Rishi and Neetu Kapoor in Dhan Daulat; Shatrughan Sinha in Zalzala

Hiren Kotwani (MUMBAI MIRROR; July 8, 2020)

Harish Shah, who directed films like Zalzala (1988) with Dharmendra, Shatrughan Sinha and Rajiv Kapoor, and last produced Jaal: The Trap, featuring Sunny Deol, Tabu and Reema Sen, passed away at on Tuesday at 76. He’d been battling throat cancer for 10 years. The last rites were performed at a Vile Parle crematorium later in the day.

The filmmaker’s brother Vinod Shah, with whom he produced nine films, informed, “He’d been on saline for 10 days. Initially, we didn’t want to take him to the hospital due to Coronavirus.” Shah’s last venture was the short film Why Me, which released in 2018. In 2019, it was selected for the President’s Award, which he had received in January this year.

Remembering his Zalzala maker as a “wonderful person” who was “very cultured and softspoken”, Shatrughan Sinha says, “He was non-filmi in the true sense. He wouldn’t attend parties and didn’t get into controversies.” The actor-politician says that Shah doled out even backhanded compliments politely. “I had a habit of being late, but Harish ji never said anything or let anyone say anything about it. He would reason, ‘Bhale Sinha saab late aate hain, kaam toh time par khatam karte hain. He has never delayed a shoot and is always the first one to complete his work’.”

Guddu Dhanoa, who directed Jaal, recalls Shah as “one of the best producers”. “Harish ji was extremely understanding of his directors and very involved in his productions. For Jaal, we had to go to New Zealand twice. During the first spell of five-six days, we did an extensive action sequence with six helicopters. Due to an issue, we couldn’t complete the portion in one go and he said, ‘If going there again for a longer spell is better for the film, then so be it’,” Dhanoa reminisced.

Veteran actor Prem Chopra, who worked in the Shah-directed Dhan Daulat (1980) and productions like Kaala Sona (1975) and Ram Tere Kitne Naam (1985), added, “Harish was very particular about his timings. Rishi (Kapoor, lead) and I’d call him ‘Captain’. If we suggested something, he joked, ‘You listen to me, I’m the Captain of the show’,” recalls Chopra, adding that during the Kaala Sona shoot in Chambal Valley, the filmmaker and the crew called him Poppy Singh, after his character in the film. 

Known to be reticent, naturally shying away from public glare, one of India's finest film actors opens up on her sabbaticals, cinema, and the showbiz sense of humour
Mayank Shekhar (MID-DAY; January 31, 2018)

It's rather easy to hold a free-wheeling conversation with Tabu. Here's why. She's been around for over three decades, having done over 80 films, which would mean, a fair number of post-release rounds of press interviews across news/entertainment media. And yet, it's incredible how little we know about her. The mystique, aura, whether planned or not, remains. And we can actually begin the chat with the most basic query, on her name. Hence the first question, and similar ones that follow!
 Excerpts from the conversation


You're Tabassum Fatima Hashmi, which is a beautiful name. How and why did you choose to call yourself Tabu in the first place?
It's my pet name.

Sure, but it's like Govinda calling himself Chi Chi on screen.
Tabu works though, you think? When I was working on my first film, as a child artiste [in Hum Naujawan, 1985], Dev [Anand] Saab thought Tabu was beautiful too, and that I should adopt it as my screen name, and that just never changed. Nobody had ever called me Tabassum, except for my teachers and school friends. And I came to Bombay right after school.

A common perception is that you started out as an outsider [from Hyderabad] to showbiz, Bombay. Goldie Anand's wife was your mom's friend. Shabana Azmi is your aunt [mum's first cousin]. You've worked with Dev Anand. Shekhar Kapur wished to cast you as a debuting lead [Shekhar himself is Dev Anand's nephew]. Clearly you're an insider!
That's right. I think the impression of me being an 'outsider' comes from the fact that I never intended to be in the movies. I showed up here by circumstance, accident, you can say. I went back to school after finishing my first film, and I never wanted to come back.

Were you holidaying in Bombay when you got your first part?
We used to come every summer for our holidays, because my mum's older brother, Ishaan Arya, was a DoP, he shot Garm Hava [1973], Bazaar [1982]. I grew up with his sons Sameer and Sagar, we were like siblings. My sister [Farah] and I were at Dev Saab's office, where he was taking a screen test, and because he thought she was so beautiful, he took her screen test as well. I did the movie. We forgot her screen test. She was 16.

And one day, we got a call from Yash Chopra. He told my mother about wanting to cast my sister [for the film Faasle, 1985], since Dev Saab had showed him her screen test. My mum didn't know who Yash Chopra was, she checked with my aunt [Shabana], everyone was really excited. This is how my sister and mom moved to Bombay, and I was too attached to Hyderabad and my school, so I stayed back with my aunt for three years. By then my sister had done a thousand films, and become a big star. And due to my sister, there was natural curiosity in the industry if I'd like to act in films too.
Shekhar [Kapur] Uncle saw me, said I had to debut in [his film] Prem, which I said no to. He insisted that I do just this one film, and that he would then send me abroad for further studies. Which never happened. In fact, I did the film, and he ran away [from the project].


That was a massive debut.
Yeah, it was huge.

Rather early in your career Gulzar called you a combination of Nutan, Meena Kumari and Nargis! Anyone would fall off their chair hearing that.
(Long pause) I don't know what to say, I try and see it from the outside, and then hope to do my job well.

And ideally stay from the traps of showbiz?
My life is [in the] showbiz, it isn't so separate from my work. Yet, regardless of my profession, I would still remain the same person — someone whose internal life, is distinct from the madness outside. And I've always been like this, through school, college. It takes me a long time to open up with people, media, work-associates… It's just a personality type. I don't have the bandwidth to be out there, be everything, to everyone.

You're more the 'board-game night with close friends' kinda person?
I do that. I essentially like being with people I can laugh a lot with. And people in the movies [unlike in many other professions] generally have a sense of humour. There's a common thread of jokes that exist in the film industry, with a very specific language.



Give us an example.
"'Cut to' usne aise bol diya." "Maine aise bola aur woh 'stop block' mein gayab ho gaya!" This is still '90s, but there are really specific terms. "Arrey yar, yeh toh bahut bada twist aa gaya teri kahani mein!" "Yar, kya 'game' kiya usne girlfriend ki life mein!" "Uski band baj gayi…"

What I find amazing is how film critics go gaga analyzing your performances, sub-text in your work, etc. But when you're asked about films that you loved doing, you say Saajan Chale Sasural [1996], Biwi No. 1 [1999], and in a recent interview you said Jaal: The Trap [2003]. Have not even seen Jaal: The Trap, what's this finest movie you've ever made?
(Laughs) Don't exaggerate, I didn't say Jaal: The Trap was the finest film ever! I think it was a great role for me to do, back in 2000, so early in my career, nobody had cast me like that. Mere role mein twist aa gaya! You just haven't seen the movie, and so you don't know. Didn't it look like I was having fun in Biwi No. 1?

In Saajan Chale Sasural, the audience had fun, I had fun, the producers made money, it was a fun experience! It was a treat to watch Govinda take a scene to other levels. On paper, it would look like, okay, this is what's going to happen, and it's funny. But you would never be able to imagine the flavour Govinda would bring to a scene, turning it into something so tasty. And that's his forté.

I know someone who hung out with you on the sets of Chandni Bar [2001]. What amazed him is that he'd be chatting with you, you'd go off, do an intense scene, and just come back to continue the chat. Does that switching on-off come naturally to you?
Gulzar Saab also used to say the same thing. Actually, I don't know, I've really not been able to decode the process of acting. I've tried. I still don't think I'd be able to articulate it [the process] into a few lines or paragraph. At all times, there have been too many factors determining what I was doing, or how I was doing it — the inspirations, people I was surrounded by, what kind of access I had regarding a role. I also don't think you can carry around what you've given in a shot, because there's a finish point with 'cut', and a beginning with 'action'. And I don't know what happens between the 'action' and 'cut'. It's just in front of the camera, after which the moment is over.



Do you rehearse for that moment though?
The lines and movement, of course, you have to rehearse. But I really don't know what'll happen in the 'take'. Even the director might give you different instructions in subsequent takes. I remember Ang [Lee] doing that [for Life Of Pi, 2012]. He would try the same shot with different interpretations to arrive at what he wants from a scene. For different actors, different kinds of briefs work. I don't know what kind of actor I am. Only someone who's observed me may be able to answer this. Also I've come to the conclusion that there is no right or wrong way of doing anything in life — as people as well, we're evolving. In action sequences, you obviously have to rehearse a lot. You can't just show up and slap someone. Otherwise, sometimes you just lose it when you rehearse a lot, and at other times, you can only get it right once you rehearse a lot.



Can you recall a character that you rehearsed extensively for?
You're taking my exam.

Okay, did you rehearse a lot for Ashima's role in The Namesake [2006]?
We just had one reading in New York. I got into the film just two weeks before the shoot's start, which took me by surprise, and I was so not prepared for it. To my advantage, I had already done a film in Bangla [Abar Aranye, 2003], with Gautam [Ghose] Da, which I had dubbed myself. I had a certain understanding of the culture, people, and place — that really helped a lot during The Namesake. I also had a lot of friends to refer to, especially since there was no dubbing involved. The dialect was Bengali accented English specific to someone, who's lived in New York from 1977-2005!
But The Namesake was an experience that changed a lot in me. There are milestones that you can look back on, and this film would be one of them. I was in America and didn't know anyone except Irrfan [Khan]. The entire unit was American — no one making any filmy jokes! I lived in an apartment in New York, and the first 10 days were devastating. It was cold, snowing, my sisters were in California and Chicago, and I would call them and cry, because I could not get my favourite brand of corn flakes in the supermarket. I would ask them: How come the tea doesn't taste like in California? This was my struggle.

Those are serious first world problems. We feel sorry for you.
No, I thought it would've been better if I could bring my team along. But once we started shoot, came into a routine, it turned out to be the most valuable experience of my life. I made friends. We worked five days a week. I also learnt the way America approaches cinema, acting, style of shooting, contracts. The Screen Actors' Guild [reps] would come and check on us. I still get residuals from The Namesake, almost twice or thrice a year, in dollars!

Every time we watch The Namesake on TV, something goes in your pocket.
Yes, you are paying me. That's the way it should be, and I really respect that.

What are the other milestones you can think of?
From the beginning? Then it has to be Maachis [1996], Astitva [2000], Hu Tu Tu [1999], Chandni Bar [2001], and The Namesake, because of geographical exploration. Then Life Of Pi, and Cheeni Kum [2007], in a very nice way.

You've said that of all the characters, the one in Cheeni Kum has been the closest to you. What do you mean by that?
That is one character that I can identify with, in the sense that I could be that person.

Means you could fall for Amitabh Bachchan?
Of course. That is why I did the movie! I could totally fall for somebody like that, but has to be exactly like him. I could totally understand my character's headspace, and I guess that's why R Balki wrote the film keeping me in mind. Coming back to milestones: Haider [2014], and Maqbool [2003], definitely.

The first milestone for you, one imagines, would be Maachis, and your association with Gulzar. The two of you share a fabulous relationship. How did you first meet?
I still don't know what made him [Gulzar] cast me in Maachis, and I still ask him that. At the time, my song, Ruk Ruk Ruk [from Vijaypath, 1994] and trailers of Pehla Pehla Pyar were on air — full-on dancing. But he still does not answer my question. It is now that I understand that the director, and the cinematographer, has a completely different perspective on an actor. They have an eye.
Vishal [Bhardwaj] has had the ability to see me in a very different light. I was caught off guard, when he approached me with Maqbool. It was like a drug to feel that someone looks at you like that. He could see the deep layers of madness, sexuality, lust. I felt completely bare with him. With Maqbool and Haider, I saw and met myself in so many different ways than I had ever known.

So Gulzar saw you in the promos of Pehla Pehla Pyar and called you up?
He called up Shabana aunty. I said, of course, I'd give anything to be a part of his film. He's made films like Mausam [1975] and Angoor [1982] in which his characters are so real, and still they are the leads. So I went to meet him at his house. I always narrate this incident, as it is the strongest memory that I have: So he had a cold, and he kept sniffing into his handkerchief, I went and sat. We both just sat for an hour. And I was thinking, "Kya bolenge yeh mujhe. Main kya jawaab doongi [What'll he say]." I was completely tongue-tied.

He's sitting across you, sniffing, and you are just sitting too. I'm sure he must be reading something.
I think he was writing something, and I kept waiting. After an hour, I said, "Achha Gulzar saab." And he was like, "Achha thik hai." It was his way of saying that you are doing the film. Two-three days later, he handed me the script, which was such an 'Oh My God' moment. It was the first time I was holding a script.

First time holding a script. What are you saying?
Yes, after Prem.

Vijaypath didn't have a script? They just told you, 'Aap madam udhar se ayenge, or Ruk Ruk Ruk karenge'?
Aise dance karne ka, aur romace karne ka. I was like, "Yay, very good. Feels nice to dress up. Ajay Devgn is my friend [Laughs]. Outdoor main mazaa karenge [will have fun]. Pehla Pehla Pyar was shot in Switzerland, so I was jumping with joy.

You're not making this up.
No, I was just too happy to be on sets. Chintu ji [Rishi Kapoor] would offer me chocolate. Later he would instruct, "Seedhe khade reh [stand straight]!" But then Gulzaar Saab happened. So he read the script to Chandrachur Singh, and me. I didn't understand what I was doing in the film. I couldn't understand anything.

Were you intimidated?
The subject was so heavy, and deeply political, which you would get now. You can figure what the film meant to him, and what it was saying. Gulzaar Saab was obviously there like a father-figure, and he made it feel like a picnic. Then of course, my relationship with Gulzar Saab impacted me the most in life. I found a home in him. He's somebody completely divorced from the craziness and predictability of the movie industry. He also encouraged me to write. He would give me blank notebooks, and after few months would ask me if the book was over.

What kind of writing?
Observations, encounters, experiences, and I would read to him. And he'd say, "Bohot achhe beta!" That meant everything to me.

In that sense, you'd say Maachis probably turned around how you perceived show-business in the first place. If we see your films before that, you really wanted to go to Switzerland, and have fun.
I still want to go to Switzerland. I think when you experience everything, you can enjoy everything. You can't do that if you are putting yourself out there for one kind of experience alone. It's going to exhaust you, and burn you out.

Is that why you take long sabbaticals?
This line is always thrown at me as an accusation. It's a good thing though. I recommend it.

Is there another sabbatical coming up?
No. There's so much time between films that I don't have to consciously take a sabbatical. Anyway, films are so spaced out these days — nobody does 10, five, or even two films at a time.

But you've done that. In 1996, if I'm not mistaken, you had eight releases.
Yes, [I was doing] three shifts a day. I once had four releases on the same day. It was crazy, but it was the way it was. Also, you're much younger and you have much more enthusiasm, and energy, to be everywhere, doing all that a young girl loves — wearing good clothes, romancing, acting.

What are the biggest changes you've seen in showbiz since the time you entered?
Social media. That's the biggest change.

Can't imagine you being active on social media.
I'm on Instagram. You don't have to engage, opine, listen, and it doesn't take up that much time. Another change is that everything, except the actual shoot, has become a project. It's not just about the film, or the product anymore. The quality of preparation you put in post-shoot, and everything else, has also come into focus. So you don't know where your actual energies are getting distributed.

Speaking of distributing energies, there was a time that you took a really long break to learn Spanish. Were you able to master it?
That was over 10 years ago, in 2004. I planned to finish everything in a year-and-half, and not work for a year — just not do movies for some time. But no, I've forgotten Spanish. [It's] Only when I go to California and order food in a restaurant that I get to practice it.

How many languages do you know?
Telugu. I can speak Marathi; little bit of Tamil, and Malayalam. And Bengali, fluently.

For people who love your work, and have only seen your Hindi movies — could you recommend some of your non-Hindi films [a retrospective if you may]?
Ninne Pelladata [1996, Telugu], Kandukondain Kandukondain [2000, Tamil], Iruvar [1997, Tamil], Kaalapani [1996, Malayalam], Rakkilipattu [2007, Malayalam], Andarivaadu [2005, Telugu], Abar Aranye [2003, Bengali].

Audience Questions:

Did you plan how you wish to chalk out your career — follow a serious film with a light-hearted one?
I don't think my generation of actors was the planning type. Because so much was happening, I was just doing what I wanted to do — sometimes because the money is good, or the role is great. I did Aamdani Atthani Kharcha Rupaiyaa [2001], for instance, especially because Raghavendra Rao was making it. That was my second film with him. I consider him my guru. My first film, Coolie No 1, was with him. I learnt stuff from him — that you should have your own house, own money. Be careful with your time. Always be punctual. Do your work, and not think about anything else. He's taught me so many things about conduct: Always walk properly, dress well, look nice, and beautiful. Sleep on time. Enjoy life. Also he packs up at 5.30 pm, and would take us on picnics in Singapore!

Now we know how you can be cajoled into signing up for a film. Picnic pe chalte hai, picture banayenge!
Shopping karenge. Mall mein jayenge.

I was thinking about Drishyam [2015]. There was such a brilliant shift in your character — you had to be tough, still looking for your missing son.
I must say Drishyam is one of the most difficult characters I have done in recent times. I knew it was difficult for me to crack, because of the conflict in her personalities. She had to be this person [strict cop], and yet the vulnerable mother. And there was a danger of her becoming completely dark and negative. Which of course was not required, because you also have to see the vulnerability. I don't think I've played somebody like her — so strong and correct. As an audience also you're conflicted between wanting to hate her, but also understanding the pain. I don't know how I did the role, but it was a journey.

-Transcribed by Mohar Basu, Sonil Dedhia and Sonia Lulla

The reticent Tabu opens up about her career choices
Sonil Dedhia (MID-DAY; November 9, 2017)

We don't see you often on screen. Are the roles coming your way not good enough?
There are roles coming my way and I have got the best of offers over the years. The people I work with should be established filmmakers and I should cherish the acting experience. I don’t choose films for great roles. I have done fewer films because often what I am offered is something I do not want to do. My approach to selecting films is different.

What do you think before signing a film? Mujhe paisa mil raha hai ki nahi [laughs].
Mujhe paisa mil raha hai ki nahi [laughs]

Is money your priority?
It is, but on a serious note, I should like what is being offered. Otherwise, even if you are paying me any amount, I won’t be a part of it. Also, as you grow in your career, you start being fearless; experience teaches you to test new waters and not be scared.

What have you have become fearless about?
I am not afraid of people anymore. I don’t think too much because I know I can handle most situations. I am not affected by things anymore and I can tackle situations in a better way. I have also started experimenting with the kind of roles that I do. Haider was a risk-taking character, but people today remember me as Ghazala [her character’s name] and not as Shahid Kapoor’s mother.

In most of the films that you have done, invariably the onus lies on you because of the characters that you have played.
That’s why I did Golmaal Again [laughs], there was no added responsibility. Most of the other cast members have been a part of the franchise since its inception. I was like a guest, who would go on the set, enjoy the privileges and make new friends.

Does it get exhausting when you play emotionally draining characters?
There is a huge part of myself when I am playing these characters, especially when I am going through their emotional journey. Films like Drishyam, Hu Tu Tu, Astitva, Maqbool, Chandni Bar and The Namesake took a part of me. Acting is a crazy profession. It takes a toll on every one, that’s why logon ko actors pagal lagte hai. Mentally and emotionally we have to get into a particular zone, come out of it and keep doing it. Most of the time, I can switch off once the camera is off because as an actor when I wrap up a film, I want my responsibility to end there. I don’t like to be accountable because it takes away the joy of my process. I am engaged in the film and the character and that is my journey. I have found my space and I am fortunate that the audience has never rejected me. This is the reason I am still here or else I would have run away long back. Mujhe ek mauka chaiye bhaagne ka [laughs].

You must have been approached with the same kind of roles throughout your career.
Yes, but I have rejected them because I don’t want to be part of a formula. I don’t want to be boring. The films that I mentioned earlier were not done thinking that I will become the poster girl for intense characters. It is the people around you that make you conscious. They started advising me about what I should do and what not. Agar mera ek role hit ho jaata, toh bolte the yehi karo, career ke liye achha hai. But I didn’t take it seriously and did what I felt like.

In the ’90s what was your thought process while choosing films?
I just wanted to look good, wear good clothes, sing songs, dance and romance the heroes [laughs]. Then how did you pick up some powerful roles early in your career? Over a period of time you also want to express yourself. I was subliminally looking for a platform to showcase my talent. I was excited when films like Kaala Paani, Maachis and Chandni Bar came my way. It was like I had found something that I really wanted to do. I am lucky that these films came to me. I was also ready for it. I am always thankful to all the directors who trusted me that I could pull off such roles. I bonded with the people who were involved in making these films. The sheer fact that I have been able to portray various emotions in the characters that I have done is a huge high for me.

Do you ever sit back and watch your films and cringe on some of the roles that you’ve done?
No, never. I don’t dislike any of the films that I have done. Every project has a journey and I never went in it with a plan. But sometimes when I see myself on TV and I am like, ‘Did I do this? Aisa bhi acting karti thi main’ [laughs]. Despite being a part of cinema, I am a non-cinema person. I grew up in Hyderabad and there was a lot of importance towards academics. My sister [Farha] was a movie buff, but I never liked watching films. I had no intention of being an actor. Everything in my life happened by chance, so I don’t assess my work so. It may come across that I have done a lot of thinking because of the films that I have done, but that’s not the case.

If you had to pick one favourite film of yours, which one would it be?
Itna difficult question [thinks]. Hu Tu Tu was a complex role for me and Cheeni Kum’s character is close to my heart. I don’t know if anyone has watched Jaal: The Trap but that is one of my favourite roles [laughs]. I am sure a lot of people will feel it’s an unusual choice but I enjoyed doing the film.

Is there a director who you can never say no to?
Vishal [Bhardwaj] is someone who I can collaborate on any film because I trust him implicitly. I heard two scenes of Haider and said yes to the film. Even if he had not narrated me the script, I would have done it. I know that he would come to me only if it is worth my time.

Have you ever done a film, just to be a part of it?
I think I can say that about Life Of Pi. The character did so much justice to me that it wasn’t like that I did it just because I wanted to work with Ang Lee. When I saw his film, Crouching Tiger Hidden Dragon. I was stunned. I wanted to meet him. So when I got an email from his team that he wanted to meet me I started dancing [laughs]. It turned out to be one of the most loved films of my career.

Would you like to do more films in the West?
I think I have done two of Hollywood’s better movies [The Namesake and Life Of Pi] and both of them happened without any agents or me trying hard. I don’t really like to run or pursue anything until it happens organically. I’m sure Hollywood se bhi offers aayenge.