Amitabh Bachchan: In defence of a legend
By Tripti Nath

AMITABH BACHCHAN, recently voted as the greatest star of the millennium by a BBC online poll, is indisputably a subject of perennial interest and that is enough reason for a writer to feel tempted to write a book on him. Amitabh Bachchan The Legend published by Macmillan India Limited is a favourable intervention especially at a time when the superstar is under attack from several quarters. What more, the book commands credibility as it is authored by none other than Bhawana Somaya, the editor of G magazine.

The book scores high on several counts including pietorial quality, arrangement of editorial material, interviews with Amitabh, his actress wife, Jaya and son, Abhishek. These factors ensure the saleability of the book. But the actor seems to have been eulogised at some places and this makes the editorial intentions somewhat suspect. Bhawana Somaya’s defence of Bachchan seems to have been overdone.

The following lines penned down by the author deserve scrutiny. "His celebrity status transcends national boundaries and his fame has spread to each corner of the globe without going through Hollywood cinema........His detractors had a bone to pick with everything the superstar touched..........Whether it was joining, or quitting politics, or something as trivial as releasing cassettes, he was damned if he accepted, and crucified if he didn’t......He was crucified time and again, his every film described as an acid test. Yet everytime he proved his detractors wrong."

The chapters devoted to his childhood, his upbringing, his education including admission to Chandigarh’s government college, his reading preferences, career options make interesting reading. The book is sprinkled with reminiscences by film-makers like Hrishikesh Mukherjee, Yash Chopra, S Ramanathan, Prakash Mehra, Ramesh Sippy, Tinnu Anand and actresses like Zeenat Aman, Hema Malini, Rakhee, Rekha and Neetu Singh. These offer insight into certain facets of Bachchan’s character and professional growth.

One cannot put down the book while reading Jaya’s account of her first meeting with Amitabh, their subsequent meetings, their marriage, her philosophy on marriage, his interaction with his children, his regard for his parents, his tastes and his likes and dislikes. Another chapter that engrosses one’s attention is where Abhishek talks about his father.

Another chapter that invites the reader for a second reading is ‘Away From The Arclights’ where Jaya talks about Amitabh’s break after Khuda Gawah.

‘The chapter The poet and his protege’ where Amitabh talks about his father, Dr Harivansh Rai Bachchan and mother, Teji is very absorbing. Dr Bachchan’s verses reproduced in Amitabh’s writing in his chapter seem out of place and context. Factual literary errors stare one in the face. All excerpts from Dr Bachchan’s poems have been lumped under Madhushala. Apart from Madhushala, the excerpts are from later poems of Dr Bachchan written in free verse and other collections of his poems including Madhukalash, Ekant Sangeet, Milan Yamini and Satrangini. One wishes Dr Bachchan’s poetry had been handled more seriously.

The fact file on Amitabh towards the end of the book is authentic and provides useful reference material. The book, to a large extent, succeeds in satisfying the curiosity the very name Amitabh Bachchan evokes. As wife Jaya says in a chapter, "There are too many impressions" people have of him.

Bhawana Somaya has touched every important aspect of Amitabh’s life including his accident in 1982, the Bofors scandal, his experience in politics and the launch of ABCL. Perhaps, an interview with Amitabh’s younger brother, Ajitabh would have made the chapter ‘Brothers In Arms’ more interesting.

The book also traces Amitabh’s interest in drama and talks about his struggle and early films including Saat Hindustani, Reshma Aur Shera, Pyar Ki Kahani, Parwana, Sanjog, Bansi Birju, Ek Nazar and Saudagar.

Described by the author as "the chronicle of an actor who completes thirty years in showbiz" the book certainly succeeds in its objective. The publishers are unfazed by apprehensions that the price of the book (Rs 895) might have an adverse affect on its sale. The editor, Jyoti Sabharwal says she expects the book to be an international bestseller.

The book would perhaps also test whether Bachchan still sells.

The following is an excerpt from an interview published in the book Amitabh Bachchan The Legend:

The media attributes its hostility to their disappointment in an icon. How do you deal with such expectations?

I feel blessed that they think of me as an icon. But I’m no icon. I have never accepted or contributed to this image. The media has a unique way of functioning. It will first spend a lot of time and energy building an image. Then, it hopes and anxiously waits for something to go wrong. When it does, it once again expends a lot of time and energy, bringing the idol down. The characteristic syndrome of, ‘We told you so’. It’s a familiar pattern and has happened so many times with so many people. That’s media business! It makes money as it builds you up and it makes money as it brings you down. They are always in a win-win situation.

Have you ever felt like breaking free from these shackles?

I can’t. I’m in the business of selling myself. There are bound to be expectations, because there’s a commercial factor involved. There’s the box-office. People are paying money to go and see your product. If your product is not worthwhile, they have the right to protest and reject.

What are your deprivations as a public figure? Do you miss not being able to walk on the streets?

I have done so whenever I have desired. It’s just that most of the time, my desires have been restricted to the shores beyond India.

What is your recurring nightmare?

Of having to live up to the expectations of people. Of not disappointing them.

What would you say is the most heartbreaking thing about stardom?

Difficult to describe. Cinema is a fascinating medium. There are highs and there are lows. Professional acting is all about survival in a make-believe world. The personalities we project often get mistaken for our own. That’s the fallacy about it. The mistaken identity. Yet, it’s this impersonation that attracts the hype hysteria. That generates admiration and fan followings. I wonder who they admire and follow the impersonation,or the man.

It must entail a lot of pressure on the actor.

Yes, because at times the impersonation doesn’t depict even an iota of the real you. Which is sometimes a blessing in disguise for people like me, who want to fiercely guard their private life. On the other hand, I doubt if there is any other profession which provides an opportunity for an alternative reality. It’s not always easy and if you’re not conscious, the repercussions can be lethal.

How do you protect your- self from it?

I try to play it as straight as possible. Once I’m out of the studio, I draw a line. At home, I’m like any other normal human.

Has it been tough surviving showbiz for three decades?

I’m surprised I did. And happy. There’s a great sense of fulfilment. It has been a long journey and I find my current bracketing with today’s generation enlightening, even if at times, misjudged. It’s also compelling. I’m conscious of this enormous responsibility. I can so easily succumb to factors like age and repetition and get complacent. I don’t. My attitude being, that I’d rather fight than give it up.

Has it occurred to you that you’re the sole survivor, of all your contemporaries? The only leading Hindi film hero at 57?

That’s incorrect. Dev saab is still playing the leading man. Dada Moni played a hero for a very long time. So did Dilip Kumar.

When you started out, you were working with senior colleagues (K A Abbas/Nutan). Then with contemporaries (Manmohan Desai/ Zeenat Aman) and now, with juniors (David Dhawan/ Manisha Koirala). How would you describe the different phases?

I was younger then, I’m older now, but l’ve always addressed my colleagues and my directors with a Ji or ‘Sir’. So, in my social conduct, there’s not much of a difference. My colleagues address me either by my first name or surname, depending on how comfortable they feel. In the early days, more people called me by my first name. Then slowly,it was replaced with Ji and then ‘Sir’.These days, I sense a lot more reverence in people’s behaviour. There is a lot more touching of the feet, which is undeserving and unsettling. I’d rather they treat me like one of the gang. Our culture inculcates reverence to seniors. It’s not such an issue in other parts of the world.

You must be more comfortable giving suggestions today.

I’ve never had any problems with this, primarily because I’ve worked with people who have been receptive to interaction. It’s a different matter that the suggestions have not always worked, I’ve been proved wrong most of the time. I’m, therefore, hesitant and would rather not speak unless I know the person well. Only then would I confide my apprehensions. As far as possible, I’d rather not impose.

For someone constantly in the company of the new breed, do you sometimes feel out of place?

No, simply because I have a living example in my own house. My son, Abhishek. I’m, therefore, familiar with their lingo and equipped to dealwith them. I find the new breed very stimulating and would like to believe that I’m aware of what’s happening in their world.

Would you say you’re a hyper father?

I think all parents are hyper and that’s how they should be, for after all it’s their children thay are dealing with. I’m no different from other parents. I’m anxious about Abhishek. I worry about him. I’m apprehensive and will always be. Just as my father was about me and my brother. He worries about us even now. Parents will always be parents. My mother at 81, still wants to know if I have eaten something and my father at 92, still cautions me about being too late in coming back home at night.

If you had the choice, which are the characters you would like to play?

Oh God, this is a tough one to answer. They are all such fascinating characters. The kings, the romantics, the soldiers, the European figures....

Why is it that seasoned actors at a certain stage in their career, get drawn to portraying historical figures?

What attractive about these wonderful personalities is that there is a public acceptance of them, so ninety per cent of your battle as an actor has already been won. Then, nobody from the present generation has ever seen these personalities live. Therefore, the fascination of reproducing them, and consequently, getting identified with the character, is a big high for an artiste.

A contemporary pointed out that you’re making all the classic mistakes of a legend.

Firstly, I’ve never attributed to these epithets. They were bestowed upon me by the media. Secondly, if this contemporary so smart to find mistakes in another contemporary isand be vocal about it, how come he’s missed being where I am?