Desicritics Author: Kavita Chhibber

Imran Khan: The War on Terror is not a Religious War

Kavita Chhibber — Sun, 17 Feb 2008 11:40:52 EST

He is ranked amongst the greatest cricketers ever, but today the man I knew as an introverted, shy, bookworm (when he was not being chased by an avalanche of adoring women), is bringing the same intense commitment and integrity to his twin passions- philanthropy and politics. The Shaukat Khanum hospital he built in Lahore to honor his late mother and to serve the poor stricken with cancer for free is a state of the art facility that competes with the best in the world. He is also building a second hospital now in Karachi and a college for the underprivileged.

Pakistan votes on 18th February, after the elections were postponed due to Benazir Bhutto’s tragic assassination. Imran Khan shares his thoughts on what he thinks will happen, why he has boycotted the elections, and why Pakistan does not need foreign interference in its domestic affairs by America

Q-With all the violence that has been happening in Pakistan after Benazir Bhutto’s assassination, your house arrest last year and fears of some more violence as the elections near, how are you handling your security?

The Interior Ministry has issued a Press statement that all political leaders should look after their own security and that in itself says everything. But in my case I guess I’m less of a threat than Benazir was because Benazir had vocally supported the American war on terror and the NATO forces staying in Afghanistan, and being allowed to come in the tribal areas. Then she had endorsed the worst ever butchery which was the slaughter of women and children in Lal Masjid by Musharraf and she was the only political leader who supported it.

Then there was her going against the peace deal in Waziristan. She was so hawkish and pro American on this war on terror that not only would she have been at threat from all these forces fighting the US, but also the pro-Musharraf (group)-whether it was Musharraf or the politicians supporting him-they were also threatened by her. So it could have been either the extreme forces or it could have been the forces threatened by Benazir who would have then palmed it off (her assassination) on the extreme forces. So she was under threat from two quarters.

In my case, the only threat I have is from Musharraf and of course his ally Altaf Hussain, the leader of the MQM whose case I have taken to Britain and Scotland Yard. The Canadian Supreme Court has declared it (MQM) a terrorist organization. So my threat will be from these two people-Musharraf and Altaf. In that case they are directly implicated. They can’t palm it off on extremists as far as I’m concerned. So I guess as far as I’m concerned, I’m less at threat than Benazir was.

Q-I have been hearing that your integrity and commitment are impeccable and you are very loved and admired by the younger generation. They are very disappointed (and 60 percent of Pakistan’s population is under 40) that you were in a better position to stand this time and yet have boycotted the election. The older generation respects you as much but feels an uncompromising idealist like you won’t last very long in the cut throat and devious world of South Asian politics.

Well Jinnah was an idealist in the sense that he was quite uncompromising in his objective. He is the only role model I have because he had complete integrity.

This was the best prepared we were to fight elections. In the first election in 1997, our party was only 5 months old so actually in no position to fight elections. It was also a mid-term election. In the second election we were supporting Musharraf. We were conned by his fake sincerity, till we realized he was a con man, that he was just a dictator trying to grab power so we left Musharraf. We were neither a government party nor an opposition party. We left just 3 months before the elections-the only party to leave him who was invited to join him. Every party that was invited-joined him. So as we were neither government nor opposition we fell between the two stools.

This is the only time we have a rising vote bank, we have good candidates who would have fought in a viable coalition. But my party is called Tehreek-e-Insaf-(movement for justice)-and eleven years ago we had said that unless the judiciary is independent there can be no democracy or prosperity. Now for the first time in history the judges have taken a stand for the constitution rather than the doctrine necessary and played ball with the establishment. This is the first time they stood up for the rule of law and now for me to abandon the judges and fight elections just because we had a good chance would have gone against everything I stand for. So there was no question of me fighting elections.

Q-But your friends and well wishers have talked to me and said that getting some judges reinstated isn’t going to solve Pakistan’s problems. They go beyond the issue of the lost judges.

Look it’s the worst of times and it is also the best of times for only one reason-that for the first time we have judges who are willing to stand up for the rule of law. That is the only light at the end of the tunnel because when people say you can’t solve Pakistan’s problems, I respond that you can only solve problems if the foundation is a solid one and that foundation has to be based on an independent justice system, because that is the beginning of both democracy and prosperity. What happens is that when you have rule of law, it enables you to have free and fair elections and genuine democracy. It is also what allows the entrepreneurs and the businessmen in the community to have a level playing field.

The war on terror can also only be won if there is a genuine, democratic, credible government which can talk to the people and update the terrorists. A fourth problem we have is of the federation right now. There is civil war going on in two provinces, so for that you need genuine democracy with an independent Supreme Court and provincial autonomy to actually deal with it. All our problems can be resolved by a genuine democracy and an independent justice system.

Q-Many of the Pakistanis I have spoken with tell me, America and other European powers have no real knowledge of the local and regional politics of Pakistan and therefore the US continues to make decisions that are making the Pakistanis very angry. The fact that the administration still backs Musharraf is not going down well with most Pakistanis. Last month you were part of a protest in the UK when Musharraf came to meet the Prime Minister there and you were also in Washington DC to talk to members of Bush’s administration. How did that go?

There is a lot of ignorance and they basically don’t understand the dynamics of Pakistani politics. They are only looking at it from a “liberal vs. extreme” viewpoint. That is all they can see-which is a stupid way of looking at any country because every country has its liberal and its extremists but the majority are always moderate. They seem to be ignoring the vast majority of the population. All they seem to be thinking of is liberals vs. extreme. And some of our politicians and Musharraf play this game. Musharraf tells the US look help me otherwise the extremists will take over.

This nonsense distorts the way the Americans look at us. They don’t have a deep understanding of what is going on. My whole objective was to make them understand –do not back any person whether it is Musharraf or Benazir-don’t do it-just back the democratic process because only a credible democratic government can deal with problem of extremism. Only they can mobilize the people to marginalize the extremists. You have to mobilize the public, win their hearts and minds, so that the extremists get marginalized. The way the war on terror is being fought is that basically they are pushing more and more people towards extremism.

So what we are asking them is to leave us alone. But if you want to help, help the democratic process, ask for the reinstatement of the judges. Now that was what my message was but unfortunately the administration led predictably by George W Bush and what else would you expect of them-are backing Musharraf still and alienating the people of Pakistan. I told them anti-American sentiment is rising in Pakistan, because you are repeating what you did in Iran when you backed the Shah against the people of Iran.

Q-You said in an interview that when the military begins to see someone as a liability they dispose the person off. Has Musharraf reached that state with the Pakistani military? Some experts are saying even the current chief Kayani’s pulling out army top brass from civilian posts is a gimmick to win the people’s confidence as per Musharraf’s instructions.

The Army from the past experiences eventually will go to protect the institution. Musharraf has become a liability, an increasing liability for them. What happens on the 18th onwards is very important because if he rigs the elections, there is going to be a massive discontent and you will see protests in Pakistan similar to Kenya. If he doesn’t rig the elections then he is gone because there will be a deadlock in the Assembly and unless PPP bails him out again, it will be all over for him.
Again he may try to get out of the elections-then again he is in trouble because it is not an answer. The problems in Pakistan are increasing by the day and he himself has become a problem. There is no way the Army will keep standing by him, especially since now he is no longer the Army Chief. All the previous three dictators were removed by the Army, so its only a matter of time.

Q-I guess the other issue is the war on terror and Islam being the considered the perpetrator of violence. It seems to be really ingrained in the minds of global leaders.

And the whole war on terror is not a religious war. It is a political war. The origins lie in politics. Look, the same tactics are used by the Tamil tigers in Srilanka. Do you ever call them Hindu extremists? Do you find cures in Hinduism to cure suicide bombings of the Tamils? It is absolute nonsense and a very well planned conspiracy to build an enemy like the communists and like the Nazis to Islamo-fascists. You build an ideological enemy and then you rally your people behind you and put the fear of God in them like they did with the communists and then you can just push your imperialist policies through. This is a new con strategy. How can you blame the religion when all religions basically say the same thing? How many religions are fostering extremism and which are not?

You have the Hindu extremists and they burnt down 14 churches in Orissa ad you have BNP in England who are extremists who want all other races to leave, who are focused on the color of your skin. You have the greatest fanatics in Israel. Every human community has its extremists, fundamentalists, its moderates and liberals. Why blame a religion for the activity of a few fanatics?

The New York Times did a survey 2 years ago of 67 madrasas (Muslim schools) and the worst terrorist attacks. Only four were from Madrasas. 51 percent were university graduates. So that is another myth that the Madrasas are breeding terrorists. Are the Srilankan suicide bombers coming out of religious seminaries? Suicide bombing has nothing to do with religion. Its an act of desperate people who out of impotence and humiliation and desperation turn to violence. It has happened in history. If you study the root cause of all terrorism, it is political not religious. Look at the Palestinian and Israeli issue- its political; US troops in Iraq and Afghanistan? Political again. Take Osama Bin Laden who is supposed to be this big Islamic extremist. All 3 reasons he cites for fighting US are political. Its nonsense to blame religion for terrorism.

Q-A lot of tongues are wagging about the outcome of a possible coalition between PPP and Nawaz Sharif’s party if the elections are held. Many have said anything to bring back democracy; others have called it a lethal combination that may explode later. Many from both the older and the younger generation feel neither will be able to solve the issues facing Pakistan. And then there is Musharraf and the King party.

What you are seeing in Pakistan is a divide-status quo and the anti-status quo. I represent the anti-status quo which is the APDM. APDM is a coalition of 25 parties, admittedly smaller parties but they are very ideologically oriented. Then you have the civil society and the lawyers also standing behind the judiciary. There is also a religious party the Jamat-e-Islami –it is also with us.

Now on the other hand, the parties that are contesting the elections-I’m afraid are from the status-quo. They don’t really want change. They don’t want an independent justice system. None of the politicians who are fighting the elections are interested in an independent judiciary or change because this is the system that has benefited them. This is the system they can play with, this is the system where their corruption is protected by the judiciary so they cannot afford independent judges. They are scared of them. So you are seeing this big divide and I’m afraid this is the tussle in the coming months. The PPP has saved Musharraf three times. Whenever he was on the rope each time PPP came to his aid.

These are not elections. This is fraud being conducted in the name of elections. I ask them –how can you have elections when the Chief Justice of the Supreme Court is under house arrest. Sixty five percent of the judges are gone. The care taker government is not neutral. The whole administrative system was bought out by Musharraf to rig the elections and then the election commission is not independent. The whole administration is working for the King’s party. To fight elections you would be playing on Musharraf’s wicket and re-strengthening him.

There is no doubt we are facing multi-crises but if these crises had not occurred the status quo would still be strong and if that continues then there is doom ahead. We can’t survive with the status quo in this country because its just corrupt ruling elite, a parasite, sponging the people dry. These elitist-I call them “leeches”-they are hogging all the resources and just not letting the country move forward.

These crises have shaken the status quo with this movement of the lawyers and judges and the civil society. Now that is the bright light. It is at cross roads-if we manage to get rid of these people, if the movement succeeds and the reinstatement of the judges happens then you will be seeing a new Pakistan, a new beginning. If we fail then I’m afraid we have bad times ahead.

Beyond Benazir

Kavita Chhibber — Sat, 19 Jan 2008 01:21:02 EST

The images are haunting. The loaded gun, the fiery bomb blast, and stunned humanity in bloodied tatters and tears.

It seems just like yesterday when a tall, lissome 17 year old girl shyly made her way to Simla with her father and charmed an entire Indian nation and its leader, but Benazir Bhutto’s journey is nothing like that of Indira Gandhi even though many say Zulfikar Ali Bhutto was inspired subconsciously to groom his exceedingly bright and beautiful daughter the same way Nehru had groomed his. Sadly her death is as tragic but more untimely..

Today as she lies buried next to her father, her life cut short at a time when she seemed the only symbol of hope for leading Pakistan to a semblance of democratic normalcy, the tsunami of chaos and unanswered questions, comments and commentaries, has flooded all airwaves and social gatherings globally. Her assassination, the fear of an uncertain future not just of her party but Pakistan is an ongoing topic of discussion. Needless to say, its impact is being felt the world over, and what happens in Pakistan will have repercussions on the international community as well.

There are many who remember her as a warm, generous and extremely lovable woman; a fantastic mother, wife and friend. Those who love her also say that as a politician Benazir tried her best in spite of the many roadblocks put in her path loved her country, its people and wanted to lead it towards a democratic path once again.

Others are not so generous. There are many who call her one of the most inept Prime Ministers to have ruled the nation, as corrupt as anyone else, a woman who changed colors like a chameleon when it suited her, and did not do enough for women’s rights under her two administrations. A woman who returned only because she lusted for power and didn’t like being persona non grata. Her husband Asif Ali Zardari, her oldest child Bilawal too have faced the arsenal of dissenting voices, in spite of the overwhelming love and support of the common people in Pakistan, and all this when neither the father and husband nor the son have had the time to even mourn her death properly.

I did not know Benazir Bhutto personally and wasn’t very gung ho about her political track record, yet, she was still someone who really was a familiar face. It was almost like having a family member that you may not have in your house, but you keep a track off, get mad at, get protective about as you go through life caught up with other things.

I must say however that more than Benazir, I had always been more curious about her husband Asif Ali Zardari. I always wondered what clay was he made of because it is not an easy thing to be a Pakistani man from a Patriarchal society and let your wife be in the limelight, taking a backseat for years. I had heard mixed stories about him, and for some reason had always wondered how he handled all the brickbats, the accusations of corruption , the brutality in jail, the persistent tag of Mr. ten percent long after he was released with none of the charges ever bringing a conviction. And what was even more surprising was that in spite of doing a thorough research on him, I didn’t find one interview where he was whiny or self pitying or hostile. He has conducted himself with a lot of dignity and came across as very intelligent and politically savvy since her death-so I think he may turn out to be the surprise package on the Pakistan political horizon.

I did get an opportunity to talk to him and was impressed by his composure. It will be interesting to see how things evolve with Asif Zardari at the helm of PPP. He told me he was looking towards India for support to make Pakistan a positive force in the South Asian sub continent. I have been told that Asif Zardari is very pragmatic and much more open to compromise than his late wife, and I hope that he can complete what she began-take this country towards a democratic structure-if the elections are held and are free and fair.

I saw the same composure and grit in 19 year old Bilawal at the press conference he addressed in London on the 8th of January. He was asked some very tough question by the media vultures, who swooped in to get their piece of him, not thinking even for a minute that may be the young teenager needs to be cut some slack and be allowed to mourn. I wonder what these correspondents would do if the roles were reversed. I think we are never quite affected by anything until it happens to us or someone close to us. We live in a non inclusive society today, spending long, lonely hours in front of our computers, in our own little insulated world and have may be forgotten to be kind and compassionate and socially warm hearted.

Writing the cover story was an eye opener for me in so any ways. I came into contact with some truly amazing Pakistanis, with brilliant minds, and really appreciated the fact that everyone of my interviewees, immediately did the interview and spoke very candidly. Work started only around the 2nd and the last interview with Asif Zardari-an exclusive was done on the 9th.

Two close friends of Benazir, both wonderful speakers were able to share some personal memories of the woman who like all of us was multi faceted. Evidently her personal qualities of forgiveness, generosity and warmth seem to be the key ingredients that made her such a loved figure among her party members and those who knew her on a personal level. To be able to run a party from outside for 8 years is no mean task. On a personal note my condolences to the family, especially the children, who have lost a mother and their greatest friend and guide.

Writing the story and the research on it changed not only my perception of Benazir Bhutto in some ways but also reminded me yet again that nothing in life is ever black and white. As a human being, she is regarded very highly, as a politician, her stints provoke mixed reactions. I have tried to write a balanced piece and of course this is not the end of the story. Lets hope the elections are held on time and somehow a leader emerges to take the country on the path to democracy.

It's No Longer OK to be a Woman & Cry!

Kavita Chhibber — Thu, 10 Jan 2008 00:53:55 EST

Cry! Especially if you are Hillary Clinton. I think if Obama, who I frankly like tremendously, had teared up a tsunami of support would have dried those eyes. But now Hillary's well fought win is being drowned in a verbal deluge of disapproval

Hillary Clinton’s tears have obviously not gone down well with people. I read this very interesting piece by Erica Jong while working on my story on yet another fallen woman Benazir Bhutto. What do you think? An excerpt is given below:

"It's the tears. She pretended to cry, the women felt sorry for her, and she won," said Bill Kristol. So did his page-mate Maureen Dowd, that fierce feminist. So did many of my friends.

Why is it okay for men to get misty and not for women? Why is it assumed everything HRC does is scripted? Why is she seen as bloody Lady Macbeth while Obama is seen as darling Cordelia? Why is a man more sincere than a woman? Why?

Moushumi Chatterjee: Straight Talk With The Actress

Kavita Chhibber — Wed, 19 Dec 2007 00:34:38 EST

She took both the Bengali and the Bombay film industry by storm in her very first film. From Balika Bodhu(Child bride) which she did while in 5th grade in Bengal, Moushumi Chatterjee became the golden girl of Indian Cinema. Her vivacity and pizzazz, her natural performances and crookedly gorgeous smile made her the most sought after actress even after marriage and kids at a very young age.

I always thought two people had the hottest smiles in Bollywood - Shashi Kapoor and Moushumi, and both had crooked teeth. Sometimes I miss the au natural look. Now everyone seems to have orthodontically enhanced teeth-and more!:).

Interestingly when I finally did get an opportunity to interview Moushumi, it was such a pleasant surprise. My friend actor Rahul Khanna had already told me she was a lot of fun, but it was so refreshing to speak with someone who was totally hassle free, very outspoken and her Bengali hinglish accent is the cutest thing to hear.

I had no idea she was only in 5th grade when Moushumi was discovered and acted in Balika Bodhu which went on to become a platinum jubilee hit. By the time she was in 10th grade she got married to music and film director Hemant Kumar’s son Jayanto or Babu as he is known.

She says she landed in Bombay not having any relative there, but with her doll house, her dog and a good friend of hers, but the love that Hemant Kumar and his family showered on her compensated for the homesickness she felt. It was back to work for her soon after in Anurag, where she played a blind girl. The movie again was a super hit but for young Moushumi it was the excitement of having her idol Nutan play her mom that was the highlight of the film. She said to me that she could not believe she got to see people who she saw from afar, like Nutan, Ashok Kumar and the then superstar Rajesh Khanna. Talk of a star being star struck!

Moushumi had some candid comments on some of her costars including Amitabh Bachchan. It was interesting to hear what she had to say about some of them.

The rape scene in Roti, Kapada aur Makan filmed on Moushumi is considered one of the most disturbing scenes ever on Indian silver screen, but her story about the picturisation was almost comical.

She has dabbled in politics and there too she was brutally honest about the fact that she only considers actor Sunil Dutt to be that single star who really worked hard for his constituency. The rest have done it for glamour and why she herself is out of it even after having beaten a man who has won six consecutive terms before she stood against him.

She has worked with many top directors in the industry but told me she thinks the women directors she has worked with are amazing. Her latest movie is a film directed by Aparna Sen, but she misses Deepa Mehta with whom she did Bollywood Hollywood the most for many reasons.

Moushumi has also had one of the longest marriages in the film industry and she told me that if she was to take a rebirth she’d want the same husband in the next birth as well. Babu was very young too when they got married and she admitted it isn’t easy for a man to live in a super-successful wife’s shadow. I spoke with Babu later and he came across as very warm and charming. He was very touched when I told him what Moushumi had said. Her two daughters Payal and Megha are more of friends because she had them very young. Payal chose the corporate world, but Megha has made her debut in films working under Tarun Mazumdar, the same director who discovered Moushumi, so the wheel turned a full circle for this lady.

Moushumi has been one of those rare actresses who rose to success even after marriage and kids. I can only think of Dimple Kapadia who made that kind of comeback and managed to do well. It’s usually pretty hard for married actresses to make a comeback after having kids. The Indian public just has a hard time accepting them as someone’s love interest and they become someone’s mom or bhabhi or sister in the public minds and those are the roles these actresses end up playing, if they try to return.

We had long discussions on the state of Bollywood and the younger generation. She feels people are just running but in a senseless, rudderless way. The craze to be in the Bombay film industry is a global phenomenon now with kids from all over the world coming to Bombay. Acting and modeling schools are opening in every nook and cranny of the city. Moushumi also added that the industry has become like a conveyer belt. In the old days actors became legends-today there is quantity but not much sustainable quality, and the grace and class that she saw in the old days when there was far less cutthroat competition, and lasting friendships is seriously missing.

When I told her Shashi Kapoor and she had the cutest smiles, she said laughed and said that her brain is a bit whacky as is her way of looking at life. But Shashi was her guru in many ways and her dentist used to tell her he had people coming to him asking him if he could fix their teeth and make their smile look like Moushumi’s! “ The other day I was at the mall and someone came up to me and asked-what is the secret of your gorgeous smile? I laughed and said-your eyes! The guy was taken aback, but its true-beauty lies in the eyes of the beholder!

Moushumi thinks she is very blessed because she has met mostly good people in her life and that she is truly God’s favorite child.

To hear Kavita’s complete exclusive interview with Moushumi Chatterjee go to www.kavitachhibber.com.

Akshardham and Sonu Niigaam Symbolize Unity in Diversity

Kavita Chhibber — Wed, 28 Nov 2007 00:58:48 EST

Its beauty and majesty inspires an awed silence, the serenity and good vibrations that emanate in its interiors make the few hours that you spend there truly an experience unlike any other you may have had at an edifice of this stature. I have always felt that when commercialism rears its ugly head, divine structures become devoid of celestial vibrations. Mercifully Akshardham so far seems to belie that observation.

On a beautiful morning in September when I stood outside this majestic edifice in Delhi, I thought to myself that Akshardham must be the most beautiful divine dream anyone could have dreamed.

Today, the majestic Akshardham temple stands on a 100 acre property symbolizing how the diversity of Indian culture, its architecture, its knowledge, and the bhakti bhava-this deep desire to give and to serve, within its portal can become a unifying force.

He is perhaps the most outstanding young singer to emerge out of India in recent times, and when Sonu Niigaam walked onto the stage to perform his fresh new interpretation of Mahatma Gandhi’s favorite hymn Vaishnav Janato, as part of the inauguration ceremonies to honor Drew Faust, the first woman to be installed as the 28th President of Harvard University in 371 years, it was the first time in the 371 years of Harvard history that any Indian artist had been invited to perform at the installation ceremonies.

I had written separate pieces on Akshardham and the historic event at Harvard, but in a strange way they feel interconnected-the beauty and grandeur of Akshardham and the beauty of the moment when Sonu Niigaam stepped on the Harvard stage and sang Vaishnav Janato, it became a surreal moment not just for him perhaps but also for all South Asians world over. Sonu Niigaam is a brilliant singer and while off and on he gets negative press, the more I get to know him the more I discover a very genuine, warm hearted, extremely bright man. There are very few singers with either his versatility or range of voice in his age group, and when he stepped on the Harvard stage, he became a symbol of a transnational world, that Drew Faust talked about in her inaugural speech.

There has always been a group of people who are critical of millions of dollars spent on building yet another temple, and I have been among them. Like many others, I feel that the same money could have been used to help the poor, living in the slum areas in India, and for better purpose for the thousands of underprivileged South Asians here in the US than building the umpteenth temple.

So I went to Akshardham with a skeptical mind. I thought it would be yet another commercialized tourist spot that Tirupathi in the south had become. It was the grandeur of the place that first strikes you obviously and pretty much takes your breath away. Millions and millions of man hours were devoted to building Akshardham, which is a modern miracle not just because of its splendor but also the record time in which it was built.

You walk in and very soon you start feeling the vibrations, and a sense of peace just embraces you. In a discussion with the founder of Isha Foundation Sadhguru Jaggi Vasudev, I had been told about the scientific way ancient temples were built and what the vibrations emanating from the temple did for meditators who went there. Akshardham is one such temple. The grandeur of all temples erected by the Swaminarayan organization is submerged by the amazing love and volunteerism that seems to pour from the million devotees world wide. The organization does outstanding work in so many areas.

Akshardham has become a symbol of the united diversity of humanity, as people from all over the world visit and mingle lovingly there. Artisans from all regions of India have donated their services and their craftsmanship to create this modern wonder. I wish we could be as loving and inclusive outside such serenity invoking monuments, in a world that seems to be filled with hatred and fear.

A full-length feature on Akshardham, including exclusive video footage: CLICK HERE

The Writer Speaks: Sachin Bhaumick on Hrishikesh Mukherjee, The Incomparable Babu Moshai

Kavita Chhibber — Wed, 7 Nov 2007 00:10:53 EST

He has had one of the most successful careers in Indian Cinema. Almost everything his pen touches turns into gold-or should I say a golden story, and yet when Sachin Bhaumick tried to catch the legendary Bimal Roy’s attention in the early days of his career, he got the cold shoulder. After trying vainly for months, Sachin Bhaumick turned to Hrishikesh Mukherjee who was himself recovering from his first directorial misadventure, Musafir which had failed to dazzle at the box office, in spite of critical acclaim.

The two Bengali babus met and the deal was that if Hrishi da’s next venture Anari did well, he will listen to Sachin da’s stories, if not then they would be both out in the cold. Sachin Bhaumick’s entry into Hrishikesh Mukherjee’s life couldn’t have been at a more auspicious moment. Anari became a runaway hit, and that paved the way for the making of Anuradha, a story written by Sachin Bhaumick. The two forged a friendship that lasted till the day Hrishi da died. His last film Jhoot Bole Kauva Katey was also penned by Sachin Bhaumick.

In this tribute series to Hrishi da, I can honestly say that Sachin Bhaumick has been the find of the year for me. While I had always known what a super successful writer he was, it was only when I got to know him over many conversations that I discovered what a funny, entertaining story teller he is. His memory like that of Hrishi da is phenomenal, in spite of being in his seventies. Hrishi da’s daughter in law Swati had told me that Sachin Bhaumick was an integral part of the family for them and that if I needed any help, I could call him any time. I did and I have to say, his kindness, willingness to always help out, his patience and warmth have truly touched my heart.

The memory lane to Hrishikesh Mukherjee’s life was strewn with special memories, crystal clear in Sachin da’s (as I fondly call him) mind. Sachin da mentioned how when he was struggling, he’d show up at Hrishi da’s house at lunch time daily and the main attraction was the food! “Hrishi da’s very sharp second daughter asked me one day, uncle why do you always show up at lunch time every day?” Hrishi da scolded her but she had indeed caught us!”

Sachin Bhaumick shared interesting stories of how they finally made Anuradha, it won the President’s gold medal, as the National awards were called then, for best film of 1960. While Balraj Sahni the hero was a very well educated, superbly trained actor, the heroine, the ethereal looking Leela Naidu, born of an Indo-French union, was a newcomer and spoke only French and English. Each time she tried speaking people would burst out laughing. But Naidu did not give up. It took her over a month, recalls Sachin Bhaumick and Hrishi da’s strict orders to everyone not to laugh at her and the lovely actress dubbed all the dialogues herself.

The music of Anuradha was another interesting story. Since the film was based on the life of a singer, Hrishi da wanted a classical musician to do the composition. Since his brother was very close to Bade Ghulam Ali, the maestro was approached. The eccentric singer demanded one rupee more than the famed music directors Shankar-Jaikishan. Hrishi da could not afford his price says Sachin Bhaumick who was then sent to the sitar maestro Pt. Ravi Shankar who came to their rescue. Lata Mangeshkar didn’t charge a single penny for the songs, and the music of Anuradha went on to be ranked among the best compositions in the last 100 years of Indian cinema.

So off they went to Berlin for the film festival with Anuradha as one of the entries. There Satyajit Ray on hearing that Sachin Bhaumick (whose Bengali novel he had illustrated some years ago) was writing for Hindi films, said very tongue in cheek, “ Hindi film mein kahani hota hai kya?’ (Do Hindi films have a story?). “I told him indeed most don’t have a story but I’m trying to be different,” recalls Sachin da with a laugh. “He gave me his blessings and said he was confident that between Hrishikesh and me, we will do well. He had a lot of respect for Hrishida.”

Satyajit Ray also encouraged Sachin Bhaumick to watch as many foreign films as he could at the festival. A film by Akira Kurosawa struck Sachin Bhaumick’s imagination and he narrated the story to Hrishikesh Mukherjee. Hrishi da was very enamored by the story about a man stricken with cancer who decides to bring joy to everyone for the remaining months of his life and that gave birth to Anand.

Raj Kapoor was the first choice for the film, but Sachin Bhaumick said it would not inspire sympathy if the hero was a man past middle age who had lived his life. The next choice was singer Kishore Kumar but Sachin da disagreed on the grounds that people thiought of Kishore Kumar as an out and out comedian. He asked Hrishi da to choose a young popular star. Rajesh Khanna was the choice and the rest is history.

Sachin Bhaumick says Hrishi da never catered to formula films. On one hand he was making movies with top stars, on the other he made “Mem didi” because he loved Sachin Da’s story of an Anglo Indian middle aged woman, who scrounges and saves and sends the daughter of her dead employers to the best private boarding school while giving the young girl the impression that her parents had left her a fortune. While living in a chawl she starts on the wrong foot with two gangsters, who eventually adopt her as their older sister and call her Mem didi. The veteran actress the late Lalita Pawar played the lead role. “I told Hrishi da, on one hand you are making movies with all these big stars, why do you want to make this film? It’s not exactly box office material. But he said one should not just always be focused on that. I like the story and I will make the film, and he did. Look at the roles he gave Dharamendra, who had this he-man image of a macho guy who beat up dozens and was hot headed. Hrishi da gave him an out and out comedy like Chupke Chupke, and did the same with Amitabh Bachchan who had only done serious, intense roles in Anand, Namakharam, Jurmana and Bemisaal.”

Sachin Bhaumick also laughingly recalls Amol Palekar’s dismay when a Kurta stitched for him arrived and was pretty short in size. Amol was acting in the block buster Golmaal, also written by Sachin Bhaumick. Hrishikesh Mukherjee refused to get a new one made. “ Hrishi da was so economical. Any other director would have yelled at the tailor and got a new one made. Instead he told Amol to wear that Kurta and created this very funny dialogue where Utpal Dutt asks him, “why do you wear such a short Kurta and Hrishi da’s dialogue was that it was meant to just be an instrument of modesty and not fashion-and if every man saved a few inches off their kurtas they’d solve the clothing problem of so many poor in the country!”

Sachin da also said that any one who ever worked with Hrishi da just fell for him. They would ask after him all the time. “It didn’t matter who it was, be it Dilip Kumar, Dev Anand, Amitabh Bachchan, they all asked about his films, how he was doing. Rajesh Khanna used to say “I will cancel every one else’s dates if I can get a film with Hrishi da. No one ever charged him their market price. Amitabh used to get 45 lakhs, Hrishi da gave him 15. Amitabh never quoted him his price. He just told him to give him whatever he could because Amitabh knew Hrishi da’s films were made on a shoe string budget and even the buyers didn’t pay that much.”

Sachin Bhaumick said that many people didn’t realize what a gifted writer Hrishi da was. “He had tremendous contribution to the dialogues of Anand and many of them were written by him. His skills as an editor were so formidable, there was always a queue of top directors wanting their films edited by Hrishi da. Manmohan Desai’s Coolie was edited by Hrishi da, as were many award winning and very popular films.”

Sachin Bhaumick says if given the choice, he would have loved to have written the story of Satyakam, though Anand was his personal favorite. “But Hrishi da always said, there is no film like my Satyakam. Dharamendra too was very proud of having produced that film even though he lost money on it, but it received a lot of critical acclaim.”

No conversation could ever be complete without the music in Hrishi da’s films. Sachin Bhaumick says Hrishi da had a clear preference for Bengali music directors because of the melody in their composition. He felt they understood what he wanted very easily. Stories of a miserly and sedate S.D Burman who would palm off four packets of peanuts claiming how nutritious they were and give them to Hrishi da and his team while he’d scurry off to have lunch, made me laugh. “E'very other music director would feed us if it was past lunch time, but S.D. would say- Hrishi I will give you something which is very good and full of vitamins and hand us those peanut packets!' On the contrary, R.D was exceedingly vibrant, generous and full of life. Once his tabla player got wet in the rain because he couldn’t catch a bus and R.D. gifted him one of his cars. He spent so much on me as well. Hrishi da gave Salil Chaudhry a new lease of life with Anand. He was not doing well and look at the amazing music he gave in the film. Look at Hemant Kumar’s music in Anupama. That was another film I like very much.”

Shammi Kapoor and Hrishikesh Mukherjee never worked together, but the duo became very good friends when internet entered India, according to Sachin Bhaumick. “They were both computer junkies and even established an association for cyber surfers, with one becoming the President, another becoming the secretary! They kept sending stuff across email to each other. I was attending Shammi’s 76th birthday last month and he was remembering Hrishi da and what great cyber friends they had become.”

Sachin Bhaumick says Hrishi da was very unwell when his last film Jhoot Bole was made. It was to fulfill the dream of a producer who had always wanted to make a film with Hrishi da. Aamir Khan was his first choice for the film for the lead role which Anil Kapoor played later with Juhi Chawla as his heroine.

“Aamir came home, even played chess with Hrishi da but much as he wanted so badly to work with him, the story didn’t appeal to Aamir. Hrishi da made that film on a wheel chair and he was very unwell. I didn’t think the story was fresh but he still went ahead and made it. Of course on the positive side, he ended up making great friends with Amrish Puri and grew very fond of Juhi.”

Like everyone else who has worked with Hrishi, da Sachin Bhaumick too says the same thing-that he had the best time in Hrishi da’s company.

And that makes me say what I have always believed about Hrishi da-this Babu Moshai was incomparable.

Please click here for "The Man with the Midas Pen", Part V of KavitaChhibber.com’s special Webcast tribute to Hrishikesh Mukherjee.

Part IV: "Hrishikesh Mukherjee: The Directors Cut" written by Kavita.

Part III: "Hrishikesh Mukherjee: Kuch Dil Ne Kaha (The Heart Speaks)" written by Kavita.

Part II: "Hrishikesh Mukherjee: Down Melody Lane" written by Kavita.

Part I: "Hrishikesh Mukherjee: Timeless Stories that Warm the Heart" written by Kavita.

The Director's Cut - Where Reel Meets the Real: The Genius of Hrishikesh Mukherjee

Kavita Chhibber — Wed, 24 Oct 2007 00:56:16 EDT

“It is so simple to be happy, but it is so difficult to be simple”- from Hrishikesh Mukherjee’s film Bawarchi.

Chess is a game of complex psychological twists and turns and clever moves, and Hrishikesh Mukherjee was a master chess player. He was also a brilliant academician, a scientist, and a gold medal winning sitar player among other things. Hrishikesh Mukherjee also went on to become one of the top most editors in Indian cinema, a very gifted writer and a legendary director.

Hrishi da supposedly based the character of Rajesh Khanna in Bawarchi on his own father, a chemist who used to concoct all kinds of things from Kohl for the ladies, to fire crackers in his lab, but Hrishi da could have very well based it on himself because he was so good at so much.

For someone who just sat in with a friend to first absorb and then advice on film editing, Hrishi da went on to become one of India’s most brilliant editors, deeply admired by genius film makers like Bimal Roy. Roy gave him a free hand in the very first film Hrishi da edited for him - Do Bigha Zameen where Hrishi da experimented successfuly with some new techniques that later were to be picked up by others and became the hallmark of his work. Many other top notch film makers came to him and asked him to take a look at their films. His admirers included the likes of the great Satyajit Ray, Dilip Kumar and Raj Kapoor.

While the legendary actor Dilip Kumar was the one who Hrishi da credits as the man because of whom he became a film director, Raj Kapoor too became a close friend who along with Dilip Sahib stood by him even when his first directorial venture Musafir bombed at the box office. Dilip Kumar had predicted that the film would be a box office disaster because of the unusual subject matter-of a house being the centre that linked several stories together. “ Tu marega(You’ll get butchered) but I will do the movie free for you, go ahead,” said Dilip Kumar to Hrishi da.

After Musafir bombed, no one wanted the young director near them, and the phenomenally successful writer Sachin Bhaumick told me that when he approached Hrishi da with his first ever story for a film which was later to become the film Anuradha, a beleaguered Hrishi da told him, if his next film was a hit he would definitely hear Sachin ji’s story and help out; if he flopped that would be the end of his directorial career and then God help them both.

Dilip Kumar and Raj Kapoor had used their clout to get the producers to agree to let Hrishi da direct the next film Anari. The film was a runaway success and the rest is history.

For a man who so easily mastered the complex chess games and looked at complex human emotions, Hrishi da’s story telling was surprisingly simple and may be that is why it appealed to all strata of society. He was the producer’s director says everyone. He leaned towards what was most economical, and never wasted any raw stock. He shot often in his own house, by changing the color of the walls, rearranging furniture, and making the same rooms look utterly different according to Rakesh Roshan and Nitin Mukesh.

His films had remarkable music, but he hated wasting time and extra money on picturisation. The film Anand, says singer Nitin Mukesh who has worked with Hrishi da in so many films as an assistant director, was made in less than 30 days. “Zindagi kaisi hai paheli” one of the biggest chart busters was filmed by just telling Rajesh Khanna - tum bas chalta raho,(you just keep walking) in Hrishi da’s cute Hindi-Bengali accent and walk Rajesh Khanna did into the hearts of millions each time any of Anand’s songs picturised on him played or appeared on the screen.

Subhash Ghai who has had a very long reign at the top and has emerged as one of India’s most successful directors, says he admired Hrishi da as a superb editor and a master storyteller. As a youngster looking for a career in films, Subhash Ghai often found himself in Hrishi da’s house asking for work, and ending up learning a lot in each visit. It was Hrishi da who as Chairman of the jury was instrumental in getting the Filmfare Best Director’s award for Subhash Ghai for his film Saudagar, in spite of there being better films that year according to Ghai. It was because Hrishi da was able to recognize and appreciate what a phenomenal effort it was to bring out stellar performances out of two new comers, Manisha Koirala and Vivek Mushran on one hand, and the legends Dilip Kumar and Raj Kumar on the other.

Today Ghai’s film institute Whistling Woods teaches students how to make movies like Hrishikesh Mukherjee did among other things, says the film maker.

Another super director Rakesh Roshan who started his career as an assistant director as well, says his film Khudgarz was a total take off on Hrishi da’s film Namak haram and did very well.

Rakesh Roshan said as an actor initially he would get confused when Hrishi da would suddenly say to him, go change your shirt, look this way or that way but when Roshan who worked in Hrishi da’s film Khubsoorat as an actor, watched the final rushes he would see how each time Hrishi da had taken the perfect shot. Rakesh Roshan also said he has worked with so many directors but none who were as sharp and clear in what they wanted as Hrishikesh Mukherjee.

Director par excellence, Nagesh Kukunoor, said he truly realized what Hrishi da meant to him when he became a film director and people started asking him who were the film makers he admired most, and the more he thought about it the more he realized Hrishi da was the greatest film maker in India in his eyes. Subhash Ghai has dabbled successfully in so many genres but said he could not have touched Chupke Chupke, or done a better job. Nagesh said Bawarchi was the perfect film and he couldn’t have touched it as well. Nitin Mukesh has been with Hrishi da in his peak years but even he regrets not being a part of Anupama and Rakesh Roshan says he must have seen Namak haram a hundred times at least.

I had an interesting conversation with Rajeev Pandya, whose father was a close friend and produced some of Hrishi da’s films. Later Rajeev went to work with Hrishida. Rajeev spoke about the amazing contribution Hrishi da made not just as a director, but how he gave many actors new persona and helped the good ones hone their skills even further. He was very supportive of new comers and kind to them. Rajeev also talked about stellar film directors, writers who shared strong relationships with Hrishi da. Gulzar an amazing poet, lyricist and director had a wonderful guru in Hrishi da and holds Hrishi da in high esteem to this day, says Rajeev and Nitin Mukesh seconds that.

“You will not find a single person who will have anything else but good things to say about Hrishi da,” says Nitin Mukesh.

Hrishi da's movies created stars. How else can you explain Ashok Kumar as the hero of Aashirwad and Lalita Pawar as the heroine of Mem didi? How can you explain Bindu in a sympathetic, soft role in Abhimaan and the macho man Dharmendra in soft sensitive portrayals like the ones he did in Anupama and Satyakam or as a comic actor in Chupke Chupke, or the parallel role Asrani played in Abhimaan. Raza Murad who has done over 450 films to date is still remembered as the Alam of Namak haram. Many think Rajesh Khanna reached his peak in Anand, Bawarchi and Namak haram and that Amitabh Bachchan is considered a serious actor only because of the work he did with Hrishi da.

I’m told that most superstars never talked money with Hrishi da. Hrishi da told Rajesh Khanna he couldn’t pay him a dime for Anand, and Rajesh Khanna after the initial disbelief at that comment was so mesmerized by the story of Anand, he started pulling out dates from all over the place, sneaking into Hrishi da’s sets at every given opportunity to finish Anand. “There came a point when Rajesh would be seen near the sets and I’d say run, he’s again here to give some more free dates,” said Hrishi da with a laugh in an interview!

These mega stars, some of whom have become legends, gravitated towards Hrishida with such passion because they too knew that while it was indeed very difficulty to be simple, Hrishida’s sets, and his stories brought them closest to the fragrance of the simple life that they had left far behind in their quest for aiming for the stars. Hrishida not only had his own feet firmly on the ground, his kind, compassionate, non judgmental and all embracing nature always gave them a haven they could turn to whenever they needed a reality check.

They knew that in Hrishikesh Mukherjee’s world, both the reel and the real were not far from the truth-and each other.

Please click here for "The Directors’ Cut", Part IV of KavitaChhibber.com’s special Webcast tribute to Hrishikesh Mukherjee.

Part III: "Hrishikesh Mukherjee: Kuch Dil Ne Kaha (The Heart Speaks)" written by Kavita.

Part II: "Hrishikesh Mukherjee: Down Melody Lane" written by Kavita.

Part I: "Hrishikesh Mukherjee: Timeless Stories that Warm the Heart" written by Kavita.

Hrishikesh Mukherjee: Kuch Dil Ne Kaha (The Heart Speaks)

Kavita Chhibber — Wed, 17 Oct 2007 00:12:26 EDT

When I look at some of Hrishi-da’s early films, I’m struck by his liberalism and pragmatism.

Anuradha, made in 1960, talks about the sacrifice of a famous singer for her doctor husband. She feels a renewed attraction for her lover when he walks back into her life because her music has been so neglected, her sacrifice seemingly in vain. Recently I sat watching Satyakam again - a film that Hrishikesh Mukherjee said was his swan song - a film that didn’t do well commercially, a film that Hrishi-da believed should have got the top-most honors for Dharamendra as an actor, a film that everyone finds hard to watch and hard to resist at the same time. Satyakam, also made in the late sixties, shows a well established, highly educated man marry a feisty rape victim and adopt her illegitimate son, bringing initial rejection but final acceptance from his elders. Saanjh aur Sawera shows an unwed girl masquerading as someone else’s wife, to save her uncle’s honor, and in Chhaya a girl found on his doorstep is not rejected even when her wealthy and well-known father finds out she is the daughter of his maid, 18 years later.

As I work on this series, I’m revisiting so many of Hrishi-da’s films, discovering some more stellar music, smiling ruefully at the innocence of those days, when people were bound by their circumstances in one powerful community, where your neighbor was family, and your pain was theirs and vice versa. At the end of every story, there was hope and redemption, and even in death, Hrishi da’s characters lived on through their deeds.

As actor Farooque Sheikh says in my webcast this week, there was no truly evil character in Hrishi da’s films, and that was because of the kind of man Hrishi da was himself. Everyone who knew him has consistently said they never saw him speak ill of anyone, and he always found something nice to say about everyone.

My conversations with screen legend Sharmila Tagore, actors par excellence Deepti Naval, Farooque Sheikh and Raj Babbar for this webcast, were enlightening in some parts and in others they reinforced my respect for a filmmaker who not only made movies with a heart, but was all heart himself. It means a lot to me because I too follow my heart, and believe that decisions made that way, always pan out if the intention is pure.

Sharmila Tagore mentioned that for her, Anupama, the first film she worked in for Hrishi-da will always be the most special because the innocence she projected as a suppressed young motherless child, is something she can never replicate again. She appreciates Satyakam because it was a thinking film and gave her a lot of scope for acting and Chupke Chupke was a blast with so many fun people to work with. Dharamendra was her co-star in all the films, and Sharmila Tagore remembered how he was the perfect combination of masculinity and gentleness. I was joking with her that he made such a handsome cancer patient that we end up crying even harder each time we see the film. She said Dharamendra was so accommodating that one time he worked all through the night, so she could leave to see her husband and then boyfriend Nawab of Pataudi in Calcutta.

Sharmila ji also talked about Hrishi-da’s work being his life, but that like most directors, and Bengali ones for that matter, Hrishi-da was much more than just a filmmaker. His multi-dimensional personality made him well versed in so many different things that one could talk on a diverse variety of topics. He had a terrific sense of humor and quite a collection of jokes, some very risqué as well!

He was from the old school of filmmakers said Sharmila Tagore and I thought what a golden era that was of the great Bimal Roy, Satyajit Ray, amazing lyricists like Shailendra, the great Kaifi Azmi, the immensely talented Gulzar to name just a few in a long list. The era also included wonderful screenplay and story writers like the legendary Sachin Bhaumick (who is still going strong, and who wrote many of Hrishi da’s block busters) stellar musicians like Pt. Ravi Shankar, Salil Chaudhry, S.D Burman, Shankar Jaikishan, R.D Burman and stellar singers like Lata Mangeshkar, Asha Bhosle, Rafi, Manna Dey, Mukesh, Talat Mehmood and, of course, Kishore Kumar.

More memories flowed from the four actors - stories of his kindness when Raj Babbar was running from Bombay to Lokhandwala and back having over- committed himself, but not wanting to give up on a Hrishikesh Mukherjee film. Hrishi-da told him on the fourth day of this running back and forth, that he could see Raj ji was very tired and that he wanted him to go to sleep while others finished the shooting.

“I was really nervous that Hrishi-da had caught on to what I was up to," he said. Raj ji also talks about the fact that when he came to Bombay he knew no one but made a bee line for Hrishi-da because he had heard that Hrishi-da helped actors from the theater. He asked to work as his assistant but Hrishi-da said he already had so many and that Raj ji should stick to acting. It gave the handsome Punjabi actor, hope that if Hrishi-da saw some star material in him may be he should indeed stick to acting.

It was some time before he got the opportunity to act with the great filmmaker, but it was always a memorable experience. His naturalness always made Raj Babbar grab any opportunity no matter how small that came by to act under him. Raj Babbar also spoke of the confidence Hrishi-da inspired in an actor. He created performers, said Raj Babbar, because whenever anyone worked under him, they came back believing they had really performed. In his last days, though they could not meet that often, the actor was always inspired by the cheerful demeanor Hrishi-da sported for the world, always underplaying his ill health.

I heard stories of how Hrishi-da let Sharmila Tagore keep her bouffant in Anupama against his wishes but punished his favorite Dharamendra when he showed up late by picturising an entire song without him and showing him coming out of the men’s’ toilet in the ending scene! Dharam ji I’m told was never late after that.

More stories of how Deepti Naval would always ask for her make-up man just as Hrishi-da called for action. Since he was very fond of her he would say exasperatedly - “Deepti child, make up your mind before you mind your make-up.”

Deepti Naval says her relationship with Hrishi-da went way beyond the two films she did with him. He was the father figure she could always turn to, with her problems or for guidance. He was the reason she wanted to become an actress in the first place and was able to convince her parents only because she showed them Hrishi-da’s films and told them that was the kind of cinema she wanted to be a part of. Hrishi da always encouraged her and told her not to give up, that there was a place for an actor with her sensibilities, and that meant a lot to her.

Farooque Sheikh told me of how honorable Hrishi-da was as well as his producer Mr. J. Pandya. Hrishi-da asked Farooque Sheikh to make a guest appearance in Rang Birangi because he was trying to help out Mr. Pandya who had not done well with an earlier film also directed by Hrishi-da. Hrishi-da paid Farooque Sheikh double the amount they had originally agreed upon, because his role was increased to twice what it was. Raj Babbar told me how in spite of being a genius at his craft Hrishi-da indulged a Canadian cameraman during the shooting of Namumkin, because of some regulation and even had the cameraman eating out of his hands.

The most telling statement again came from Raj Babbar when he said that not only did working with Hrishi-da made an actor self-confident, it totally spoilt it for the actor when it came to working for anyone else. “He never made us feel that he was this great director. He always made us think he was learning something from us.”

For me, the most moving experience has been the fact that people speak of Hrishi-da with so much love. You can speak of a great artist’s craft with reverence, but love and respect have to be earned, and just for that Hrishi-da lived a priceless and incomparable life.

Please click here for "Kuch Dil Ne Kaha: The Heart Speaks", Part III of KavitaChhibber.com’s special Webcast tribute to Hrishikesh Mukherjee.

Part II: "Hrishikesh Mukherjee: Down Melody Lane" written by Kavita.

Part I: "Hrishikesh Mukherjee: Timeless Stories that Warm the Heart" written by Kavita.

Down Melody Lane: Reconnecting with Music for the Soul through Hrishikesh Mukherjee films

Kavita Chhibber — Sun, 7 Oct 2007 13:46:05 EDT

It is true that while film is a visual medium, Indian cinema is often defined by the music it presents within its realm. I don't know about others but each time I come out of a cinema hall, the first thing I hum is the music.

I have to admit though that in recent years I'm beginning to fast forward a lot of movie songs in films because of the poor quality of lyrics or melody.

Today the mediocrity of most music that is being churned out is camouflaged by heavy orchestration, a lot of hoopla and hype and many companies are spending mega bucks to promote their albums. And yet most singers worth their salt know what works what doesn't.

When I asked Asha Bhosle what she thought of today's music and singers, she had said, "Not much really. In those days apart from having great musicians we had amazing songwriters, that is why those melodies are evergreen. Today for how long are you going to listen to songs like "Kambaqht Ishq" and "Ishq Kamina?" In addition, television has given mediocre music an extended lease on life. A song is aired, you can see it is average, but when it is aired repeatedly, you start accepting it, but it never ceases to amaze me how people with such limited knowledge of music or little talent can go and release albums at the drop of the hat!"

Sonu Niigaam who has become quite choosy about what he wants to sing adds that, "The world has changed and marketing is playing a big role in music economics. These days there is lesser and lesser focus on integrity, talent and hard work. If you can market yourself well, you can be a star,"

When I asked the legendary Manna Dey who can still give a youngster a run for their money, at 87 why he was not singing in films, he answered "Can you single out one composer today who is the caliber of the musicians of my times or knows what he is doing? Whatever is happening in the field of music is very unhealthy. Thanks to music videos anyone and every one can become a singer, so one good thing has happened, even if they don't know how to, every one sings! When there are songs like Main to Seeti Baja Raha Tha, Bhelpuri Kha Raha tha, Tujhe Mirchi Lagi to Main Kya Karoon, ("I was eating bhelpuri and whistling and if you thought the chilies were too spicy what can I do?") what do you expect? Even regional music is cloning itself on Bollywood music."

That is why it has been such a pleasure to revisit Hrishikesh Mukherjee's life and work and do this segment on music from his films.

I have been speaking to various actors, singers, writers and people like you and me, and the thing that stands out so clearly is how while everyone talks of Hrishi da's editorial and directorial talent, in the same breath they also reverently mention the stellar music in his films.

He is perhaps one director, whose films had music flowing like a river of rich, enchanting, timeless melody into the ocean of visuals, coloring the canvas of his films in warm, uplifting hues. From the stellar unforgettable music of Anuradha by Pandit Ravi Shankar, to the heart melting lyrics and melodies of "Anupama," to the mesmerizing music of "Abhimaan" and "Anand," and who can forget the soulful "Jeevan se lambe hain bandhu, yeh jeevan ke rastey", or the heartbreaking "ik tha bachpan" from "Ashirwad" - Hrishi da's films had outstanding music. Who can forget the unforgettable number from "Namakharam" - "Main Shayar badnam" and the impish "Aayo kahan se ghanshyam" from "Buddha mil gaya"? Indeed every Hrishikesh Mukherjee film was sprinkled with gems that were embellished with good lyrics and soulful melodies.

Many people don't know that Hrishikesh Mukherjee and his brother Kashinath Mukherjee were very accomplished sitar players and the whole family comprises of academic super achievers.

His son Pratip had mentioned to me that "Baba won the gold medal at a competition for young sitarists. Vilayat Khan Sahib and Amir Khan taught his brother and Baba would meet Vilayat Khan Sahib all the time." Pratip would make cds of classical music and Hrishi da would listen to those cds while the dialysis was going on, in the last months of his life. Towards the end Pratip introduced him to Shujaat Khan's folk music. "His CD Lajo Lajo was played even at our daughter Priyanka's wedding. In fact when I took the CD to him, being a hard core classical music lover he was hesitant and said - are you sure I should listen to it? When he did he was hooked. He also listened to other CDs of Shujaat Khan's singing all the time and just fell in love with his singing."

When I shared that with Shujaat Khan he was deeply touched and told me that to have a man who is considered not only among the greatest film directors but also the greatest human beings say that about his music meant more to him that any amount of success, fame or money he could have made. Shujaat pointed out that what really stood out in his mind was the fact that the lyrics and melody of songs in Hrishi da's films were went hand in hand. Often you will see good melody but poor lyrics and at others good lyrics not supported by good music. Hrishi da was the rare film maker whose film songs had both, says Shujaat Khan. He singled out songs from Anand and Main shayar badnaam from Namakharam as his personal favorites.

Pandit Ravi Shankar recalls that when he met Hrishi da he took to him immediately because of his warmth and loving nature. " He called me Robu da,' recalls Ravi ji and added that the making of Anuradha was such a pleasure, also because of the presence of lyricist par excellence Shailendra, and the nightingale of India Lata Mangeshkar. I actually got the eternal romantic Ravi ji to admit first time on record that he had the biggest crush on Lata ji when he met her. "She looked so beautiful and her voice just killed me," said Ravi ji, admitting that he was really attracted to her. He says even today when he hears her voice on the phone he misses a heart beat, and that he knows no one who has enthralled millions of listeners for so many years. "Lata will be Lata. There is no one like her."

The recording for those four evergreen songs from "Anuradha" was done in two days, and he recalls Lata ji climbing four floors without a lift to come to see him and they all sat there together - Lata Ji, Raviji, Hrishi da and Shailendra to put together the lyrics and compositions for " Kaise din beetey, Kaise beeti ratiyan, sanware, saanware, jane kaise sapnon mein kho gayi ankhiyaan and hai re who din kyon na aaye. The composition for Anuradha has been consistently ranked among the finest in the last 100 years of film music.

I have to thank Pt Ravi Shankar's lovely wife Sukanya who not only made sure this interview happened in spite of a very short notice and their hectic travels across the globe, but she is the one who mischievously told me about Ravi ji's crush on Lata ji . Sukanya ji loves Lata ji just as much, and of course we both had a field day teasing the maestro!

Lata ji has the same kind of love and affection for Ravi ji and told me that Anuradha remained her personal favorite as well when it came to songs from Hrishi da 's film. Lata ji's association with Hrishi da began in the 50s when he was the editor and writer for the great Bimal Roy's film Do Beegha zamin. When Hrishi da directed his first film Musafir, Lata ji sang a duet with the legendary Dilip Kumar in it and after that she has sung for every one of Hrishi da's films.

While her association with Hrishi da was limited to meeting at work, Lata ji says she knows that he had deep love and admiration for her, and he would come to wish her even when she was recording for someone else and he happened to be visiting the studio. She loves every one of his films because she saw a social message and something positive, something good emerging out of each movie. Lata ji said Anuradha has special memories for her because the story revolved around music and the life of a singer who left a high profile career for love and marriage with an idealistic doctor. He chose to live in a village as she struggled with being a home maker and sacrificing her love for music. The story touched Lata ji's heart and the fact that two of her favorite people, Ravi ji and Hrishi da were an intrinsic part of it made it even more memorable.

While Ravi ji loves "Kaise din beetey" from the film Lata ji said "Jaane kaise sapnon mein kho gayi ankiyan" was a very tough song to sing and her favorite number from the film is "Hai re who din kyon na aye." She said she can recall very vividly even now how Ravi ji sat with her and listened as she rehearsed and told her how to sing each line and at the end of it he patted her back and told her it went off very well. Lata ji also talks about the deep understanding Hrishi da had of music. "Music was his life; He often talked about various ragas with me, asking if I had learnt a particular raga or what something in a raga meant and so on." Lata ji recalled how for "sanware sanware", Ravi ji had recorded the music and left for the US. It was Hrishi da and she who went to the studio and recorded the song without anyone else being there. That was due to his depth of understanding music.

The legendary Manna Dey mentioned how Bade Ghulam Ali and Amir Khan visited the Mukherjee home and that he was the proud possessor of some rare recordings given to him by Hrishi da's younger brother Dwarkanath or Chotu, as Manna Dey fondly called him, to cherish and enjoy. Manna Dey said he would meet Hrishi da during recordings and he was introduced to him by R.D. Burman. But as he got to know Hrishi da he realized what a terrific sense of humor he had. Manna Dey was also very impressed by his films and said he loved watching all of them.

At one point of time Manna Dey wanted to make a film and he used Hrishi da's movies to learn from them. Manna Dey talked about the song "Jeevan se lambe hain bandhu, yeh jeevan ke rastey," from Hrishida's film "Ashirwad". He said while it was music director Vasant Desai who gave him that song to sing, the amazing way Hrishi da filmed the sequence, moved Manna Dey to tears. The legendary singer regrets the fact that ill health slowed down Hrishi da and that he passed away so soon. There was a lot he had to offer the world. "He never made films like the other Bbollywood people. Hrishikesh had his own stamp. He used his music for his films. He didn't use his films for his music." It is a very telling statement, because today it seems to be the opposite.

Singing superstar Sonu Niigaam thoughtfully sent me an email reminding me that he started his career officially in the Bombay film industry with a song in Hrishi da's last venture, a TV serial called Talaash. In spite of a hectic schedule, and having been away from home for several months, Sonu who had just reached Bombay, came out of a recording studio just to do his segment on this web cast. Sonu told me the film Ashirwaad had been his personal favorite, 'I have seen this film at least 10 times and cried each time." Sonu said he considers it a lucky omen that he began his career with a song for Hrishi da and as he consolidated his position in the film industry he began to understand and value Hrishida in so many different ways. His biggest regret was the fact that by the time he arrived in the industry Hrishi da was not keeping good health and was not making films. "Otherwise I would have sat at his door and asked him to let me work in one of his films."

Sonu says he firmly believes whatever Amitabh Bachchan is today as an actor is because of the roles that Hrishi da gave him. He was so lucky to have such a strong foundation, says Sonu, to have such a superb teacher so early on his career. "Today if Amitabh Bachchan is taken as a serious actor, and the depth that you see in his performance are all due to Hrish da. Had he just worked with Prakash Mehra and Manmohan Desai, he would never have been taken that seriously." Sonu said personally if he could he would have loved to do Ashok Kumar's role in Ashirwad.

Lata ji made my day when she told me that the song I liked the most in "Abhimaan" - "Nadiya kinare" was also a personal favorite of hers. I asked Ravi ji jokingly did he regret not doing more films with Hrishi da and with his usual humility he laughed and said "Not really because Hrishi da ended up doing such stellar work with S.D. and R.D Burman."

Hrishi da's son Pratip says he feels the songs of Anuradha remained Hrishi da's personal favorites till the end, though Swati his daughter in law mentioned that she often heard him sing,' Sun sun sun didi tere liye ik rishta aya hai," from Khubsoorat.

Hrishi da was a very economical director, and as Amitabh Bachchan mentioned in the first segment, he edited everything in his mind. Nitin Mukesh mentioned how for Anand he just told Rajesh Khanna to keep walking on the beach. A flummoxed Rajesh Khanna did as he was told. When he saw the actual song Zindagi kaisi hai paheli, he was astounded. Hrishi da had added so much more to that walk-the perfect sunset, balloons, and the hustle bustle of the beach that it was a far cry from what anyone could have imagined.

While "Anuradha", "Anand", "Anupama", "Abhimaan" and "Namakharam" were films that were repeatedly mentioned by everyone when they were asked to pick their favorite songs, there are so many gems that shimmer through. Lata ji revived some lovely memories when she talked about two songs she loved from "Alaap", a movie Amitabh Bachchan too is very fond of but it wasn't a commercial hit. "Mata Saraswati Sharada" is such an amazing rendition - just the alaap by Lata ji gave me chills. The second song she loves is "Kahe Manva gaye hamra"... it has such a soft, romantic lilt to it. "Chand Akela" and "Koi gaata main so jaata" are again outstanding numbers. "Anari" is another film which has lovely numbers and Mukesh outdid himself and the music of Shankar Jaikishan was amazing. Look at Asli Nkali - Tujhe jeevan kid or se bandh liya hai, tera mera pyar amar, or Chupke Chupke - every song had the sweetest melody and Sonu chose the fun filled "Saregama" as his personal favorite. The list is never ending.

This segment has been a pleasure to present, because not only did I get to talk to legendary and immensely gifted musicians, I also got a front seat view of the man who made stellar music an intrinsic part of his film making. I'd like to thank Pt Ravi Shankar for talking to me and Sukanya Shankar his lovely wife for making this interview happen at a very short notice in between their hectic traveling, Lata Mangeshkar for being so warm and accessible, and contrary to her serious image, a lot of fun to talk to. Many thanks to Manna Dey who was in the middle of shifting houses and still took the time to do the interview, and Shujaat Khan who was also traveling when I called him. Sonu Niigaam who has such a full plate that I get exhausted just looking at his itinerary. He has been away from home and will be back in the US to perform at Harvard during the ceremonies to swear in Drew Faust Harvard's first woman President. Sonu is the first Indian artist to be invited, ever, at Harvard, and he was not just sweet enough to run out of a recording to do this interview but also sang two songs for me on his cell phone, not really bothering about the logistics. Its shows his warmth and self confidence as a singer, but more than that the love Hrishi da still evokes in the heart of all these artists who are either already legends or on their way to becoming future legends. I'm reminded of Amit ji's last dialogue in Anand "Anand Mara nahin. Anand martey nahin." And Hrishi da lives on in all our hearts, through his stories and the melodies that evoke a song in our hearts and a smile on our lips.

I'll be back next week with more interviews, more memories.

Please click here for "Down Melody Lane": Part II of KavitaChhibber.com's Special Webcast Tribute to Hrishikesh Mukherjee - Listen to Kavita's conversations with the interviewees featured in this article.

Part I: "Hrishikesh Mukherjee: Timeless Stories that Warm the Heart" written by Kavita.

Remembering Hrishikesh Mukherjee; Timeless Stories that Warm the Heart

Kavita Chhibber — Mon, 1 Oct 2007 00:52:45 EDT

"I don't consider myself big enough to give people a message. But people should remain happy." - Hrishikesh Mukherjee

He would have turned 85 on 30th September - the man of the masses whose films showcased the middle class of India and humanity with all its quirks and idiosyncrasies. Perhaps the most wonderful thing about doing a tribute to Hrishikesh Mukherjee is that I get to hear some lovely stories about a man and film maker I have loved and admired so much, from those who worked with him and knew him closely. Better still, I have been spending a lot of time seeing his films again and being transported to a world that is so real in spite of being make believe.

I saw Anand ,Guddi, Mili, Abhiman, Namakharam, and Chupke Chupke just before I was to interview Jaya and Amitabh Bachchan. Jaya ji told me, that Hrishi da had come to meet her after hearing about her from her Principal at the Pune Film Institute, that during the shooting for Guddi her first film with Hrishi da she hid behind a sofa when she saw the dashing Dharamendra. She had been a huge fan and was overawed by his Greek God looks. The warmth and love that emanated from her words as she told me about her relationship with Hrishi Kaku as she called him, was incredibly moving. She said it was always a pleasure to work with him because she had a deep comfort level with Hrishi da. Swati Mukherjee, Hrishi da's daughter in law added that indeed Jaya's style of talking and her mannerisms reminded him a lot of his second daughter and he had a deep attachment for her. Towards the end, Hrishikesh Mukherjee's kidneys had failed and he would undergo dialysis. "Jaya Bachchan was deeply attached to Baba, "says Swati and adds, "He was also her second father, and it was because of her intervention and speaking to the trustees at Lilavati hospital that he received the best care and personal attention." Hrishi da's close friend Bidhu Jha said Hrishi da made certain films only with Jaya in mind and considered her to be an unparalleled actress who had no peer during her time. I couldn't agree more with that.

Amitabh Bachchan is a legend today, but he told me that when he enacted the death scene in Anand Hrishi da cut short his emotional explosion by stopping the shot and asking him not to overact. "It quite deflates you," he said as I laughed imagining his chagrin. Amit ji added that, "The single most important advice he gave me was not to overdo things, to be normal."

Both Jaya and Amitabh Bachchan talked about Hrishi da being a producer's director. He was very economical, an incredible editor, a master technician and edited the entire film in his mind. Many times they would not know why he was asking them to walk a certain way or stand a certain way but they just left themselves in his hands, and then were dazzled by the results when they saw the final film on screen. The music of Hrishi da's films was outstanding because he was a trained musician and understood music. Amitabh Bachchan feels its also the Bengali influence that made him so empathetic and sensitive to melody.

Amit ji also shared the fact that when Jaya and he decided to get married, Hrishikesh Mukherjee was the first person they told the news to. He was a father who loved them but also disciplined them, a very compassionate man, and a simple man, who told simple stories. If he had picked up a man from the street and made him act before the camera, said Amit ji, he would have been able to get him to act the same way. It was just that he chose professional actors like them to do it instead.

I was told that life was picnic on the sets always, there was no star system, and everyone was a part of a large and loving extended family. When I asked Jaya ji which was her favorite role among the ones she had done, she said without a doubt it would remain Guddi for sentimental reasons as well. Amit ji couldn't choose and said he loved all of them. It was interesting that while all actresses envy Jaya ji her roles in Guddi and Abhiman she says she would have loved to do the lead roles in Anupama and Satyakam. While Anand catapulted Amit ji to fame, he too said he would have, given the choice, preferred to do Rajesh Khanna's role in the same movie and wanted to be associated with Anupama in some way because he loves the film.

Jaya ji misses Hrishi da's presence in more ways than one. She said in our conversation that he would have been such a guiding light for those up and coming directors who are trying to make movies like his.

Amol Palekar who is also featured in this month's webcast knew Hrishi da before he ever acted in his films. Hrishi da would often come and watch Amol ji's plays and then offered him the block buster Golmaal. Amol Palekar told me that their deep attachment for each other grew over the years and remained till the day Hrishi da passed away. His aged mother would often make laddoos made of fresh coconuts from the trees in Hrishi da's house, for Amol because she knew how fond Hrishi da was of him.

It was cute how an entire scene was later picturised in Golmaal with the coconut laddoos making a cameo appearance. But then that was Hrishi da's forte, to bring common life to life on the silver screen. While Hrishi da was a strict task master on the sets, say the Bachchans and Amol Palekar, he also bent some rules for his favorite actors, as happened when Hrishi da wanted Amol Palekar to act in his next comedy Rang Birangi. Amol told Hrishi da he could not give him the dates he wanted under any circumstance. A flummoxed Hrishikesh Mukherjee, said what was the problem? He would go and request whoever had the dates, to accommodate him.

When a sheepish Amol said it was not because any other director had those dates but that he had blocked them out for a cricket match. Hrishida said - Oh is that it? He promised Amol ji that he will have a television on the sets and they will shoot the scenes in between overs! And that is how it was!

Hrishikesh Mukherjee's sense of humor stands out in every film, no matter what the genre, and it is something that every one who has worked with him appreciates to this day. Utpal Dutt who I'm told was really serious in real life was the mad hatter in so many films Hrishi da made - he was priceless as a sleuth in the matter of the mooch (mustache) in Golmaal as the cinema hating cop in Rang Birangi and the strict patriarch allergic to modern girls in Kissi se na Kehna. In Chupke Chupke Amitabh Bachchan's yet untapped talent for comedy was exploited to the fullest and added a dimension to his acting.

I had heard that Hrishi da didn't like Amit ji's angry young man image, that he felt it was not worthy of his caliber as an actor. To which Jaya ji said that the angry young man image actually started with Hrishi da's Namak Haram. Amit ji said she was right to some extent.

Bidhu Jha says that in fact according to what Hrishi said to him, the angry young man image was created in Anand itself where Amit ji was the angry young doctor! In fact according to Jha, it was the smoldering anger, and intensity that Hrishi da saw in Amit ji's eyes because of all the struggles he had been through when Khwaja Ahmed Abbas brought him to see Hrishi da that inspired the film maker to sign Amit ji for both Guddi and Anand.

All three interviewees said that Hrishi da always had a very clear vision of what he wanted from his actors and he mixed encouragement with tough love. There would be times he would let them improvise and at others he would be totally exacting and say - No stand there, and do this, and there was no more argument.

Amol Palekar says that Hrishi da was incredibly generous and supportive of all film makers who tried to be different and make meaningful cinema. When Amol Palekar decided to become a director Hrishi da not only gave him access to his unit crew and his equipment, he also handed him a director's view finder, which was a legacy from the great master Bimal Roy.

For a man who wanted to be a Bio-chemist but stumbled into film making by accident, his movies captured life at its simplest-it is not easy to be simple and natural, we all know-that is why we recognize and empathize with so much that we see in the people and their stories that Hrishi da brought to life. It was all so believable because so many nuances of human nature, quirks and incidents, characters and caricatures were taken from many real people, including his family. His comedies had us laughing till the end; his tragedies, still carried a glimmer of hope as we exited the cinema hall.

I'd like to quote some excerpts from a lovely tribute paid to Hrishi da by Raja Sen, a wonderfully gifted writer because he captured so beautifully several aspects of why Hrishikesh Mukherjee's films delighted several generations of Cinema lovers and why they will continue to do so.

"..Mukherjee's cinema was beyond directorial technique, or storytelling. His are films with depth and one-liners, films with pathos and slapstick, films with farce and grand tragedy � above all, however, they are films bred in familiarity. Absolute familiarity. Wonderfully etched characters are drawn with such tender nuance that not only do we relate to them, they echo people plucked uncannily from our lives. From job hunters in short kurtas to lanky alcoholics with telescopes, Hrishida's folk have been disarmingly real, even despite great caricature. You can't help loving them.
The stories are literature by themselves. From immense marital discord to the inevitability of death, from delicate Wodehousean farce to war of the classes, he tackled it all but laced his movies magically with an earnest realism that touched us to the core. A Hrishikesh Mukherjee film didn't come with any massive pretensions of grandeur, any conceit of inaccessibility. This was dal-bhaat filmmaking, supremely fresh everyday slices of life, served up unfailingly warm and tender.

And how they endure. From Rajesh Khanna's babumoshaai to Utpal Dutt's eeesh, not to mention lyrical dialogues impossible to forget. And the dramas are infinitely compelling, peopled by characters he turned into our extended family. The stories are ever poignant and never overdone, and we're repeatedly forced back into choking back a sob. Or stifling louder-than-acceptable guffaws with our hands. The magic lies, of course, in the fact that we are often torn by both emotions simultaneously.

Hrishikesh Mukherjee was truly the heart of Hindi cinema. His films have transcended libraries and genre, and simply become a part of who we are"

Well said!

Today a year has passed since the man who gave Indian cinema a lot to be proud of, left us, but for me 30th September, the day Hrishikesh Mukherjee would have turned 85, is a day of celebration-a celebration of his life, his films and the magical spell he cast over all of us.

As we celebrate his life today on the 30th, and in the weeks to come, I have just been given the news that an entire stretch of Carter Road will be renamed Hrishikesh Mukherjee Marg. His daughter in law Swati Mukherjee says this project was the brain child of her older brother-in-law Ashutosh Bannerjee who worked relentlessly to make this dream a reality. In an email to me Ashutosh Banerji wrote that his father in law, a teacher in Calcutta fell in love with Bombay, and he was very touched that the city in return responded very quickly towards bestowing this honor on the legendary film maker. The email is produced below:

"On this occasion I wish to share with you a fine gesture by the Government of Maharashtra, the Municipal Corporation of Mumbai and the people of Mumbai to name a portion of Carter Road where Hrishida lived for nearly 5 decades as the Hrishikesh Mukherjee Marg.
Jayasree Banerji his eldest daughter and my wife made a request to Mr Johnny Joseph the then Municipal Commissioner for an appropriate commemoration for a school teacher who came to Mumbai and fell in love with its people. He made them the heroes, heroines and main characters of his movies with their joys and sorrows. Their rigours of daily life were weaved into human stories scripted in the background of this wonderful city

My wife and I made an impossible request to implement the naming before his 85th Birthday on the 30th September 2007.We pursued but were never sure of success. Swati and Pratip from Boston continued to give us moral support and encouragement. Moved by perhaps our persistent efforts, the powers that be threw the procedures to the wind and in an hurriedly called press conference announced the renaming on the 28th September 2007, pending official sanction. I was requested to address the press conference to explain the rationale behind the feelings of the family. The media fully supported this gesture of announcement by the commissioner, even ahead of the formal sanction. I was also authorized by the Commissioner Mr. Pathak after the press conference to go ahead and celebrate the event appropriately with our family members and not worry about the public commemoration function which will be organised by the Mumbai Corporation.What magnanimity!

Who says Mumbai is without conscience or the administrators are heartless? In fact I would go on record to assert that this couldn't have happened in any other city. Let this be our family's tribute to the mutual affection between Hrishikesh Mukherjee and citizens of this throbbing metropolis. Peoples's director honoured by the people of Mumbai.Somehow it brings and also wipes a tear of from our eyes."

Initially, the tribute to Hrishikesh Mukherjee was to be one webcast, but the sheer numbers have turned this into a month long, maybe more of celebrating his memories in the words of many who worked with him. Enjoy this week's show where I feature Jaya and Amitabh Bachchan, and Amol Palekar.

I cannot thank enough the many people who have helped me in making this webcast a dream project. From Swati Mukherjee, Hrishi da's daughter in law, his son Pratip and daughter Jayasree, who not only trusted me with this project but gave me access to whatever I needed to make this a reality. Ravi Gupta, CEO of Mukta Arts, Rajeev Pandya who worked with Hrishi da, actor Faroukh Shaikh, and writer Sachin Bhaumick who provided a lot of phone numbers and were a great help. Thanks also to Jaya and Amitabh Bachchan who took my call late at night, (and Amit ji had just returned from a shoot) and shared their thoughts warmly and Amol Palekar who also very graciously took the time to speak from Pune very promptly.

Please click here for KavitaChhibber.com's Special Webcast Tribute to Hrishikesh Mukherjee

Next week I will be back with more amazing artists who will share their thoughts on a man who lives on through his films and a legacy of humanity that enriched not just the lives of those who came into contact with him, but the world at large.