Hindi cinema has not seen real elephants since the ’60s and ’70s.As Junglee fills that jumbo-sized gap, those that remember the thrill of watching elephants in theatres relive the era
Niharika Lal (BOMBAY TIMES; March 18, 2019)

”When the elephant cried, I cried too”, “I wanted an elephant friend whom I could call by name”, “petting an elephant was my only dream” — these were just some responses we got from the generation that still remembers the magic of watching elephants ‘act’ on the big screen, when a handful of elephant movies were made in the ’60s and ’70s. Since then, it’s only been CGI elephants or animated characters, leaving later generations with only the imagination of what it would have been like watching real elephants in action in theatres.

In fact, Haathi Mere Saathi (1971) was such a huge hit that moviegoers stood in never-ending queues to get tickets. Those associated with these films of yore say that they gave the elephant characters their most human characteristics, and that the ’60s and ’70s were a defining period for elephants in Hindi cinema.

More than four-and-a-half decades later, that magic is set to be revived with Junglee, which stars Vidyut Jammwal and Bhola, the mighty elephant. With Bhola and his jumbo friends ready to take over the screens on March 29, kids finally have a chance to watch the story of a real elephant.


WE USED TO WAIT FOR HOURS TO GET ONE SHOT WITH ELEPHANTS: DHARMENDRA
Dharmendra, who shot with elephants in films like Maa (1976) and Shola Aur Shabnam (1961), says that the shooting was challenging, but “one of the best experiences” an actor can have. He tells us, “In my career, I’ve got quite a few opportunities to shoot with animals, including elephants and tigers. One of the prominent ones was Maa, which was all about a mother elephant’s love for her little one and how she fights a man (played by Dharmendra) trying to trap the baby elephant. It was a beautiful film that conveyed an important message through a touching story. The film was loved not just in India, but was a huge hit in Russia as well. I really enjoyed shooting it. We were shooting in Mudumalai in Karnataka and it was interesting, but very challenging, too. Those elephants and other animals we were shooting with were trained, but you need a lot of patience while shooting with them. We used to wait for hours just to get one perfect shot. It was a lot of hard work for everyone but I enjoyed every bit of it. I also got a chance to shoot with elephants in my second film, Shola Aur Shabnam. We shot that in Karnataka as well.”

WE SHOT IN A FOREST WITH TRAINED AND WILD ELEPHANTS: KALA PARVAT DIRECTOR
M S Sathyu, best known for directing Garm Hawa (1974), also directed Kala Parvat (1972), an India and Soviet Union co-production. The film was jointly directed by M S Sathyu and Alexander Zagurdi. Sathyu says, “We shot the film in a forest with 80-90 real elephants, with a Russian group. Shooting this film was difficult because we had different types of elephants — trained ones, wild elephants and baby elephants. But we had the expertise of a Russian crew, who advised us on how to deal with animals, and forest officials helped as well. It was indeed a mammoth task, but children loved the film, and even now it is screened for kids.”

He adds, “Of course, a film shot with real elephants will work even in today’s time; children will especially love it. We don’t make films with real elephants anymore. Now, everything is animated.”


‘HAATHI MERE SAATHI WAS A MASSIVE SUCCESS BECAUSE IT WAS RAJESH KHANNA’S FIRST FILM TO CONNECT WITH KIDS’
Gautam Chintamani, who has written Rajesh Khanna’s biography, had come across a number of anecdotes about Haathi Mere Saathi during his research. He tells us, “When I was talking to Salim Khan (who wrote the screenplay with Javed Akhtar), he told me that one of the major reasons behind the massive success of Haathi Mere Saathi was that it was Rajesh Khanna’s first film that connected with children. A number of scenes with elephants were included just to entertain kids. Other than its success at the box office, the film had a message for animal rights, too.”

Chintamani adds, “For me, another film which is memorable is Safed Haathi. As a kid, I related to this film so well because it was full of adventure. I also found Maa very exciting as a kid because of the animals. Those films had such a huge impact that you’d want to have an animal friend whom you could name and pet.”

CHILDREN LOVE ELEPHANT MOVIES, BUT DIRECTORS DON’T MAKE THEM: CHILDREN’S FILM SOCIETY OF INDIA
The Children’s Film Society of India’s (CFSI) catalogue lists only a few films on elephants, like Kala Parvat and Haathi Ka Anda (which doesn’t have any elephant). Nagraj Kulkarni, a CFSI official, says, “We have films like Kala Parvat, and a few other regional films on elephants, but most of those are old. Nowadays, there are very few films on elephants. One reason could be that shooting permission is difficult to get.”

Dharmendra agrees, “In the ‘70s, it was easier to shoot with elephants and other animals, but now, the law is very strict and therefore we don’t see many films on elephants. I’m glad to hear that after so many years, there is this film called Junglee that’s coming soon. I hope this film wins hearts and that it’s a big hit, and more and more people go to watch it. There are very few films now where we see elephants as part of the main story.”

‘WANT TO SEE HOW THE ELEPHANTS IN JUNGLEE ACT AND REACT’
As Junglee has been shot with real elephants, those who have seen elephant movies in theatres are quite excited about the movie. Jaisingh Rajput, Assistant Officer in Production at CFSI, says, “As a kid, I’ve seen all the movies with elephants — be it Haathi Mere Saathi or Kala Parvat — and I’m a huge fan of them. There are a few films with real elephants in them, and where the elephant is not just an animal, but a character. I’m looking forward to watch the film to understand how they have dealt with the animal, check if he is also acting in the film and how he responds in the scenes.”

— With inputs from Divya Kaushik

Ex-CFSI chairman Mukesh Khanna, who is now presenting a true-life sports drama and is open to good acting offers
Avinash Lohana (MUMBAI MIRROR; August 23, 2018)

The ex-chairman of the Children’s Film Society of India (CFSI), Mukesh Khanna, who resigned from the position in February, a month before his tenure was ending as, according to reports, he was unable to “execute his ideas for the society”, is to present National Award-winning filmmaker Ujjwal Chatterjee’s next. Titled Jungle Crows, the film revolves around a rugby team from Orrisa, recreating the glorious victory of 12 boys from the Kalinga Institute of Social Sciences (KISS) in Bhubaneswar who took part in Touraid, the Under-14 international school tournament, to lift the Nations Cup in London in 2007.

“When I was the Chairman of CFSI I had approved this script, along with 20 others. We didn’t have the money then to make even four films. That was my primary grudge against the ministry that they were not giving me enough money to make the films I wanted. I believe every filmmaker after eight-10 films should make at least one film catering to children but no one pays heed to such suggestions. So, when I left CFSI, I decided to associate myself with a film for kids,” informs Khanna.

He admits that he doesn’t have the finance to fund films himself, but if his brand helps sell one, he’s ready to present it. “Jungle Crows is the first film coming out of my banner. It’s an inspiring story of tribal boys who didn’t even know the ABC of rugby, but a coach spotted them playing football and trained them. Everyone should know their story,” points out the veteran actor who after Shaktimaan and Aaryaman Brahmand Ka Yoddha had produced the DD TV show Sautela in 2007.

A London-based company is financing the film with an Indian partner. Khanna admits the makers want him to act in it too, but he is yet to take a call on that. “We will go on the floors in a few months, once we lock our final cast,” says Khanna, quick to add that he turned producer with Shaktimaan coincidentally but he is an actor first. “However, once I turned producer, people started thinking that I had got busy and stopped offering me roles. I don’t ask for work, but I want to do films again. At the same time, I’m super selective,” he signs off.

Chaya Unnikrishnan (DNA; May 9, 2018)

Over a decade after her first directorial, Firaaq, Nandita Das is ready with her next, a biopic on the Pakistani writer born in British India — Saadat Hasan Manto. The movie will screen at the upcoming Cannes Film Festival in the UnCertain Regard Section. Here, the actress-turned-director talks about the idea behind making Manto, why she picked Nawazuddin Siddiqui for the role and why the industry needs more women behind the camera.

You debuted as a director over a decade ago. Why did you wait so long to helm your second film?
The release of Firaaq was disappointing and I didn’t want to make another film. It also released at a time when there was no social media, so one was solely at the mercy of the producers. In any case, direction was not part of any design but a more spontaneous response to what was happening around me. I challenged my energies through a play called Between The Lines which I wrote, directed and performed. But it got difficult to do outdoor shows as I had to take my son everywhere. Also, being the Chairperson of the Children’s Film Society, the Yale fellowship, speaking engagements,  writing a monthly column for a magazine kept me busy.

What prompted you to helm a film on Manto?
For years — even before I made Firaaq — I thought of making a film based on his short stories. But the idea expanded beyond that in 2012 when I delved deeper into his essays. It took me five years to feel equipped, emotionally and creatively, to tell this saga that needs to be told.

When did you discover his works?
I first read him when I was in college. A few years later, I bought the complete original works in a collection called Dastavez, in Devanagari. I was struck by his simple yet profound narratives and the way he insightfully captured the people, politics and times he lived in.

Are you covering the obscenity charges against him?
Yes, that is definitely a part of the narrative and relevant even today. Censorship was an issue that Manto fought then and today, too, we are fighting against various forms of it. He was tried for obscenity six times — thrice each by the British and Pakistani governments for his honest account of the realities of the time. He is relevant not just in the South Asian subcontinent but also around the world. Artists, writers, freethinkers, rationalists are all being attacked and silenced. Any society grows and develops when you have people speaking up the truth and thinking differently. And if you silence them then what hope do we have?

Why did you choose Nawazuddin for the role?
I always had Nawazuddin in mind while writing the film. Firaaq was his first significant role in a feature film. In 2013 at Cannes, I told him about the film. He was excited and assured me that he would give all the time and commitment to it, whenever it happened. They say if you get the casting right, 70 per cent of your job is done, and with Nawazuddin, that’s exactly what happened. He has an incredible range as an actor, but intrinsically Manto lies somewhere in his eyes. With my research, gems from the writer’s family and Nawaz’s life experiences and talent, we’ve managed to bring out many nuances to the character. Not to mention, his natural instincts, deep sensitivity, intensity, and a straight-face sense of humour have helped him transition into Manto on screen effortlessly.

It’s been a while since you starred in a Hindi film...
The last seven years have been busy researching, writing and shooting the film. It’s also the exact time that I had my child. So, it’s been a challenge to work and be a full-time mother. I was also the chairperson of the Children’s Film Society for three years.

What are your thoughts on the changes in Hindi cinema and the kind of roles women are doing?
I barely watch mainstream cinema so I am not really the right person to comment on this. But with more women entering the industry and going behind the camera, I hope this will bring in a diversity of stories and representations. We’ve had too much of the male gaze and very little of the female. It’s time we saw the perspective that women bring naturally, subconsciously and organically. We are half the population, so it would be a pity if our stories weren’t shared.

Finally, your thoughts on your film being chosen for the Cannes Film Festival…
Apart from being the most celebrated festival, it combines great cinema and is a thriving platform for filmmakers and film lovers from all over the world. Sadly in India, we write more about the red carpets and designer outfits, but there is much more to it. In Cannes, I have had some incredible conversations about films and life at cafes, film events and running between films. I am delighted that Manto will start its journey in Cannes.

Neha Maheshwri (BOMBAY TIMES; February 4, 2018)

Senior actor Mukesh Khanna had high hopes of reviving the Children’s Film Society, India (CFSI) when he assumed its chairmanship. However, three years down the line and three months before completing his tenure, Khanna has put in his papers. He rues, “As a cause, children’s entertainment is close to my heart and I have been working towards it for the past 17 years. I have played Shaktiman, who became a superhero for kids. I joined CFSI hoping to improve the situation, as the children in our country are deprived of good films; they have only saas-bahu sagas and nonsensical subjects at their disposal. I thought I would be able to make a difference. However, I have been fighting in vain to raise funds for children’s films since two years. We have made more than 260 films since its inception in 1955, but they haven’t seen a theatrical release. The higher-ups want to stick to the old routine of making children’s films for the festival circuit or for screening in schools. Now, that defeats the purpose, as a theatrical release will ensure more footfalls. It also spreads more awareness about CFSI. I have approached many ministers, but all my requests have fallen on deaf ears.”

He adds, “Presently, we have four films ready for release, but the I & B Ministry has asked me not to approach distributors. Though I got a distributor on board for a tennis-based film, I was asked to float a tender, which would have delayed the release. In the end, I was told to release it on Doordarshan. Who will buy the film after it has aired on a national channel?”

The actor has already conveyed his decision to quit to the I&B Ministry and is awaiting a response from them. “Rather than waiting helplessly for funds, I want to step down and work for the welfare of children. It’s not possible to do what I wish to, within a budget of Rs 10 crores a year. My advice to my successor is that poori plate saja kar rakhi hai with some great scripts approved by the script committee. All they have to do is release the films. I have already put in my papers and am awaiting a reply. There is no response yet,” he signs off.

Sanyukta Iyer (MUMBAI MIRROR; April 30, 2016)

Mukesh Khanna appointed as the chairperson for Children’s Film Society of India
Subhash K Jha (DNA; April 26, 2015)


In a country where children’s films are almost non-existent you seem to have inherited a thankless job?
A huge responsibility has been placed on my shoulder. And I think I am up to it. I had been offered various other positions. I was even offered the chance to contest elections. But no, that wasn’t my scene. I didn’t have time to give to politics, so I declined. I didn’t want to cheat on my job. I said yes to this because I feel strongly about entertainment for children. Yes, I’ve noticed that in India we consider children’s film to be a minor thing. I have never thought like that.

Your connection with children is very strong because of Shaktimaan?
I made Shaktimaan specially for children. To this day, I am asked to play Shaktimaan by children everywhere. In my opinion entertainment for kids must be treated on par with what’s done for adults. I feel we don’t give the same importance to children’s entertainment as they do in the West.

In what way?
We feel children only need to be sermonised. Children must be entertained first. Only then will they accept the message that you want to convey. This is what I did in Shaktimaan. I felt films for children in this country were not good enough. Now it’s my turn to do something about it.

What do you have in mind?
I remember once I was in jury to judge children’s films. Many members of the jury complained that there were no theatres for children’s films. My response that was, ‘Why ask for theatres for children? Why not make such films that exhibitors come to you for children’s films?’ I remember Amitabh Bachchan singing Mere paas aao mere doston for kids in Mr Natwarlal. Kids forced their parents to see the film. I want to do exactly that. Get kids interested in films.

Enthused by the new responsibility?
I am really looking forward to doing something that kids can see. I was on the jury for the National awards once. I saw jury members walk out of children’s films. If they couldn’t sit through films meant for children how can children be expected to sit through them?

The global initiative aims at involving children to write, direct and produce short films
Ankur Pathak (MUMBAI MIRROR; April 24, 2015)

After the Toronto Film Festival partnered with the Mumbai Film Festival to bring Canadian cinema to Indian shores (Mirror, Feb 26, 2015), they have now extended support to the Children's Film Society of India (CFSI).

Mirror has learnt that the annual Golden Elephant Film Festival organised by the CFSI will see TIFF playing an instrumental role in bringing movies made by children (8-18) from all across the globe to the Mumbai extravaganza that starts from November 14. Presently, the Golden Elephant's competition is restricted to films only from India.

Confirming this, Shravan Kumar, the CEO of CFSI told Mirror, "The idea is to ingrain the idea of cinema in their consciousness right from an early age. I started the pilot project last year and we got a fantastic response. I spoke about the same at TIFF Kids that recently concluded and they've agreed to come on board for this unique initiative with us."

Elaborating on the project's details, Shravan revealed that the participants will be technically aided by the Film and Television Institute of India. "They will be provided with the equipment and tools required for editing. We were quite impressed with the kind of content children came up with in the previous instalment, this year with a globalmix, it will only get better."

He said that the programme encouraged students from all walks of life and different socio-economic status to come together, thus breaking the stereotype that filmmaking is only for the 'elite.' "It's the most democratic form of media and to see it through the lens of say, a 10-yearold, is just magical," he concluded.

While the CBFC and the CFSI don’t have a new chairperson yet, the Censor Board’s interim chairperson Leela Samson says that the previous government didn’t treat them well
Bharati Dubey (MID-DAY; September 1, 2014)

It is been over two months since the new government assumed office, but two key positions related to the film industry have not seen new appointments. It turns out that both the Central Board of Film Certification (CBFC) and the Children's Film Society of India (CFSI) do not have a new chairperson yet. “My term as a chairperson has ended, but I am holding office till a new appointment is made,” says CBFC’s Leela Samson. Moreover, she is not keen to continue in this role. “I do not see why the new government would not appoint someone of their choice as a chairperson. Offering me an extension is an assumption and I do not wish to speculate upon it,” she says.

She is also quick to point out that she and her team were treated ‘shabbily’ by the previous government. “Why would we wish to continue? Governments have little regard for the time of professionals,” she says.

Not good for the industry?
A senior filmmaker says that not making key appointments does not bode well for the film industry. “The profile of the persons they choose next will indicate the policies that it will follow,” he says.

Elaborating his stance, the filmmaker says the last appointment made by the BJP-led NDA government during its earlier term was that of Anupam Kher, as he was (and continues to be) a BJP supporter. “One wonders whether the Board will be neutral or dictated by the Rashtriya Swayamsevak Sangh,” says the filmmaker.

No kidding
As far as the CFSI is concerned, chairperson Amole Gupte resigned from his position in February due to health reasons. The filmmaker had said that his health did not permit him to continue with the job. Filmmaker Vinod Ganatra says that celebrities who have no knowledge about children cinema’s shouldn’t be appointed. “We should appoint someone who will encourage Indian filmmakers to make more children’s films for the CFSI,” he says.