Realising the dream

Kshama Rao

Kabhi Khushi Kabhie Gham turned out a trooper being director Karan Johar's second film.

He is just one among the recent crop of assistant-directors-turned-directors. Karan Johar assisted Aditya Chopra during the making of Dilwale Dulhania Le Jayenge; Vikram Bhatt was chief assistant director to the late Mukul Anand, Shekhar Kapur and Mahesh Bhatt, before he struck gold with Ghulam. His Raaz, starring Bipasha Basu and Dino Morea released February 1.

Meghna Gulzar, whose debut film Filhaal also released February 1, assisted her father Gulzar and, later, Saeed Mirza. Glenn and Ankush, who are making their debut with a science thriller, were assistants to director Mansoor Khan [Qayamat Se Qayamat Tak, Jo Jeeta Wohi Sikandar, Josh].

Glenn even assisted Ashutosh Gowariker. Yogesh Bharadwaj, once assistant to J P Dutta [Border, Refugee] is making a film starring Ashutosh Rana based on the eunuch who stood for elections and won them.

E Niwas [Shool, Love Ke Liye Kuch Bhi Karega], Madhur Bhandarkar [Trishakti, Chandni Bar] and Rajat Mukherjee [Pyaar Tune Kya Kiya] are all alumni of the Ramgopal Varma school of direction.

The above mentioned are some recent examples of assistant directors-turned-directors. In the past, the late Raj Kapoor [Satyam Shivam Sundaram, Ram Teri Ganga Maili] assisted Kedar Sharma before he branched out on his own, Hrishikesh Mukherjee [Khubsoorat, Chupke Chupke, Anupama, Satyakam] and Gulzar [Mausam, Maachis] assisted the late Bimal Roy [Bandini, Do Bigha Zameen, Madhumati]. Govind Nihalani [Drohkaal, Hazaar Chaurasi Ki Ma, Takshak] was associated with Satyadev Dubey, Girish Karnad and Shyam Benegal [Ankur, Manthan, Trikaal, Sardari Begum, Zubeidaa] as cameraman till he made Aakrosh, his first feature film.

Kuku Kohli (best known for introducing Ajay Devgan in Phool Aur Kaante) assisted Raj Kapoor for 17 years till he felt confident enough to shoot his first film.

Filmmaking is a tough job. While some have it in their genes, others have to train themselves to 'visualise' their three-hour celluloid dream. It is natural, then, that those passionate about the medium start by working as assistant directors. Sooner or later, the desire to wield the megaphone takes over. Also, once the basic training [camera angles, approaching scripts, studying locations, handling artistes] is intact, branching out as an independent director becomes easier.

Even as the new director makes an attempt to create his own original style, the creativity, the style, the technique of one's guru is sure to creep in. Take the bent towards realistic cinema --- evident in Ramgopal Varma's Satya, the film that shot him to fame. This kind of filmmaking was evident in his assistant Madhur Bhandarkar's recent film Chandni Bar too.

Bhandarkar, who had earlier directed Trishakti, (which didn't find favour at the box-office), says, "In my first film, I achieved technical finesse. With Chandni Bar, I have been able to tackle reality in its face. I have been able to tell a story well.

"You could say that Ramuji's style of filmmaking has rubbed off on me. It was bound to happen --- I have seen him work at close quarters. Some of his skills and his style have definitely influenced me."

E Niwas firmly believes that whatever he knows of direction today is "because of Ramuji. I hope he has taught me all the ropes of the trade," he chuckles.

Vikram Bhatt, who feels fortunate to have worked with directors like Mukul Anand, Shekhar Kapur and Mahesh Bhatt, says, "I don't know if the three directors creep into my films. Though I am sure it happens subconsciously."

Kuku Kohli, whose latest film Yeh Dil Aashiqana released last week, says about his years with Raj Kapoor, "When you are an assistant, you need to be like blotting paper. If you are an assistant director, you should be able to absorb everything the director is directly or indirectly teaching you. RK was like an institution. From the way he handled his artistes and the commerce of his film to sitting in on music sessions and being able to decide on each and every aspect of filmmaking is something I learnt from Raj Kapoor. I have slogged for 17 years with him; every minute has been worthwhile."

Glenn feels assisting somebody before you go independent certainly holds you in good stead. "You imbibe their discipline, their approach to a particular subject and know how to choose your subjects: You take up something that drives you, excites you. At least that's what I learnt from Mansoor and Ashutosh. Subconsciously, I find myself picking up from them." While Glenn and Ankush might have chosen a subject (science thriller) totally different from what their teachers have dealt with, Glenn says their grooming helped them a lot.

Vikram Bhatt feels the three directors he worked with taught him important aspects of cinema and filmmaking: "Mukul taught me the technique, to use the camera, how to make small locations look big, Shekhar taught me patience, how to approach a script and handle artistes, while from Bhattsaab, I learnt the economics of storytelling."

Yogesh Bharadwaj, now working on Shabnam Mausi starring Ashutosh Rana, says working with Dutta for 11 years has been "Worthwhile. I learnt everything about filmmaking from him. When I saw his first film Ghulami, I thought it was brilliant and that I simply had to work with him."

Shabnam Mausi is Bharadwaj's second film. Border Hindustan Ka his first film, is yet to see the light of day. Was it a conscious decision to follow his mentor's footsteps? "No. The producer of the film had suggested the subject. Since he knew I had assisted Duttasaab, he thought I would be perfect to direct Border Hindustan Ka."

Working under a big name is also one way of making sure that doors open for you, stars look at you and, more important, have producers willing to place their money on you. Attests Bhatt, "If you work with a big director, access to stars becomes easier. During my association with Bhattsaab, I got to know Aamir Khan. Likewise, Milan Luthria, also assistant to Bhattsaab, got to know Ajay Devgan better. When certain stars take you under their wing, it does help as they gauge your potential and are willing to work with you."

Glenn explains, "It is like graduating from IIT --- no questions are asked. Whereas if you have a certificate course, the climb becomes all the more difficult." Says Bhandarkar, "Names help. Stars are willing to give you a hearing and so are producers." Perhaps that explains financier Jhamu Sughand's faith in Meghna Gulzar?

Kohli points out, "Names matter only in the initial stage. Once your first film as an independent director is released, your journey as a filmmaker is your own."

A journey that Bhandarkar is enjoying immensely: "Chandni Bar got me respect and recognition.Now people are willing to hear me out on my own merit."

India News Feature Service