'I Was Becoming A Mini Dilip Kumar'

'Dilipsaab was an interesting mix of spontaneity and stylised acting.'

Meenakshi Seshadri may have recently returned to Dallas, USA, to spend some time with her family, but she says, "I am so glad you have asked me to talk about being directed by Dilipsaab in the movie Kalinga. I would like to commemorate Dilipsaab on his 103 birth anniversary on December 11."

The actress, who is looking stunning these days abetted by a recent upskill in her makeup and wardrobe game, rewinds to the time when she was being directed by the legendary actor in his passion project, Kalinga, a 35-year-old film that has yet to grace the big screen.

"Working with him was memorable," Meenakshi tells Dinesh Raheja. "Honestly, I don't think I deserved that. He could have chosen anybody; I'm honoured that he wanted to work with me."

Did Dilip Kumar approach you to play the leading lady in his debut directorial venture, Kalinga?

Dilipsaab wanted to work with me.

I was chosen for Kalinga as per the director's requirement.

Then, of course, the producer Sudhakar Bokade went ahead and completed all the formalities.

It must have felt good to have Dilip Kumar select you among all your contemporaries.

I am a very philosophical person. It never occurred to me to compare and figure out why I was selected and not somebody else.

But I was extremely excited because Hindi cinema has this classic triumvirate -- the trio of Raj Kapoor, Dilip Kumar and Dev Anand.

I had just completed two home production films for Devsaab -- Sachhe Ka Bolbala and Main Tere Liye -- and he himself had directed the former.

Also, though I've never worked with Raj Kapoorji, I have worked with almost everybody else in the Kapoor family.

So to get an opportunity to work with Dilipsaab as a director in his official (laughs) maiden directorial venture was a big honour.

How would you summarise the experience of being directed by Dilip Kumar?

Despite being a legend, he never made me feel like a Jenny-come-lately.

Dilipsaab made me feel like I was special and that was the reason he had cast me in his movie.

That give me a lot of confidence.

I was overwhelmed and humbled by his appreciation.

Kalinga was launched in the early 1990s, when you were already a well-established actress. Did you have a good role in the film?

It was around 1991 when Kalinga was mounted for production.

It is a multi-starrer but I was very happy with my role.

It's never been discussed as to what my role was because unfortunately the film just...

You can amend that right away and share details of your role here.

I played a tribal queen in the film, jo chhai hui hai wherever she goes. She speaks in a regional dialect.

Dilipsaab wanted to show that this tribal queen has psychic powers, and when she gets the psychic powers, the colour of her eyes change.

So we got special contact lenses made for me, and did multiple look tests.

In those days, look tests were a rare feature in Hindi films. He also wanted me to do a tan makeup.

Dilipsaab was so particular about every detail concerning my character.

I wore Indian tribal gear, they were lehengas, and kurtis, and he got them designed by Leena Daru, the ace designer for these kind of costumes. She had worked with Rekha throughout her career.

All my scenes in Kalinga were really good. Every scene had author-backed dialogue. It was an unbelievable role.

Wasn't Sunny Deol originally cast opposite you before opting out because of dates and being replaced by newcomer Amitoj Mann?

I believe Dilipsaab was looking at different options, but finally he decided to work with a brand new face.

Had you met Dilip Kumar before he cast you in Kalinga?

The first time I met Dilipsaab was at the release of Subhash Ghai's Vidhaata (1982). I had just been signed on for Subhashji's Hero (1983).

I was overwhelmed so I was very quiet.

His wife Saira Banuji was very warm and accepting.

She went out of her way to make me feel at home. I have also visited their home in Pali Hill (northwest Mumbai).

As a young girl in the 1970s, were you familiar with Dilip Kumar's classics from the 1950s and 1960s?

I had seen several significant Dilipsaab films even before I joined the movie business. I saw Azaad, Naya Daur, Ram Aur Shyam, Daastaan, Madhumati...

What was your assessment of his acting talent?

In my opinion, Dilipsaab was an interesting mix of spontaneity and stylised acting.

I see that combination in many greats, not only in Hindi films but also in Hollywood.

They come across as very natural but there is an attitude. A performer's visage. That's what Dilipsaab had.

Of course, he is known for his excellent dialogue delivery. In fact, both Dilipsaab and Devsaab would want me to talk like them (laughs).

During Kalinga, Dilipsaab would enact how he wanted me to perform a certain dialogue; I was becoming a mini Dilip Kumar!

Did you have conversations with Dilip Kumar about your role?

He treated me like a peer, even though I was way junior to him. That set the tone of the relationship on and off the sets.

I bowed down to his experience and knowledge during the shoot but would argue if I did not agree or if I felt it should be done in a different way.

Dilipsaab was the epitome of perfect behaviour.

Yes, he did take his time -- he wanted perfection but he planned well.

He was very passionate about the project. It's very unfortunate that it never got completed.

How was he as a person?

When I met him, the quality I admired instantly was his control of the language. His speech was beautiful in real life too.

He also had a great sense of humour.

For me, he always had a smile on his face. He was very pleasantly disposed towards life.

But I think I spoke more with Sairaji than him whenever we met.

How much did you shoot for Kalinga?

We shot a beautiful romantic song in the hill station of Mercara in the Coorg area. We shot a lot in Rajasthan as well.

Unfortunately, the film's making did not continue.

I have no idea how much of the movie has been shot.

Why did the film get shelved?

Nobody told me why it got shelved.

The production went into doldrums; I don't know why.

Schedules got cancelled, payments didn't get made.

Finally, Dilipsaab said that it looked like it was untenable to continue with the film.

Were you paid your dues?

I was paid for whatever work I did. But following that, when the film stopped, payments also stopped.

By this time, you were probably in the process of shifting to America after your marriage.

No, that happened later, in 1995.

At that time, I was still connected to the movies and also doing my classical dance performances on stage. I had also re-enrolled for my master's programme in college.

After Dilip Kumar's death, Producer Sangeetha Ahir, who was married to the late Sudesh Bokade, said she would release the film. Were you contacted?

Not at all. I don't know of this. Once I got married and left for the USA, it was hard to even think of reviving the movie.

Any last words on Dilip Kumar's legacy?

I think Dilip Kumar's legacy is way greater than just a Kalinga. What he has achieved and what he has left for younger generations to follow is priceless.

Watch him in Mashaal when he is crying 'Koi hai!' on the road. Sunny kind of did that in Ghayal.

Dilipsaab has done tremendously difficult roles and scenes.

Working with him was memorable. Honestly, I don't think I deserved that.

He could have chosen anybody; I'm honoured that he wanted to work with me.

Photographs curated by Manisha Kotian/Rediff