From: SCREEN online

Great Gambler

by Roshmila Bhattacharya


Shakti Samanta celebrated his 79th birthday on January 13 this year. In a career spanning almost 50 golden years, the prolific producer-director has to his credit several unforgettable milestone movies like Howrah Bridge, Insaan Jaag Utha, Kashmir Ki Kali, An Evening In Paris, Aradhana, Kati Patang, Amar Prem and Amanush to name a few. He never shied away from experimenting with difficult subjects and new stars be they Sharmila Tagore, Rajesh Khanna or Moushumi Chatterjee. Some of the risks paid off...some didn’t. But Shaktida, as he is fondly known amongst the film fraternity, was never disheartened. Cinema has been his passion for close to eight decades and one afternoon, an unusually chilly one for Mumbai, the veteran filmmaker, over cups of hot chai, took a trip down memory lane.

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Excerpts:

BAADBAAN (’54): This Ashok Kumar-Dev Anand-Meena Kumari-Usha Kiran starrer was made for the Bombay Talkies workers co-operative society. I used to work with director Phani Mazumdar those days. Phanida used to write the dialogue in Bengali himself but needed someone who could translate the lines in Hindi without losing the essence of the words. Since I had been educated in Uttar Pradesh and was familiar with the language, he suggested I do the job for him. This was a common practice those days and got you credit as a writer (Smiles). I worked with Phanida in another film this year, Dhobhi Doctor starring Usha Kiron and Kishore Kumar.This film was made by Ranjit Studios.

BAHU (’55): My directorial debut happened quite by chance. Vrajendra Gaur was making Kasturi starring Nimmi and Sajjan for Sargam Pictures. I was assisting him on a salary of Rs 300 a month and the condition that the day I got a chance to make my own film I would quit the job. One day, a couple of young men, nephews of a prominent eye-specialist in Punjab, came across to the office. With a generous settlement from their uncle they had landed in Mumbai, bought 30 cars and put them on the roads. Each car was fetching them Rs 30 a day which amounted to a handsome Rs 900 a month. They wanted to make a film and wondered how much it would cost them. Those days you could shoot 3-4 days for as little as Rs 1000. Delighted, they asked Vrajendraji to direct the film for them. Since he was already committed to Kasturi and couldn’t take on any other project till it was released, he passed the offer to me. His only condition was that he’d write the story and dialogue. That’s how I came to direct my first social for PR Films. Considering that it starred Usha Kiron and Karan Dewan, the film didn’t fare too badly. Bahu ran for six weeks at Mumbai’s Liberty cinema.

INSPECTOR (’56): Soon after Ashit Behari who had penned the songs of Bahu came to me with the news that a prominent construction company in Malad, a western suburb in Mumbai, where he was staying was all set to foray into show business. “I’ll set up a meeting and when questioned on the budget don’t go above Rs 80,000. Once the film starts it won’t be difficult getting more from these rich contractors,” Bihari advised. Accordingly, a meeting was arranged but when the anticipated question was raised I blurted out that a film, the kind they had in mind, would cost them at least Rs 2.50 lakh. I had directed only one film and it had done just average business but I had a fair idea of production expenses. I pointed out however that costs could be trimmed by taking a reputed director and selling the film on announcement. I saw Bihari shaking his head over my folly when they got up to leave with a cryptic, “We’ll get back.” Bihari went to drop them off at the station and to my surprise returned a while later beaming. The tycoons impressed by my candor, had decided they’d take a risk with me. “Tune to kamaal kar diya,” Bihari raved. And I quipped, “Okay, write some good songs for me will you.” Inspector made for Pushpa Pictures starred Ashok Kumar and Geeta Bali. When I mentioned the title of my film to Vrajendraji and my colleagues at Bombay Talkies they laughed saying, “So you’re taking badla on us for all the inspector roles we thrust on you.” Those days, I was the first choice for every bit role of an inspector in a Bombay Talkies production. As I gave a chase my patent dialogue would be, “Follow car number XYZ.”

HILL STATION (’57): Inspector did quite well and established the banner of Pushpa Pictures. I got another chance to work with the Nadiadwalas and chose to remake a Bengali film I’d seen years ago. I think it was made by PC Barua and adapted from a famous novel. Hill Station was a beautiful story but difficult for the artistes, Bina Rai, Pradeep Kumar and Shyama. Fortunately, it worked at the box-office.

SHEROO (’57): This Ashok Kumar-Nalini Jaywant social that I directed for SP Pictures was also released in ’57. I remember I had just purchased a car and was driving it myself. One day I met with a major accident. Three of my ribs were broken and I was in hospital for almost two weeks. During the time I wasn’t allowed to see too many visitors. In a bid to kill time I started toying with story ideas. One idea grabbed me and when Ranjan Bose, a writer-friend, dropped by to visit, I sketched it out for him. He liked it and I requested him to develop it for me. The film was Howrah Bridge, Shri Shakti Films’ first production.

HOWRAH BRIDGE (’58): I knew I wanted Ashok Kumar and Madhubala for this film. I called Dadamoni as soon as I got out of hospital. We’d already made a couple of films together and he was easily wooed. But I didn’t know Madubala at all and requested Dadamoni to intercede with her father on my behalf. Soon after, one day,I dropped by on her set and fixed up a meeting for a story narration. Fortunately, the kahaani appealed to her too. And Howrah Bridge was made. The film is remembered even today for that sensuous club number picturised on Madhubala, ‘Aaiye meherbaan...’. At the time she was dividing her time between my film. that was being shot here at Natraj then called Modern Studio and Mohan Studio where K Asif was filming Mughal-E-Azam. Even as she swayed to ’Aaye meherbaan…’ in a short dress she would be doing a ‘Pyar kiya to darna kya...’ at Badshah Akbar’s court later in the day.

DETECTIVE (’58): I was young then and used to work day and night. Someone only had to ask me to direct a film and I’d agree in a jiffy. Along with Howrah Bridge I also hit the theatres with Detective in ’58. The film was produced by Amiya Chakravorty. The music director was Mukul Roy, the brother of Guru Dutt’s wife Geeta and a good friend of mine. A suspense thriller, the film starred Pradeep Kumar and Mala Sinha. Groomed at Bombay Talkies I had a lot of success with this genre but I was also inclined towards emotional subjects that New Theatres excelled in. That’s how I came to make my next film, Insan Jaag Utha.

INSAN JAAG UTHA (’59): This was Shakti Films’ second production. A very different subject it had sparked writer Nabendu Ghosh’s interest immediately. Choprasahab (BR Chopra) was making Naya Daur at the time. There were constant comparisons with this film because while Dilip Kumar and Vyjayanthimala were building a road in Naya Daur, Sunil Dutt and Madhubala were erecting a dam in my film. Both the films had very good music but while Naya Daur was a runaway hit, my film wasn’t very successful.

SINGAPORE (’60): I returned to a lighter genre with Singapore, a musical starring Shammi Kapoor and Padmini that I directed for FC Mehra’s Eagle Films. It had very good music by Shankar-Jaikishan. ‘Jeevan mein ek baar aana Singapore...’ is still hummed. We went to Singapore to shoot the film. I’ve been there 3-4 times since, once on my way to Japan. In those days the audience quite liked the idea of watching their favourite matinee idols prancing around in a foreign land speaking shudh Hindi. The novelty wore off after a while as more and more filmmakers took them around the world.

JAALI NOTE (’60): I made the film in partnership with SP Pictures. I’d made Sheroo with them earlier. It was an interesting subject and with big stars like Dev Anand and Madhubala, Jaali Note did quite well too. However, when it came to sharing the profits, my partner moaned that he had made some huge losses in earlier films. Why didn’t I just forgo my share? Since we had no written agreement I lost out on the money. The title of the film lived up to its name (Laughs).

ISI KA NAAM DUNIYA HAI (’62): After a barren ’61 I had three releases in ’62. Isi Ka Naam Duniya Hai was for JP Productions and starred Ashok Kumar and Shyama. I don’t recall the film, I only know it didn’t work well. If the story had been memorable it would have done well.

NAUGHTY BOY (’62): After Insan Jaag Utha I had decided to make a film on a coal mine, Barood with Madhubala. Kishore Kumar who was in love with Madhubala then insisted he wanted to do the film with her. I pointed out that the subject wouldn’t suit him. “So make another film that I can fit into?” he retorted. “Madhu is not well, she’ll not be able to shoot in a coal mine anyway.” Kishore was very persuasive. I shelved Barood and launched Naughty Boy, a comedy, with the pair. I was still a loser because after about 10-11 reels had been shot, Madhubala took to bed. The doctors wouldn’t allow her to complete the film. She was too ill. I had to re-shoot the entire film with Kishore and Kalpana. In the process it got delayed.

CHINA TOWN (’62) : Another production of Shakti Films starring Shammi Kapor and Shakila. However, despite its title, China Town was not shot abroad but in Kolkata’s famous China Town. I was a frequent visitor to this part of the City Of Joy that boasted of some famous Chinese eating joints. I had made a lot of friends with the waiters at these restaurants and when I needed extras for my film, I called them. They were real Chinese guys and gave my film an authentic look.

EK RAAZ (’63): Gaffarbhai Nadiadwala launched his banner, AG Films with this Kishore Kumar-Jamuna starrer. Once again, it made money and further cemented my association with the Nadiadwalas.

KASHMIR KI KALI (’64): A Shakti Films production and one of my biggest hits. Most of the heroines of the time were real beauties but for Kashmir Ki Kali I needed a really young and delicate-looking girl. I had seen Sharmila (Tagore) in one of her Bengali films. She’d worked with Satyajit Ray in Apur Sansar and Devi but she had no ego about being a Ray discovery. Though she didn’t really look like a Kashmiri girl, I instinctively felt she would suit the subject and approached her.She was unsure. “Will I be able to do a Hindi film?” she wondered. “Why not?” I assured her. “So many girls from other regions have made it big here. I think you should consider my offer.” Sharmila was eventually persuaded and made a hit pair with Shammi Kapoor who though very fat had a way with songs. Shammi never worked with any dance director. He was an old friend and I let him choreograph his songs the way he wanted and the result is ‘Yeh jheel si neeli aankhen..’ and ‘Isharon mein...’.

SAAWAN KI GHATA: Two years later I repeated Sharmila in another home production. But this was a different Sharmila one saw. She was very good in Saawan Ki Ghata and so was Manoj Kumar. We shot the film in Ooty, in a real tea garden.

AN EVENING IN PARIS (’67): I brought back my Kashmir Ki Kali team but in the three years since my protege had become very glamorous. She was all set to wear a bikini for the film. But I didn’t want to get into trouble with the Censors and have to re-shoot. There was no way I was going to be able to match the colour of the Mediterranean in India or ferry the French extras over without going over-budget. So I suggested a more conservative, one-piece swim-suit. Sharmila wasn’t too happy but she eventually gave in. I’m glad I was prudent because even with this alteration, the song is still clipped out during a screening on Doordarshan. Once, when I questioned a DD official about the editing, I was told, “It’s vulgar!” The answer silenced me. Imagine a film that was passed in ’67 with a ‘U’ certificate being considered “vulgar” almost four decades later. Recently, a gentleman met me. He wants to shoot An Evening In Paris in French after all these years. He says that despite living in France all his life he has not been able to exploit it the way I have in the film. He wants Sharmila, Shammi and me to make a special appearances in his film. Can you believe that?

ARADHANA (’69): Rajesh Khanna was still relatively unknown then but I’d seen his work in Baharon Ke Sapne and thought he might be accepted by the audience when he calls the girl his lookalike father had once wooed ardently his “ma”. Sharmila also fit the double bill of lover and mother. It was an inspired bit of casting. I got both the subject and the title from my publicist. He wanted to make the film himself but I convinced him to entrust me with both. I was cheated. Fortunately, the matter came to light before it was too late. I was sitting with Gulshan Nanda and a well-known Marathi film writer at my office in Famous Studio one evening when Surinder Kapoor dropped by. He was going to view the last 3-4 reels of his new film in the projection theatre next door and invited us to accompany him. After the one-hour screening I was left holding my head in my hands. The story of my film whose sets were in the process of being erected, and Kapoor’s film was the same. What was I to do? Since Gulshanji was with me I requested him to help. On the drive back home he narrated a story. I loved it and told him immediately that I was buying it. He demurred saying he had already narrated it to Gaffarbhai and he was committed to him. “I’ll request Gaffarbhai to let me make this film under my banner. We go back a long way. He won’t say ‘no’ to me,” I told Gulshanji. That story was later made into Kati Patang. As for Aradhana, Gulshanji and I incorporated some significant changes in the original story. The man who was to rape Sharmila became her mentor. The film was a superhit and Rajesh Khanna was the ‘Phenomenon’ of the ’70s! If Kaka had chosen his films with more care as I had advised and not signed every project that came his way, he would have enjoyed a longer reign.

KATI PATANG (’70): It was a risky subjct but I was convinced that the audience would realise from the very beginning that Asha Parekh was not really a widow and would thereby accept Rajesh Khanna’s fumbling attempts to woo her. By the time we started the film the novel was out and Asha Parekh had read it. She was able to understand the subtle nuances in the character. I had been confident I’d be able to extract a convincing performance from her but she wasn’t my first choice for the role. I had offered it to Sharmila first. But she was married by then and carrying. So she had to refuse.

PAGLA KAHIN KA (’70): Ajit Chakraborty was a good friend. I had made a commitment that I’d direct a film for him. It starred my old friend Shammi Kapoor and Asha Parekh, my Kati Patang heroine.

JAANE ANJAANE (’71):I started the film with Shammi Kapoor and Geeta Bali. But after Geeta died suddenly I had to scrap the 7-8 reels that had been canned and re-shoot the film with Leena Chandavarkar. The Bengali actress Sandhya Roy also acted in it along with Vinod Khanna.I knew deep down that this film wouldn’t work. But there are times in life when you have this urge to experiment...

AMAR PREM (’71): Sharmila couldn’t do Kati Patang but she wouldn’t be cut out of Amar Prem. When I narrated the story to her, she immediately reacted thus, “It’s a difficult film but I’ll do it.” That was Rajesh’s (Khanna) response too. Amar Prem had been made in Bengali before which is why it was not in the reckoning for any awards even though I had made a lot of changes from the original starting with song in the beginning. The film had some great songs too and it’s interesting that most of them were lipped by Rajesh. The end was unconventional but appropriate. After all what Sharmila’s character had gone through it was only right that she get some happiness in the end. She had always yearned for a child I thought rather than unite her and Rajesh as miya-biwi, let me bring her and her adopted beta together. And it had to be Rajesh who cemented this union because he had only wanted her to be happy. You remember that famous line, “Pushpa, I hate tears...”

ANURAG (’72): When I narrated the story to Ashok Kumar his immediate reaction was, “You are looking for awards or what?” Did that mean he hadn’t liked the story, I wondered. “The story is good,” he admitted. “So we’ll make it. I have a feeling it’ll be liked,” I insisted. Dadamoni was game. I then signed Nutan who was extraordinary. Rajesh Khanna was memorable too in a special appearance. Master Satyajit, as the school boy stricken with Cancer, did a good job and Vinod Mehra, as always, was competent. Moushumi was the one who had me worried. I told her I only wanted three things from her. “Come on time, absorb the story and make sure you have a slight smile playing on your lips and don’t burst into your usual giggles,” I told her sternly. “I understand,” she quipped back cheekily. “You want to tell me anything else.” She was wonderful! (Smiles fondly)

CHARITRAHEEN (’74): I directed this film for Debashish Ghosh. It was adapted from one of Saratchandra Chatterjee’s stories. It was a powerful story and Sharmila acted very well as the prostitute. Sanjeev Kumar was a fine artiste too.

AJNABI (’74): I made Ajnabi starring Rajesh Khanna and Zeenat Aman for my brother who produced it in partnership with my wife Girija Samanta. I was inspired by Bombay Talkies’ Kismet that ran at Kolkata’s Roxy cinema for three years. I was going to make the same film but then it struck me that there wasn’t possibly anyone left in the City of Joy who hadn’t seen Kismet. I decided then to change the story but I don’t think I worked too sincerely on the changes. As a result the film didn’t turn out too well. Had I worked more on the story, may be it would have been a different story at the box-office.

AMANUSH (’75): Amanush was a blockbuster in Bengal. I remember after the first show I was mobbed and when I pleaded to be allowed out of the theatre, I was lifted on the shoulders of cheering fans and carried down the stairs. Uttam Kumar was fondly called “Guru” by his fans in Bengal. After Amanush I became “Guru” too. And there were two “Gurus” in Kolkata. Uttam Kumar was a very fine person. He was around 42 when he did Amanush. I was certain that only he could do justice to this complex role and he far-surpassed my expectations. I was sure after Amanush he would have made a place for himself in Hindi cinema. (Sighs) If he had only picked and chosen his roles with more care.I had advised him to be very selective. He was the reigning superstar of Bengal and didn’t need to accept every Hindi film that came his way. He agreed with me but the actress with whom he was living believe differently. She thought he should make hay while the sun shone. The films he signed weren’t worthy of him.

BALIKA BADHU (’76): Tarun Mazumdar had made the film earlier in Bengali with Moushumi. It was a big hit. I persuaded him to direct it in Hindi for me with Sachin and Rajni Sharma in the lead. Rajni was a very innocent looking girl then but she was more interested in making money. Sachin was an experienced actor which is why he has outlasted her by almost two decades. I introduced Amit Kumar as a singer with ‘Bade achche lagte hain...’. I had known his father for a very long time. Kishore Kumar’s first film was with Phani Majumdar and I had written the Hindi dialogue. I liked Amit’s voice. I knew instantly the boy had inherited his father’s talent. ‘Bade achche lagte hain...’ aaj bhi logon ko achcha lagta hai.

MEHBOOBA (’76): My friend, Vrajendra Gaur had lost his first wife during the birth of their second child. Soon after, he was pressurized by his in-laws to marry his wife’s younger sister. I would often drop in on the Guars and after a while, on occasions, Vragendraji’s second wife would suddenly break into convulsions as her sister possessed her body. After that I’d find myself being drawn into a conversation over her husband, children and simple day-to-day happenings with a woman who was no longer alive. After a while I’d point out to the spirit gently that her sister was in a lot of pain. She’d withdraw reluctantly saying that she enjoyed being around people close to her and chatting with them. This other-worldly experience had made a deep impression on me so when Mushir-Riaz approached me with this story of reincarnation that they were keen to make, I was immediately interested. In fact I told Gulshan Nanda, the writer of the film, to incorporate the incident with Gaur’s first wife in the script believing it would make the plot that much more convincing. Since I’d seen it with my own eyes, I was convinced about the existence of ghosts but the subject didn’t find universal acceptance. Mehbooba was memorable for Hema Malini. She looked lovely and got an opportunity to showcase her talent as a trained classical dancer.

ANURODH (’77): This was another film I made for my brother and wife. After his death I gave both Ajnabiee and Anurodh to his son to exploit as he thought fit. Anurodh was an interesting story but may be people couldn’t accept the idea of a brother-in-law (Rajesh Khanna) wooing his own real-life saali (Simple Kapadia).

ANAND ASHRAM (’77): The Hindi version did just average business but the Bengali version was a blockbuster. Once again I got an opportunity to work with “Guru”, Uttam Kumar. Sharmila was opposite him. The film also starred Dadamoni (Ashok Kumar), Rakesh Roshan and Moushumi. By then Moushumi was doing quite well in Hindi films and she would always report late for work. One day, exasperated, I took her to task and warned her that if she didn’t come on time I was going to throw her out. (Smiles) After that Moushumi was always punctual.

THE GREAT GAMBLER (’79): CVK Shastry had lost a lot of money in a couple of films. He came to me hoping for a hit. I had read this story and felt it had the potential to do well at the box-office. He gave me a free hand. This was the first time I was working with Amitabh Bachchan. He was superb...very sincere. If I told him to report at 7 a.m. he would be there, never mind if no one else was. Amitabh played a double role. The Great Gambler had CVK Shastry laughing all the way to the bank. The film had a very successful music score too. The sensuous Asha Bhosle’s love song, ‘Do labzon ki hai dil ki kahani...’ became very popular. I shot the film in a gondola on a canal in Venice. I shot the song myself. My cameraman, Aloke Dasgupta was used to my request everytime we were shooting a song. I knew exactly what I wanted...Close-ups here, a long shot from this angle and a mid-shot next...

KHWAB (’80): I produced the film myself. It starred Mithun and Ranjeeta. They were a hit pair those days. But Khwab didn’t work. I don’t want to get into a post-mortem. Sometimes things just don’t gell. The film also starred Yogeeta Bali. I think her romance with Mithun was kindled on the sets of the film. They got married soon after.

ANUSANDHAN/BARSAAT KI EK RAAT (’81): Another Bengali-Hindi bi-lingual that I produced and directed. This time both versions did very well. It starred Amitabh Bachchan, Utpal Dutt and Raakhee. I’d known Raakhee for years but we had never got the opportunity to work together before. She was playing a blind girl and as with Moushumi, I wanted a slight smile playing on her lips all the time. I had observed that blind people were always smiling. There was a Durga pooja song in this film that became very popular. Even though the film had been shot in Darjeeling this song, ‘Kaliram ka baj gaya dhol...’ was picturised at Film City. It was around the time of Durga pooja and I had an idol sculpted for the community pooja I organise in Mumbai every year. The idol was transported to the studio for the song.

AYAASH (’82): I produced and directed this Sanjeev Kumar, Rati Agnihotri and Anil Govil starrer too but it didn’t run. It was a remake of a Bengali film that had been very successful. It was a zamindaron ki kahani. May be people here weren’t able to identify with the oppression of the rich landlords.

MAIN AWARA HOON (’83): Even though Ayaash didn’t work well I repeated Rati. She was cast opposite Sanjay Dutt. Raj Babbar and Jaya Prada made up the rest of the cast along with Shakti Kapor and Madan Puri. Main Awara Hoon was directed by my son Ashim. I produced it for him. All through my career I have never shied away from experimenting with unsual subjects. Sometimes the gamble paid off...sometimes it didn’t. I was never disheartened and nor were my distributors because they never lost money.

AWAAZ (’84): I reunited with my old favourite Rajesh Khanna repeating Jaya Prada opposite him. I was the chief of the Censor Board at the time and the film sparked off a not-needed controversy. Some of my detractors insisted it was too violent and I had used my powers as Chairman of the CBFC to get it passed. Nothing could be further away from the truth. During my seven year tenure with the CBFC I have never tried to pressurise members for my personal benefit. I never even watched the film with them. It was their decision entirely.

ANYAY ABICHAR (’85): It was an Indo-Bangladesh co-production. My films are very popular across the border. In fact, I’ve been told that my fans in Bangladesh would get hold of pirated VCDs from Dubai or the Emirates and see the film even before it was released in India. When the Bangladesh film industry proposed a collaboration I was game. Anyay Abichar was a tale of oppression and starred Mithun and some well-known Bangladeshi artistes. The film celebrated a golden jubilee in Kolkata.

AAR PAAR (’85): Another Mithun starrer produced under my banner and with me at the helm. It didn’t do too well. I’ve even forgotten the story.

ALAG ALAG (’85): 1985 was a prolific year for me with three releases. I made Alag Alag for Rajesh Khanna and Jimmy Nirula. I had warned Kaka that the film wouldn’t run and had sugested some changes in the script. Alag Alag was a remake of a Pakistani film and even the original had not worked. I wanted Kaka to play the role of the doctor that was eventually done by Shashi Kapoor. But he and Tina Munim were madly in love and he insisted on being cast opposite her.

PALAY KHAN (’86): Ashim directed the film. We shot it in a place around Afghanistan. We were far above the ground and since it was hard to breathe, shooting was very difficult. Even the horses got tired in the high altitude and had to be rested after every shot before they could run again. We completed the film with great difficulty.

AAKHRI BAAZI (’89): After three years I returned to the theatres with another home production directed by Ashim. Moushumi was cast opposite Shatrughan Sinha. Aakhri Baazi also starred Govinda, Kunal Goswami (Manoj Kumar’s son) and Mandakini. The baazi didn’t pay off.

GEETANJALI (’93): I had signed Rekha for a film a long time ago but the project was shelved. She came to me after all these years saying we should work together. I had this story of two sisters. Rekha was keen to play the double role but despite my urging, she wasn’t able to differentiate between the two sisters, one of whom was rich and the other poor. Both looked wealthy and glamorous.

AANKHO MEIN TUM HO (’97): Ashim failed again even though it was an interesting story. Maybe he doesn’t work as hard as I would like him too. Maybe he was let down by the lack of star value. The romantic team of Suman Ranganathan, Rohit Roy and Sharad Kapoor was not very saleable. Now Ashim is busy with a serial, Kaalchakra. It’s another difficult subject. Hopefully this venture will work.

DEVDAS (2002): Devdas was a mistake. Sanjay Leela Bhansali was also making a Devdas in Hindi at the time with big names—Shah Rukh Khan, Madhuri Dixit and Aishwarya Rai—, lavish sets and had taken a lot of creative liberties with the story. I stayed faithful to Sarat Chandra Chatterjee’s original novel and maintained the distinction between the rich and the poor in my film. Prasonjit was Bengali cinema’s biggest matinee idol. He was the inevitable choice for the title role. But even he couldn’t bring in an audience for my Bengali Devdas. The Hindi version released soon after was more successful. I am almost 80-years-old but my passion for cinema has not dimmed. It’s been three years and I want to be back on the sets. There’s a Sarat Chandra story that I’ve been reading. It was filmed earlier in Bengali and even in Hindi, years ago by Bombay Talkies. Will it work again? I don’t know. It’s difficult to predict what will appeal to the audience today. May be I’ll make it...May be I won’t... There was talk of a Indo-Chinese co-production too. But the deal fell through when I was told that I would not be able to shoot on the Great Wall of China. The argument was that even Chinese films weren’t picturised against this great wonder. Well, in that case I wasn’t interested in an Indo-Chinese collaboration!