At the recent Cinematographers Combine workshop held in Mumbai, Amol Gupte spoke to well known Film Director Vijay Anand. Here are some thoughts on film and filmmaking shared by 'Goldie Saab.'

"I'll tell you one thing…" said the filmmaker who has come out of a self-imposed exile with a new film after fifteen years, "…the discovery of the 'camera' is so unique… there was nothing like that before in the history of art or culture, or civilisation for the last five thousand years. For the first time in history, the eye became more important than the ear. Our Shaastras survived time because of the shrutis… shrutis mean what you hear. Initially, I don't think the Vedas were written, they were passed on from generation to generation, along with all our culture, all our knowledge, through the ear, from Guru to Shishya. Had they a camera, I think, they would have probably made videos of their teachers…like what Rajneesh did. Whatever he talked, he wanted it to be photographed, understanding well, that the image is more powerful than the word. The personality that speaks the word gets hidden in the word and dies with the word. It is the image that assures immortality."

"If there was no word, that personality would have nevertheless expressed himself." "A man who wants to express himself finds a tool. What is more important is… has he got that fire in him that needs to be fuelled by expression?" "Secondarily, what medium does he choose? If he is a painter, he'll pick up a paint-box, if he is a word-smith, he'll pick up a poem or a play… Now that he's got a camera, he goes mad with the camera. Those were the days of the silent cinema, where, its practitioners felt they were privy to an art-form that was unique. They did not want the word. When sound entered the medium, the silent-filmmaker rebelled against the absorption of the word into the medium, imagining the word to be the corrupt diluter."

"But that's not true at all, because the man who wants to express, doesn't want to limit himself to only the visual. If he can use the sense of hearing, he'll use it. If he can use the sense of smell and taste one day, he'll use it. If he can make people feel the touch of his film, he'll use it definitely! Why not! Limitations limit him, not his need to express and touch the other man."

"Very great people don't want to express, have no need to speak. The need arises from the man who asks the question… Sir… what is it that you have? Out of compassion, and in order to help him, the wise one speaks. And therefore you have the Upanishads, the Gita or the Quran."

"Actually a great artist who receives experience, doesn't know how to express it. If you asked Van Gogh why he painted, he wouldn't know the answer…he's a mad man…just painting…painting… painting! A great filmmaker, if ever there is one…it's too early to say that…he will not know why he is making a film. Only after being prodded by limiting questions by enthusiasts wanting to slot the soul, shall he answer, but not cleverly. Not all artists are expressive in any other medium except the medium they use. Very rarely would you find an artist who can create, express, evaluate, judge, formulate rules and teach. I am a student, I am not a teacher yet. But I know I have the makings of a teacher."

"And as an active student of cinema I want to learn and learn and learn, and in that state I feel… Why should anyone else write my story for me? Why should anyone else write my screenplay? Why should anyone write my dialogue? Why should anyone write my lyrics, give my music, photograph my film? Why should anyone else produce my film. Why should anyone else distribute my film? Because, every other man's limitations are diluting and weakening my strength!"

"But no! As a practitioner these same weaknesses take the shape of strength. I get the better out of the best around me." "Krishna drives the chariot, not Arjun!"

This charioteer of memorable creations has always been an unwilling filmmaker. Born into the line has its compulsions. Otherwise he was perfectly at peace pursuing philosophy and spirituality. He confesses he can't handle commerce, he can't handle money, he can't handle the businessman. He can't ask another man for money… he'd rather starve.

"It is my nature…"

"When I make a film, I feel so humiliated that I have to tell another man…this is my film…please buy it, exhibit it…
I feel… if they don't love my work, I shouldn't show it to them. It's like… a very dear girlfriend of mine I don't want a scoundrel to see. As it is, feelings are so delicate and sensitive, and in order to become a businessman you have to rub off that sensitivity. I have not been able to do that. I'd rather not make a film, than rub off my sensitivity."

The man carved a captain's seat for himself in the annals of cinema, navigating with crystal clear vision, Dadas like Shailendra, S.D. Burman, Majrooh Sultanpuri, Neeraj, R.D. Burman, Dev Anand, Waheeda Rehmaan, Fali Mistry, Ashok Kumar, the list is inexhaustible.

He perceives cinema as, " …far more varied than poetry, music, drama, painting…it is more of architecture! You choose the space…I want the Yamuna to be the place where I'll build my Taj Mahal…nowhere else! River Yamuna…lonely, flowing river…on its banks. You've chosen your location. You have a vision of a grand structure. And then you say no, not bricks, not red stone… I want white marble! Then artists will make your windows and minars and will put your gardens, every person fulfilling the vision that you have. It cannot go wrong, you know… if it goes wrong that means you are a bad architect!"

"But architecture is frozen… Film is flowing architecture!" Touché!

"Possibilities in the cinema are immense but they have not found shape because this world has not given the filmmaker the facility to create. He is fighting his own battle, mind fed by commerce. The onus is on the society to provide the infrastructure to the artist, in order that the ultimate marvel of this 100 year old art take shape, otherwise you deserve what you get!"

Goldie Saheb has been harangued enough by the inevitable question… his song picturisation skills. So, one chose to shy away from the blatant throw of dice. But with reasonable luck, the subject veered to song.

"I'll tell you what… picturisation of a song is the last thing that you do. When the song is born, what were you doing at that time…that is more important. Song is born in the director's mind, in his heart. Then it goes to the music director and the lyric writer. It's born out of the script. And if the director has not used his intelligence there, then what will he do with the song in its material form?"

And what has been the master's work process?

"In my scripts, I write the gist of the song, then I discuss it with the music director and the lyric writer. Sometimes it is the lyric that I take to the music, mostly it is the other way round. Very good poetry, you would like to appreciate and digest after shutting the book. The audience in the theatre cannot do that."

He has had reservations about using heavy poetry in song. Lekar Woh Haseen Jalve, Tum Bhi Naa Kahaan Pahunche, Aakhir To Mere Dil Tak, Kadmon ke Nishaan Pahunche… by Majrooh Saab was held in song only at the poet's insistence in Teesri Manzil.

The songs in his films have entered light-footed. From dialogue to dialogue to song… you never knew when you were led in…Kya Baat Hai Sir? Aaj Akele Pi Rahe Hain?……Sochaa…Thodisi Pikar Apne Aap se Baaten Karoon! The prelude is synonymous with the song, Din Dhal Jaaye Haae, Raat Na Jaae, Tu to Na Aaye Teri Yaad Sataaye in Guide. Or the evocative To Phir Dil Par Haath Rakhkar Main Bhi Ek Vaadaa Karta Hoon leading to Tere Mere Sapnay Ab Ek Rang Hain… Jahan Bhi Le Jaaye Raahen Hum Sung Hain'.

"Shailendra is the poet after my heart… Wahan Kaun Hai Tera, Musafir, Jaayegaa Kahaan, Dum Lele Ghadi Bhar, Ye Chaiyaan Paayegaa Kahaan. No other poet could have understood the film theme better.
Kaaton se Kheench ke ye Aanchal, Tod ke Bandhan Baandhe Paayal… I have to yet see a better image of a woman's rebellion."

What then is the difference in giving image to a word in dialogue and to a word in music?

"Song has a finite length. A scene can breathe with improvised pauses while editing, a song does not give you this luxury of afterthought. My camera listens to the song and moves with it. Fali was exceptionally good."

That brings us to Fali Mistry…and the rare bond that they shared. Reminiscing about Fali Mistry, he says, " At the onset I told him…please don't decorate my shot with leaves and flowers to balance your frame. We developed a kind of rapport where I never had to tell Fali… I want this or that. Fali was always bang on! Open, with a vision to learn, quick perception, an eye for beauty, and what is beautiful is not necessarily the glamorous." "Great friendship!"

And S.D. Burman… who was much senior, but knew the worth of Gold. How he shouted to his wife after playing a new tune, "Meera! Goldie doesn't like it!" by just feeling the response in Goldie Saheb's eyes.

S.D. Burman and Fali Mistry and Shailendra have woven magic for the captain who feels… "You cannot define it as faith or commitment. There was no alternative to what we were doing. This is like a marriage for good. We cannot have discussions now. You decide who is the leader, and guide me if I'm wrong. You're the topmost cinematographer, music director, lyricist, art director, costume designer… I'm not! But I have to decide what I want and you have to give me that! Improve the quality of what you are giving, but don't guide me on the content."

One final word of caution by the master in using the word and the image, a protest against the degradation of values in Cinema, where a coolie can go to a girl's house and showcase his machismo by breaking the chandelier of her room…

"If you are an artist of real worth, then morality is a part of you. You will not do anything wrong…nothing will go vulgar, because nothing in nature is vulgar."

Thus spoke Vijay Anand.

Amol Gupte is a painter and writer.