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Farooque Sheikh: Memories and Musings on his 70^th birth anniversary-II

Ramesh Talwar on Farooque Shaikh

Director Ramesh Talwar, who directed films (Doosara Aadmi, Sahiban, +5) and plays (Apan To Bhai Aise Hain, Darinde and many, many more), directed Farooque when he was still a student at Xavier’s. Talwar had studied at Khalsa College but had already earned a reputation as a man of great merit. Farooque invited him to direct Dekh Kabira Roya (about one boy and three girls) and Mirza Sahiban (the legendary lovers). After the first staging, it came to Farooque’s knowledge that Talwar charges Rs. 75 per play. This was a big sum in 1966-67, and Farouque had no means or raising it. Sometime later, he went up to Ramesh and told him that they were unable pay Rs. 75 but Rs. 50 was possible. Talwar agreed. Farooque promptly put Rs. 50 in his hand, 25 x Rs. 2 notes.

Talwar was taken aback. Obviously, Farooque had passed the hat around. Touched, Talwar responded, “You can keep this. I do charge Rs. 75, but I have a heart too. Besides, I have got employment now and my need is not great.” Unknown to both of them then, Farooque was to join Indian People’s Theatre Association (IPTA), where the two would collaborate in many ways: as co-actors, under Talwar’s direction, and as an actor in plays produced by Talwar. The association extended to the silver screen too, when Talwar produced Noorie.

“Often, Farooque would treat us to biryani. While eating, some of us would order beer. After the meal, Farooque would announce, “The biryani is on me, but those who have ordered beer will have to pay for it.” A teetotaller, he would not entertain those who drank. Among their well-known collaborations is Khalid ki Khala (1974), which is drawn from 'Charley's Aunt'.  In this, Farouque was in drag while Ramesh was normally dressed. He looked so much like an attractive girl. The play was a laugh riot. Such was the bonding between Ramesh Talwar and Farooque Shaikh that on hearing about Farouque’s death, Ramesh broke down and cried inconsolably.

Dinesh Lakhanpal on Farooque Shaikh

Two early scenes in ‘Chashme Buddoor’, which show Ravi Baswani and Rakesh Bedi gate-crashing Deepti Naval’s house in the hope of gaining an introduction, was one of the creative highlights of the movie.

Ravi Baswani tries to trip her up with an impressive filmi pitch, assuming all college girls yearn to make a career as actresses. “Have you not heard of the famous director D.L. Lakhanpal? I am his younger brother and I have come to Delhi for talent scouting for our next film.”

In their actual meeting Deepti, expresses ignorance of the Lakhanpal gentleman. But in Baswani’s false exaggeration before his friends she exclaims. “Oooh! Of course. Who hasn’t heard of the famous D.L. Lakhanpal?!” Now this name was not a figment of director Sai Paranjpye’s imagination. Dinesh Lakhanpal was an assistant director of ‘Chashme Buddoor’. He went on to become a successful documentary film maker.

Dinesh remains most grateful to the hero of ‘Chashme Buddoor’, Farooque Shaikh, for having nurtured the seed of friendship over the years, and having accorded him such respect and warmth at all times. Dinesh Lakhanpal wrote his memories of Shaikh Sahab for the January-March 2014 edition of ‘Hindi Jagat’. These excerpts are translated from the original.

“Kaal kare so aaj kar. By the time I realised the full import of this proverb it was too late already. I had never imagined that putting off to tomorrow what must be done today can be so frightfully traumatic.

It could not have occurred to anybody in their dreams that actor Farooque Shaikh Sahab would go away so suddenly. Everybody was stunned to read the news of his passing. Just a few days before he had performed yet another superb show of his two-decade long play ‘Tumhari Amrita’, in the courtyard of the Taj Mahal, in Agra. And then he was visiting Dubai with his family to bring in New Year.

I met Farooque Shaikh for the first time in 1981. I was assisting director Sai Paranjpye at the time. We had made ‘Sparsh’ which was screened at the Moscow International Film Festival. It was there that Sai met producer Gul Anand. Gul saw ‘Sparsh’ and told Sai that he would like to produce her next picture.

Right there in Moscow Sai narrated a brief plot to him and he liked the outline. Gul was a film exporter of repute, and together with N C Sippy he had co-produced ‘Khatta Meetha’ which was directed by Basu Chatterji. He said to Sai, “I will return to Bombay the following month. You are going back earlier? I will ring you at 11.00 am the day after I come back. Meanwhile expand the outline if you can.”

‘Sparsh’ had won three national awards. Sai was a topic of conversation. The outline which she had narrated to Gul, she had earlier directed as a television play named ‘Dhuan Dhuan’ for Delhi Doordarshan. She wanted to flesh out the same plot for a full-fledged feature film.

Gul called at the promised hour and okayed her script at once. This sowed the seed of what was to be a landmark picture, ‘Chashme Buddoor’.

Now the discussion centred around who would play the main characters. Right away, the name of Farooque Shaikh was suggested for the hero. His image as the boy next door, the chocolate hero was pervasive those days. Later, Deepti Naval’s name was thrown up as the female lead. When their photo-shoot together was complete, the pair looked well matched in posters and pamphlets. The main cast was finalised. (This was their first film together.)

I was entrusted with the responsibility of narrating the script. I would do the narration and Sai would punctuate it with added flourishes, creating a wonderfully charged atmosphere.

The first time I met Farooque Shaikh was in Gul Anand’s office. For a brief while, all I did was gaze at him in awe. Such a fair skinned youth, tall and well built, flawless of speech, and such a unique, respectful way of addressing people. Urdu was his own tongue, but his command over Hindi and English was also peerless. And nowhere in his manner was there a shred of arrogance, none of the airs that are typical of filmi heroes.

As we began to meet I learnt that he was aware of all Hindi newspapers and magazines. He was happy to know that I was associated with many of them as a freelance journalist. At first I felt he spoke politely with me owing to my background as writer. But I soon realised that courteousness was second nature to him.

Farooque Shaikh spoke politely with everybody, be it a producer, director, associate director, co-artiste or spot boy. His respectful manner towards an individual did not ebb or rise in proportion to that person’s status.

It would not be wrong to say that this was my first close interaction with a film hero. No doubt during ‘Sparsh’ I had worked alongside Naseeruddin Shah, and the only slightly lesser famous Om Puri, and Shabana Azmi. I saw several other artistes while doing the rounds of film studios and dubbing theatres. But this was the first time I was meeting a proper ‘hero’ — who looked the part — in flesh and blood. To converse with Farooque Shaikh face to face and work with him was such a privilege.

I do not intend to downgrade Naseeruddin Shah or Om Puri or Mohan Gokhale as lesser actors than Farooque Shaikh. But one realised the marked difference in the screen appearance of these actors when one met them face to face. Without a doubt, Farooque Shaikh’s personality held a magnetic appeal which drew all those who met him, and made them his fans forever.

In Farooque Sahab’s lengthy, stellar career, my association with him was limited to ‘Chashme Buddoor’. Yet on the occasions that we ran into each other over 24 years, he met me in the same friendly manner. Recently director David Dhawan released a remake named ‘Chashme Baddoor’. On the same day the old ‘Chashme Buddoor’ was re-released in a revised and digitalised avatar. Gul Anand was no more but his younger sister Jayoo Makhija, who was co-assistant director with me in that picture, took the task upon herself.

A few days before the release she organised a special show at PVR Cinema, Juhu. A large gathering assembled that day. Sai Paranjpye was absent, perhaps she was not fully in agreement with the remake (or re-mastered version). Gul Anand, Ravi Baswani and our editor Om Prakash Makkar were no more. Deepti Naval and Rakesh Bedi did arrive. But few old faces were visible.

Suddenly a pair of arms embraced me from behind. As I turned I saw it was Farooque Shaikh. There was hardly anyone who recognised me in that crowd. And perhaps no one who did not recognise him. This act of the hero clasping me in embrace became my silent introduction to the assembly.

Now around four months before Farooque Sahab and I had chanced to meet at Santacruz airport. He had said in his familiar easy manner, “Kahan hain huzoor? Dikhte hi nahin.” I answered, “Never mind me, those who should be seen on the screen are visible. That is enough.” He repeated, “But we should meet. And nowadays your by-line is not visible in the papers either.” I was amazed he had noticed. “Yes but I promise I will restart, and with you.” He said affectionately, “I will wait.”

I had failed to ring him despite my promise. That day when he met me so warmly in the cinema in Juhu, the guilt of my truancy plagued me. I tried to escape saying I will meet you soon. He tilted his head and smiled that familiar attractive smile to say, “Whenever you are free.”

Farooque Sahab, my quest for the ever-elusive leisure has cost me dearly. I could not even join the last journey. You remembered a humble assistant director from a film dating back decades. May I say, you will not be forgotten either.*

(Courtesy Mr. Lakhanpal. Reproduced from the English translation of Hindi text, with special thanks to Ms. Bella Jaisinghani).

@Saeed Jaffrey, Sai Paranjpye and Farooque during the shooting of Chashme-Buddoor