{"id":8697,"date":"2024-07-11T18:00:39","date_gmt":"2024-07-11T12:30:39","guid":{"rendered":"https:\/\/learningandcreativity.com\/silhouette\/?p=8697"},"modified":"2024-07-11T18:08:33","modified_gmt":"2024-07-11T12:38:33","slug":"the-making-of-maa-bimal-roy","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/the-making-of-maa-bimal-roy\/","title":{"rendered":"The Making of Maa: Bimal Roy’s Debut in Bombay"},"content":{"rendered":"
\"Bimal

Bimal Roy busy in work (Pic: Roy family collections)<\/p><\/div>\n

The canteen boy has just got us tea. We are sitting in our allotted chairs on the first floor office of Bombay Talkies in Malad. I\u2019m holding an English thriller in my hands. Even if it doesn\u2019t qualify as \u2018literature\u2019 we read such novels to see if they yield a story worth filming. Many weak examples of literary writing occasionally become exceptional plots.<\/p>\n

The film that has brought us to Bombay Talkies is titled Maa<\/em>. For four months before setting out from Calcutta we\u2019ve worked on the script. After arrival in Bombay too we\u2019ve discussed it threadbare to fix all loopholes before narrating it to Ashok Kumar and Savak Vacha. That will be our litmus test.<\/p>\n

\"Maa

Bombay Talkies’ Maa<\/em> released in 1952 \u2014 the first film that brought Bimal Roy’s handpicked team to Bombay<\/p><\/div>\n

The storyline unfolds like this.<\/p>\n

A small family of mother and father, their two sons and the elder son\u2019s wife. The father is a retired postmaster. The elder son, Rajan, is in the final year of Law. His wife, Padma, is a snooty girl from a wealthy family. She is never friendly with her brother-in-law Bhanu. This cheerful, good hearted young man, because of his involvement in the Swadeshi Movement, has been detained in the final year of BA. His father is, naturally, dejected. Bhanu is in love with Meena, the daughter of Ramnarain Babu, headmaster of the village school. And Meena reciprocates his love. Ramnarain is so impressed with the virtues he observes in Bhanu that he already thinks of him as his future son-in-law.<\/p>\n

After retirement, the postmaster finds it difficult to make ends meet on his meagre pension. So he takes up a job under the zamindar of Chandrapur. When money comes in from the tax levied on the farmers, he stores it in the iron chest, the keys to which are kept in his custody.<\/p>\n

The affectionate mother loves her sons equally, like a goddess. At this moment the entire family is looking up to Rajan who is poised on a career as a lawyer. They cannot depend on Bhanu whose future is still clouded.<\/p>\n

Crisis arises when there\u2019s no money to pay the fees for Rajan\u2019s final examination. The father fails to raise it from anywhere. Rajan\u2019s wife refuses to mortgage her jewelry to bail him out. The father spends a sleepless night trying to figure out a way \u2013 because the dawn would usher the last date for the payment of the fees.<\/p>\n

Bhanu had gone with his friends to visit the mela at Kisanganj. As he nears home a thunderstorm splits the sky. All of a sudden he hears the cry of \u201cThief!\u201d \u201cThief!\u201d Some people are chasing a figure who is seeking the cover of darkness to flee. Bhanu stands aside and catches hold of the thief. At that very moment a lightning reveals the thief is none other than his father.<\/p>\n

By now those chasing him are at hand. \u201cThe money from the zamindar\u2019s sindook, for Rajan\u2019s fees\u2026\u201d the father croaks.<\/p>\n

\u201cHand me the money,\u201d Bhanu tells his father, \u201cand you stay here.\u201d Snatching it from his father\u2019s hand he starts running away. Those chasing the thief see his running figure, follow him and get hold of him.<\/p>\n

Bhanu is produced before the judge and, because the money is recovered from him, he is sentenced to jail for a year. Meena and her father feel disgust. Meena is heartbroken but she can\u2019t brush him out of her mind. What nuisance is love!<\/p>\n

Eventually Padma sells her jewelry to raise the fees for her husband. Had she done this at the outset, the disaster would have been avoided. Alas! The mother sheds tears whenever she\u2019s by herself. And the father, chased by a sense of guilt, falls sick. Rajan succeeds in his exams and starts practicing as a lawyer.<\/p>\n

A year goes by. Bhanu comes out of incarceration and walks towards home. On the way he meets Meena and learns that, that very evening she is to be engaged to a prospective groom. The misunderstanding that was hurting her for a year now ends. Bhanu shares the truth with her but makes her promise that she won\u2019t reveal it to anyone, not even her father.<\/p>\n

Near his home he runs into Rajan. By now he has the same attitude as Padma. He tells Bhanu that their father will die if he sets his eyes on the younger son. Bhanu decides not to go home and retraces his steps.<\/p>\n

But someone who\u2019d seen Bhanu informs the father. When his mother hears this she runs on the street calling out his name. By then Bhanu had thinned into the crowd. The contrite father suffers a heart attack and dies.<\/p>\n

Padma now starts ruling over the household with an iron hand. Even in her old age the mother has to slave. Eventually she is forced to leave her home. But the wheels of fortune are not static. When they turn, Bhanu is well settled in life. One day, when the blot on his name is cleared, he returns home. But his mother is not there. Soon he learns that Maa earns her livelihood by crushing stones. He goes looking for her and finds her in a slum. Now he confronts Rajan and drags him to seek redemption at his mother\u2019s feet.<\/p>\n

—xxx—<\/p>\n

\"Bimal

Bimal Roy signing autographs. With him is Savak Vacha (wearing the white cap). On the wall behind is a giant poster of Maa<\/em> (Pic: Roy family collections)<\/p><\/div>\n

Many new actors are auditioning but Bimalda is not happy.<\/p>\n

One morning Savak Vacha entered the room and said, \u201cBimalda why don\u2019t you consider Bharat Bhushan? He is a good actor and also has the looks.\u201d<\/p>\n

Bimalda instructed his team in the Direction department. The very next day Bharat Bhushan came, eager to meet Bimalda, and greeted him, \u201cNamaste!\u201d He had seen Humrahi<\/em>, the Hindi version of Udayer Pathey<\/em>, and was well aware of this director\u2019s aesthetics.<\/p>\n

The conversation that followed impressed Bimalda. The persona of Bhanu called for a neat and tidy appearance along with a mix of intelligence and idealism. Bharat Bhushan had that. He had also gained popularity.<\/p>\n

Who will play the father? Unanimously we identified Nazir Hussain. He was the writer of Pehla Aadmi<\/em> and had also essayed the father very convincingly. Pehla Aadmi<\/em>, involving a chapter in the life of Netaji\u2019s INA, was produced by New Theatres. Nazir Hussain himself had been a soldier in the INA. \u201cCertainly,\u201d Bimalda had no hesitation in casting him.<\/p>\n

Next Rajan, the elder son. \u201cWon\u2019t our Paul do justice to this role?\u201d Bimalda asked looking towards me and Hrishikesh.<\/p>\n

\u201cYes, he can play Rajan,\u201d Hrishikesh instantly replied, \u201cand he will do a good job of it.\u201d<\/p>\n

Paul Mahendra jumped up and touched Bimalda\u2019s feet. \u201cIf I have your blessings I will certainly succeed Bimalda!\u201d<\/p>\n

\u201cYou have my blessings!\u201d Bimalda responded.<\/p>\n

Paul touched his feet again.<\/p>\n

Bimalda laughed out at his eagerness. \u201cToo much devotion! You do know what that signifies?\u201d<\/p>\n

\u201cNo Bimalda, I\u2019m not the thief here!\u201d \u2013 Paul vehemently shook his head. \u201cBut in future I could perhaps play a dacoit\u2026\u201d<\/p>\n

We all broke into laughter.<\/p>\n

Now, who could play his wife? Many an actress has come forward, keen to portray Padma. But they lacked the sharpness in features that would bespeak both beauty and haughtiness of a rich man\u2019s only daughter. That\u2019s what would make the audience like her yet not trust her and eventually detest her.<\/p>\n

One day a new face came to meet us. Her name was Kumud Shankar. She was the wife of Sachin Shankar, a distant cousin of the internationally applauded dancer Uday Shankar, and a partner in his ballet troupe.<\/p>\n

Bimalda conversed with her for a few minutes, then told us with a drag on his cigarette, \u201cI\u2019m very happy with this girl. What do you feel?\u201d<\/p>\n

This was an endearing characteristic of Bimalda. He was clear in his mind about what he wished to do \u2013 and that\u2019s what he would finally do. But he would be deeply satisfied if we concurred with him. He wanted to take us along with him and when we were of the same opinion, he would give a long puff on his cigarette.<\/p>\n

What we expressed severally fitted into two words: \u201cPerfect fit.\u201d<\/p>\n

Finally we wanted the eponymous Maa. Mother. Affectionate. Kindly. Affable. Loving. One who would sacrifice every happiness with a smile on her lips. One who would endure it all and forgive it all too. A figure of Mother Earth.<\/p>\n

—xxx—<\/p>\n

\"Maa

Maa<\/em> – starring Shyama and Bharat Bhushan (Pic: Bollywoodhungama)<\/p><\/div>\n

Ashok Kumar held out a tin of State Express. \u201cPlease\u2026\u201d he offered.<\/p>\n

Bimalda picked up one and said, \u201cVery sweet \u2013 like you.\u201d<\/p>\n

\u201cThank you Mr Humrahi,\u201d Ashok Kumar laughed. \u201cAs an eminent film director who has to keep a tab on everything you need the American tobacco, Chesterfield. But I am an actor and to be popular I need the sweetness of 555.\u201d We were tickled by this exchange between the two icons.<\/p>\n

We had gathered to read out the screenplay to Ashok Kumar. Savak Vacha joined us and took his seat next to his Dadamoni. Need I add that I was to read it out.<\/p>\n

Silently the producer duo listened to the narration. Two and half hours later I fell silent too.<\/p>\n

Savak Vacha\u2019s eyes were glistening with unshed tears.<\/p>\n

\u201cTea for us please!\u201d Ashok Kumar commanded.<\/p>\n

\u201cThat\u2019s right Dadamoni!\u201d Savak Vacha jumped to his feet, \u201cChai mangaao<\/em>! Where\u2019s the tea?\u201d<\/p>\n

\u201cThe tea is on its way.\u201d Asit Sen\u2019s cheerful voice assured us.<\/p>\n

\u201cGood family affair,\u201d Ashok Kumar voiced his opinion. \u201cI had an inkling it would shape up so from the moment you narrated the story idea last year.\u201d<\/p>\n

\u201cThat\u2019s our goal at this moment,\u201d Savak Vacha articulated. \u201cTo reach the families.\u201d<\/p>\n

\u201cSo who will play Maa, Bimal Babu?\u201d \u2013 Ashok Kumar queried. \u201cAny thoughts?\u201d<\/p>\n

\u201cYes,\u201d Bimalda replied. \u201cLeela Chitnis.\u201d<\/p>\n

\u201cGreat!\u201d Savak Vacha slapped the table enthusiastically. \u201cIsn\u2019t it, Dadamoni?\u201d<\/p>\n

\u201cVery good choice,\u201d Ashok Kumar opined. \u201cShe\u2019s calm and collected, her face has affection written over it, her body language is confident and her voice is charming. She will be perfect.\u201d<\/p>\n

\u201cNow please decide on the last bit of casting,\u201d Bimalda spoke. \u201cWho will be Meena?\u201d<\/p>\n

Ashok Kumar looked at Savak Vacha.<\/p>\n

\u201cHow would Shyama be\u2026?\u201d \u2013 Savak Vacha haltingly replied.<\/p>\n

\u201cShe is very vivacious,\u201d Ashok Kumar raised his index finger to indicate his approval. \u201cShe will do well Bimal Babu.\u201d<\/p>\n

\u201cYes Bimalda,\u201d Asit concurred. \u201cShe has a pampered air about her.\u201d<\/p>\n

Casting complete.<\/p>\n

\u201cExcellent,\u201d Bina Boudi commented when she heard this in Devika Ranichi Bungalow. \u201cI\u2019ll arrange sweets to celebrate this news.\u201d<\/p>\n

\u201cBoudi,\u201d Hrishikesh spoke in a serious voice, \u201cyou can lessen the number of sweets for Asit and Paul.\u201d<\/p>\n

\u201cBut why?\u201d Boudi was surprised.<\/p>\n

Hrishikesh was as serious as before. \u201cThey have both bagged good roles. Paul is the elder brother and Asit is a good friend of the hero. But Nabenduda and I are left out\u2026\u201d<\/p>\n

\u201cWhy,\u201d Bimalda matched the seriousness in Hrishi\u2019s tone, \u201cwe still need neighbours, passersby, court clerks, police constable\u2026 You can fill in these roles.\u201d<\/p>\n

The laughter that followed was infectious. And Hrishi did not repeat his claim for extra sweets when Boudi feasted us on luchi, payesh<\/em> and paati sapta*<\/em>.<\/p>\n

\"Ashok

Ashok Kumar and Bimal Roy \u2014 On 6th February, 1951, in response to Ashok Kumar\u2019s call to direct Maa<\/em> for Bombay Talkies, Bimal Roy had boarded a train for Bombay. With him was his team that included screenplay writer Nabendu Ghosh, editor Hrishikesh Mukherjee, assistant director Asit Sen, actor Paul Mahendra.<\/p><\/div>\n

—xxx—<\/p>\n

The music director chosen for Maa<\/em> was S K Pal. Soorya Kumar was his full name, and he too was a Bengali but had grown up outside Bengal. He had scored the music for a Filmistan movie \u2013 Man Ki Jit<\/em> \u2013 and some other films. Aged about 40-42 years. Tiptop, friendly personality, he was.<\/p>\n

Bimalda explained a sequence to him and asked him to compose the music. S K Pal willingly agreed. This was the scenario: Bhanu is the main player of a football club which wins a match. The members bring the trophy to the club singing his glory since he has booked the victory with three goals.<\/p>\n

But a tune can become a song only with the lyrics. The most famed lyricist then was Bharat Vyas. The very next day he read out the song. The club members surround Bhanu and sing Jiyo jiyo mere laal<\/em>\u2026 May you live long dear!<\/p>\n

The next day S K Pal played out the song. Joyous, engaging, very pleasurable. That very day Bombay Talkies signed him on as the music director of Maa<\/em>.<\/p>\n

The recordist was the permanent employee of Bombay Talkies, Mr Barot. A good looking Gujarati speaking gentleman with a forever smiling face.<\/p>\n

And who would wield the camera? Josef Wirsching, the German who has left his mark as a pioneer in the scientific art of cinematography through Achhyut Kanya<\/em> and Mahal<\/em> among others. He had started with Franz Osten in Light of Asia<\/em> and had made India his home. Tall, broad built, he looked like a pehalwan<\/em> but had the innocence of a child all over his face despite the pipe hanging from his lips. His bass voice resonated as if it were coming out of a tall earthen pitcher. That is why it took us a while to get used to his German-accented English. Soon we \u2013 Hrishikesh in particular \u2013 struck a warm friendship with him.<\/p>\n

One day he sat down with us in the office. As we started conversing I tried to muffle the cough that was bothering me since morning. I even tried to wipe my nose clean with my handkerchief. \u201cBad cold,\u201d Mr Wirsching noticed this.<\/p>\n

\u201cYes,\u201d I said, \u201cI will shortly consult Dr Mehta.\u201d Bombay Talkies had engaged a doctor for the welfare of its employees \u2013 every morning and evening he would attend to their complaints and a compounder would measure out mixtures as per his prescription.<\/p>\n

Mr Wirsching pulled a face. \u201cWhy must you run to an allopath at once? Why do you feel so helpless? Try Toosi first.\u201d<\/p>\n

\u201cToosi? What\u2019s that sir?\u201d<\/p>\n

\u201cToosi! Toosi leaves.\u201d<\/p>\n

Crikey! Mr Wirsching is talking about the benefits of Tulsi leaves! An impact of his stay in India since 1935.<\/p>\n

\u201cCome with me Ghosh. I have Tulsi plants in my flat. I\u2019ll give you some. Add honey to the extract and take it \u2013 it\u2019s the best cure for cold.\u201d<\/p>\n

This was Josef Wirsching who had spent four years as an internee in a British Camp during World War II. And after the War he had returned to Bombay Talkies.<\/p>\n

—xxx—<\/p>\n

\"Asit

Asit Sen, Nabendu Ghosh and Nazir Hussain (Pic: Ratnottama Sengupta)<\/p><\/div>\n

Asit Sen has been assisting Bimalda since his New Theatres days. He sits in the office, prepares detailed list, set break down, artiste selection, which artiste would be on the sets on which day, their costume and accessories. He was getting copies made of the script, dialogue sheets for each artiste and so on.<\/p>\n

Hrishikesh would occasionally sit in the Editor\u2019s room.<\/p>\n

Three months have passed since we arrived in Bombay. But we haven\u2019t received our salaries. So we have not started the kitchen at Van Vihar. We still have breakfast at Devika Ranichi Bungalow, then go to the Bombay Talkies office. Lunch again was under the umbrella of our Bina Boudi \u2013 Bimalda\u2019s wife Manobina<\/a>. Back in the office we discuss over tea with Bimalda various details of Maa<\/em> so that there\u2019s no hitch once we start shooting. Dinner again saw us at Boudi\u2019s dining table, before we retired to Van Vihar at 9.30 pm.<\/p>\n

Some more months passed by. Meanwhile I make the acquaintance of filmmakers like Gyan Mukherjee, Phani Majumdar<\/a>, S Mukherjee, and literary personalities like Saradindu Bandopadhyay and playwright Niranjan Pal, one of the founders of Bombay Talkies who had scripted Light of Asia, Shiraz, Achhut Kanya<\/em> and Jeevan Naiyya<\/em>.<\/p>\n

\"Bimal

Bimal Roy in film editing room (Pic: Roy family collections)<\/p><\/div>\n

Then all of a sudden life got hectic. The shooting for Maa<\/em> was finalized. Asit was suddenly extremely busy. And Nazir Hussain arrived with his trunk and hold-all to play the father in Maa<\/em>. Tall and squat, he was in mid-thirties but his weathered face seemed to age him beyond forties. (Read\u00a0Nazir Hussain, the INA and the Long March of Kadam Kadam<\/a>)<\/em><\/p>\n

There was history in that face. Born in Dildarnagar of UP, he\u2019d joined the British Indian army, was taken a prisoner of war, then under Mohan Singh he joined INA. After the Red Fort trial he\u2019d gone to Calcutta and found himself acting as the father of Pehla Aadmi<\/em> which came out of his story.<\/p>\n

We struck a special bonding because of Nazir\u2019s endearing effort to speak Bengali. Let me give an example.<\/p>\n

Because Maa<\/em> was taking time to go on the sets, we were facing economic hardship. Meanwhile Bimalda\u2019s brother-in-law Arabind Sen introduced me to S H Munshi, the producer of his film Kafila<\/em>. He had secured Bimalda\u2019s permission and so I would write the screenplay. On hearing this Nazir Hussain said, \u201cBadhai ho! Abinand<\/em>..\u201d<\/p>\n

\u201cDid you follow what he said in Bengali?\u201d Hrishikesh winked at me. \u201cThat half word is his Bengali for Congratulations \u2013 Abhinandan<\/em>.\u201d<\/p>\n

\u201cTik tik tik,\u201d Nazir nodded vigorously. It was his pronunciation of \u2018theek theek\u2019 (not realizing it was an approximation of the lizard\u2019s sound which according to a Bengali proverb, implies \u2018true, may it come true.\u2019)<\/p>\n

—xxx—<\/p>\n

\"Sudesh

Sudesh Kumar, Mehmood and Asit Sen in Jiyo jiyo mere laal<\/em> song in Maa<\/em><\/p><\/div>\n

We are shooting Maa<\/em>. I\u2019m also on the sets. So is Hrishikesh. Asit is the Chief Assistant, so his presence is a MUST. Paul Mahendra is the hero\u2019s elder brother, so he too is present. For the moment I\u2019m in charge of the \u2018Kontinity\u2019 \u2013 I write detailed description of every shot. Which side of the frame the characters are looking at the end of each shot. Who\u2019s wearing which costume and what are the accessories. How many feet of raw stock has been exposed. So on and so forth.<\/p>\n

This particular set is the football club of the village. Bhanu, a valued member of the club, is also boisterously celebrating the victory. He holds aloft the silver cup and the others say \u2018Bhanu zindabad.\u2019 Then one of the member starts singing \u2013
\nJiyo jiyo mere laal, tuney kar diya kamaal,<\/em>
\n Teri tedhi medhi chaal dushmanon ka bura haal<\/em>
\n Kar diya\u2026<\/em><\/p>\n

Jiyo jiyo mere laal<\/em> \u2013 this refrain was repeated in a chorus that included Asit Sen, Mehmood \u2013 son of Mumtaz Ali then going around seeking roles; and another \u2018actor\u2019 Tilakram who had lost his fortune in the hope of producing a film where he would play the hero.<\/p>\n

Before going in for make-up Tilakram, who\u2019d been visiting us for a \u2018worthy\u2019 role, sought out Asit. \u201cDada, I have a request.\u201d<\/p>\n

Asit turned towards him.<\/p>\n

\u201cFour of my friends are here. They have heard a lot about Roy Saheb and are very keen to watch the shooting. Will you kindly give them permission to be on the sets today?\u201d<\/p>\n

\u201cSee Nabenduda,\u201d Asit addressed me, \u201cgive them an inch and they want a furlong.\u201d<\/p>\n

But he curbed his annoyance and replied to Tilakram, \u201cLet your buddies stand behind us, at least 50 feet behind the camera. And they must not utter a word while the shot is on. If they break the silence they will be turned out.\u201d<\/p>\n

\u201cYes, certainly!\u201d Tilakram was most grateful.<\/p>\n

At that moment Bharat Bhushan<\/a> was nearby. \u201cOne is filled with happiness at the thought that one\u2019s friends are watching the performance,\u201d he said after Tilakram left. \u201cAlthough,\u201d he added, \u201ctill date I\u2019ve not entertained anyone on the sets.\u201d<\/p>\n

\u201cNot even Bhabhiji?\u201d \u2013 I asked out of curiosity.<\/p>\n

\u201cShe\u2019s not other than me!\u201d Bharat Bhushan had an amused smile. I reached out to hold his hand and said, \u201cThat is beautifully put!\u201d<\/p>\n

I had met Bharat Bhushan quite a few times before this day. An educated person from a well-off family, he had charming looks and pleasing manners. Since our first meeting, he has started respecting me like a family elder\u2014Dada. He even invited me to his house and introduced me to his wife, Sarala. Amiable, calm, and benign, she was the image of Grihalakshmi, the goddess.<\/p>\n

—xxx—<\/p>\n

Cameraman Wirsching finished lighting the set sharp at 11. After giving directions to Asit, Bharat Bhushan and the other players and club members Bimalda cleared two rehearsals, then said, \u201cReady for Take.\u201d<\/p>\n

\u201cArtistes,\u201d Asit called out, \u201ctake your positions.\u201d<\/p>\n

Bharat Bhushan went out and took position behind the Club Room door. The door was closed to give the impression that it was locked from outside when the boys had gone for the match.<\/p>\n

Asit again called out, \u201cArtistes, ready?\u201d<\/p>\n

\u201cYes sir,\u201d Bharat Bhushan\u2019s voice floated in.<\/p>\n

\u201cReady Camera?\u201d<\/p>\n

\u201cReady,\u201d came the robust voice of robust Wirsching.<\/p>\n

\u201cLights on!\u201d All the lights came to life.<\/p>\n

\u201cStart sound!\u201d<\/p>\n

\u201cSound rolling,\u201d recordist Barot\u2019s voice sounded.<\/p>\n

\u201cAction!\u201d This was Bimalda\u2019s mild voice.<\/p>\n

\u201cA-c-t-i-o-n!\u201d Asit Sen immediately gave the action a hefty pitch.<\/p>\n

Outside the closed door the players and club members immediately broke into the victorious cry of \u201cHip-hip-hurray!\u201d \u201cHip-hip-hurray!\u201d<\/p>\n

The door opens from outside and the club members step into the room. Bhanu walks up to a table and puts down the trophy. Another round of \u2018Hip-hip-hurray!\u2019 rents the air.<\/p>\n

\u201cBhanu\u2019s the star of today\u2019s match,\u201d one player says. \u201cBhanu zindabad!\u201d another player hails him. Others join in the chorus.<\/p>\n

\"Bharat

Bharat Bhushan and Sudesh Kumar (left)<\/p><\/div>\n

All of a sudden Tilakram pushed the others aside to come forward and stand face to face with Bharat Bhushan. \u201cBhanu zindabad,\u201d he yelled harshly.<\/p>\n

The expression on his face was something to behold. Eyes wide and grinning big he again shouted, \u201cBhanu zindabad.\u201d<\/p>\n

\u201cCut!\u201d Bimalda\u2019s voice was unnaturally high now. \u201cCut please!\u201d he repeated.<\/p>\n

The camera stopped whirring. The lights went out. Catastrophe!<\/p>\n

Bimalda walked up to Tilakram and asked, \u201cWho told you to scream this \u2018Bhanu zindabad\u2019?\u201d<\/p>\n

\u201cNo one, sir,\u201d Tilakram replied in a hushed tone.<\/p>\n

Bimalda sized him up with a steely gaze, then turned to Asit, \u201cPlease ask him to leave.\u201d<\/p>\n

\u201cLet\u2019s walk,\u201d ashen-faced Asit asked Tilakram to follow him. Leading him to a corner, Asit spoke in a low yet stern voice, \u201cWhy did you decide to break rank and deliver the dialogue on your own?\u201d<\/p>\n

Tilakram lowered his head. \u201cSir I was so excited, I lost my good sense. Josh mein hosh kho baitha,<\/em>\u201d that was his honest reply.<\/p>\n

\u201cYou\u2019ve brought shame upon me,\u201d Asit was bitter, \u201ctumne mera naak katwa diya.<\/em>\u201d<\/p>\n

\u201cPlease forgive me this once,\u201d Tilakram pleaded with folded hands.<\/p>\n

Asit shook his head. \u201cEven if I forgive you, our head \u2014 Roy Saheb \u2014 will not forgive me. Please leave the set now. And collect your day\u2019s wage from manager Patange.\u201d<\/p>\n

Asit returned to his post by the side of Bimalda.<\/p>\n

\u201cOnce again, Mr Wirsching,\u201d Bimalda directed.<\/p>\n

\u201cRight, Mr Roy.\u201d<\/p>\n

Hrishikesh sidled up to me and whispered, \u201cNabenduda, I have a feeling Asit will box us today for pleading his case\u2026\u201d<\/p>\n

Before I could say anything I noticed Tilakram leaving with his friends.<\/p>\n

Bimalda said, \u201cTake now.\u201d<\/p>\n

\u201cLights on!\u201d Asit was strident.<\/p>\n

Once again Bharat Bhushan is Bhanu returning with the trophy.<\/p>\n

\u201cCut! How does this sound?\u201d<\/p>\n

\u201cOkay, Mr Roy.\u201d<\/p>\n

\u201cNext shot, Mr Wirsching.\u201d<\/p>\n

Now team members start singing the song \u2013 Jiyo jiyo mere laal\u2026<\/em><\/p>\n

The chorus joins in \u2013 jiyo jiyo mere laal..<\/em><\/p>\n

\u201cPack up.\u201d End of the day.<\/p>\n

This far Asit has not glanced at us. We are the culprits who have pleaded to give Tilakram a chance.\u00a0 Hrishikesh and I went up to Asit and begged forgiveness. \u201cThis once?\u201d<\/p>\n

\u201cOkay, I forgive this once,\u201d Asit spoke in a serious voice. Then he smiled his normal warm smile.<\/p>\n

\u201cAsit you are wonderful!\u201d – we chimed together.<\/p>\n

Jiyo jiyo mere laal<\/strong><\/em> (Maa<\/em>, 1952) SK Pal \/ Bharat Vyas<\/a> \/ Manna Dey, Kishore Kumar, Arun Kumar<\/span><\/p>\n