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At yash ji's chautha:
One romantic's ode to another - Shashi Kapoor bids adieu to Yash Chopra by recounting their journey from Dharmputra in the 60s to Silsila in the 80s
I had the chance to play the role of a lifetime in the film Dharmputra, directed by Yash Chopra in 1961. I was nominated for the National Award for it, but I refused it as I felt my performance was not competent enough. When I acted inDharmputra, I was just two-films-old, and the film starred stalwarts like Ashok Kumar, Mala Sinha and Rehman.
My introduction in the film was a close-up of me worshipping Lord Shiva. My character was a staunch Hindu nationalist who, though born to Muslim parents, was brought up by a Hindu family. During an intense scene, I wasn't sure as to how I should express myself. Under Yash Chopra's guidance, I was able to convey an expression of pathos and I allowed tears to collect in my eyes. He canned the shot in one take and applauded my acting abilities.
It was in 1965 that he again opted for me in his magnum opus, Waqt. I requested him to make sure that I don't get sandwiched between icons like Balraj Sahni, Raaj Kumar and Sunil Dutt. Nothing went against me. I received equal footage as compared to any of the other leading actors. By then we'd developed a good work rapport and were ready to work together whenever required.
A decade after Waqt, I was again cast by Yash Chopra in Deewar. The film's author-backed character belonged to Amitabh Bachhan. I could have easily refused to play second fiddle to a newcomer like him. However, I didn't refused because I thought it was a challenge to face a highly gifted actor like Amitabh Bachhan Yash Chopra, as a director, payed full attention to my performance. On one scene, I had to shout, "Bhai tum dastakhat karoge ya nahin", in three octaves, one rising above the other. Here, Yash Chopra showed his expertise in controlling me from going overboard.
Similarly whilst shooting his romantic saga, Kabhi Kabhi, he was at his best. Yash Chopra excelled in love themes. He shot my romantic moments with Rakhee with tenderness and care during the haunting Mukesh number, Suhaag Raat Hai, without making it appear sensuous or vulgar.
I later worked under his direction in Trishul, Kala Patthar and Silsila. We always were on the best of terms. He was a practical dreamer who knew how to adapt to changing times and make successful films. Goodbye Yashji.
As told to Ranjan Das Gupta
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