'Baap' of villainy

One of Hindi cinema’s most revered actors, Pran, has finally got the recognition he truly deserves. The actor, who redefined villainy, talks to Rajiv Vijayakar about his journey in the industry.

After two reportedly false starts, the ‘hero’ among our screen villains, Pran Kewal Krishan Sikand, has finally clinched the highest honour in cinema — the Dadasaheb Phalke trophy. Many term this award as coming ‘too late’, but haven’t we heard of the maxim, ‘better late than never?

’This outstanding achievement is but the latest feather in the cap of a man who, though now 93 years old and in frail health, has enriched Hindi films beyond measure with his uncanny ability to make every character unforgettable in a career of over six decades.

Pran performed them all — black deeds, heroics, comic essays, poignant portrayals and even songs — with a rare élan, and a style, substance and sophistication uniquely his own. And yet, the Padma Bhushan-winning veteran of over 360 films remains incredibly humble. In 2000, when Hero Honda-Stardust chose him as the ‘Villain of the Millennium’, Pran said to me that he especially cherished the honour among the hundreds he had received because “I won it among so many tough competitors.” But there are so many fans who would contest that statement — insisting that Pran was in competition only with himself.

In March 2000, when conferred the Zee Lifetime Achievement Award, the actor etched his name forever in the hearts of millions with a spontaneous speech, in which he had primarily credited the people with his success. “I bow before you all,” he said, and actually knelt down on the stage and bowed to the audience. He smilingly told me, “I said and did what I genuinely felt. Main kisi tarah se accha bol gayaa (I somehow spoke well) and people telephoned me from all over the world!”

According to the actor, training is secondary in any artistic profession. “You have to be primarily God-gifted to succeed,” he said in that ringing voice that had been ‘hated’ by millions as a villain and loved by the generations that had seen him as a good man. “You can get a diploma from an institute, not talent.”

He also admitted that he never realised his true forte simply because he never wanted to be an actor, but a still photographer who began in his birthplace Delhi — despite a one-off role as Sita during a Ram Leela in Shimla. But destiny managed to take him to the right place at the right time. His employers started a branch in Lahore and sent him there.

Hero to villain

Pran used to frequent a paan shop in Lahore, and one day, a man came and stood there staring at the handsome lad from head to toe. He then introduced himself as Mohammed Wali, a writer for Dalsukh Pancholi, the famous producer and studio owner.

Pancholi was making a Punjabi film called Yamla Jat. “My vision of one of the main characters fits you perfectly. Will you do the role?” Wali asked. With all the irreverence of youth, Pran cheerfully answered, “Fine.”

Wali called him to his office the next morning. Pran did not bother to go, but some days later, Wali saw him at a movie-hall and began abusing the young man with choice Punjabi invectives. He had relied on Pran, he said, and told Pancholi not to sign anyone else. “I promised him that I would come the next day — this time seriously,” recalled the actor. “But he took no chances, took down my address and came and picked me up the next day. My photographs and interviews were taken and I was signed on as the villain. The film was a major hit in 1940.”

Pran’s third film, Khandaan, was his first Hindi movie and saw him turn hero with debutant actress Noorjehan, soon to become a singing star and Lata Mangeshkar’s inspiration. Noorjehan was about 12, and she would actually stand on bricks to come up to his height. Khandaan was a hit too, and Pran played the lead in some more movies before making a revolutionary decision — of staying on as a villain. The actor explains, “I never liked singing songs, especially the ones around trees. If you notice, all my hit songs later as a character artiste are actually scenes that take the story forward.”

Pran had found his true métier, and could not be bothered about what his family thought of his profession, which was not exactly considered reputable at the time. “They came to know what I was doing only after the release of Yamla Jat. What else could they do but accept a profession that had got into my blood by then?” he laughed. Pran soon got married, but when riots broke out on the eve of Independence, he moved to Mumbai where he had to struggle all over again. His first two films in Mumbai were Ziddi and Grihasti, both big hits in 1948.

His career lasted all the way to the early millennium, with Ek Hindustani (2003) being his last release. With characteristic frankness, Pran admitted to a minor heart problem that left him with a fear of crowds and inability to memorise long dialogues. “When I cannot give my 100 per cent, why should I cheat the audience?” he asked me.

Before quitting, the actor essayed the title role of a detective in a serial called They Call Me Dangerous, but could not relish the pace of working. Pran is justifiably proud of the fact that as a villain, he was so effective that people were scared of him in real life. When he went to someone’s house in Delhi, the man’s young sister was whisked away. A survey also revealed that not a single boy born in Punjab, Delhi and UP since the 1950s was named Pran, and the thespian was even subjected to epithets like ‘Badmaash’ and ‘Daku’ on the streets.

Change of image

But when Manoj Kumar gave him a change of image with Upkar as the famous Malang Chacha, the same actor was idolised, with star-crazy crowds reverentially clearing the way for him with the words, “Malang chacha aa gaye.”

Pran feels that he has tried all conceivable variations in villainy. “I always tried to get into the skin of the character and to add new shades and novel nuances. I suggested to Raj (Kapoor)-saab that I run my hand across my neck repeatedly for Jis Desh Mein Ganga Behti Hai, in which I played a dacoit. I told him that a dacoit’s greatest fear was of being hanged and this can be subconsciously reflected by such a mannerism.”

Very particular about his roles, Pran would even cut and keep photographs from newspapers for references for a hairstyle, moustache or expression he could use, and even mentally stored observations of people. His status saw to it that he was allowed a lot of freedom to improvise on his characters.

The actor has some favourites among his films, like Halaku, in which he played the title negative role. “The make-up, costumes and character were very well-researched, considering the facilities available then, and the dialogues were fabulous,” he recalls. Pran also loved his roles in Madhumati, Jis Desh Mein Ganga Behti Hai, Dil Diya Dard Liya and Shaheed and his positive roles in Upkar, Zanjeer, Majboor and Victoria No. 203.

Pran’s song — as it came to be known after Kasme Vaade (Upkar), was a guaranteed crowd-puller too, and Do Bechare (Victoria No. 203), Yaari Hai Imaan (Zanjeer), Raaz ki Baat Keh Doon To (Dharma) and Daaru Ki Botal Mein (Majboor) were such big hits that people either threw coins on the screen or danced in the aisles when these songs were played.

An admirer of Yakub among his seniors and Amrish Puri and Paresh Rawal among his juniors, Pran, however, added with justifiable pride, “It was I who brought sophistication to villainy.”