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| Edited By: Yogesh Pawar |Source: DNA |Updated: Jan 13, 2019, 06:20 AM IST
Actor, director and producer Asha Parekh was conferred the Bimal Roy Memorial Lifetime Achievement Award on Tuesday. Yogesh Pawar spoke to the legend about this honour, how it completes a circle since Roy discovered her 66 years ago, her films, her dancing, her songs, and yes, her regret too.
This is a great honour. Its not for nothing I called Bimal Roy my 'mai-baap' in my acceptance speech. He found me and gave my life a direction I never even knew existed. I often wonder what life would've been if destiny hadn't made our paths cross.
My mother was very keen I learn dance and I learnt so many forms. I began with Kathak and was doing a lot of stage shows when BimalDa saw me. He then called for me and asked me if I'd act in films. I had no idea about anything but I just said yes.
Yes... I was barely 10 and I just vaguely remember the first day of the shoot. It was a marriage scene. I had to look out of a window and run towards the camera and say a line.
I did 6-7 films as a child. But it was taking a toll on my studies. So I went back to being a full-time student at JB Petit here in Mumbai.
I was trying my hand at films and did Aasha with (Vyjayanthimala and Kishore Kumar) but my first solo lead was Dil Deke Dekho opposite Shammi Kapoor. He was very encouraging. I'd call him 'Shammi chachu.' He taught me to lip sync to lyrics and veteran SulochanaTai (Latkar) taught me how to weep with glycerine and mouth emotional dialogue. I was barely 16 and I'm grateful to this day for their guidance.
Yes, Nasir Hussain then cast me in Jab Pyar Kisi Se Hota Hai (1961), Phir Wohi Dil Laya Hoon (1963), Teesri Manzil (1966), Bahaaron Ke Sapne (1967), Pyaar Ka Mausam (1969) and Caravan (1971) which all became big hits. Their songs are still huge favourites, decades later.
Yes. Critics even said she can't act for nuts as I did only breezy roles. It all changed with Raj Khosla's Do Badan (1966). Everybody began raving about my emoting. I did Chirag two years later but it didn't do too well despite Madan Mohan songs like Teri Ankhon Ke Siwa, Chhayi Barkha Bahaar which still play on the radio. I guess audiences weren't ready to see me as vision-impaired. I also did Khosla 's Main Tulsi Tere Aangan Ki much later.
I did Samanta's Pagla Kahin Ka (1970) and then followed this with Kati Patang (1971), which gave me my first Filmfare award. I was over the moon at being noticed opposite a big superstar like Rajesh Khanna. Some of those RD Burman songs are my favourites.
I enjoyed classical dance. I learnt Kathak and later Bharatanatyam from senior gurus like Tirugokarnam Subbiah Kadirvelu Pillai (who also taught Vyjayanthimala). In fact, I never gave up doing dance shows despite films and even started my own dance school. When we invited Guru Kelucharan Mahapatra I was so taken with Odissi's lyricality I asked him to teach me two elaborate items. This training helped me dance classical and folk well in front of the camera.
In the beginning, I had a huge problem because I'd never danced in the Western style. Herman Benjamin had to teach me to jive for Dil Deke Dekho. Over a period I became comfortable in shaking my leg to Western beats. You can tell from Aaja Aaja Mein Hoon Pyaar Tera.
Gopikrishna. He'd not only think up the most difficult steps but was a stickler for perfection. My feet would bruise practising but he wouldn't relent.
What can I say? I feel blessed and lucky that some of the film industry's most magical and iconic songs where legendary composers and singers have collaborated have been filmed on me. I've always respected LataJi for being LataJi, and with Asha Bhosale I enjoy a really special camaraderie.
Yes, I did three Gujarati films (of which Akhand Saubhagywati was a runaway hit) and Punjabi films (co-starring Dharmendra and even Dara Singh). I also did a Kannada film!
(Laughs) Exactly! How and why? I too keep wondering. It was all Shammi ( actress Nargis Rabadi)'s fault who brought it up. I immediately said no as I can't speak/understand Kannada. She told me they'd paradub and I could only say 1-2-3-4. Only when I reached Mysore for the shoot opposite Kumar Bangarappa (late Karnataka CM S Bangarappa's son) the director said: 'Amma aapko lines bolna padega,' did I realise what I'd gotten into. It was crazy.
On the contrary. I think pressures brought on by traditional media, the larger-than-life social media presence and other factors contribute to creating rivalries, enlarging them and keeping them going. We never had that. Especially me. Despite shooting from 9 am to 6 pm, I unfailingly had dance shows at 7 pm. Also, there was a lot more grace and dignity. Some friendships I formed then have endured and become life long associations.
Unlike now there was a shelf-life assigned to actresses. How long could I play mother and bhabhi roles?
I made serials like Jyoti, Palaash Ke Phool, the dance based Baaje Payal the comedy Daal Mein Kaala and the popular Kora Kagaz and Kangan.
Because everything started becoming so regressive.
Actors get a platform because of audiences. So as artistes we have a responsibility to give back and I do my bit.
There've been feelers down the years but I've always declined. When I see what's happening in politics I don't regret my decision.
This is for the government to answer. I'm now in space where government awards don't mean a thing. When rank juniors with little to show as contribution are given awards you feel you're better off without them.
I think I now want to relax. But who knows how I'll react if something excites me and is my worth?
Some films did not work out. So there is that. But my biggest regret is turning down Satyajit Ray. When he approached me he wanted to start shooting immediately in Darjeeling. But I'd committed dates to shoot Jab Pyaar Kisi Se Hota Hai . I still wonder what it would've been to work with Ray and be part of the still nascent parallel cinema movement.
Ankhon se joh utri hai dil mein
