In 1984, I was just 13 and way too young to know about a man called Yash Chopra. Having been brought up on just three films – The Sound of Music, My Fair Lady and Sholay (my brother, sister and I were allowed to watch the first two almost every Sunday if we wanted to, and Sholay whenever dad was in an exceptional mood!) – Mashaal was unbelievably only the second Hindi film we had been allowed to watch. Mashaal was like a cult classic! Dilip Kumar was like my father, high on principles and therefore always winning enemies; and those days, I was often made to feel like the vagabond that Anil Kapoor played in the movie. The film made me feel good, for, as Anil Kapoor changed and became a hero, I felt I also had a hero inside. My dad liked the movie not because he ever believed that he would have a role reversal in his life like Dilip Kumar had in the movie, but because watching such a role reversal at least made him happy somewhere deep inside, for very often, we all feel like hitting back with a vengeance. He also loved the dialogue, “Zamana bahut kharab hai Tolaram.” It was only the second Hindi film he had ever liked, and we added another Hindi film to our really short list of films to be watched when we were being good children! All other times, our black and white portable TV set used to be kept locked up inside a big Godrej almirah that we, like most middle class families, had those days. Slowly and steadily, over the years, we were allowed to watch more movies, especially once I had given my class tenth boards. And we started to catch up on all good movies with a vengeance.
Deewar, Trishul, Kaala Patthar, Silsila and Kabhi Kabhi followed soon and they, along with Mashaal, became six of my top ten personal favourites! It was only in 1988, when I was watching another movie Vijay (a remake of Trishul) and loved that too, that I suddenly realised that all my favourite films had one factor in common – a director by the name of Yash Chopra! There were traits through all these movies which were common! They had extremely hummable songs. A tune already established in one movie would go on to become a full fledged song in the next. The movies had exceptional storylines with great love stories enmeshed within. They were all attuned to the times they were made in. As India liberalised, the theme shifted from the angry young man and the rich versus poor fight to the Swiss valley love stories of the affluent class. And of course, all his movies always had the biggest element required for assured commercial success – the biggest stars of the day. The ones who were passé were ruthlessly dropped. Sharmila Tagore paved the way for Rekha; Rekha for Sridevi; and Sridevi for Madhuri. But they were all the most gorgeous of their times. If Shashi Kapoor was in Dharmaputra and Waqt, then it was Dharmendra in Aadmi Aur Insan, Rajesh Khanna in Ittefaq and Daag and the Big B in all those five I just mentioned; and then Anil Kapoor from Mashaal till Lamhe; and thereupon, only King Khan, from Darr to the latest in the offing!
But what has differentiated Yash Chopra from all his contemporaries (and that includes someone half his age like Karan Johar) is his ability to weave original stories with original feelings. They aren’t copied as a formula for success. To me, he is a great psychologist and an intellectual more than anything else; and perhaps more than the so called intellectual art filmmakers too. To understand the pains of the era of license raj, workers’ exploitation to the era of liberalised romanticism – and deliver in both those times commercially successful, timeless, classic hits is exemplary. His biggest miracle was perhaps at the age of 65, when he directed Dil Toh Pagal Hai. It really had all the beatings, whistling, feelings and cravings of a pagal dil. After I watched the film, my only wonder was how he could get right the feelings and longings of an 18 year old kid’s heart? Exceptional. To me, Dil Toh Pagal Hai was his most difficult creation. His son Aditya Chopra had just given DDLJ and it was too big a benchmark to live up to. Yet, he did. Unlike a Karan Johar whose each film has been a copied emotion – made in search of a success formula – and each constantly of lesser quality than the previous one, Yash Chopra has maintained his quality and that too in every decade with a changed and original theme and feel.
Every time YRF has been in trouble ever since it corporatised, he has taken up the baton and given it another big thrust.
Yes, many call his brand of cinema unreal and escapist. I completely disagree. And the best answer to this was given by his favourite protégé, and my favourite, King Khan during an interview, when in one sweep he defended Bollywood and the films he represented, saying, “I keep hearing that our films are escapist and unreal; but I find our films the most real in the world. We don’t have people going up in a rocket and single-handedly blowing up a meteor. We don’t have a president on Air Force One saving the world or things coming out of people’s stomachs. Our fantasies and escapism are real. It’s just people singing and dancing in the street. If England had won the World Cup, you would have seen people singing and dancing like that.”
I don’t need to say further! I started loving films because of Yash Chopra and my film company is full of his fans. As he turns 80, and our hearts skip a beat again as we see the trailers of his latest spectacle Jab Tak Hai Jaan; and so restlessly await its release, all I can say is that here is truly an enigma who is 18 at 80! My salutations!
- 27 September 2012 |