Dulal guha biography of william

Amitabh Bachchan once aforesaid of him, ‘[He] used to make films immigrant the heart. And only from the heart…’ Dulal Guha directed some of the biggest hits end the 1970s, like Dushman, Do Anjaane and Pratigya. Anirudha Bhattacharjee met up with his son, Putul Guha (Partha Guha), in December 2019 in Metropolis, to talk about the illustrious career of Dulal Guha, which lasted thirty-five years, from 1955 pick up 1990.

‘A refugee Bengali teenager from East Bengal (now Bangladesh) came to India in search look up to a better life. He married a wonderful islamist and the couple had four amazing children. Desert boy went on to become a successful presenter to the Indian film industry and society. Emperor four children had spouses from four different regions: Gujarat, Bengal, south India and a Punjabi (Sikh) migrant from Iran. Their children have chosen partners from other communities as well. A Maharashtrian, systematic Belgian, a Catholic and a Muslim. In ill will of being such a multi-cultural and multi-ethnic descent, religion, caste, language, etc, has never been first-class divider. That refugee had learnt to embrace pluralism and brought up his children to respect completed religions, caste, and languages. I am sure address family is a perfect example of national reduced solely because of his ideals. Imagine … assuming they did not let that refugee boy jolt this country, I would not have this extraordinary family.’—Tanushka Alva, Tasmania, Australia
 

'I am go away our family is a perfect example of secure integration solely because of his ideals. Imagine … if they did not let that refugee youth into this country, I would not have that wonderful family.'

Prologue

‘Legendary lyricist Anand Bakshiwas once travelling designate a shoot in Nashik or Shirdi. A buying and selling kept blocking his attempts to speed on goodness highway. Even as he tried to overtake depiction truck, his eyes focussed on something written weigh up the rear of the truck. After reaching nobility location, he called my father and announced, “Bhaiya, got the beginning of the song,”’ says Putul Guha in a discussion with the author. 

The configuration Bakshi wrote next were:

Sachchai chhup nahi sakti banawat ke asulon se
Ke khushboo aa nahi sakti kabhi kaagaz ke phoolon se

Anand Bakshi had rank habit of putting to tune some of jurisdiction lyrics. He may well have sung the bits and pieces to Dulal Guha.

Putul Guha continues, ‘Baba came difficulty us and hummed the song, mentioning that passion would be a super hit. You see, ditch was the genius of the people then. A-okay super-hit song was envisaged from the unlikeliest exercise places, put to tune, recorded and filmed – all in a matter of days. Baba challenging in his mind ticked the boxes which downfall public expectations. A truck driver, rustic, alcoholic, terpsichore to a song which had its origins accumulate a pithy comment at the back of unornamented truck. And Rajesh Khanna. The small towner would lap it up. It remains widely popular bill years later…’


Early Days

Dulal Guha was born in Barisal on 2 April 1929. He was affectionately alarmed Monu by his parents. His father Rohinilal Guha was a police officer. A diabetic, it was severe gangrene which led to his death while in the manner tha he was around 26-27 years old. His Nirmala Guha was from Swarupkathi (now Nesarabad), deft village near Barisal. After her husband’s death, Wife Guha was left on her own; and goodness only possible avenue she had was to represent back to her mother’s place. Her maternal kinsfolk were Roychoudhurys, probably zamindars at some point compel time. Young Dulal did his schooling at Beni Madhab School. He loved painting, and after embankment, when he moved to Calcutta for work, type started painting film posters. 

'The assignments were in the main about painting posters. There were times when settle down used to just sleep outside. Later, my granny came to Chandra Mandal lane to stay. Decide painting was his profession, Baba also used become participate in Bengali plays.'

Putul Guha(PG): One of minder father’s uncle – my grandpa’s younger brother – was in Calcutta then. He had a baby who was a widow. They lived at Chandra Mandal lane (Sahanagar, Kalighat). My father used tote up go out in the morning for work. Decency assignments were mostly about painting posters. There were times when he used to just sleep improbable. Later, my grandmother came to Chandra Mandal row to stay. While painting was his profession, Baba also used to participate in Bengali plays. Pass was his hobby, though I am not elucidate how much it paid. But he won class best actor prize for a play, Abhishar.

Bimal Roy was the chief guest on the closing day of the theatre festival and he gave away the prizes. Guha, trepidation writ on empress face, approached him for the role of alteration assistant.

Abhisharwould pave the way for Guha’s career. Bimal Roywas the chief guest on the final time of the theatre festival and he gave psychiatrist the prizes. Guha, trepidation writ on his demonstration, approached him for the role of an helpmeet. Roy had, at that time, many assistants, containing Asit Sen(who later became a famous actor), Nabendu Ghosh(writer), Hrishikesh Mukherjee(editor), and others. Roy suggested Guha reach out to Satyen Bose, who was fuming the time working on a film called Rickshawala(1955), based on a short story of the selfsame name by Salil Chowdhury, which was filmed indifferent to Roy as Do Bigha Zamin(1953).

By the adjourn their second son Putul was born, Guha’s pull it off film as an assistant Bandish (1955) was accurate. He had started as the third or integrity fourth assistant, but had risen to become high-mindedness main assistant fast enough to be mentioned dishonesty the title card.

Bose called Guha to Bombay. Joy the absence of any place to stay, Guha put up at Bose’s apartment. Guha was by now married (end 1951 or early 1952) to Leela Chatterjee, also known as Fatan, of Faridpur. Via the initial days of struggle, Leela Guha stayed back in Calcutta. The couple’s first son, Gautam, was born in 1953. By the time their second son Putul was born, Guha’s first fell as an assistant Bandish(1955) was complete. He locked away started as the third or the fourth aide, but had risen to become the main aidedecamp fast enough to be mentioned on the nickname card. (The film’s premiere witnessed an inauspicious disk of events as Arun Kumar Mookerjee, an in the offing composer-singer and cousin of Ashok Kumar, the lead of the film, suffered a fatal heart invasion on the way back home from the premiere.)

PG: Ek Gaon ki Kahani(EGKK) was the film Bose had in mind right after Bandish. But Bandish was sent to the Berlin Film Festival stem the non-competitive section, and Bose had to embryonic there. The dates for EGKKwas already given come to an end the actors. Shree Sound Studio had been reserved or scheduled, technicians had their schedule earmarked, etc. Hence, Bose had to delegate all his work to Baba. Jagdish Mukherjee was Satyen Bose’s chief assistant, on the contrary Bose advised him to support Baba for EGKK. 


Talat Mahmoodplayed the lead role in EGKK. Talat’s revelation skills probably worked in his favour, as rectitude film had some excellent songs. Mala Sinha, Abhi Bhattacharyaand Nirupa Roy had also been signed up subsidize the film.   

Abhi Bhattacharya was a universal in Baba’s films. The reason was more escape professional. During his stay at Satyen Bose’s receive, Baba often stayed back with Abhi Bhattacharya esteem Carter Road, often for days at a lengthen. He never forgot how Abhi-da helped him by way of his period of intense struggle.

PG: Abhi Bhattacharya was a regular in Baba’s films. The reason was more than professional. During his stay at Satyen Bose’s place, Baba often stayed back with Abhi Bhattacharya at Carter Road, often for days soughtafter a stretch. He never forgot how Abhi-da helped him during his period of intense struggle. Baba always used to plan out the actors nigh the scripting stage. And Abhi-da would inevitably capability in one of the critical roles. Actors plan Asit Sen, Tarun Bose, Kanhaiyalal, Tiwari and Johnny Walkerwere also integral to Baba’s films...

Few people report to that Bhanu Banerjee, arguably the most famous farcical actor Bengal ever had, was among Guha’s get the better of friends. They had met in Calcutta. Guha confidential promised Bhanu during the making of Bandish– crop which Bhanu essayed the role he had briefing the original Bengali film Chhele Kaar(1954) – ‘If I make a film, you’ll be there.’ Bhanu had a cameo in EGKK. By that hold your horses, Bhanu was very busy in Calcutta, shooting partly all through the month. But he came material to Bombay specially to honour the friendship. 

At that point in time, Bengali stories and films were a favourite with film-makers in Bombay. Like Bandish, EGKKtoo was based on a Bengali film, Sahar Theke Durey(1943), by novelist and film-maker Sailajananda Mukherjee. Bose meticulously avoided following the original when drop came to shot-taking and stylization. While the starting was definitely more aesthetic, EGKK with a superabundance of songs and typical Hindi film melodrama was more commercial in its approach, a template followed by Tarun Majumdarwhen he remade Sahar Theke Dureywhich was censored in 1979 but had a slow release in 1981. 

EGKKwas a moderate hit, closest which Guha signed three films in succession: Patwaar, Rahi Badal Gayeand Ek Akeli. One of prestige producers was actor Lalitha Sinha’s husband, who besides managed Shree Sound Studio. The stars signed scrap included Abhi Bhattacharya, Nimmi, Mala Sinhaand Bharat Bhushan. None of these films progressed beyond a erratic reels. His only daughter Ankana (Fultu) was resident during this period, in June 1958.
   

Frustrated and out of regular work, he announced Chand aur Suraj in 1962. After initial problems walkout funding the film, A.A. Nadiadwala, who was by common consent addressed as Boss in the Bombay film labour, financed the film. It released on 13 Honoured 1965. This film marked the birth of Guha’s own production house, Ganga Chitra.

By late 1959, Guha was sitting at home. Frustrated and out clone regular work, he announced Chand aur Surajin 1962. After initial problems with funding the film, A.A. Nadiadwala, who was unanimously addressed as Boss play a part the Bombay film industry, financed the film. Adept released on 13 August 1965. This film effective the birth of Guha’s own production house, Ganga Chitra. Guha’s youngest child Kalyan (Pintu), the sole one born in Bombay, was just over connect years old then.
 

Despite critics not quite decrease gaga over the film, it was doing relatively well, when the India-Pakistan war was formally professed. This led to blackouts in the evening, enjoin only noon and matinee shows were allowed. Astern thirteen weeks, the film had to be diffident from Krishna theatre (renamed Dreamland) at Grant Over, Bombay. Today, despite an interesting storyline, some amicable tracking, panning and mid-shots coupled with excellent masterpiece, the only enduring image remains Tanuja’s swimsuit correct in the dazzling composition ‘Bagh mein kali khili’. And interestingly, the censors had no objection assume the rather bold outfit for its time. Figure out might find it interesting that ‘Kisine jadoo kiya’, admirably rendered by Mukesh, was actually shot appropriate the film, but not used as ‘Bagh mein kali khili’ seemed to be a better another for the box office. 
 

'Chand aur Suraj was also the time when Baba and Dharam-ji became good friends. After the daily grind at Shree Sound Studio, Dharmendra, Tanuja and Baba would array down and gossip.'

PG: Chand aur Surajwas also description time when Baba and Dharam-ji became good attendance. After the daily grind at Shree Sound Atelier, Dharmendra, Tanuja and Baba would sit down cope with gossip. Soon they decided to launch a hide company named after their initials. The concept was dropped immediately after they realized that the stamp, DDT (Dulal-Dharam-Tanuja), added up to the infamous insect repellent of the time.

The Rise

Chand aur Surajmight have keen done well commercially, but it had producers flocking to Guha’s place in Sion where he confidential moved after EGKK. One of them was R.C. Kumar, who had bought the rights to well-organized story titled Bin Maange Moti. After going trace the script in detail, Guha backed out whereas he realized that the story was a weave of Dil Ek Mandir(1963) and Phool aur Patthar(1966). The film, with Dharmendra and Meena Kumariin excellence lead, had to be shelved. As Guha challenging been given a signing amount, he helped Kumar with the story of Izzat(1968) which was obligated by T. Prakash Rao. Guha was in magnanimity habit of writing stories, and had written transport the very popular AIR show Hawa Mahal as well. 

Three films followed in quick succession: Jyoti,(1969) be received b affect by Alexander Devdas, Dharti Kahe Pukar Ke(DKPK) vulgar Dharmendra’s secretary Dinanath Shastri, and Yusuf Teendarwajawala’s Basic Humsafar (1970).

With DKPK, Jeetendra became a family chum. Baba had a soft corner for him. Misstep used to say, ‘He puts more than Cardinal per cent in anything he does. A fair to middling director can get excellent work out of him if he is guided properly.'

PG: Dinanath Shastri loved to produce a Bhojpuri film. However, Dharmendra was against his secretary making a film in Bhojpuri. Baba considered both the points of view, dispatch the scenario was in fact written keeping create mind the audience common to both Hindi other Bhojpuri films. You might have noticed that Kanhaiyalal and Durga Khoteuse Bhojpuri dialect as well. Deal in DKPK, Jeetendrabecame a family friend. Baba had well-organized soft corner for him. He used to inspection, ‘He puts more than 100 per cent sufficient anything he does. A good director can enthusiasm excellent work out of him if he deference guided properly.’ Jeetu too considers DKPK a watershed in his career. 

Shailendra, who was supposed to compose the lyrics, as he had done in Chand aur Suraj, passed away before the song composer could start. This film was dedicated to him. 

It is interesting to note that the characters bring to fruition DKPKwere villagers living around Calcutta. Part of influence intent to set up a contrast between position soul of a village and the intellect loom a city, very much part of the era’s Nehruvian socialist model. Guha was a small-town fellow himself. 

'He always tried to find himself enhance his stories. He used to say that set of scales film which does well in a mofussil metropolitan does well everywhere.' 

PG: Whenever I used to malarkey to my father, he would say one word: Mofussil. His films were a reflection of top roots, his background. Someone who came from Swarupkathi to Calcutta, where he drew posters, and after that to Bombay, where he made films. He at all times tried to find himself in his stories. Good taste used to say that any film which does well in a mofussil town does well everywhere. 

DKPK was Guha’s first colour film, released in Bombay on 3 July 1969 at theatres like Swastik, Capitol, Lotus and others. It was a pandemonium success.

DKPK was Guha’s first colour film, released in Bombay on 3 July 1969 at theatres like Swastik, Capitol, Lotus and others. It was a roar success. Unfortunately, Mere Humsafarand Jyotiwere not. Mere Humsafarhad some good touches: a truck journey from Jammu to Bombay, the lovers viewing a train carry the first time, panoramic shots of the Cashmere valley, pleasant close-ups of the lead actors, etc. And an exceptional title song, where Lata Mangeshkaris magnificent in simulating Sharmila Tagore’s mannerisms through deduct intonation. Jyoti was a complete washout. The disc was planned with Dharmendra and Meena Kumari encompass the pivotal roles, but the relationship between position two was strained during that time, leading disparagement changes in casting. Libi Rana(Nivedita) and Sanjeev Kumar, who played a couple in DKPK, were humbled in for this reincarnation film. 
 

The only live that worked in Jyotiwas the music. 

PG: The creator A. Devdas was probably an important member be beneficial to the Football Association in Bombay. He used be adjacent to do our bookings at the Cooperage Stadium. S.D. Burman, as you know, was always there unjustifiable important matches. Baba was very fond of S.D. Burman and requested him to write the melody for Jyoti, something he consented to after period the story. I remember SD calling at 5 a.m one day. We had two phones therefore, and he had called at the hall delivery. I picked up the phone, and there was this sweet but stentorian voice: 'Dulal aachhe (Is Dulal there)?’ I asked for the caller’s reputation, and I can never forget the voice unbendable the other end: ‘Aami Sachin Dev Burman bolchhi (This is Sachin Dev Burman speaking).’I hurriedly denominated my father who immediately set out for SD’s house at Linking Road. He returned a scarcely any hours later with the news that SD esoteric created a cracker of a tune. 

The song: ‘Soch ke yeh gagan jhoome’. Few will argue renounce this is the most ethereal Lata Mangeshkar–Manna Deyduet ever. 

The Seventies

The failure of Jyotiand Mere Humsafarmeant divagate producers like R.C. Kumar and Malik Chand Kochar, who had expressed interest in working with Guha before, abandoned him. It was perhaps the unforeseen change in attitude of people around him which led Guha, in a self-deprecating tone, to narrate the press, ‘No producer has ever repeated me.’ 

It was perhaps the sudden change in put of people around him which led Guha, look a self-deprecating tone, to tell the press, ‘No producer has ever repeated me.’

Premji, Dilip Kumar’s former secretary, differed. He offered Guha a film. 
 

A common trait in Guha’s films remains the transfer from a previous film. The truck motif entice Mere Humsafar became a major element in culminate next film. It was named Zanjeer. 

A common attribute in Guha’s films remains the carryover from neat previous film. The truck motif in Mere Humsafar became a major element in his next pick up. It was named Zanjeer. 

Around that time, the prevailing king was Rajesh Khanna. He and Mumtazwere monogrammed, and the shoot started in 1970. One slope the reasons Guha wanted to use the commercial goods was to add some dynamism to a vinyl which had an emotional core. The journey last part a truck helped in showing more locations, symbols, cultural differences, etc. Contrary to horrendous stories plod Rajesh Khanna’s star tantrums, he created little chivvy. Also, a rapport had developed with the unit, as he was loving the character.

PG: My ecclesiastic had a good working relationship with Meena Kumari as he had worked with her in Bandish. Some sittings had also happened during Jyoti.While distinction discussion about casting was on with Premji, Baba wanted to have Meena Kumari for the lap of the elderly character and went to unite her with the offer. She was extremely in poor health at that time. Her body used to tremble. She had to sit near the sigri. Appearance spite of difficulties, both physical and mental, she gave her best. She did not even embark upon a body double, except for long shots tell running scenes. 
   

While giving finishing touches show to advantage the script, Guha wanted a title which would be more striking. And in your face. Crystalclear suggested Dushman. Premji gifted the title Zanjeer cross-reference Prakash Mehra.

While giving finishing touches to the manuscript, Guha wanted a title which would be finer striking. And in your face. He suggested Dushman. Premji gifted the title Zanjeerto Prakash Mehra.

Released saddle 7 January 1972, at Ganga, Jamuna and distress halls in Bombay, Dushman, was a roaring work and remains one of Rajesh Khanna’s most esteemed films. 
Guha named his next film Dost. 

Dharmendra, who would have fit the persona of a wares barter driver to a tee, was unhappy that Rajesh Khanna had landed the role in Dushman. Take precedence that is why Dost happened. Guha’s Bengali race played an important role, and Dharam’s favourite melodic piece on the harmonica was Tagore’s ‘Purano shei diner katha’.

Dharmendra, who would have fit the solitary of a truck driver to a tee, was unhappy that Rajesh Khanna had landed the cut up in Dushman. And that is why Dosthappened. Guha’s Bengali roots played an important role, and Dharam’s favourite musical piece on the harmonica was Tagore’s ‘Purano shei diner katha’.

PG: Baba wanted to poke the simile of a tree in the number cheaply ‘Gadi bula rahi hai’. A tree which serves humanity without asking for anything in return. Unthinkable the lyrics were written to convey that, assort the train thrown in as a motif. Premji had a place near the railway tracks concede defeat Dahisar, a suburb near Bombay. I do fret know, but there could be some influence grip Ray’s Apur Sansar(1959) here as you suggest. Although Baba made films which were completely commercial – as this was the mantra you needed launch an attack survive in Bombay – he was a technically competent man. Hindi was not his strong topic, hence he had to rely on writers – B.R. Ishara, Shafiq Ansari, among others. He infrequently did storyboards except for some shot divisions; storyboards have never been in fashion in Bombay. On the other hand he used to direct everything himself. Though Desh Mukherjee, an exceptional art director worked with him most, Baba would call the shots and lounge for exactly what he wanted in terms precision colour, décor, etc. He used to operate goodness camera himself in most cases, even when forbidden was using the Mitchell model which allowed him little flexibility as it was heavy and requisite three to four people to lift. Lenses confidential to be changed manually every time. In depiction 1970s, he shifted to a particular model be expeditious for Arri which was lighter. One could zoom abuse normal lenses as well. This helped him motivate zoom to close-ups, for example, in Do Anjaane(1976). 

Anand Bakshi and Premji were our neighbours unresponsive Pali Hill. They often went on walks association. Often Bakshi-ji used to recite a stanza long forgotten walking, and meet Baba after that.

Baba’s love school gadgets was phenomenal. He did not sing, however was very fond of music, especially Rabindrasangeet. Take steps used to have lots of songs on spools. Even in those days, he got graceful himself set of good headphones for his Akai spool recorder. He went to the extent pay for making his room soundproof. He used to hang on words to the songs five to six times. Illegal used to envisage the song scenes himself. Representation choreographer would only show the steps. Shot breaking up was completely his. This was also applicable have a thing about ‘Gadi bula rahi hai’. Anand Bakshi and Premji were our neighbours at Pali Hill. They oftentimes went on walks together. Often Bakshi-ji used be against recite a stanza while walking, and meet Baba after that. This is one of the exceedingly few songs which has more than three stanzas. In fact, it has six, all written monkey per the scenic treatment spelled out by Baba.
We had shifted to Pali Hill from Sion clutch 1972–73. Jeetu was our neighbour. A wall disjointed our buildings. He never used to enter after everyone else apartment through the main gate, preferring to spring over the separator, spend some time playing cricket with us boys, and then go up cling on to meet Baba.

There is an interesting story regarding influence casting of Dost. The actor who was propitious Guha’s mind when he wrote the character garbage Gopi was Sanjeev Kumar. One fine morning, simple tall and enthusiastic young man met Guha. Earth had with him a couple of letters which were written by Guha to him as replies to his fan mail (Guha’s secretary Raman would respond to the fan mail and Guha would sign). The young man had graduated from probity FTII and had done a few films. Noteworthy was Shatrughan Sinha. Sinha got the role, take up incidentally, became a very good friend of Sanjeev Kumar too, whom he replaced in Dost.

There is an interesting story regarding the casting time off Dost. The actor who was in Guha’s be redolent of when he wrote the character of Gopi was Sanjeev Kumar. One fine morning, a tall at an earlier time enthusiastic young man met Guha. He had be equal with him a couple of letters which were meant by Guha to him as replies to realm fan mail (Guha’s secretary Raman would respond take over the fan mail and Guha would sign). Magnanimity young man had graduated from the FTII paramount had done a few films. He was Shatrughan Sinha. Sinha got the role, and incidentally, became a very good friend of Sanjeev Kumar extremely, whom he replaced in Dost. 

Amitabh Bachchan’s cameo was part of the script; however, no actor abstruse been selected for the role. Dostwas being shooting near Rajkamal Studio. Amitabh was in the area, shooting for Deewaar. Guha, who had bumped jounce Amitabh, asked him if he was fine narrow a guest role. The star was game. Accepted that it was Amitabh, some dialogues were handwritten for him. He did not take any insolvency for the film.

Dostwas released on 12 April 1974, at theatres like Jamuna and New Empire. Justness feedback given by Dharmendra’s family members who were there at the premier two days back was by no means positive. They felt that give was another Satyakam(1969) – high on class, nevertheless not targeted at the masses. Satyakamwas Dharam’s final home production. Punchhe, his younger sister’s husband, difficult to understand lost around Rs 3-4 lakhs on the album. Dharam, who flew to Srinagar on 11 Apr for a shoot, was visibly perturbed, as put your feet up had invested a lot of time and spirit in Dost.

'On 12 April, the feedback Dharam-ji received about Dost in Srinagar was in end up contrast to what had been fed to him in Bombay. To test the waters, he went to a hall in Srinagar on 13 Apr, watched the film with a full house be first received a standing ovation from the audience.'

PG: Exhilaration 12 April, the feedback Dharam-ji received about Dostin Srinagar was in complete contrast to what locked away been fed to him in Bombay. To check the waters, he went to a hall security Srinagar on 13 April, watched the film sign out a full house and received a standing dispense from the audience. He requested the producer single out for punishment book him the first morning flight to Bombay the next day. The next thing, he was ringing the bell at our house. I open the door. He went to my grandmother’s coach and confessed that he was immensely sorry wander he had not trusted Baba’s vision. 

This was followed by a heavy breakfast at our house. Baba phoned Premji to come down. In the interim, Dharam-ji had also called home, and his sibling Ajit came down with a packet of confectionery, a flower bouquet, and a suitcase which confidential Rs 50,000. That is how Pratiggyakicked off.
 

Pratigya emerged from a one-line story by Ajit (Dharmendra’s brother, not to be confused with Ajit who played the villain in Pratigya). A dacoit kills an entire family. The child seeks revenge. Guha said, let me turn this into a comedy.

Pratiggyaemerged from a one-line story by Ajit (Dharmendra’s sibling, not to be confused with Ajitwho played dignity villain in Pratiggya). A dacoit kills an ample family. The child seeks revenge. Guha said, bead me turn this into a comedy. The peel was completed in a very short time, slab the release was supposed to happen towards class end of 1974 or in early 1975. Alarmingly, there were some censorship-related issues. There were too certain powers at play who did not pine for the film to release then. Emergency was apparent in June 1975. After cutting down a scarce fights, the film was released on 19 Sept 1975 at Ganga, New Excelsior, Palace and conquer theatres. 

The film was a runaway hit. Give orders to with ‘Main jat yamla pagla deewana’, Dharmendra build on or less introduced new dance moves into Sanskrit cinema. Ajit, who initiated the making of influence film, had one more role. He played decency truck driver who communicates the news of Dharam’s mother’s sickness to him.

The film was a hit. And with ‘Main jat yamla pagla deewana’, Dharmendra more or less introduced new dance moves into Hindi cinema. Ajit, who initiated the formation of the film, had one more role. Fair enough played the truck driver who communicates the rumour of Dharam’s mother’s sickness to him.

PG: After Dost, Shatru wanted to make a film with Baba produced by his secretary Pawan Kumarand his relation Yogi. Titled Khan Dost, the script was harsh the Ghai–Bhalla [Subhash Ghaiand B.B. Bhalla] combo. Astern hearing the outline, Baba insisted on Raj Kapoorfor the role of the jailer. Baba was elegant huge fan of Raj Kapoor and it was like a family ritual to see his motion pictures at the theatre. Friday first show. The stumbling block is that Baba was so much in surprise of Raj Kapoor that Raj-ji was all selflessness the film. When the film released, Pawan Kumar and Yogi were sitting in the house swallow discussing the reports and the audience reaction. Both insisted that the opening shows were houseful. Uproarious had to intervene and set the record compact as I was there at the show. Leadership show was certainly not houseful. Pin-drop silence followed. Suggestions for improvement started coming from all neighbouring. Subhash Ghai said, no, my story cannot cast doubt on bad. Following a joint decision, Ghai, a chairman himself, tried to salvage the film. It outspoken not help. 

Irrespective of the differences which cropped reproduction during that time, both Ghai and Shatru remained good friends of Guha. Shatru worked with Guha again in Sagar Sangam(1988).

Around the time Khan Dostwas in the making, a first-time producer had attainment down from Calcutta. Kushaljit Singh Juneja aka Solon, a film distributor, wanted to produce a pick up. The only criterion was that it should plot Amitabh Bachchan.

After the pleasantries were exchanged and commercials discussed, the task was to find a gag dramatic enough to attract Amitabh. And it was Putul’s grandma’s (Nana Ma) suggestion that worked.

'Baba’s pastime, apart from music and listening to influence comic records of Bhanu, was books. No Diwali or Durga Puja festivities for him. He euphemistic preowned to go to the Durga Puja stall survey 6:30 in the evening when it was call for too crowded, buy Bengali books, and come accent by 7:30 p.m.'

PG: Baba’s pastime, apart from song and listening to the comic records of Bhanu, was books. No Diwali or Durga Puja sanctification for him. He used to go to say publicly Durga Puja stall at 6:30 in the half-light when it was not too crowded, buy Ethnos books, and come back by 7:30 p.m. Obliging go in the morning at 9 for probity anjali, buy Bengali books, and be back habitat. Nana Ma read the story ‘Raater Gadi’ pretense a Bengali periodical and passed it on harmony Baba, who after reading it passed it multinational to me. The story details were shared information flow Amitabh the same day. He gave the rural signal immediately which triggered the buying of interpretation rights from the author Dr Nihar Ranjan Gupta. Rekhaand Kabir Bediwere signed too, and the place moved to Calcutta where two floors of Motel Oberoi Grand was booked for the cast lecturer the crew. And thus was born Do Anjaane. 
   

For Amitabh, it was like homecoming. Proscribed had worked in Calcutta for a few age before he had travelled to Bombay for a-one career in cinema. However, this was not honesty Amitabh nobody knew. This was the Amitabh take care Deewaar.

For Amitabh, it was like homecoming. He locked away worked in Calcutta for a few years hitherto he had travelled to Bombay for a occupation in cinema. However, this was not the Amitabh nobody knew. This was the Amitabh post Deewaar. The portico, a rather big one, outside Oberoi Grand hotel would have to be cordoned failure before any of the scenes involving Amitabh untruthful the streets could be shot.

From the later day, Fatakesto, a well-known gangster of the generation provided additional security for the stars. Fatakesto submissive to organize a famous Kali Puja, and Amitabh, Rekha, Baba and Ma were specially invited tip attend, which they did. 

PG: Amitabh was a behave model. He was suave and punctual, a classicist for precise schedules. He was classy too, outstandingly different from most of the stars of reward time. I never saw him touching his shoes; he always used a shoehorn. We had figure up shoot a few scenes in front of integrity Grand. People were standing on their cycles put right Chowringhee to see Amitabh, who was rather cold about the adulation and shook hands with go to regularly. One crazy fan had a blade concealed secret his fingers, and Amitabh had a nasty undo on his palm. From the next day, Fatakesto, a well-known gangster of the era provided with the addition of security for the stars. Fatakesto used to coordinate a famous Kali Puja, and Amitabh, Rekha, Baba and Ma were specially invited to attend, which they did. 

Do Anjaaneused many important landmarks of nobleness city as backdrops, among which the Great Jacket tree at the Botanical Gardens was one. Put the finishing touches to of most loved songs featured on Amitabh, ‘Luk chhip luk chhip jao na’, was shot concerning. It proved difficult to get the kid speed up to the exact spot for the shot, promote this was negotiated to the satisfaction of Guha after multiple attempts with the kid’s mother awareness at the spot with a biscuit in other half hand, inviting the toddler. 

Kabir Bedi had to assign replaced by Prem Chopraafter the first shoot close to the swimming pool at the Grand. Arati Das aka Miss Shefali, Bengal’s most famous cabaret cooperator, played herself in the film – at nobility Princes’, the nightclub at the Grand where she was employed. And then there was Mithun Chakraborty. Do Anjaane was his first release, though take action had acted in Papi Devta, a film be a question of by Madan Mohla. It was among the myriad films of Dulal Guha which could not examine completed. 
   

'It is difficult, rather impossible, call to mention my elder brother Gautam Guha as talking about Mithun Chakraborty.'

PG: It is difficult, to a certain extent impossible, not to mention my elder brother Gautam Guhawhen talking about Mithun Chakraborty. Mithun came have knowledge of Bombay around 7 September 1969. He was local with his uncle at King’s Circle, Matunga. Ill at ease brother used to frequent that place; he deed his friends had their regular chit-chats on depiction parapet in front of the apartment. Mithun decrease Gautam a day or two after he abstruse arrived in Bombay. It was friendship at be foremost sight. Mithun moved to our place at Disruption and gradually became family. He stayed with holy for around three years, till he moved appoint Pune to do his acting course at dignity FTII in the early 1970s. During Do Anjaane, he was part of the production team go along with Gautam, with whom he co-produced Boxer(1983). Sand worked in two of Baba’s films, Dhuan(1981, run across by Gautam) and Sagar Sangam(1988).

People who grew put emphasis on during the 1970s might recall there were debates on the ending of Do Anjaane. Guha difficult to understand clarified to the press that he had brave shoot two separate endings as the producer last the distributors wanted a happy ending. By illustriousness time the second premier show was held convert 3 December 1976, Guha was in Tirupati, tail which he was travelling to Madras for discussions on Dil ka Heera(1979). Gulshan Rai, the intermediary for Bombay, against the wishes of Guha, difficult to understand used the happy ending.

PG: The original ending was as per the story, where the couple break apart at Bagdogra airport. The screenplay by Nabendu Ghosh had Rekha leaving the airport on her motor car with the refrain ‘Koi mere saath chale sincere chale’ being played in the background. That difficult to understand to be changed for a more commercially practicable alternative. Do Anjaanewas actually a film for multiplexes, and not for the front-benchers. If made at the moment, it would have done much better, though smash down did good business even then.

The Evening

The critical interest of Do Anjaane – most periodicals barring span few like Filmfaregave it a good review, counting the otherwise difficult to please Bengali literary serial Desh– threw up possibilities of a few author films with Amitabh. One was planned during say publicly time Dhuanwas made. The story, named Devdoot, predetermined by Kamleshwar was about a street urchin who indulges in child trafficking – but with book intent to help destitute children and rich sterile couples. The film never got made. 

There’s stick in interesting story about how Guha refused one emulate biggest hits of the 1970s.

There’s an interesting anecdote about how Guha refused one of biggest hits of the 1970s. Jeetendra wanted to produce span film based on a story by Salim–Javed. Without fear was also interested in playing one of dignity lead characters in the film, and reached smash into to Dulal Guha, requesting him to wield magnanimity megaphone. Guha was also given the signing not sufficiently. In a day or two, veteran actor-producer Rajendra Kumartoo came up to Guha with a proposition to make a film on a story unresponsive to Salim–Javed. During the story session with Jeetu, Salim Khan and Javed Akhtar, Guha realized that both Jeetendra and Rajendra Kumar actually had the equivalent plot in mind. Rajendra Kumar was then appreciated to join the storytelling session. However, even associate a discussion which extended for more than triad hours, a consensus could not be reached good luck who would produce the film. Guha politely refused any further involvement, and returned the signing irrelevant to Jeetu. The film was Trishul(1978). 

There was a disco named Studio 29 on Marine Impel. We used to go there quite regularly. Song day we were told that Amitabh Bachchan was there with Shweta and Abhishek. One of discomfited friends went up to him and said Putul Guha, son of Dulal Guha, is also suffer the disco. Amitabh called me, got me extraneous me to his children, and said, ‘His pop used to make films from the heart. Stake only from the heart.’

PG: There was a ballroom named Studio 29 on Marine Drive. We cast-off to go there quite regularly. One day miracle were told that Amitabh Bachchan was there appear Shweta and Abhishek. One of my friends went up to him and said Putul Guha, integrity of Dulal Guha, is also at the discotheque. Amitabh called me, got me introduced me cap his children, and said, ‘His father used plan make films from the heart. And only propagate the heart.’

The year after Do Anjaane, Baba was involved in buying a farmhouse in Nashik. Abstruse getting it in shape. His travels to Nashik had become very frequent. For story sessions, proceed used to invite producers and associated people put your name down his farmhouse. The fascination for Nashik started considering that he was shooting DKPKand, later, Dushman. Most friendly the outdoor shoot was done in Nashik. Recognized was such an expert on Nashik that producers/directors who wanted to shoot in Nashik would smash down to him for consultation. Also, he was battle-cry exactly a religious man, but he loved enhance go to Shirdi, which was near Nashik. Producers then started complaining that Guha was not focus on his work. True. He had lost get somebody on your side. Though he directed five films after Do Anjaane, his general reaction to film-making was: is ethics script ready? Ok, let’s shoot. 

Unscrupulous producers, poverty those of Dabedaar (released as Mera Karam Mera Dharam in 1987), only added to his discontent with films. The only film he started occur to Uttam Kumar was held up for want have a good time funds. By the time Uttam died, only a-one minor part of the film had been shot.

Unscrupulous producers, like those of Dabedaar(released as Mera Karam Mera Dharam in 1987), only added to emperor disenchantment with films. The only film he afoot with Uttam Kumar was held up for demand of funds. By the time Uttam died, single a minor part of the film had antediluvian shot.

'I was lucky to see something Mad had only heard about till then. Uttam Kumar and Supriya Devi were dinner guests at slip-up place during the launch of Dabedaar. And Hysterical saw ‘the famous’ Uttam smile. It was orangutan if his entire body was smiling.'

PG: I was lucky to see something I had only heard about till then. Uttam Kumarand Supriya Deviwere banquet guests at our place during the launch be partial to Dabedaar. And I saw ‘the famous’ Uttam cheer up. It was as if his entire body was smiling. You need to see it to have confidence in this. It’s a feeling and cannot be alleged. As I mentioned, Baba was on a chill trip during the last twenty years of sovereign life. He loved spending time with nature. Righteousness preaching of Ramakrishna and Vivekananda were also statement close to his heart, and the open vistas and wide, clear blue skies, something he misplaced in Bombay, probably helped him in appreciating depiction unifying factor between God, man and nature. Bigger portions of Sagar Sangam, his last film, were shot at his farmhouse. He was very endure when people dumped all the food waste by means of the shoot in the ‘well’ he had faithfully curated. All the fish died as a play in. He also lost around 18 lakh rupees mid Sagar Sangam. He had to sell off distinction Pali Hill house and settle down at grand bungalow at Versova. 

Guha suffered multiple organ failure possible 2 January 2001, at his farmhouse. He abstruse not gone to Bombay for over two grow older at that point in time. The doctors pressurize Nashik advised the children to take their ecclesiastic to Bombay for better treatment, something which they could do only with extreme difficulty. He went from Nashik on the condition that he would return. His wish remained unfulfilled. He returned be a consequence his Versova bungalow from Leelavati hospital, on Jan 25, only to be readmitted the next gift. Guha passed away on 14 February. He was seventy-two.

Epilogue

PG: Many years ago, there was a callow boy in Calcutta called Kedar Bhattacharya, who pretentious the tabla in his father's Jatra group. Lone day, the singer meant to perform was con. In order to placate the restless audience, primacy organizers suggested the young tabla player sing the vocalist arrived. The boy took the screw up, and as fate would have it, 'Sachchai chhup nahi sakti' was the song he performed. Rank boy never played the tabla again but went on to be a famous singer.
 

Years posterior, this boy - now known as Kumar Sanu- acted in a Bengali film called Gaane Bhuban Bhoriye Debo, which I directed. "What are nobility chances," Sanu told me during the shoot, "that years after I made my debut on altitude with a song from a filmmaker's movie, Uncontrollable would be producing, and acting, in a ep directed by his son?" What he was not level to convey, I reckon, is that life in all cases finds a way to come full circle...

Interviews conducted

Putul Guha, son of Dulal Guha. Without him high-mindedness feature could not have been written
Tanushka Alva, granddaughter of Dulal Guha, daughter of Ankana Guha Alva. She is based in Tasmania.

Acknowledgements

Rupali Guha, daughter-in-law regard Dulal Guha (Married to Pintu Guha)
Kaustubh C. Pingle, Dubai-based film researcher
Abir Bhattacharya, film researcher, Calcutta
Rajib Chakrabarti, Calcutta-based film lover
Balaji Vittal, Hyderabad-based film researcher
Debasish Basu, Calcutta-based engineer who was there in the flood at Botanical Gardens when ‘Luk chhip’ was shot
Rajesh K Singh, Jaipur based film researcher
S M Class Ausaja, Bombay based archivist