'He was always very indulgent towards me, a bit like a father to a wayward son'

'Satyadev Dubey left without writing the dialogues for the end of Mandi. So there would be brainstorming sessions before every scene.'

'One particular scene needed a dramatic opening line and no one could come up with something strong enough.'

'Suddenly, I found myself saying: 'Why doesn't the madam of the brothel (Shabana Azmi) tell her patron Guptaji (Kulbhushan Kharbanda): "Do you think we are a herd of cattle that you can move us anywhere at your will?"'

'Shyam instantly said: "We have got our opening line".'

'I was a junior assistant but he had moved beyond the constraints of hierarchy.'

When Joy Bimal Roy, the late great filmmaker Bimal Roy's only son, wanted to learn film craft, he decided on Shyam Benegal as his mentor.

Joy became Benegal's assistant director over three films, Mandi, Trikal and Susman.

Joy Bimal Roy records his impressions of Shyam Benegal who passed away on December 23, and tells Dinesh Raheja, "Shyam Benegal treated stars and assistants with the same unfailing courtesy."

What role did Shyam Benegal play in your life?

Shyam Benegal was my mentor and guru in film craft. What I knew before I met him was merely theory. He plunged me headlong into the mad world of a two-month-long outdoor shoot for Mandi (1983).

I had to stand in the scorching sun for hours, deal with people who didn't like me and vice versa, all for the first time in my hitherto sheltered existence.

He also played a major role in my growth as a person and taught me how to deal with the world.

I will miss Shyam. May his great soul rest in peace eternally.

Which is the most striking anecdote that immediately springs to your mind when you think of Mr Benegal?

He introduced me to the joys of drinking Scotch whisky by emotionally blackmailing me.

He said the only way I could be permitted into his hotel room after the shoot to discuss the day's work and plan the next day was if I joined him for a drink; he used to drink Ballantine.

And so began my love affair with whisky.

Did Mr Benegal ever express his admiration for your father Bimal Roy?

We never discussed my father.

How did you become his assistant director?

I saw Bhumika and instantly decided that I wanted to learn about cinema from the creator of this masterpiece.

My mother was relieved that I was showing interest in some form of work at last. She phoned Shyam and he told her to send me across to his office.

I still remember the date: September 9, 1982.

He said: 'Pack your bags. We leave for Hyderabad for two months in a week.'

And so began my journey.

What was your impression of him as a boss?

He was a very democratic boss and was especially kind to me. He treated stars and assistants with the same unfailing courtesy.

He had a brilliant mind and a photographic memory. We would end up discussing life, love and the soul, and I would always come away feeling enriched.

Here's an example of his humility and willingness to accept ideas from even the most junior member of his crew.

Satyadev Dubey left without writing the dialogues for the end of Mandi. So there would be brainstorming sessions before every scene.

One particular scene needed a dramatic opening line and no one could come up with something strong enough.

Suddenly, I found myself saying: 'Why doesn't the madam of the brothel (Shabana Azmi) tell her patron Guptaji (Kulbhushan Kharbanda): "Do you think we are a herd of cattle that you can move us anywhere at your will?"'

Shyam instantly said: 'We have got our opening line.'

I was a junior assistant but he had moved beyond the constraints of hierarchy.

Tell us more about the person behind the persona.

I got a taste of Shyam's empathy for people while working for him. During the making of Mandi, a lot was going on under the surface.

One of Shyam's assistants was planning her own film and wanted to cast the lead actress of Mandi. That was her sole agenda.

She arranged a dinner in honour of her prospective producer and invited everyone except me.

Shyam came to know about it so he called me to his room and said: 'I am inviting you for the dinner. You have to come.'

It was his way of showing that he cared for my feelings and was willing to stick his neck out for me. I can never forget his kindness towards me.

Ankur, Nishant, Manthan, Bhumika and Junoon can be credited with starting the art film movement in Hindi cinema. Was he aware of his place in propagating alternative cinema?

He carried his laurels lightly. I think he was unfazed by recognition.

I remember seeing him at an event on TV.

When the MC said: 'Mr Benegal, please say something,' he said, 'Something' with a deadpan expression.

I couldn't stop laughing. The pompous MC collapsed like a pricked balloon.

Mr Benegal introduced Shabana Azmi and Smita Patil to films but by the time Mandi was made, they were major stars. How did he juggle both artistes?

He treated both actresses equally.

He easily managed such a huge cast in Mandi. He was a people's person.

Mr Benegal was known for making socially relevant dramas. Mandi was his first film with a broad satirical streak. Was the dry wit a reflection of his real life persona?

He was very witty and a great raconteur. The narrative in Mandi followed the present continuous. It mimicked real time. It was quite a tour de force.

He came from the ad film world. I believe he was also a refined sophisticate.

He wined and dined me at the best restaurants in Paris; he was a gourmet and a gourmand. He knew exactly what to order in all cuisines.

He was not only a man of great sophistication and culture but showed generosity of spirit.

He flew me business class to Paris to shoot the last scene of Susman and extended the ticket to London because I told him I hadn't been abroad for over 20 years and wanted to visit England.

He treated me as an equal, and that's the highest form of appreciation I could get from my mentor.

He liked to repeat his crew: Vanraj Bhatia for the music, Ashok Mehta as cinematographer and Shama Zaidi as the writer.

Yes. He liked his comfort zone with both technicians and actors, and that is why he repeated them.

He opted for Ashok Mehta in the three films I did with him only because his old compatriot, ace cameraman Govind Nihalani, had turned to direction.

He turned to Shama Zaidi because Satyadev Dubey stormed out of Mandi before its completion.

Shama happens to be his wife Nira's classmate, so it increased comfort levels.

By the late '80s, the art film movement was drawing to a close. Did that affect him? Did he ever consider making a film with more commercial elements?

He had dreamed of making a musical based on the Spanish film Carmen.

That would have been mainstream possibly but it remained just a dream.

When his film didn't get a proper theatrical release, would it frustrate him? Is that why he turned to TV?

I never saw him lose his cool in any situation, however fraught.

And what's wrong with television? We can't do without it now.

Why did you stop assisting him?

The project he undertook after Susman was Yatra which was a rail journey across India.

I simply loathe trains, particularly the loos. The choice was clear.

When I spoke to Mr Benegal last year, he said that Clint Eastwood directing films at 93 inspires him. Did you follow his career till the last and stay in touch?

I did see a few of his films. I loved Welcome to Sajjanpur.

We retained contact, even if it was not on a regular basis.

Whenever I went to see him at his office, it was almost as though no time had passed.

We just picked up from where we had left off. We had a very special relationship.

Do you recall him encouraging your subsequent endeavours?

Recently, I sent him my book Ramblings Of A Bandra Boy.

Not only did he read it, he sent me a letter glowing with praise.

It brought tears to my eyes. He was always very indulgent towards me, a bit like a father to a wayward son.