Immortality on the rebound

This is Amitabh's second return from the edge of physical extinction, a gift not afforded to everybody. India's leading directors, Ram Gopal Verma and Sanjay Leela Bhansali, speak about the joys of working with Bachchan and his son, Abhishek

By Subhash K Jha

Ram Gopal Verma
It's very boring to rave about Amitabh Bachchan. Every director does so after working with him. Now, after having worked with him, I know why they do so. After so many films and years, he still has the capacity to surprise you. People say he's doing too many films. But I'd like to evaluate him solely for what he does in my Sarkar.

Bachchan has reached a legendary status where he can never be blamed for a film's failure. Sarkar is my tribute to his talent [so much so] that only his face appears on all the hoardings. So far, I had restrained myself from working with him. I've gone to him only when I had the role to justify his presence. I made them do exactly what the script required without worrying about what the so-called market expected from me.

Abhishek came in later. I was too much in awe of Amitabh to concern myself about the AB Junior. Like most moviegoers, I grew up watching the senior Bachchan doing amazing things on screen. Whether I have succeeded or not is a secondary issue.

I took my time to conceive a role that would showcase Amitabh Bachchan the way I wanted to see him. Were it not for him, I wouldn't have made Sarkar. For me, he's a superstar. I'm not interested in seeing him as an actor—I want to see him larger than life.

In Sarkar, I want to recreate the intensity that he exuded in Zanjeer and Deewar—obviously keeping his age in mind. I think he's the only actor in Indian cinema who can hold the camera without saying a word. He always seems to be communicating directly with the audience.

Many actors give good performances without understanding the craft. But Bachchan understands the craft and [so] remains completely authentic on screen. He adds immensely to the writer and director's vision. I feel [that] over the years, the directors began to depend too much on his persona. The one-liners in Deewaar and Namak Haraam became one-pagers in subsequent films. I found that tense element missing in his recent films. In Sarkar, I wanted to recreate that tense aura of his one-liners. I wanted to let his silences speak louder than his words.

I'm the lion who has tasted blood. I'll work with Bachchan again and again. In fact, I've already directed him again, in an episode of Darna Zaroori Hai, my sequel to the horror trilogy, Darna Manaa Hai.

As for Abhishek, the best compliment for his performance came from a projectionist at a preview of the film. "Aisee film to maine dekhi nahin. Amitabh aur Abhishek ki acting dekh kar pataa nahin chalta kaun kisska baap hai." Abhishek came in as Amitabh Bachchan's son, so the expectations were extraordinarily high.

And then, on top of that, Abhishek was made to do all those NRI films, which didn't suit him. If Bachchan had followed up Zanjeer with those Rajesh Khanna films from the earlier era,
I doubt he would be such a big star. I think it's a very progressive cinema…

Every star is a product of his times. Although I loved him in Dilwale Dulhania Le Jayenge, I don't think Shah Rukh Khan would've worked in Zanjeer or Deewar. When Abhishek came, he wasn't being given the chance to develop his own identity. In my Naach, which was done with a modicum of realism, his capability was tapped, though not fully. I think I've understood his potential in Sarkar. Bachchan would've done this sort of thing in the beginning of his career. To see Abhishek do the same was a shock to me.

When I finally worked with him, his novelty struck me dead-on. I think Abhishek is a very different actor from his father. Although there's a genetic likeness their approach to a scene and mode of performance, they are remarkably different. Abhishek's extremely involved on the sets—I'd listen more to his than to his father's suggestions. His understanding of life is more contemporary than Bachchan’s or mine.

I hadn't seen any of his films before signing him—I just saw the promotional clippings of Main Prem Ki Deewani Hoon.

I was quite impressed. I like his body language, his smile and the intensity in his eyes. In Naach, I was taken aback by his performance.

To me, Amitabh and Abhishek Bachchan are completely different actors. And even if they weren't related, I'd still want only the two of them for Sarkar.

Sanjay Leela Bhansali
Amitabh Bachchan is one of the finest human beings I have ever met. He works 20-hour days and yet remains charged and passionate about his job. In Black, he plays a man who lives on the edge. It required a great deal of energy. Bachchan had it. No director's portfolio is complete without working with Amitabh. Every filmmaker has so much to learn from him.

I learnt so much from him about the craft and spontaneity of acting. His complete understanding of all aesthetic arts—from music to theatre to photography to cinematography and creenplay—makes him a complete actor.

He's so well-versed with all forms of art that he can delve deep down within himself to find references from every scene and emotion. When his fans and admirers—and I'm one of them—say that Amitji is the god of acting and deserves an Oscar for Black, I think they want to tell him that he has reached international standards of performance.

I agree with them. Whether it is Black or Sarkar, it's fascinating to know that even today filmmakers are devising projects with him in mind. I think that makes him the greatest star-actor of our country.

Ever since I started making movies, it was my dream to work with him. Even my first film, Khamoshi, was written for Amitabh and Jaya Bachchan. But, at that point of time, he had taken a break from acting, and I felt that with a baritone like his, he 'd never come back with a role that required him to be mute. For the fear of rejection, I never approached him. But let me tell you, during Khamoshi I had already started to plan Black.

I've three idols: Lata Mangeshkar, Birju Maharaj and Amitabh Bachchan. And I'm proud to say I've worked with two of them…

I haven't worked with Abhishek. But he's a wonderful guy and a fine son, and he's evolved as an actor—from Bunty Aur Babli to Sarkar. For me, Yuva is a turning point for Abhishek. No actor could've done a better job. He uses his eyes beautifully. He had to fulfil the responsibility of being Amitabh and Jaya Bachchan's son without losing his identity. How gracefully he managed to come into his own! Now, he's liberated and passionate on screen.

The beauty of being Abhishek is that he lives up to his parents' image without being their clone. For four years, he has withstood vicious criticism in the wake of his flops and has emerged as a powerful force. Look at him in Sarkar. He stands tall and so sensitive.

When we see father and son perform, we can see Abhishek's reverence, and yet it isn't blind awe. Bachchan, too, gives Abhishek the space to express himself without undermining his histrionic powers. Watch them dance with Aishwarya in "Kajrare" (Bunty Aur Babli). They both give their best, and are yet so complementary.