As told to Upala KBR (MID-DAY; July 4, 2020)

[Saroj Khan's death] is a personal loss. Last Saturday, when I learnt that she was hospitalised, her daughter Guddi messaged me saying she was [getting] better. Saroj was slipping in and out of consciousness and could communicate. When Guddi told her that I had called to ask for her, Saroj smiled for the first time. It was an emotional moment for me.

Aruna Irani had first recommended Saroj for a song in my film Vidhaata. I told Saroj I was making a movie with Dilip Kumar and Sanjay Dutt, and had one song left to complete. It was the climax song, Pyar Ka Imtihan, with Sarika. I was impressed with Saroj's grace. I promised her that I would give her my next movie, if she could give me a good climax song. She worked very hard, and when she gave me the song, I gave her Hero, starring Jackie Shroff and Meenakshi Seshadri. For the first time, at my insistence, a special category for Best Choreography was created by a publishing house, and Saroj won it that year, for Hero.

The year that it released, Choli ke peeche became the most controversial song. When I gave her the song, she loved it and told me to [let her handle it]. We were buddies who would fight over creative calls. I told her it would feature Madhuri Dixit, and explained the situation [in the film where the song would be placed]. I told her it is a sensitive number, and that she would have to make it look aesthetically appropriate. She rehearsed for 15 days in a hall, and created each step. Each day, I would go to see what she was doing, and would fight with her over [the choreography]. We would discuss what would or wouldn't work. We could get on the same page quickly.

Saroj was the best dance teacher for every newcomer. She understood their body language and [expressions] and could choreograph steps accordingly. Hence, it would be easier for the actor — even if s/he couldn't dance — to grasp the steps. She knew the art of extracting the best from every artiste. Madhuri, Manisha [Koirala], Mahima [Chaudhry] were all newcomers when they learnt to dance for cinema, from Saroj. She was an integral part of my cinematic journey. Our bond was unbreakable.

Subhash Ghai and his Pardes heroine remember Pandhari Juker
Hiren Kotwani (MUMBAI MIRROR; February 19, 2020)

Hindi cinema’s veteran make-up artist Pandhari Juker passed away on Monday. He was 88. He worked with actors down the decades, from Meena Kumari, Nargis and Madhuri Dixit to Dilip Kumar, Sunil Dutt and Bachchan.

Dilip Kumar introduced Subhash Ghai to Pandhari Dada during Vidhatha and the showman got him to do the make-up for all his leading ladies, from Meenakshi Seshadri (Hero) and Madhuri (Ram-Lakhan) to Mahima Chaudhry (Pardes). “After Vidhaata, I told him I was making a film with newcomers and wanted him to work on their looks. When I saw Meenakshi she was a perfect Radha,” recalls Ghai, adding for Dada make-up for him wasn’t only a technical craft. “He put his soul into it, that’s why he is a legend.”

His Pardes heroine, Mahima informed that every make-up artist she worked with since her first ad, had trained with and assisted Dada. “I did a few campaigns with him too. He did my make-up for my first screen-test. I was unsure if Mr Ghai had liked me and told him we might need another change. He smiled and said, ‘No beta, you’ve been selected. We’re doing the test to see which looks to shortlist for the film,’” she flashbacked. One tip? “He would tell me, ‘Beta, jitna kum, utna zyada achha,’” Mahima signs off.

Niharika Lal (BOMBAY TIMES; December 3, 2019)

You’re raising sons wrong in this country. There’s a defect because another rape has happened in Hyderabad,” said Mahima Chaudhry during a session at the Times LitFest in Delhi, urging audience to introspect on how sons were being raised in India.

‘EQUALITY BEGINS AT HOME’
“Another rape has happened in Hyderabad, which everyone is tweeting about. I feel embarrassed, I feel hurt. I feel like it’s me who has been raped every time I hear about an incident like this,” she said, adding, “When I go to speak at schools, I speak to mothers and fathers because the way we are raising kids in our country is wrong. Say, in a family there is a 12-year-old girl and a 12-year-old boy, and a guest visits. It’s the girl who’s asked to serve tea and not the boy. Why?”

“If dinner needs to be served to the father, if clothes need to be ironed, parents ask the girl to do it, not the boy. Why? Equality needs to begin at home. When a boy comes home late from college, nobody questions him. But if a girl is late by even half an hour, the mother asks, ‘Kahan thi?’ Why are you not asking the boy where he was? You should have the same rules for boys and girls at home. You should ask them the same questions because there is a defect in the way we are raising our kids. You have to give them the same liberties, the same treatment, and the same freedom,” she said.

‘I AM HAPPY WITH NITIN GADKARI FOR MAKING TRAFFIC RULES STRICTER, REVISING FINES’
Mahima also thanked the Ministry of Road Transport and Highways for revising fines for traffic violations, such as over speeding and drunk driving. Under the new Motor Vehicles Act, which came into effect from September 1 this year, fines for traffic violations have been increased.

Sharing a grim experience regarding this, Mahima said, “One morning, while I was going for the shooting of my third film Dil Kya Kare (1999), a truck hit my car. It smashed the window of my car and the glass pierced my entire face. When I saw my face in the hospital, I collapsed. That is when my struggle began, after making a successful debut with Pardes opposite Shah Rukh Khan. I didn’t want to tell people that this has happened to me. I begged Ajay Devgn, who was also the producer of the film, to not tell anyone. I told Ajay, ‘Abhi toh meri zindagi khatm hui hai, career khatm hua hai, but there is some hope. Par agar logon ko pata chal gaya toh bolenge iska toh chehra hi kharab ho gaya. I would be buried.’ Ajay Devgn took care of everything. This is why I am so happy with Nitin Gadkari (Minister of Road Transport and Highways) for making traffic rules stricter.”

Bharati K Dubey (DNA; February 22, 2018)

With the two producers of Kedarnath — KriArj Entertainment and Guy In The Sky Pictures — heading to court over their differences, will it be debutante actress Sara Ali Khan’s career that will end up bearing the brunt of it? Reportedly, she is under a contract and may require a NOC (No Objection Certificate) to do another film. Apparently, Anushka Sharma’s production house had offered her their new project Bulbul, but the newbie couldn’t sign it as Kedarnath was under production.

Due to the legal wrangle, the chances of the Abhishek Kapoor-directorial hitting the screens on its scheduled date (December 21) are dim. Today, almost all newcomers have strict contracts with the production house that’s launching them. An industry source elaborates, “They are either under contract for three films or for three-to-five years. If the contract is for a certain number of years, all the deals are routed through the producer or the agency which strikes the deal.”

ARE CONTRACTS A GOOD IDEA?
While such contracts help both, a newcomer and the production house, things can go haywire if the film gets into trouble. This raises the question of the fairness and necessity of such contracts. Filmmaker Ashwini Chaudhary says, “I am of the opinion that a producer/production house has the right to sign an exclusive contract with an actor/actress when they launch them. A lot of money and risk is involved in launching new faces in today’s time and clauses like three-film deals are, in a way, justified. All big banners are said to be following this norm. Even first-time directors are bound by such stipulations. If one is not in agreement with such clauses, they can always opt to not sign on the dotted line. Things tend to get ugly when the film is delayed or shelved. It is important for newcomers to have proper legal advice before getting into any contract.’’

CONTRACT KA SAWAAL
It may be recalled here that filmmaker Subhash Ghai had to take his Pardes heroine Mahima Chaudhary to court for violating the terms of the contract. Before starting Pardes, Mahima had agreed to do three films within five years and donate 35 per cent of her earnings from commercials, stage and TV shows to the Mukta Arts Welfare Trust. Ghai feels it’s mandatory to have a contract with a newcomer. He explains, “The company spends on his/ her grooming, marketing, and projects. I have always had a contract for three films, which included permission to do outside films after the first release. These included actors like Madhuri Dixit-Nene, Jackie Shroff, Manisha Koirala, Mahima, Kareena Kapoor Khan, Katrina Kaif and Hrithik Roshan to name a few. Some of them honoured it, while a few violated them.”

DELAY DILEMMA
Prem, which was supposed to be Tabu’s debut film took about eight years to complete. She stepped on the silver screen with Pehla Pehla Pyaar, opposite Rishi Kapoor. Satish Kaushik, director of Prem, recalls, “There was a contract, but I really don’t know the details of it. Our film got delayed and she got another offer. I don’t think we can really bind somebody after the threshold has been crossed, he/she should be allowed to go. Tying down anybody to the contract clauses could harm their career.”

In the recent years, Pulkit Samrat took Ekta Kapoor to court for non-payment and not allowing him to work outside, when there was no work for him at her company. The actor was shown his three-year contract when he evinced interest in working with another banner. Ekta refused and was in the process of sacking him, so he sued her and even won the case.

READ THE FINE PRINT
Cine and Television Artistes Association (CINTAA) has been asking their members to share their contracts, alleging that most deals are one-sided. The Association’s general secretary Sushant Singh says, “Star kids are still in a better position than those coming from a non-filmi background, the latter have no choice but to adhere to the diktats of the producers.”

This is not the case just with actors making debut in films, but also those working in TV shows. Singh says that TV debutants are bound by contracts that are unfair. Citing the case of the lead pair of Aisi Deewangi Dekhi Nahi Kahi, he says, “They came to us with a complaint that the producer has signed them for a three-to-five year contract with no renewals or holidays. They wanted to quit the show as their health was suffering. They were signed by the producer for 30 days and the contract with the channel was for 26 days. We fought for them and asked them to give a two-months notice and leave the serial. Fortunately, the serial was pulled out by the channel.’’

LOOK AT THE LAW
Singh points out that most of the contracts that actors sign often don’t hold much ground. He adds, “Newcomers, who are getting a break, should get it in writing from the producers that all their expenses would be borne by the latter while on contract. Also, there is nothing like an exclusive contract. Nobody can stop an actor from the right to livelihood, even if he/she is shooting for a serial. They have every right to do the things they want to post the shoot that they’re committed to the producer for.’’

Pardes girl, separated from husband for over three years, gets candid
Sonil Dedhia (MID-DAY; September 7, 2016)

After a decade-long sabbatical, Mahima Chaudhry returned to the big screen with the recently released Bengali thriller, Dark Chocolate, loosely based on the Sheena Bora murder mystery. The actress, who made her debut opposite Shah Rukh Khan in the 1997 hit, Pardes, went low in 2006 since she was “bored” of her routine”.

Says Mahima, “I remember wrapping up the shoot for Hope And A Little Sugar and going straight to a salon to cut my hair very short. Later, I went to the US where I met my husband, Bobby Mukherji (an architect) and we decided to settle down. After marriage, I was only concerned about raising my daughter, Ariana. I didn’t want to miss her even for a second. I thought that’s the best phase of my life, and I was enjoying it, far more than films.”

But things didn’t go the way she had planned. She separated from Mukherji in 2013. “I was a single mother and had to earn money. With a child, it was difficult to take up films, as it would have consumed a lot of time. I started judging a few television shows, making appearances at functions or cutting ribbons because it was convenient for me. It also gave me quick and good money. Now, when I look back, I feel those assignments ruined me as an actress,” she sighs.

Mahima says she hasn’t considered a divorce yet. “I don’t have the time (laughs). On a serious note, we haven’t really given it a thought as it isn’t bothering us. I will go in for a divorce if I plan to get married again.”

Before getting hitched, Mahima was in a long relationship with tennis ace, Leander Paes, but it ended on a bitter note. She doesn’t mince words while talking about the sports star. “He maybe a good tennis player, but he didn’t play fair with me. It wasn’t really shocking for me when I came to know that he was going around with someone else. His exit had no impact on my life. In fact, I became more mature as a person,” she says, adding, “I feel he did the same thing with Rhea (Pillai) as well.”

Mahima Chaudhry plays a character inspired by Indrani Mukerjea in a film based on the Sheena Bora murder case
Upala KBR (DNA; January 19, 2016)


Mahima Chaudhry
The plot is based on the premise: Can a mother kill her own child? If I hadn’t read it in the papers, I would have found the story over-the-top and not possible in real life. I have heard about infanticide, but having grown, nurtured and provided that child financial support, if the mother reaches a point where she can’t tolerate that child, it’s something to think about. The film doesn’t really solve the mystery, so it’s fuzzy. The story is like chocolate, which people can’t resist and yet leaves a bitter taste in their mouths, but they still crave it. Agnidev came to meet me in Mumbai and said, ‘It’s a story of a mother suspected of killing her daughter and is loosely inspired by the Sheena Bora murder case.’ I said it’s very interesting and far easier for me to do than wear chiffon sarees and dance around trees. I asked him to give me a couple of months to get myself regimented into a diet and workout. He said that would defeat the purpose as he wanted me to look simple and not even wear makeup. He wanted the audience to wonder how an ordinary girl could have had so many lovers, so many people falling in love with her, how she got lucky, what was so special about her. I got up and hugged him! He said if I said yes, I would have to come to Kolkata in two days and start shooting. My first scene was the interrogation. I speak Bengali, so the language wasn’t a problem. Also my character travels from Assam and Mumbai to Kolkata, so apart from Bengali, I also speak in Hindi and English. I guess I can say now that I debuted in a Bengali film...

The story had to be told
If I hadn’t read the true story I would have told my director to cut off some scenes as they look so unreal. I had just two days to prepare for my role. It was a story that needed to be told. It’s very tough playing a real life character in a controversial story. Yes it’s dark, but I am not the only dark character in the film. As the story unfolds you will see my three husbands are darker than me. I come out looking light grey and not dark when the film gets over. What was tough was that it’s the first character that I have not understood but just played blindly according to the director’s vision. Being a mother myself (she has a daughter) I just couldn’t be convinced why she did it. I don’t want to know the motive or understand or live the character or do method acting! It’s just a story which has never been told on cinema so I agreed to do it. I am not convinced there can be a woman like that… There can be no motive big enough for a mother to kill her child. She must have gone through some evil stuff to make her like that. While accidental murder is different this one was a planned one. How can there be so many evil people amongst us? It’s ironical. I had done a reality show Jalwa Four 2 Ka 1 for the 9X channel which was then owned by Peter and Indrani.

The film drained me
In real life stories like this you can’t give your own inputs —the only one person who controls the story is the director and where he wants to take the story or play it up. You can’t bring in your own take as you already know so much. The film drained me… It’s not a good feeling to play characters like this. You start feeling who should I trust now? These are the same evil people from your society moving around you. I met a lot of people in Kolkata who said Saneeiv Khanna is a wonderful, well-spoken man. They all said, ‘How could Sanju have done something like this?’ They would refer to him so fondly and called him Sanju. In the film my characters are presumed to be evil, they are not who we think they are, so the audience will think could I have done it?

Riya plays my daughter in the film and she was a lot of fun. Her sister Raima and mother came on the sets and the Sens were a riot. It was very good to hang out with them. Some scenes like the hacking scenes which we shot in Shantiniketan made me feel very depressed and Riya and I would feel yucky doing them while shooting them in a remote jungle but she always cheered me up. Riya is a very pretty girl and we got along very well.