Danseuse Uma Dogra remembers Saroj Khan, the legend who introduced Bollywood to Kathak
As told to Uma Ramasubramanian (MID-DAY; July 5, 2020)

I remember meeting Saroj Khan at filmmaker Satish Kaushik's sangeet party. The image of her dancing on the occasion is alive in my mind. Believe me, she had everyone's attention as she danced away. From the way her eyes lit up, to her graceful moves, it showed that she was a passionate dancer. A key point to remember is that unless you love yourself and the way your body moves, your dance will not come alive. Saroj ji knew that—she always appreciated her hand movements and the way her body reacted to music. It's difficult to mention Saroj ji in the past tense.

The current breed of choreographers owes her so much; she paved the way for them. [Until 1989], Filmfare Awards did not have a category for Best Choreographer, but she brought about the change with her outstanding body of work. It was because of her that the film industry started recognising choreographers.

Saroj ji changed the definition of dance in Bollywood. She had assisted B Sohanlal ji for several years, including on the song Hothon Mein Aisi Baat [Jewel Thief, 1967], and had learnt the nuances of Kathak from him. So, the influence of Kathak often reflected in her work. She was the only choreographer who brought the kanak and adaa of Kathak to Bollywood.

I have never seen any other choreographer employ the mukha abhinaya. It is a classical word that denotes facial expression. Whenever she worked with Madhuri Dixit or Sridevi, one could see her employing this technique and saying a story purely through the use of expressions, smile and eyes.

[In 2007], Saroj ji was roped in to choreograph songs for the Tamil film Sringaram, which was centred around Bharatanatyam. They have such accomplished choreographers down South, but the makers offered the film to Saroj ji because she was armed with sound knowledge of the dance form. She did a wonderful job with the movie.

Only she could marry the sensibilities of the Hindi film dance with taal and andaaz of classical dance. With her passing on, I will miss the Indian flavour, folk element and classical tadka that she brought to her songs. It's truly the end of an era.

In the years preceding her Bollywood debut, Sonam Kapoor learnt Kathak under my guidance. Saroj ji was choreographing a song for Sonam in her debut film, Saawariya [2007]. Before she began working on the song with Sonam, she asked me if she could see her dancing skills. She joined us during one of our sessions at Sonam's home, and said to me, "Dikhao kya sikhaya hai tumne." When Sonam [performed a set], she was quite impressed. Then, true to her purist style, she said, "Abhi koi abhinay bhi karke dikhao [show some expressions too]". It showed that the steps aside, she was more interested in knowing ki chehra bolta hai ki nahin.

Saroj ji was a brave and powerful woman who was ahead of her times. She captured the sensuousness of a woman so wonderfully in Dhak Dhak Karne Laga [Beta, 1992]. The Sailaab [1990] song, Humko Aaj Kal Hai, is etched in my mind. With her smooth movements and graceful body language, Madhuri [Dixit] beautifully depicted the passion and longing of a woman. One can see Saroj ji's genius in that song. She knew how to convey passion on screen with subtle and beautiful gestures.

Her choreography of Barso re Megha in Mani Ratnam's Guru [2007] is another splendid example. Aishwarya [Rai Bachchan] looked so graceful as she married free style with folk dance for the song. Saroj ji also beautifully wove in folk elements within Bollywood dance steps in Chane Ke Khet Mein [Anjaam, 1994]. As a woman, Saroj ji knew how to depict female sexuality aesthetically and gracefully.


Madhuri Dixit with Saroj Khan during dance rehearsals


Still from Chane Ke Khet Mein, Anjaam (1994)


Still from Barso Re, Guru (2007)

Himani Shivpuri on industry’s daily wagers; wonders if distancing will bring back ‘flower kissing’ ways
Ankita Chaurasia (MUMBAI MIRROR; June 1, 2020)

When the Coronavirus lockdown started, Himani Shivpuri was grateful as it enabled her to practice yoga and brisk walking on the same day. But after two months, the veteran actress is feeling the heat and is upset by the government’s apathy towards the entertainment industry. “We are always the first to offer help in times of distress, yet Finance Minister Nirmala Sitharaman didn’t think it necessary to address our plight. I understand we’re better off than migrant labourers, in that we have homes to live in and food on the table, but we’re also daily wage workers because our homes run on salaries,” she points out.

Himani insists that TV industry’s norm of 90-day deferred payments be stopped immediately. “We’ve only been paid till last November, and that too because it was a reliable producer. Many are struggling to make ends meet,” she sighs. While producers are trying to resume shooting, promising to follow social distancing rules, the actress is not convinced. “A TV show requires a crew of 400 people and actors can’t shoot with masks. And do they plan to go back to ‘flower-kissing’ ways?” wonders Himani, who used to spend 12 hours on the sets of the TV show Happu Ki Ultan Paltan playing Katori amma. Another two hours were spent in the commute to reach Naigaon. “By the time I returned home, I even stopped my mother from watching TV. Now I’m addicted to the idiot box,” she laughs, saying she’s been binging on yesteryear hits which brought back fond memories of Salman Khan and Hum Aapke Hain Koun..! “Our first shot was a regular scene. Suddenly, he picked me up and whirled me around. My surprise was for real. The next time I was prepared and playfully slapped him in response,” she chortles.

When they were in Mauritius for Biwi No 1, he didn’t turn up for a morning shoot and Himani, who had gone shopping because her call time was in the afternoon, was dragged back from the mall. “When Salman learnt what had happened, he apologised,” she recalls.

She remembers another Khan, Shah Rukh, who walked up to her on the sets of Anjaam and reminded her that he’d been a part of the crowd in a National Award-winning film, In Which Annie Gives It Those Ones, in which she had played the female protagonist.

Nayandeep Rakshit (DNA; January 31, 2018)

Ranveer Singh is the man of the moment. He’s not only winning rave reviews for his Alauddin Khilji act in Padmaavat but the period drama has also turned out to be his biggest opener and fastest Rs 100 crore-project till date. When After Hrs catches up with him, the young actor is visibly excited. He says, “I’m so happy that people are liking the film. Sanjay sir has created such a masterpiece.” In a tête-à-tête, he reveals why this role was a huge risk for him and what prompts him to take up a film.

How does it feel to be applauded for your act when you are sharing screen space with such strong performers?
I’m not into one-upmanship. I’ve done two-hero films and some multi-starrers, too. My approach to work is collaborative, not competitive. I view myself and all the other actors as the complete acting department. How they have performed together is what matters! The costume department, the VFX department — all of them have contributed to making Padmaavat what it is. We’re the people who bring emotions to the table and I’m proud of this film’s cast, with what we’ve been able to achieve.

But it must give you a sense of pride, right?
My foundations of acting lie in the theatre where the first thing they make you do is trust exercises where you do warm-up sessions with your co-actors. Having done several plays, this is my approach towards cinema, too. Filmmaking is eventually a collaborative process. I believe that I’m as good as my co-star. I’ll mention two cases to you. I understand how Jim Sarbh made me look good in Padmaavat. People have waxed eloquent about how he’s such an asset to the film and how he has enhanced my performance. I fully agree with it. Right now, I’m shooting with Alia Bhatt and I can’t begin to tell you what a great actor she is. She makes my job so easy. I just have to be present to react to her actions. It’s sheer magic. I come from a different school of thought, which is why I don’t concern myself with notions like who did better!

There was a time when Shah Rukh Khan attempted several villainous parts when no one was doing such roles. There was Darr, Baazigar...
(Cuts in) And Anjaam, it is my favourite, too! He’s fantastic in all those films.

Usually, people attach a stigma to a leading hero playing a negative character. Here, people were calling you ghinauna which is a compliment...
(Laughs out loud) So many people told me that Hindi picture mein if someone loves your character, they love you. If they hate your character on screen, they will automatically start hating you as a person. There’s no doubt about how this role was a huge risk. Mainstream Hindi cinema is a lot about your image. People perceive you as the character you’ve played and they will credit all those virtues to you. It could have been the same case in this instance. But I’m relieved that it has paid off because people recognised that yeh toh Ranveer nahin hai, yeh sirf ek character hai. They are appreciative of it as a performance and all I’m getting is love and applause which feels extremely fulfilling.

Padmaavat is your biggest opener to date. Are box-office numbers a huge parameter for you while signing a film?
Not at all! I strongly believe that times have changed. It started off in 2010 when I made my debut. Films like Ishqiya and Love Sex Aur Dhokha were doing well. Nowadays, you don’t know what is commercially viable content. You have to make a good movie that connects with the audience. I don’t judge films based on their commercial potential. I don’t think about doing a movie that will get me an entry into the Rs 200-crore or Rs 300 crore-club. Even if the film does Rs 60 crore, it’s not my concern. I’m only concerned about the story. Does it make me feel something? Does it have a character that I’m excited enough to play?

The industry has not seen a superstar post Hrithik Roshan. But today, you and Varun Dhawan are slowly inching towards that tag. Comment.
I think it’s good for the movie business that younger and newer actors are delivering such kind of numbers. The industry needs these to thrive. My mentor, Aditya Chopra, had once explained to me the meaning of a superstar. He said when you’re a superstar and people see your face on a poster, that’s all they need to want to come and watch the film, regardless of anything else. So, while these tags are being attached to me, I still feel I have a long way to go. I don’t want to get corrupted with all this. I just want to act and grow. I could well have been acting in theatre, but I wanted to do mainstream Hindi cinema and that to me is one of the greatest gifts.

Karan Johar had told Adi that he won’t be able to sell your face on a film’s poster when you debuted. Now, he is producing a film that stars you. Are you happy with where you’ve reached so far?
I set out to pursue my passion — which is being a performer — and I’m doing just that. I’m satisfied that every day I get to go to a film set, perform and have these wonderful opportunities to showcase my ability. Everything else that comes after it is a bonus. Someone asked me recently, ‘How did you deal with the failure of Befikre?’ And I said I didn’t see it as a failure at all. For me, it’s a gift to collaborate with Aditya Chopra and be a leading actor in a mainstream Hindi film. Abhi picture successful hoti hai, toh sone pe suhaga. Agar nahi hoti hain, then also there’s nothing to be bogged down about. Because I’ve got exactly what I seek.

But don’t you think you’re at a position in your career where one flop wouldn’t unsettle you at all? You’re working with some of the best directors...
I’m just lucky that these films came to me in whatever order they did. Whether it’s Gully Boy, Simmba or 83! Gully Boy was offered first. Then, Rohit (Shetty) sir approached me for his film and then came 83 (the Kapil Dev biopic). If I’ve to give credit to myself, then it’s just that I’ve created my own luck and have worked hard enough to be a recognised actor. Therefore, I was offered these movies. I’m blessed to be working with these fine filmmakers in such different genres who are so passionate about the stories that they are telling. That’s the most crucial thing for me. If I ever find myself in a position where I see things aren’t happening theek se, then I get affected.

Has that ever happened to you before?
Yes, I’ve been in such a situation before. I was on a film set and thinking ‘What the f**k am I doing here? This is s**t’. I never want to be that or be there ever again. I want to be excited about my work and not lose the passion.

Upala KBR (DNA; June 12, 2017)

For the past few years, Shah Rukh Khan has been buying the negative rights to all his films.

Amitabh Bachchan and Akshay Kumar have followed suit. The older generation of actors may not have known the value of owning the prints or library of their films, but the digital and streaming media boom has made this relevant today.

Good business sense
This generation of actors have business acumen and are buying the rights to their current as well as earlier films, including clippings. Trade analyst Atul Mohan says, “Today, film rights are an asset because a remake of the film or telecast on a digital or satellite medium fetches the owner royalty money.” So, if anyone wants to use material from the films, he would now need to approach the actor and not the producer.

Future investment
Trading of film rights has a number of benefits. Mohan explains that by buying the rights, the stars are making investments for their future. “Actors buy the rights at a good price. As actors or producers get older and do fewer films or become inactive, they can generate an income by selling the rights.” For instance, Amitabh Bachchan couldn’t cash in on the Zanjeer, when it was remade since Prakash Mehra’s family owned the rights.

Personal library
Trade analyst Amod Mehra says that sometimes it’s not just for investment purposes. “SRK wants to be remembered for his good films. He may have made a few bad films that he does not want exposed, so he can buy them for his personal library.” Amod adds Shah Rukh has most of the rights of his films, except those made by Yash Raj Films and Dharma Productions, “He also wanted to buy the film rights of Anjaam, but the price he quoted was too little, so the producer Rahul Rawail sold it to someone else.”

Changing business models
Filmmaker Subhash Ghai has been approached by leading channels and distributors to accrue rights of films for specified periods such as three or five years. However, no star has approached him to buy the right yet. “Mukta Arts has a library of over 40 films, with maximum blockbusters. Business models keep changing, and we will do to the best in the interest of the company.” The producer-director chooses not to reveal whether Shah Rukh wanted to buy the rights of Pardes and Trimurti.

Varun Dhawan on his SRK memories... fawning over khan’s Deewana stunts right up to the time spent with him on the sets of Dilwale
As told to Nayandeep Rakshit (DNA; November 2, 2015)


There was another song which was a favourite of mine. Badi Mushkil Hai Khoya Mera Dil Hai with Madhuri Dixit-Nene (in Anjaam) and that was also picturised on the streets where Shah Rukh Sir was jumping around.

So, my earliest memory was about this man doesn’t do things like other people do. He was always jumping over cars and I found it really cool at the time.

As I grew older, I watched his films and I realised what a great actor he is. I watched DDLJ and Kuch Kuch Hota Hai and like the millions and millions of people who love him, I, too, became a fan of his. But before that, his sheer energy and passion and the exuberance he exuded on screen, drew me towards him as a person.

More than the iconic things that we’ve seen him doing on screen, I love the way in all his action scenes, Shah Rukh Sir would jump, hit, deliver and fall. The way he would actually get beaten up in films — I would try doing that.

His hair, too, was really cool. I remember he had this long mane. I always wanted to have a hairstyle similar to his, but since I was in school, I could never do that!

I remember the first time I got to meet him in person. He had come home to meet dad (David Dhawan) and I had no clue that he had come. So when I walked into the room, I saw my dad talking to someone who was sitting on the ground aaram se chauki maarke. He was looking up and when I came ahead, I saw it was Shah Rukh Khan.

Usually when people would come home, they would sit on the chair, he was different. He was sitting on the ground. My earliest memories have always been around the fact that there was something that separated this man from everyone else. From the simplest of things he did to the most complex ones, he always did everything very differently. The way he behaved, the way he walked, the way he spoke...

Once again, I met him while travelling and I was with my mother. There was something about him that you couldn’t ignore, not that he made a big hoo-haa about all that. He doesn’t do that even till date. But there’s a certain charm, there’s a certain energy which draws people towards him. That was always there and maybe, it’s more now. But he’s very casual and not at all in-your-face about who he is and how he is. This man is really cool.

He has a lot of energy. I don’t think anyone from this generation can match him. While doing some scenes or even during rehearsals, he’s relentless at it 24X7. Even when we’re at the PlayStation, he is like a teenager who will be telling you, ‘Lets do this, let’s do that.’

It sometimes baffles me that he’s a senior and is so much older than me, but the way he is, he can relate to everyone. Shah Rukh Khan is someone who can relate to an eighty year old and at the same time, he’s able to relate to an eight-year-old as well. That’s what makes him so popular because he comes across as someone who can relate to any age and any demography. The audiences feel like knowing him in person and also owning him, so they feel really comfortable around him.

During My Name is Khan (Varun was an AD on the sets), Shah Rukh Sir would remain very serious because the film and the role was such. He didn’t really fool around much on the sets.

But on the Dilwale sets, he really fooled around a lot. He’s a producer as well. So he kind of took care of all of us, saw that everything was done in the best manner for everyone on the sets. But on the sets, he’s always fooling around with Rohit Sir and the entire crew. What he does brilliantly as an actor and as the leader, is getting the entire team together.