Nadira Zaheer Babbar is in love with the golden era of Bollywood and that reflects in her production staged recently. It has memories of the loyal munims, jaani dushmans and every other character that formed an important part of the films made during the 1950s. She chatted with Utpal K Banerjee
Her connection with theatre is much more intense than with Bollywood. But Nadira Zaheer Babbar has come up with such account of Hindi cinema that many might have missed. Salaam…1950s Ke Naam, presented by Ekjute from Mumbai, was mounted recently in Delhi as a dramatic extravaganza. Scripted and written by Nadira, the mega-musical was her way of telling a tale: not alien to the audience and, in fact, a ‘walk’ down memory lane for those who have grown up watching films of 1950s. She claimed, “I wanted to attract the young generation, who at times remain ignorant of the history of traditional Indian cinema. My play is meant to match to the experiences they wish they’d never have missed!”
The gala show opens with a return from abroad of the missing son and his accosting his disbelieving mother and, who else, by the ladylove. The shadow of Bimal Roy’s Devdas (1955) is unmistakable, followed by the hero’s sojourn to the forestland and meeting the beautiful Fulua (Juhi Babbar Soni), the mirror-image of Vyjayanthimala from Madhumati (1958), the other magnum opus by Roy. Much of song-and-dance later, the love-triangle grows, there are jaani dushmans (born villains), tribal jealousies, opulent mansion-scenes and much besides: with visuals created on the cyclorama to provide backdrops. The hero Ranvir’s mannerisms re-create vignettes of Dev Anand and Dilip Kumar, with comic relief by friend Paltan: modelled on Johnny Walker. The other heroine Rita is inspired by ‘Rita’ of Nargis, as she was called in Awara. Much of the rivalry is resolved at the grand finale; the lovers are united and after the fraternity solves its own heart-burnings, the hands of law appear in the shape of a police-inspector to put the State’s stamp of approval.
An interview with Nadira.
You seem to have attempted to bring the experience of watching a classic B-&-W film on stage…
Yes, I’ve particularly used the posters of this cinematic experience by none other than the famous hoarding-painter of the 1940-1950s and the internationally acclaimed artist, MF Husain! Even all characters don hues of B-&-W costumes, designed by the Oscar Award winner, Bhanu Athariya, who has been designing costumes for the Indian film industry since the 1950s. He was a disciple of my father. In fact, from Ekjute, I’ve done a stage-play based on his life, with around 80 artists.
You also have used popular songs of the 1950s…
Yes, here’s a partial list:Suhana Safar Aur Ye Mausam Haseen; Shola Jo Bhadke; Yaad Kiya Dil Ne Kahan Ho Tum; Ghar Aaya Mera Pardesi; Jai Shiv Shankar Bum Bhole; Jaata Kahan Hai Deewane; Suhaani Raat Dhal Chuki; Jeevan Me Piya Tera Pyaar Rahe; Bichhua Bichhua and others. Most of these songs have still remained at our humming levels, while many of today’s song are eminently forgettable!
The play is studded with stock characters…
Absolutely. There are star-crossed lovers, revengeful thakurs, kabila wallas (tribesmen), shrewd villains, vamps, friends with hearts of gold, loyal munims. Besides love-triangles, I’ve thrown in family-ties, sacrifices, comedian’s love-tracks, long-lost over-dues, lovers separated by fate, dramatic reverses in love and convenient coincidences. These are all a part of the golden era of the 1950s!
It seems very much a cinema-drama discourseIJ
The stage is enriched by what our generation owes to this era.
Did you depend on stylisation or realismIJ
I’ve blended both in my approach, depending on the situation.
Dance, especially by your daughter Juhi, seems to be an integral part…
Both solo and group dances are composed by the famous choreographer Raj Yadav, according to the dramatic needs.