Desicritics Author: Steven Baker

Eklavya's Oscar Selection: Vidhu Vinod Chopra Speaks Out

Steven Baker — Sat, 29 Sep 2007 04:33:29 EDT

The selection of Eklavya: The Royal Guard as the Indian official entry for the Oscars, has caused an unprecedented filmi commotion. In a storyline straight out of Hindi cinema, filmmaker Bhawana Talwar has loudly criticized the Film Federation of India; alleging that the jury was corrupt and that her film Dharam should have been selected instead.

Preparing to depart for a US promotional tour that starts with a panel discussion for the Asia Society in New York, Chopra appears unphased by his detractors. From his Mumbai office, Director Vidhu Vinod Chopra stated, "Ms. Talwar is creating a controversy which can only damage the Indian film industry's reputation internationally. I am very sorry that this had happened".

Talwar's first scene saw her accuse Sudhir Mishra of corruption. But that did not stick. As the in-front-of-the-scenes dust-up continues, her current accusation is that Ranjit Bahadur was the editor on the making of Eklavya, and therefore should not have been on the jury. Although a film maker herself, Talwar seems unaware that it is trade practice that making of films are outsourced to independent production houses who are at liberty to hire any technicians they choose. Ranjit Bahadur has no direct association with Vinod Chopra Films.

Here the plot thickens, while Ms. Talwar is accusing Ranjit of prejudice, she is overlooking the connection of Mr. Nadeem Khan and Vinod Chopra. Classmates from the Film and Television Institute of India, where they were close friends, Nadeem Khan was the cameraman on Vinod Chopra's first film, Murder at Monkey Hill. Khan later did additional camerawork on 1942: A Love Story. And why, you may ask, is Ms. Talwar overlooking this connection?

Because Nadeem Khan voted for her film.

Chopra signs off, "The Hindi film industry is a close-knit space and most people, at some point, have crossed professional paths. If Ms. Talwar had objections to this jury, she should have raised them before submitting her film so the jury could have been changed and new members found. But she went to the media only when her own film was not chosen."

Interview: Rahul Bajaj - Author, Bollywood Roulette: Inside the Struggle!

Steven Baker — Fri, 14 Sep 2007 05:28:42 EDT

From an investment banker on Wall Street to a Bollywood actor in Mumbai; Rahul Bajaj is a man of many talents. After achieving success as a leading television actor in India, Bajaj can now add the avatar of writer to his resumé, with the recent launch of his first book Bollywood Roulette: Inside the Struggle!. Over coffee and dhokla at his South Delhi home, Bajaj reflects on struggling actors in the cut-throat world of Hindi film, as well as why the 'Baadshah' of Bollywood is his 'brother'. After publishing such an exposé, the author speculates that nobody in the industry will now offer him a role. Yet, an elated Rahul appears buoyed by news from his publisher, that his debut is already a national bestseller.

Firstly, Bollywood Roulette. An interesting title. How did it come about?

Bollywood Roulette was my title of choice as soon as I had finished writing the climax of the novel. At various points, the editors came up with names they thought would be more commercially viable. But I always felt Bollywood Roulette captured the true essence of my novel and stuck by it. I think outsiders who come to Bollywood to 'struggle' are playing a dangerous game of roulette, and that thought is not foremost in their minds when they begin their pursuits. I wanted that thought, that sense of danger, to be up front. Of course, the game of roulette also features in the narrative, so it made sense in more ways than one.

What was the most challenging aspect of writing the novel?

The editing. I had about 500 pages to begin with and had to whittle it down to about 300 pages. Cutting out 200 pages was very painful! My publishers were very conscious about keeping the novel marketable, and therefore that imposed certain restrictions. The challenge was to shorten the novel without missing out on any of the key messages.

Have you now 'officially retired' from Bollywood?

I think I will never go back to being a professional actor in television/film. I made a conscious choice to give that up. Also, I think after this book nobody will give me a role even if I changed my mind! I do think I will remain connected to the arts in the broad sense of the term. I am not sure what shape that will take. I have many dear friends who are still on the 'inside' so I guess I will remain connected to Bollywood through them at least.

Are the characters in the book based on real 'strugglers' within the industry?

They are very accurate representations of 'strugglers' I have known, but with an important caveat. The caveat is that, again, there may not be a one-to-one correspondence between each character and a real person, but rather the characters are amalgamations. My aim has been to capture the entire spectrum of people that I’ve seen in the 'struggler' category. For that, I have taken the liberty to create characters that are collages, but those collages have very real elements. Each of these characters represents reality.

You have spent time in the US and the UK, do you perceive Bollywood to have made it outside of India?

I think Bollywood is an integral part of the life of South Asians in the diaspora abroad. They cling on to it with the same fervour as they do to religion or cricket or desi food. It’s part of their cultural identity. The overseas market for Bollywood films is driven mostly by the diaspora and it is now pretty substantial. I think for the non-desi audience, Bollywood is just another thing they associate with India - a novelty - like the Taj Mahal or snake charmers. I don’t think Bollywood has really “crossed over” into the mainstream in any real or substantial way. There is complete awareness about Bollywood today even in non-desi circles, but again, it is not much beyond awareness and it certainly does not amount to regular consumption as say Hollywood products are consumed. So yes, the world is aware of Bollywood and curious too.

It would seem that an increasing number of actors from overseas are becoming a part of HiFi. What is your perception of goras in Hindi film?

I think the situation is similar to Indian actors in Hollywood. Just like Indian actors in mainstream Hollywood movies are limited to the role of cab drivers or the occasional computer engineer or immigrant, similarly, goras in mainstream Bollywood are usually limited to the English saahib of period films or the arms supplier/mafiaman villain who gets beaten up by the desi hero at the end. I have not seen any goras running around trees mouthing songs or dancing like Govinda! I guess art reflects the segregated nature of our cultures.

Your book is something of an exposé of the dark underbelly of Bollywood: the casting couch, underworld links, political deals, filmi family dominance. How much of this is based on your experiences within the industry?

The phenomena represented in the book are very much based on my firsthand experiences in Bollywood and those of other close friends and colleagues who have experienced the 'struggle'. The specific incidents, characters, etc. as characterised in the narrative are fictitious or used in a fictitious manner; but the underlying phenomena they are representing and portraying are very, very real.

You trained with celebrated theatre director, and teacher of SRK, Barry John. In your book the drama school 'guru' figure plays an important role in your story. To what extent do you credit Barry John with your success as an actor?

The fictional character of “Guruji” in BR is very much inspired by the teachings of Barry John. I am deeply indebted to Barry John. He took me under his wings at a time when I wasn’t sure what direction I wanted my life to take. He is a real master of the art of acting and I agree with SRK that Barry John is the best acting teacher in the world. Incidentally, it was Barry John who encouraged me to write. I remember we were doing character studies, and I had gone to a sabzi mandi in Delhi to study a character- it was after reading my character study that Barry John almost forced me to consider taking up writing. He also said something which I hold very dearly: 'be artists in the broad sense of the term.' I am trying that.

Your career path begins in a similar way to Shah Rukh Khan. Both from Delhi. Share the same acting teacher. Started out in television. How is it that one participant of Bollywood Roulette trades acting for writing, to then publish a book on the industry; whilst the other seduces Indian Cinema to become 'The King of Bollywood'?

In a gurukul sense, SRK and I are brothers—we share the same guru, or theatrical father—Barry John. Beyond that similar beginning I don’t think I’m even a patch on SRK! Sure I’ve done a few TV serials and I’m from Delhi too, but I have no illusions that we’re even in the same stadium of comparison! SRK is a superstar. I’m still a kid who’s trying to find his feet. I think he did what came naturally to him and I’m doing what comes naturally to me. There has to be no one path. As Barry John would say, 'be artists in the broad sense of the term.' We both are.

You mentioned 26/7. Indeed, the climax of the story is set against the historical backdrop of the 26th July Mumbai floods. Were you personally affected by this event?

I was in Mumbai on 26/7. I was lucky; I got back home before the flooding got out of hand. But yes, I did have to wade through knee-deep waters and remember the two-day power blackout that followed and rationing my food and water in my flat. My most distinct memory of that day is that I remember reading in the papers the day before 26/7 how plans had been drawn up to transform Mumbai into Shanghai—and after 26/7 thinking that Venice would have been a more appropriate model. Many of my friends were stranded away from home that night and had to spend the night in whatever shelter they could find. Psychologically, I think 26/7 was a very important event for everyone in Mumbai. Something snapped that day.

What next for the multi-talented Investment Banker/Actor/Writer that is Rahul Bajaj?

Right now I’m just basking in the warmth that 'Bollywood Roulette: Inside the Struggle!' is generating. I’m very grateful to my readers for the love and affection with which they have received Bollywood Roulette. It gives me immense satisfaction when somebody tells me 'after reading your book, I look at Bollywood and Bollywood products in a very different light. I wonder what those poor souls are actually going through.' Knowing that people are getting a glimpse of the real Bollywood is very gratifying. Let’s see what catches my fancy next!

Shah Rukh Khan King of Bollywood: Interviewing the Interviewer

Steven Baker — Sun, 5 Aug 2007 00:02:49 EDT

Whilst Anupama Chopra is the latest in a long line of authors to interview Shah Rukh Khan, Steven Baker is the latest in a long line of journalists to interview Chopra. Hailing from a noted filmi family, and having written about the industry since 1993, Mumbai based Anupama is suitably qualified for the task. Husband Vidhu Vinod Chopra is an Oscar nominated film maker and sister Tanuja Chandra is one of the few women directors in Bollywood. Anupama's latest publication is the first ever book on Hindi film to obtain a mainstream international release.

Her first title 'Sholay: The Making of a Classic' won a National Award in India for best book on Cinema. This was followed by her definitive account of 'Dilwale Dulhania Le Jayenge' (The Bravehearted will take the Bride), published by the British Film Institute. Chopra is now prep ready for the Indian, UK, and US release of her third book 'King of Bollywood: Shah Rukh Khan and the Seductive World of Indian Cinema'.

How do you feel now that you have finished the book?

Relieved. I was just obsessed with the idea of writing it. Of course I had no idea how hard it was going to be to write and I'm not sure I accomplished everything I set out to do. It was very challenging, but I'm very pleased that I managed to do it; and so far the reactions have been very positive.

UK author Jessica Hines famously took 7 years to release 'Looking for the Big B:Bollywood, Bachchan and Me'. How long did this book take?

For me, from the time I first spoke to Shah Rukh about doing this book, to when it's finally going to be out, it's 4 years. I have 30 hours of taped conversation with him. I kind of followed him all over the place, e-mailed him and SMSed him in all parts of the globe. I really have been hounding him all over.

How does the man differ in real life to his reel life characters?

Actually, I have to say, he's not that different at all. In real life he's extremely energetic, extremely charismatic, and hugely entertaining. He tells the best stories. He really wants to make you have fun and to make you have a good time, and make your time with him memorable, which you know, is what I think he wants to do on screen as well.

This is the first international level release book on the Hindi film industry. Did you have to change the writing style, to explain particularly desi things to an outside audience?

I didn't have to change my writing style, but yes there had to be a little more explaining. For example when I say Subhash Ghai, I have to say filmmaker Subhash Ghai, which I wouldn't have to do if it was purely for Indians. My editor said we had to make it a little easier for international readers, who may be overwhelmed with all the names anyway. But in terms of just style, and the tone of the book, I wouldn't change that no.

The book mentions a diverse range of places where Hindi film is popular. Is there anywhere left where SRK is able to walk to walk down the street unrecognised?

You know, I imagine the heartland of America. Perhaps, you know a street in Ohio maybe or North Dakota. But I can't imagine anywhere else. But I don't think he can walk around Los Angeles or New York for sure. And I know he cannot walk down Oxford Street in London because I was doing an interview with him once on the phone, and he was walking down Oxford Street, and he said in a rapid fire 'OK-gotta-go-now. I'm-being-mobbed'.

Many people in the industry are known to be uncomfortable with the term 'Bollywood', how do you personally feel about the word?

I have no problems with that term. It started off obviously as something derogatory, in a way that suggested that we were inferior third world cousins of Hollywood. But I think today Bollywood is a brand, and a globally recognised brand. I think we protest too much. I think it's here to stay so let's run with it. I've travelled everywhere and you know a German cab driver said to me 'India?' 'Oh Bollywood'. How are you going to fight that?

And is it Mumbai or Bombay?

Well officially it's Mumbai, but Bombay is the space that we all prefer to live in.

To what extent is this a profile of SRK, and how much is it a history of modern Indian Cinema?

Well it's actually both. The idea for the book was always to tell the story of Bollywood and tell the story of India through the life and films of Shah Rukh. I like to think of it as a tapestry with him in the foreground and lots and lots of other stories in the background.

Your book devotes a chapter to the period when Shah Rukh was in training with celebrated acting teacher Barry John. To what extent can he be credited with Kahn's success?

Of course he is the only acting teacher that Shah Rukh had, and I think Shah Rukh himself says that the training he got with Barry is really what molded his acting style, and really helped him to get free with his body because there is a lot of improvisation. But I think that what makes Shah Rukh unique is his incredible ability to connect intimately with the audience. And I think that he was born with, and I don't think any teacher can teach you that.

There are many, many books on Shah Rukh Khan, What is the USP of King of Bollywood?

I think the context. When I started writing this book what I really wanted to do was make connections between him and what's going on in Bollywood and what's going on in India, so I think this is pretty much the only book that does that.

OK, finally. After Sholay, DDLJ and SRK, what is the subject of your next book?

(laughs) Oh I don't have a next book. I'm so exhausted from this one that I don't think I'm going to write a book for a few years now. I'm really consumed by television, My weekly film review show on NDTV is where all my energies are at the moment.

'King of Bollywood: Shah Rukh Khan and the Seductive World of Indian Cinema' (Grand Central Publishing). Publishing date: US: August 2nd India: August 9th UK: September 6th

Looking for the Big B: Bollywood, Bachchan and Jessica Hines

Steven Baker — Tue, 24 Jul 2007 14:59:59 EDT

The UK is at the start of an Indian summer, with all things Bollywood beguiling Britain over the coming months. At the forefront of Hindi film in her home country, is writer and academic Jessica Hines. A frequent visitor to India, Hines, who was reportedly associated with Bollywood actor Aamir Khan, talks with the author on her views on the Big B, the response to her book Looking for the Big B: Bollywood, Bachchan and Me, and her love for Bollywood.

You have travelled to India 29 times, would you consider living in India permanently?
I love living in India but it only works, to my mind, if you have a specific job to do there. There was a point where I thought I would be living there more than London but that didn't pan out.

Where did your interest in Hindi Film begin?
It began in earnest at SOAS (The School of Oriental And African Studies). I was very earnest.

You have been responsible for bringing Bollywood into the public consciousness in the UK, with events like film festivals and Selfridges department store Bollywood month. When do you think Bollywood 'arrived' in the UK?
Well its funny, I wonder how much quicker Hindi films would have wooed the UK audiences had video not made its huge impact on the Indian community. Remember that almost overnight the number of cinemas showing Hindi films went from almost 100 to 0. It wasn't until the early 1990s that film culture started to inch its way out of the Indian communities living rooms again. I think it started to kick off again at the end of the 90s.

You launched your book earlier this year. What has been the response to it? Has the response been different in the UK compared to India?
Well in India the response was a bit nuts. But that was more because of my personal life and the fact that I had finally completed this book, than about the book itself. The UK is being its uniquely insular self and hasn't picked up on the fact that I have a certain notoriety in India, which is a very bizarre thing.

What was the most difficult thing about writing the book?
Being a single mum with a small baby and no money? Oh that's three.

When was the last time you met Amitabh Bachchan?
We just missed each other in Mumbai and London. I spoke to him a couple of weeks ago though when he called to congratulate me on my engagement.

What do you think of Amitabh's recent performances in his recent releases Kabhi Alvida Na Kehna, Baabul, Eklavya: The Royal Guard, Nishabd, Cheeni Kum?
I think that he is growing with the variety of roles that he is taking on now. Sometimes you would think that he could just mail in a performance but I know that each shot is thought about and planned and worked on. All actors have to constantly find the feelings over again or they fail as an actor.

Is Amitabh more popular in the UK or the US?
I think the UK, although the sellout performances and events that the NY Film Festival a couple of years ago show that there is a big fan following and a growing awareness.

There is very little mention of Abhishek Bachchan in the book. How do you feel he compares to his father?
He is an interesting actor and an exceptionally nice man. I think it is going to be very interesting to watch him develop. The Bachchans all take time to become what they are meant to be. Amitabh did and so did his later father.

In the UK, Indian film stars are able to enjoy a certain degree of anonymity. How hard is it to be a celebrity of Amitabh Bachchan's status in India?
I think it is an insanely difficult thing. As Salman Rushdie said, I don't know how he remains sane.

As a western woman and an academic on Hindi Film, what is your perception of the portrayal of goras in Bollywood?
It is limited but that is expected. It is also limited in Hollywood. Villains or fops or loveable cockney rogues.

Finally, what is your favourite Hindi film?
My fave Hindi film is Amar Akbar Anthony.

Shah Rukh Khan's Overseas Co-stars Reveal All

Steven Baker — Sat, 2 Jun 2007 00:26:28 EDT

Add the 3 words Shah + Rukh + Khan together. The result equals perhaps the most famous name in Indian cinema. From a small screen television actor to a big screen export kwality commodity, the Shah Rukh brand has amassed a global network of fans; and it is not only the Indian community packing overseas theatre houses, but also a growing audience of goras who can't get enough of Khan.

Not content with simply watching their idol at the cinema, a select number of foreigners have found themselves sharing screen time with King Khan. Like most actors in the Hindi film industry I would jump at the chance to work with SRK, so in preparation for that day, I interviewed five lucky stars who agreed to share their Shah Rukh experience with me.

Television producer Megan Nass has just completed shooting in Melbourne for Khan's latest project Chak De! India. This Australian got the chance to appear on the other side of the camera, acting alongside her hero in a scene filmed at the Melbourne Sports and Aquatic Centre. She asserts, "He is as good looking in real life as he is on screen," adding, "his eyes are definitely one of the reasons behind his success."

Megan pinpoints a trip to India in 2004 as the start of her obsession with Shah Rukh. After viewing Kal Ho Naa Ho in a 15 rupee talkie, she was prompted to pen "I am besotted with Shah Rukh Khan" in her diary, swayed by the actor's sensitive portrayal of Aman in the film's final scenes.

This besotted fan's most prized possession is an original Balkrishna painting for the Devdas movie poster. However, she will temporarily be without it, having agreed to loan the work to the National Gallery of Victoria for their forthcoming Bollywood exhibition.

Megan Nass is no longer a newcomer. Her discovery of Hindi film led to a subsequent trip to Mumbai, and a role in an item number last year. Appearing in a disco as blonde-female-on-the-left, Megan worked on Iqraar: By Chance, a movie which, you may not remember, opened one Friday in October, and promptly closed the next. Megan anticipates that working with the Badshah of Bollywood will bring her more success than her flop debut.

Evelyn Tu, a Web Developer from New Jersey, is another foreigner hooked on Hindi cinema. After viewing over 100 films, she made the leap from avid fan to ambitious actor, shooting on Kabhi Alvida Na Kehna in New York. Evelyn states, "Shah Rukh embodies what appeals to me most about Bollywood movies: conviction and heart". Over a seventy day shooting schedule, she was able to gain close proximity to the actor, giving her an insight into the inner world of Shah Rukh Khan. "By the end of it Shah Rukh had breathed on me, leaned on me, and showed me the kind of determination it takes to be a movie star."

Tu observed intimate details of Khan; his gentle coaching of Rani Mukherjee with her dialogue, shaving with his electric razor on an overcast Tuesday morning, and greeting Akshay Kumar (shooting for Jaan-e-Mann) with a big hug in Times Square.

At the end of a twelve hour day, Evelyn posed for a photo with the leading man. That was the moment she chose to tell Shah Rukh how much she loved Paheli, and that she hoped it would receive the Oscar nomination. As she describes it, "The mixture of surprise and delight that shows on his face in my snapshot is just too funny. His lips are pursed very unflatteringly, but you can tell he's pleased."

Towards the end of her time on Karan Johar's film, Evelyn approached her idol for another photograph. "Shah Rukh, I know I already took a photo with you, but you made a funny face." He laughed and said in a mock serious voice "Oh, I'm sorry!" Evelyn reminisces, "He leaned in close to me and smiled for the camera while his bodyguard took the shot". She enthuses, "He looks so friendly that when people see his photo on my desk, they ask if we're dating."

For Corey Goldberg, his collaboration with Khan did not come in his native California. It was a trip to Mumbai that provided not one, but two SRK film credits to his name. In July's monsoon rains, Corey gave a rocking performance in Kabhi Alvida Na Kehna as the bass guitarist in Rock 'n Roll Soniye. From his vantage point on the balcony, Goldberg watched every turn and twist of the cast dancing below. Corey on Khan, affirms, "He's got a dynamic presence, yet he's remarkably down to earth for a man of his stature and fame."

Later in July, the chase begins again for Corey, as he returns to the Yash Raj studio to appear alongside SRK in Don. Almost a week of hard work, retakes, and perfectionism was undertaken in the picturisation of Main Hoon Don. After observing both Khan's Dev and Don, Corey declares "He's definitely one of the better actors in Bollywood. I've seen just how versatile he is."

In a reversal of Bollywood tradition, Daniel Grieser, a Swiss national, worked with Khan not at home in Switzerland, but in India. Daniel, an enthusiastic fan of the actor, was exhilarated to shoot on KANK, but disappointed when he arrived on set, to discover SRK was not in that scene. Like Corey he also worked on Don, and here he finally met his idol. For Daniel, a scene with Kareena Kapoor and Shah Rukh Khan, filmed in a Mumbai nightclub, meant six days with the star. Speaking from his home in the mountains that are so recognisable to Indian film audiences, Grieser smiles, "I found it kind of surreal to see SRK in person after everything I have seen and heard about him on and off screen."

U.S. citizen Erica Reddy's zest for Hindi film started when she married an Indian man. "Like most Americans," she relates, "until I found Bollywood, I saw life in a ho-hum sort of way. Life was just passing me by, I needed excitement and I wanted to experience things I hadn't before. Bollywood has changed my life..."
This passion has been handed down to her daughter Nikhila, who bagged the role of Tanya in Kabhi Alvida Na Kehna. Erica recalls shooting at New York's Grand Central Station.

"Shah Rukh took Nikhila to sit with Ahsaas, who was playing his son," Reddy enthuses. "She has the best seat in the whole world, sitting beside both Karan Johar and SRK." However, all is not well. "As I'm watching, I can see it... the tears are on their way, the flood gates open and she is officially bawling her eyes out. Both Karan and SRK are attempting to talk to her and calm her down, but it's not working."

"We ask her what's wrong and she tells us that Shah Rukh scares her." Shah Rukh feels bad and questions, "What did I do? I didn't do anything."
Then the truth comes out. "Nikhila admits that she is afraid SRK will laugh at her. He assures her he is the most unserious person in the world and everyone is always laughing at him too."

This man seems to be a great actor to work with. A sense of humour? Yes. Movie star looks? Sure. Professional? Of course. Good with kids? See above. But the over-riding theme of all these extras stories is that for a man with his star power, Shah Rukh is generous with his time.

In my time in Hindi Film, I have worked with a who's who of the industry. After working with Amitabh and Abhishek, Kareena and Shahid, Preity, Priyanka and Rani, Akshay, John, and one of the other Khans, Salman, I would like to join the Shah Rukh camp. Without playing the numbers game, it would be a career high to share screen time with the No.1. The most famous name in Indian cinema. Shah Rukh Khan, Main Hoon Na.

Interviewing Barry John, Shahrukh Khan's Mentor

Steven Baker — Wed, 11 Apr 2007 14:17:58 EDT

Celebrated acting teacher Barry John, has uprooted himself and his company from South Delhi to Andheri West; the heart of the Hindi film industry. Since his arrival from England in the late sixties, John has thrived on challenges, on pioneering into new territory, and encouraging others to join him on the journey. In launching his new venture, the The Barry John Acting Studio, he spoke with me on his move to Mumbai, recent successful students, and his most famous ex-pupil Shah Rukh Khan.

After 36 years in Delhi you are relocating to Mumbai. What prompted you to move?

Delhi has become a haven for corrupt politicians, bureaucrats, land and property speculators. Culturally, it is a virtual desert. Theatre activity has sunk to an all-time low; television offers few and uninspiring opportunities; and film is virtually non-existent. So, just as my students have little option but to migrate to Mumbai to improve their prospects, the same now applies to me.

You have changed the name of your Theatre Group. Why?

Imago Acting School has been renamed as The Barry John Acting Studio in order to capitalize on the excellent reputation that I have in Mumbai. I understand it is to do with something called 'Brand Equity'.

Shah Rukh Khan has credited you with teaching him all he knows about acting. Do you agree?

On the basis of my own education and experience, I do not believe that any one teacher or mentor can be credited with delivering every skill or quality that an actor possesses. Acting is a complex alchemy of inner and outer experiences, awarenesses and skills that are drawn from many sources, and then filtered through the unique persona of the actor. And the learning never stops.

I imagine that I had a profound impact on SRK's formative years as an actor, which are vital in laying positive foundations, fostering aptitude and self-confidence. His training was more of a traditional apprenticeship than a formal schooling, and he brought to it his trademark energy, hard work, intelligence and humour. The credit for the phenomenally successful development and management of his career goes to the superstar himself.

More recently, Kunal Kumar and Shiney Ahuja, amongst others, have passed through your doors. Did they have star potential from the beginning?

In the light of Shiney Ahuja's and Kunal Kapoor's more recent achievements, I might be tempted to say, in retrospect, that they had star potential that was evident during their training. But the fact is, I was not aware of it. Both were good students to work with: committed, involved, questioning and responsive. Shiney had a maturity of years and experience in business and in marriage, which set him apart from the average student; it resulted in greater self-belief and a deeper level of involvement. Kunal was from Mumbai, and therefore blessed with greater exposure and awareness of what was expected of him.

Can acting be taught?

Yes, acting can be taught. It always has been. And the multi-media skills required for the modern actor make training compulsory.

Private acting schools are not cheap. Is economic status a factor in the success of an actor in India?

The typical Indian actor, rural or urban, is poor; a bohemian who sacrifices material prosperity for the freedom, passion and transcendence gained through his art. Film and television have distorted these traditional systems. They offer far greater financial rewards to actors, greater celebrity status, and greater demands that actors follow the dictates of commercial markets.

It all comes down to what sells, and thus, far there has been little concern about whether an actor has been trained or not, especially if he is a relative of the producer or director. As with most things in India, film is a family business. Economic status is definitely a factor in the success of an actor, but the door is always open for exceptional talent also, and rags-to-riches stories are still a possibility.

Will your new courses in Mumbai have a greater focus on film rather than stage?

Yes, the courses have been redesigned for Mumbai, and now accommodate modules on acting for the camera and experience of shooting a short film. Beyond the technical and aesthetic aspects, there are further modules on the launching and building of careers for actors.

Are you nervous about your move to Mumbai?

It's a move to 'The Big Apple', with a lot at risk financially. There's lots of competition, and I am the new boy on the block. Of course I'm nervous!

Bollywood Around The World

Steven Baker — Sun, 4 Mar 2007 00:03:36 EST

It seems that each new Hindi film release boasts at least one scene, if not the whole movie, where the action takes place outside India.

Working as a foreign actor in Bollywood, I discover that my job provides the ideal opportunity for travel as I begin a journey that will take me around the world in eight days, without once leaving Bombay.

My first destination is the Middle East, shooting for Mahesh Bhatt's Killer. The Emraan Hashmi and Irrfan Khan starrer takes place over one night in Dubai, with a shopping mall in the Bombay suburb Mulund substituting for Dubai International Airport.

Signs proclaiming 'Welcome to Dubai' and 'Duty Free Shop' cover tell-tale Hindi script, and I have been supplied with a passport and flight tickets to add a further touch of authenticity. On closer inspection though, I doubt such travel documents would get me into the Gulf. The passport is a photocopy, and the tickets are a cut up script from a previously shot scene.

The next stop is the UK, shooting on the upcoming film Raakh. The locale of choice is the East Midlands town of Leicester. Not only does Leicester have a large NRI population, the producers also wanted to show moviegoers something other than the London proper tourist sites. Filming in a rocking Juhu night-spot, the shoot today is a club scene. Sohail Khan and Amrita Arora steal flirtatious glances at each other across the crowded floor, as a troupe of funky foreign and Indian dancers shake their thing to fusion pop beats.

I extend my stop-over in the UK, travelling to my hometown of London, via Andheri. I ask three people the name of the release, and get three different responses. What I can ascertain is that in keeping with the tradition of HiFi, the film is a vehicle to launch not just an upcoming male actor, but the son of the producer. Stills from the movie show that this production is sticking with tradition. I browse through wonderful images of Bollywood dance sequences, with the newcomer hero cavorting in front of the famed landmark, Piccadilly Circus.

Early and bright the next day, it is time to leave Europe. Crossing the North Atlantic to New York is as simple as catching a taxi from Andheri to Goregoan. I am shooting on a song for Jaan-e-mann at Filmistan Studios. My fellow passengers are Preity Zinta and Akshay Kumar, and our tour leader is choreographer Farah Khan.

We spend a long day filming an elaborate dance sequence, shooting the same scene from different angles. In the middle of the dance floor: Akshay, on bended knee, proposes to a coy Preity. There is a moment of suspense before she consents, and we are directed to respond by dancing and looking happy. It is all cho chweet, but after many takes, late into the night, no matter how much Farah Khan asks for "full mood yaar", it is hard to inject masti into our movements.

Choreographer Khan is deliciously demonic in her direction, and with soundbytes straight out of Indian Idol, we are beginning to feel like contestants in the competition. In her Idol judge avatar, she booms at a unitwala who is accidentally still on set whilst the cameras roll: "Who is that man? I will give him two tight slaps", adding ominously "He'll die by my hands". Gulp. It's murder on the dance floor.

Salman Khan joins us in the Big Apple. The superstar is virtually unrecognisable in a blue turban, and if I had not seen him arrive at the studio in his cycling gear, I would refuse to believe it was him. The on-set gossip is none other than Salman's court case. A junior artist questions whether or not bad boy Salman would be allowed to leave India if we actually were shooting in New York, New York. The speculators do not agree on an answer, but it makes for interesting time-pass banter.

Leaving the city that never sleeps, I venture to a Bombay office block for a shoot in the adjacent state of New Jersey. The production a US/Indian crossover film titled The Contest, is about a singing talent show. Although set in the States, the premise is that all the contestants in this idol competition have some link to India. It seems Farah is on the wrong shoot.

I hop over the 49th parallel to Canada. My next motion picture Humko Deewana Kar Gaye is set in Calgary, and Bombay's plush Renaissance hotel is deployed as a suitable stand-in. Anil Kapoor, very much the 'actor's actor', is giving background information about the scene to the assembled cast, before we go for a take.

The hotel is on fire, and we are filmed fleeing down the corridors to escape the flames. As we gather safely outside, we see the heroine of the film trapped high up inside the burning building. But wait, take a closer look at the figure in peach sari, glittering jewellery and mehndi painted hands. Beneath the make-up I spy a rough and tough looking stunt boy all set to jump out of the building into the swimming pool many stories below. The five o'clock shadow makes it difficult to ascertain which of the leading ladies the stunt boy is playing - Bipasha Basu or Katrina Kaif. All would have been revealed at a mulitiplex near you, except this pivotal scene did not make the final cut.

Continuing my round-the-world trip, I arrive in Singapore, the location of Rakesh Roshan's blockbuster Krrish. From the comfort of the Yash Raj recording studio, my work as a dubbing artist provides a private tour of the city, with Hrithik Roshan and Priyanka Chopra as guides. In the company of these two stars, my funda is fun, as the film explores places of interest in Singapore; the zoo, a circus, and a water theme park. At the airport I bid a reluctant goodbye to the super hero and Miss World, and head back to India.

The next morning I step out into Bombay's bustling streets. My agent calls with details of another job at Yash Raj. I wonder where in the world next. The movie is Kajol's big banner comeback Fanaa. Viewing the film from the studio, I find Aamir Khan and Kajol in a distinctly desi looking dhabba, which can mean just one thing- we are in India. Over black coffee in the Yash Raj canteen, I see two of the country's finest directors Sanjay Leela Bhansali and Karan Johar; welcome confirmation that I am very much in Bombay. After a journey around the world in eight days, I'm happy to remain right here.

Shilpa Shetty: From Hindi Film Star to Global Celebrity

Steven Baker — Fri, 9 Feb 2007 14:53:51 EST

On a holiday in India last year, American Cory Goldberg unexpectedly found himself cast in a small part in a Bollywood film. It was a case of being in the right place at the right time for the Californian resident Cory, as he was whisked away to a film studio in Mumbai, dressed in a garish costume, and handed a couple of lines of dialogue to deliver.

Goldberg, 31, the same age as Shetty, recalls that the day involved a lot of hanging around on set. Between takes, he recollects, "A stunning actress came and sat on the sofa beside me. I had no idea who she was, but she looked amazing. We chatted for a while, and I couldn't take my eyes off her." Their conversation came to an end when the director called her away for her next shot, 'but she happily posed for a holiday snap before she left' smiles Cory.

Corey Goldberg in his dressing room, Mumbai, 2006

Months later, Goldberg was stunned to see news footage taken from the UK's Celebrity Big Brother, showing Shilpa Shetty suffering racist taunts at the hands of a number of the other housemates. On closer inspection he realised that this was his Bollywood dream girl from the forthcoming Hindi film release Apne.

In her introductory video before entering the Big Brother House, Shilpa Shetty revealed, "I'm an Indian film actress and lucky enough to be one of the most well-known film actors in Indian cinema."

Not quite, Shilpa. Yes, Ms. Shetty is a genuine Indian film actress. Just ask Cory. You would be hard pushed however, to find anybody in India, who (prior to BB) would agree that she is "one of the most well-known film actors in Indian cinema."

Globally, we all know Aishwariya Rai. Rani Mukherjee and Preity Zinta may also get nods of recognition. But Shilpa?

Shilpa Shetty on the set of Apne, Mumbai, 2006

Although Shilpa has been acting in Bollywood for almost 14 years, and has released close to 50 movies, in only a handful of films has she achieved commercial success. Her 1993 debut Baazigar was well received, but in this film all we really saw was the heroine dancing around a bit, before she is killed off. She gained critical recognition in 2004's, Phir Milenge, in which she played the role of a person living with HIV. The film, with its controversial story line, won her several awards, but did not perform well on its release.

In an industry that churns out over 800 films a year, Bollywood actors tend to shoot on more than one production at a time, and their output is prolific. In this crowded market, many releases flop spectacularly at the box office every Friday, and are quickly forgotten.

What this ex-model is definitely known for is her physique. Whilst not the most talented or well known actor in Hindi Film, karate expert and yoga queen Shilpa has earned the title the 'body' of Bollywood. Something which British viewers got the chance to see in 24 hour coverage through BB's 37 cameras. There is speculation that this body has been achieved with the help of plastic surgery, though the actor will only admit to having had a nose job.

As an animal rights supporter, you may recall Shetty fronted a campaign for PETA locked in a cage, wearing an animal print cat suit. She is also an activist for HIV charities in India, and worked on a short awareness raising film with the BBC last year. Here she scores points. The UK branch of PETA was behind Shilpa all the way, and requested its members to stand behind her from the outset; long before the show's race rows won her mainstream support from the general public.

India's own adaptation of the reality show Big Boss, which has just concluded its first series, was made up of a Bombay mix of wannabees, has-beens, nobodies - and Rakhi Sawant(!). Strict censorship laws in India mean it is far tamer than what is shown in the UK, and it did not really catch the imagination of the public, as the format has in other regions.

However, a global audience, has sat up and taken notice of the first Bollywood actress to appear on Celebrity Big Brother, and the world's media has closely followed both Shilpa's time in the house, as well as her rising stature since her win. The most recent evidence of this, was the media frenzy outside the Houses of Parliament, on her recent visit to this normally rather glamour-less London institution.

And while Shilpa Shetty may not be one of the most well-known film actors in Indian cinema, through her success as a British television star, she has arguably become one of the most globally recognised celebrity faces.

Bollywood's Fair and Lovely Foreign Extras

Steven Baker — Tue, 6 Feb 2007 00:17:16 EST

If you are a fair skinned westerner passing through Bombay, beguiled by the "hey, you wanna be in the movies?" line, and the promise of 500 rupees for a day's work; you could find your 15 seconds of fame in the Hindi film industry.

In a society that equates fairness with beauty, the westerner, especially the blue eyed blonde haired variety, fulfils a crucial role in providing instant background glamour to many a film.

The budding film stars are recruited each morning from the traveller hang outs and hotels of the tourist friendly Colaba. Many of them are newly arrived from the International airport, or confused and dazed from a sleepless night on the bus from Udaipur. As the pavement agent bundles the tourists into a taxi, the aspiring actors chatter excitedly about their big break.

Alas, their dreams of the movie style lifestyle are quickly shattered when they arrive at Churchgate station, and are promptly herded onto an 8 rupee rush hour suburban train bound for one of the film studios in the western suburbs.

On the journey I marvel at the foreigner's abject lack of understanding of an industry that produces over 800 films a year. As a committed Hindi film fan, I shudder at the perceptions and misconceptions that I hear bandied around the carriage; hearing the same two repeated ideas, "Singing and dancing in the Swiss mountains" and "No kissing".

"No, no, no. it is not all singing and dancing in the mountains of Switzerland," I inform. "Switzerland is so passe as overseas location of choice. Think New York (Kabhi Alvida Na Kehna). Think Melbourne (Salaam Namaste). Think London (every second Hindi film). The movie-goer of today is as likely to be an N.R.I. as a Bihari," attempting to explain the significant impact of the Indian diaspora on the industry. "And yes," shock horror, "sometimes they do kiss." Producing a gasp of shock from the audience.

Once the prospective stars have managed to fight their way off the train (not always a successful pursuit), they are shepherded to the studio, where the first stop is wardrobe. It is here that the fame seekers learn an important lesson in the thespian caste system. At the top, the Khans, the Bachchans et al arrive on set immaculately attired and looking every inch the super star. Coiffed hair and flawless make up comes with a whole entourage of people to keep it staying that way.

The newcomers however, are led to a less salubrious, shared dressing room. No vanity van here. Banish those ideas of lights around the mirror and star upon the door. Instead, we are handed frayed-at-the-collar suits and tentatively-held-together-with-a-safety-pin evening dresses. It is this chic attire, that helps create the jet set image of the overseas bar/casino/nightclub.

The standard traveller look of dreadlocks, piercings, and sandals does little to complete the desired effect. Neither hair and make up nor footwear extends this far down the caste system, as travellers attempt to tame knotted dreadlocks; and match their bought on a beach flip-flops with ill fitting evening wear. Finished in wardrobe, the actors are now ready to be thrust into stardom.

On the set of Salaam-e-Ishq, a suited and sandaled fellow Englishman innocently enquires what we are supposed to do. "Act, just act," is the curt reply from a casually attired 30-something in faded jeans.

The taken aback suit and sandal moans, "Who is that guy and why is he always shouting? He can't be an actor?" an observation made no doubt on an appearance that is about as unkempt as our own. "That guy. That guy" I say, "is Nikhil Advani, and no he is not an actor, he is a director. The director in fact of this film."

Scoring with Kal Ho Naa Ho as his debut, I want to add that he is a demi-god, albeit (sorry Nikhil-ji) a rather strict demi-god ... who shouts a lot.

Later that day, on the same shoot, the world of the foreign extra produces further comic tragedy, as an Australian gap year student playing a waiter, unceremoniously drops a tray of drinks. It could not have been timed better, forcing as it does a shout of "Cut!" from Nikhil, and interrupting Salman Khan and Priyanka Chopra in their attempt to lip-synch their way through the Shankar-Eshaan-Loy title track.

Another set, another suit and sandal. This time an American tourist on a three month tour of India. We are shooting for Abbas-Mustan's 36 China Town, and from a large group of background artists, we privileged two have been selected for an enviable position behind a dancing Kareena Kapoor.

Between takes the tourist points at the figure in a Manish Malhotra black mini skirt, and asks in what some may consider a rather loud voice, "Say, who is that? Is she famous at all?"

"Yes you could say she is famous," I grimace, casually shuffling to one side in an attempt to distance myself from the American, all the while praying that Ms. Kapoor somehow didn't hear.

Another Kapur. This time Shahid. Despite recent high praise for Vivaah, the name Shahid Kapur may not be an internationally recognised star just yet. Although in the united nations of extras, it is agreed that behind his ever present sunglasses, he has the movie star good looks to become one. It is these boyish good looks that will appear on countless tourists' holiday snaps.

Johny Lever is a movie star who may not have the conventional good looks of Shahid, but that doesn't matter when you are one of India's top comic actors. Alas, Johny Lever's standing was unknown to a thirsty Swedish girl in an undersized, and in the studio lights, almost transparent dress. It was only through swift intervention of a crew member, that she was prevented from ordering garam chai from this veteran of over a hundred films under the assumption that he was a spot boy.

Dear viewer, the next time you sit down to watch a Bollywood movie, look beyond the big name stars, disregard the current hero and heroine, and pay attention to the fair and lovely foreigner in the background. Idolise their outfits. Be dazzled by their dreadlocks. Salaam their sandals. Their 15 seconds starts now.

Salaam-e-Ishq - International Perspectives

Steven Baker — Wed, 31 Jan 2007 00:38:15 EST

One year, two months, and three days in the making, Nikhil Advani's Salaam-e-Ishq finally hit cinema screens on 25 January. A successful promotional campaign, a muti-starrer cast, and that Ishq-Ishq-Ishq Salaam-e-Ishq title song have generated an incredible buzz around this movie.

After gaining international acclaim with Kal Ho Na Ho, Advani has a lot to live up to, both in India and overseas. Six foreigners who were connected to the film making process reveal the hype and some insider scoop from the long shooting schedule.

November 20 2005, saw the launch of Advani's sophomore film at Karjat studio, Maharashtra. On the first day of shooting Nikhil had assembled the mega stars Salman Khan, Priyanka Chopra, Anil Kapoor, Juhi Chawla. And the less well-known Brad Clifford.

Brad Clifford, an American tourist, was plucked from a hotel in Mumbai and cast as a waiter in the picturisation of the title track. Brad, from Oregon, looks back, "When I first showed up to the set I was trying to memorize the title of the movie so that I could buy a copy when it came out. By the end of the shoot you couldn't have erased the title from my brain with a full team of hypnotists."

Australian-travelling-India, Ben McCreery, trod a similar path to stardom as Brad. Initially cast as a waiter, after dropping a tray of drinks on his first day on the job, Ben decided to swap roles. For those paying attention, one second Ben appears in a bow tie and black pants, then moments later he can be clearly spotted as a dancing party guest. Happy in his new avatar, McCreery reflects, "It was a very enjoyable experience, and something I'd like to do again."

December 2005. Nikhil and crew are in Film City, Mumbai to shoot the remixed "Babuji". Established star Anil Kapoor is present, as is newcomer Anjani Sukhani and newercomer Manuel Laynez. On a set designed as a London dance studio, budding Spanish star Manuel essayed the role of a smitten dance student. Manuel observed Anjali's (Sukhani) wooing of SEI's Vinay Malhotra (Kapoor) through this seductive track, and despite her item girl-esque dancing, the modest covering up of her revealing outfit as soon as the director shouted 'Cut'.

January 2006: Swapping Mumbai for Rishikesh, the camera tracks blonde foreigner Shannon Esra, as she exits from a taxi into a narrow street next to the Ganges. South African Shannon, the latest Bollywood import, had an audience of hundreds on this outdoor location shoot. In this audience, Megan Nass, another blonde foreigner stands out amongst the locals. An avid fan of Hindi film, Nass was excited to be there. "The crowd," she is informed by a local, "is too, too big yaar. Bigger than when Rani Mukherjee and Abishek Bachchan were here shooting Bunty aur Babli."

The excitement from the crowd reached a crescendo, when out stepped Govinda from behind the wheel of a black and yellow taxi. Despite a break from the film industry, this Hero No 1 still has a huge following. Not just with the aam aadmi, but, it would seem, with blonde firang girls too.

August 2006. Charlie Henniker, English undergraduate at Oxford University, is elated to wake up one morning to find a Bollywood film shooting outside his bedroom window. If that was not enough to get him out of bed, Priyanka Chopra was present in her dressing gown. In picturising the upbeat "Tenu Leke" track, Salman Khan's Rahul flirts with Priyanka's Kkamini; amongst a troupe of desi and gora dancers.

"The shoot brought colour and vibrancy to an already spectacular location, and it caused a real stir. There's a very significant NRI community amongst students at Oxford, and many of them were very excited," Charlie comments. "It's even been suggested that a shrine is put up to commemorate the filming," Henniker added.

December 2006. Charissa Glidden works full time as an actor in Hindi films. Born to American parents and brought up in the UK, Charissa's mid-atlantic accent places her in high demand as a voice over artist in her adopted city Mumbai. Charissa's voice has featured in the blockbusters Dhoom 2, Krrish and Fanaa. In Salaam-e-Ishq, Glidden's vocal contributions can be heard whenever there are foreign actors' lines to dub - whether that be a rockin' disco, an upscale restaurant, or a busy airport lounge. Charissa does not normally go to see a film simply because she has worked on it. However this time is different. "I was at the front of the line for the first morning show," she smiles.

Like the episodic nature of the film, the stories of these foreigners stride across country and culture. Linking India to Spain, Australia to the US, Oxford to Oregon. Six different lives. Six different worlds. One common film. Salaam-e-Ishq.