Shashi Ranjan says, “I recently remembered Rajendra ji on his death anniversary.
I still remember the day he passed away. It was raining very heavily and it was very difficult for people to reach there. It happened at the Pali Hill bungalow. But still, thousands and thousands of people gathered to see the Jubilee Kumar of yesteryears. So, that was the only image of him as a screen hero for so many years. But I had the opportunity and privilege to know him closely because of his son Kumar Gaurav. In 1990, I planned to make a film called Siyasat. I was the producer, actor and writer of the film.”
Ranjan chose Kumar Gaurav for his film when he was going through the worst phase of his career. He said, “I chose Kumar Gaurav because he was apt for the character in my film. So, I took that risk and narrated the subject to Bunty, as I used to call him. He liked it very much. And we started working on the script.”
Ranjan says, “Kumar Gaurav had a kind of relationship with his father in which at times they did not agree with each other on many things. I came to know through Kumar Gaurav that his father was not very happy with the new producer. Director Sukhwant Dhadda had also made a film called Ek Chaadar Maili Si.”
Shashi Ranjan was a graduate from FTII and Rajendra Kumar was not particularly impressed with the people coming from there. Ranjan recalls, “His perception about people from the institute was that they look at things intellectually. They don’t understand what commercial cinema is. So, while the film was being made, I kept getting information that Rajendra ji was not very happy with Kumar Gaurav’s choice of films. So, obviously, I had this fear in my mind that obviously he will not like me.”
Recalling how he landed up in Rajendra Kumar’s office at Dimple Theatre, he said, “Kumar Gaurav became very close to me because he had complete faith in the subject. We got along very well and the film turned out well. When we were editing, I was looking for an editing room and David Dhawan used to edit at Dimple Theatre, which was owned by Rajendra ji. So, David said, you can talk to Kumar Gaurav. It’s his studio. So, I told Kumar Gaurav, I said, “Bunty, can we take the studio?” He said, “Yes, we can. But as far as money is concerned, my father is a very strict man.” So, I said, “We will pay”. So, I think, he talked to his father about it, who reluctantly agreed, telling him the terms and conditions of his payment.”
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Ranjan was called by Rajendra Kumar to his office after about two days. Ranjan said, “I was in the editing room and the peon came and said, “Rajendraji has called you upstairs.” So, I was thinking that now he will ask about money or something else. He started talking to me, asked about my background. In fact, he did not speak warmly at all. He asked me, “What will happen to this picture?” I said, “Passion se bana rahe hain. Let’s see. But the picture is becoming good.”
A few days later, the boy working in the studio told me that Rajendra ji had come down and asked to show the reel. After seeing the reel, he said, “When Shashi Ranjan comes, ask him to meet me upstairs.” I was a little scared that he might find some fault in the film.
But when I met him, he said, “I saw the reel. You are doing a good job. I liked it. Who is the cameraman?” I told him, “His name is Binod Pradhan.” By then Binod Pradhan had not become The Binod Pradhan. Rajendra ji wished me all the best and told me to meet him whenever I was editing. And that’s how our relationship began.”
Ranjan further explains, “I used to work from a small office in Bandra. Rajendra ji said, “Since you spend most of your day editing, why don’t you use the office above mine?” He insisted on it and Dimple became my office. Every day at lunch time he would wait for me to have lunch with him. He would take me to his home and I still remember that the food was served on a silver thali. One day I was late due to some work, when I reached, his watchman said, “Rajendra ji is waiting for you for a long time.” I asked why. He said, “He is waiting for you for lunch.” I ran to him, apologized and said, “You could have eaten.” He said, “No, we eat together every day. I didn’t know you were busy with the film.”
Then everything changed and Shashi Ranjan became the bridge between Rajendra Kumar and his son Kumar Gaurav and in a way also guided the filmmaker. Shashi Ranjan recalls, “When the film was completed, he invited the entire industry to watch the film. The entire industry came to watch the film and loved it. After that, Rajendra ji took some VIPs to his house and gave them food and drinks. He became the caretaker of the film. His relationship with me became even stronger as I was the bridge between Kumar Gaurav and him. He would share his sorrows and pains with me openly. Kumar Gaurav was very close to me, so I could bring the father and son together on many things. Visiting him on every festival had become a ritual. He would not perform Diwali puja until Anu and I reached his house. This Rajendra Kumar was completely different from the miserly image that is talked about in the industry. But I also saw his other side where he was a vulnerable person, a loving and doting father, he loved Kumar Gaurav to the core. He tried his best. He would say, “I am making films because of Kumar Gaurav. Otherwise Rajendra Kumar would not have needed to make films to make ends meet.” He made Naam for Kumar Gaurav and later made Phool with Madhuri Dixit which Kumar Gaurav liked at first and later didn’t. Father was hurt by this.”
Ranjan adds, “Rajendra ji is a Preacher He said, “I told him that I was going to him. He made sure that the film was distributed well. Whatever help I needed, Rajendra ji was always there. Every evening he would call, “Hero, what are you doing? Come, let’s have a drink.” He used to stay alone in his house. Kumar Gaurav used to stay at Sunil Dutt’s house. Many times I would say, “Sir, I am going to have dinner.” But he would always insist that I have a drink with him. So I would go and sit with him and have a drink. Sometimes I would come back at night after having dinner.”
