ae ji o ji [Ram Lakhan], Ramta jogi [Taal], Karte hum pyar Mr India se [Mr India], which was originally inspired from Kishore Kumar and Madhubala's film [Chalti Ka Naam Gaadi, 1958]. After Kaate nahin kat te, my favourite choreography includes Hawa hawai, Ek do teen, Ae ji O ji, Humko aaj kal hai [Sailaab]. During a song shoot, when the original choreographer couldn't make it, Saroj ji promptly responded, came on set, choreographed the number by morning and we were ready to shoot by afternoon.

I remember shooting a song for Jamai Raja [1990] on the train in Ooty and Sunita [wife] had accompanied us. When I expressed my desire to give Saroj ji gurudakshina, Sunita explored all the vintage shops and bought a beautiful necklace for her. It was such a simple gesture, but Saroj ji was so emotional and moved by it. That was her innocence. She would translate her beautiful smile and twinkle in the eyes through us on screen.

I never felt short-changed when I was paired opposite Madhuri or Aishwarya [Rai Bachchan]. Saroj ji brought out the masculinity with the gait and dance. She knew me and where my capabilities lay. She was aware that I was not a dancer, but brought out the best in me despite my two left feet. I am eternally grateful to her.