'Behind The Big Screen' book review: In a fish bowl, under arc lights...

From her debut in 1955, child artist Daisy Irani acted in over 300 films. A natural talent with no formal training, she was known for her quick uptake and her ability to deliver near-perfect performances before the camera. One of the most successful and recognisable child artists of the 1950s and 1960s, some roles were even written or rewritten especially for her.

With her short, curly locks, impish smile and large expressive eyes, Daisy was a child star for whom arc lights became a playground. From Naya Daur (1956) to Kati Patang (1970), she shared screen space with veterans such as Dilip Kumar, Rajesh Khanna, Vyjayanthimala and Asha Parekh with remarkable ease. Behind the Big Screen narrates the untold stories of child actors and delves into the lives of children who once lit up the silver screen. It explores the joys, struggles and unique pressures of growing up under constant public scrutiny. The book is as much a celebration as it is a revelation, chronicling young lives consumed under arc lights. Names like Tabassum, Honey, Raju, Khushbu, Manju, Naaz and Guddu were once household names, evoking fond memories even today. Several of these innocent faces were nothing short of a brand.

Yet, the dazzling world of cinema ravaged many childhoods, becoming for some a “never-ending black comedy”. While a few felt blessed by their early success, many others felt betrayed.

The late Tabassum, a noted child artist of yesteryear, once said, “There is no such thing as a child actor, because when you enter the industry as a child artist, the word ‘child’ drops off from the artist’s life.” The Bollywood industry operates on production schedules with limited moral or ethical compulsions. Irrespective of age, the grilling and gruelling remain the same.

Behind the Big Screen makes for compelling reading. The narratives swing between opportunity and cost — between glittering fame at a young age and lifelong scars. Journalists Sunanda Mehta and Suchitra Iyer present a well-researched account of the prevailing ills of the industry while also offering guidance on navigating a world fundamentally built for adults.

In the makeshift world of cinema, a child is uprooted from their natural ecosystem of same-age peers and abruptly pushed into adulthood. Once inside this fabricated world of fiction and imagination, childhood dreams inevitably collide with harsh realities.

The book examines the world of child actors and the film industry in its entirety. It does not merely skim the surface but probes both the sparkle of cinema and the shadows it casts. It is telling that child rights remain inadequately protected even as cinema routinely acknowledges animal rights upfront in its credits — “no animals were harmed during the making of the film.” In the absence of regulations for child artists, safeguards are left largely to the discretion of producers and directors.

Rules governing the industry are neither strict nor uniformly applied. As things stand, cinema remains less a regulated industry and more a free-for-all.

Ensuring safety on sets, regular school attendance, and shorter working hours should not be difficult. Yet exploitation of children remains a pressing issue that has not been adequately addressed. Child artists Daisy Irani and Honey Irani have spoken openly about being exploited, with no one available to counsel them. In many cases, family members were complicit in the abuse. When a child becomes a star, the parent-child relationship often shifts, with the child reduced to a cash cow.

There is a refreshing honesty in the way Behind the Big Screen tackles interpersonal and socio-cultural issues. Despite the gravity of its subject, the book allows moments of humour and mischief to surface. Recollections of on-set pranks, camaraderie among child actors, and the sheer joy of being part of iconic films provide insightful counterpoints to the darker truths. This balance of insight and charm makes the book a genuine page-turner.