Ekta: Primetime Princess
“The women in my serials are strong, with minds
of their own”
V. Gangadhar

THE ugly duckling, so goes the fairy tale, finally turned into a beautiful swan. But there was no mention of its IQ. But in real life, we have a podgy, plump, mediocre-in-studies teenager who has not only emerged as a stunning, poised young woman but has also displayed a yen for doing business and has, in the process, got millions of viewers hooked to her television serials.

That is Ekta Kapoor for you. The Creative Director of Balaji Telefilms, she is the Primetime Princess of Indian television. Winner of the Economic Times’ Best Emerging TV producer Award, 27-year-old Ekta Kapoor has truly arrived!

Since 1994, when Ekta made the hugely popular Hum Paanch, serials from the Balaji Telefilms stable have dominated the television scene, becoming the staple soap opera diet on all major channels. On any single day, at least 13 Balaji serials with the Ekta stamp can be viewed on different channels at different times.

This confident, young woman with her infectious laughter knows exactly what she wants. Daughter of former filmstar Jeetendra and air hostess, Shobha Kapoor, Ekta, hardly evinced any interest in show business while growing up and was not groomed by her father to join films. But the young woman was keenly watching the entertainment scene. She had no interest in a 'before-the-camera' role. It was the enormous potential of the small screen that she was keen on tapping.

Interestingly, it is the mother-daughter duo that has been responsible for the success of Balaji Telefilms. Shobha Kapoor, for years, was content to be a housewife. But when the daughter grew up, she encouraged her to tap her creativity and hone her business acumen.

Producer Ekta Kapoor quickly realised that the millions of Indian housewives, who formed the bulk of the TV audience, were potential viewers waiting to be wooed. Her earlier serials, Hum Paanch and Ithihaas, were mostly meant for middle-class audiences. Very soon, it was time for mass entertainment.

Presiding over a team of seven creative heads and 14 executive producers, Ekta focussed on concept -building, strong women-oriented scripts and high-quality technical effects. "I think I brought professionalism to the art of serial-making," she maintains. "My serials are noted for their full range of emotions. They also provide, in ample quantities, family values, fun, pathos, seriousness, all garnished with special effects and quality music."

One after the other, her serials began hogging primetime on all channels. Kyunki saas bhi kabhi bahu thi, Ghar Ghar ki kahani, Kasauti and Kutumb became household names, holding millions enthralled from 8.30 pm to 11 pm. Even when Kaun Banega Crorepati was at the peak of its popularity, the serials held their own in the TRP ratings. The 'K' factor added to the intrigue. "It just brought luck to us," laughs Ekta. "Call it superstition or anything, why leave out something symbolic when it has turned out to be good for you?"

Ekta believes that it was the strong storyline of her serials which appealed to the viewers. Wasn't the pace slow? May be, but then television serials are not like movies which have to pack everything in less than three hours. "We can afford a leisurely pace, the serials reflect the way events take place in life," she feels.

The intellectuals and media critics were rather harsh on the Balaji hype. "Nothing really moves in the serials," wrote one. "The characters, particularly women, look alike. Stiff, dolled up in finery at all times of the day and night, they sport plastic smiles. The themes are often regressive. Do you ever find such women in real life?"

But Ekta is unapologetic about her portrayals. "My eight years of hard work is now finally paying," she points out. "I enjoy my work, making people laugh and cry. The women in my serials are strong, they have minds of their own. They also stand for tradition and middle-class values."

The unit members respect and admire her. "Yes, occasionally, Ektaji can be moody and does yell at the people on the sets," says a co-worker. But that is how work gets done and the producer can let off steam. She has the reputation of being a well-organised person, delegating responsibilities and expecting deadlines to be met. "We enjoy a lot of freedom," explains a creative head. "Ideas are freely tossed around, themes for serials discussed in detail, but Ekta has the final say." Cost-conscious, she has a tight hold on the budget and hates extra spending.

Success had not stifled the creative urge in Ekta. She had just finished her second film, Kuchh to Hai with brother Tusshar and Esha Deol in lead roles. An earlier film, Kyunki Main Jhooth Nahin Bolta flopped badly. "I was not much involved in that film," Ekta explains hastily. "I just put money into it, and did not play any other role."

But making Kuchh to hai was different. It was produced with the cricket World Cup breathing down its neck. There was a change in directors, Anurag Basu being replaced by Anil Vishwakarma, who, according to Ekta, came to Mumbai from Bihar with just Rs 50 in his pocket. The parting with Basu, however, was without bitterness.

Will she ever direct a film? Not likely, says Ekta. "I am happy being the producer and in charge of the entire operation. The execution of plots from the director's point of view bores me." But Ekta wants to be firmly established in the world of films too. If Kuchch to Hai clicks, it will be followed by two, three…even six films!

Here is a young woman in a hurry. Yet, she knows, unlike the medium of television, where she has become a veteran, she is a newcomer to films. The nervousness and anxiety show clearly. But knowing Ekta, one can predict, she will not rest until she hits the winning formula in films too.