'People Said I Was A Bewaqoof'

'Everything in life is about timing.'
'I came to films when the disco craze had started.'
'Everything just fell into place: The shorts, the slimness, the songs, and my combination with Usha Uthup and Bappi Lahiri.'

It was the time to disco when Kalpana Iyer burst onto the Hindi screen in the early 1980s, and her lightening-fast moves made her the era's dancing queen.

Still, she had her struggles.

Through 20 years of films and television, followed by an exile in Dubai for the last 25 years, she has faced ups and downs with continuous courage and grit.

Kalpana may not own the lavish material possessions of today's stars but feels she has the satisfaction of being her own person and learning to flower wherever she is potted.

"Dubai weather is stunning right now ... I could dance all night," she says.

Kalpana Iyer tells Rediff.com Senior Contributor Dinesh Raheja, "If I didn't need the money, I would have just been a typical studious girl who went to Bharata natyam classes. But that is not how it was meant to be for me."

Many people feel a sense of disconnect when they see you in silk saris and spectacles today because they remember you as the dare-bare vamp who danced like a livewire onscreen to '80s disco numbers.

I agree with the 'dare' label but about the 'bare' part, I didn't have much choice.

The reality is that even in those days when I wore hot pants for jhatak-matak dance numbers, I was always seen in saris otherwise.

I even compered a film award show wearing a sari and tons of gajra in my hair.

How did the film industry react to this dichotomy?

I have faced name-calling because I wore saris: p=People would call me 'behenji' to 'maami' to 'old-fashioned'.

So which was the real Kalpana: The 'Chhodo sanam' girl or the behenji?

There are a thousand Kalpanas (laughs).

Which Kalpana would you like to preserve?

My mother's daughter, I want to be that Kalpana only.

I have not been perfect but I have been the best daughter under the circumstances.

My mother can look from up there and say, 'She's done all right.'

How did a Tam-Brahm girl end up Miss India Runner Up 1978?

It started when someone told my parents about a beauty contest at a fair in Parel (central Mumbai) and suggested that I participate because I was slim.

I begged and borrowed clothes and did very well. Then I participated in the Navy Queen contest, the Maaza Princess contest. And then Miss India.

Did I think I was a beauty queen? No.

Did I think I would win Miss India? No.

When you have nothing but hope, everything is a try, and I tried. And God was kind.

If I am not mistaken, you needed the money then. Right?

Yes. If I didn't need the money, I would have just been a typical studious girl who went to Bharata Natyam classes.

But that is not how it was meant to be for me (shrugs).

The Manokaamnaa (1980) credits read: 'Introducing Kalpana Iyer'. Raj Kiran romances you with the song Tumhara Pyar Chahiye.
Did you originally want to play heroine?

Yes. I signed my first film as a heroine.

I was at the Miss World contest when my mom was contacted by the Rajshris and I was signed for their film Manokaamnaa in a romantic role opposite Raj Kiran.

What a lovely boy he was!

How did the move to dancing roles happen?

I had no specific aspirations that I would act only as a heroine. I believed in accepting the work that came my way.

In December 1979, I started shooting for Manokaamnaa and immediately started getting other film offers.

I had the guts to say yes to Dev Anand saab for just a dance in Lootmaar (1980).

People said I was a eewaqoof. How can you do a dance number when you are simultaneously shooting as a heroine? But I never planned anything.

My Lootmaar costume was from Bada Sahab, designed by Dev saab.

I was not even the actress who was singing Jab Chhaye Mera Jadoo -- she was the late Simple Kapadia. I come leaping out of the side in my red shorts...

...And leapt to fame.

I signed seven more films at the Lootmaar shoot at Mehboob Studio!

On the very first day of Devsaab's shoot, his brother Chetan Anandsaab came to see me and I signed Kudrat (for the song Chhodo Sanam).

On that same set, I signed Pyaara Dushman (for the song Hari Om Hari), Mumbai Ka Maharaja and Saajan Ki Saheli.

Why do you think your career gained traction so quickly?

I got so many dances because at that point of time, Helenji was saying bye-bye.

She was doing her last song Yeh Mera Dil (Don) when I was doing my first song Jab Chhaye Mera Jadoo.

What is your estimation of Helen as a dancer?

For me, she was the benchmark for all things dancing. She was for my inspiration.

I made my first earnings of Rs 75 for dancing to her song Mera Naam Chin Chin Chu.

I used to dance to assorted hit songs like Jhumka Gira Re or Parde Mein Rehne Do at Ganpati and Dusshehra shows.

Were you trained in dancing?

No, not at all.

So how did you become the disco queen?

I got signed because I used to be quick. I would finish a song in one-and-a-half shift.

Most of my songs were shot at the discotheque called Cleo in the Ceaser's Palace hotel in Khar (north west Mumbai).

If it was a 7 am shift, I was ready to shoot at 7 am. I would do my makeup in my car between shoots.

Everything in life is about timing. I came to films when the disco craze had started and Saturday Night Fever was a huge hit.

Everything just fell into place: the shorts, the slimness, the songs, and my combination with Usha Uthup and Bappi Lahiri.

For me, Usha and Bappida are on one side, and all my dance directors and producers on the other.

I'm totally indebted to the two. I carry wonderful memories of them.