'Dharamji Mere Dil Mein Rehte Hain': Anil Sharma On His Eternal Bond With Dharmendra

His association with Dharmendra, which began technically in 1980 when he was an assistant director, now extends to what director Anil Sharma terms as “my entire being”. From a fan, he went on to direct him in five films—Hukumat, Elaan-E-Jung, Farishtay, Tehelka and Apne, in a cameo in a sixth—Singh Saab The Great—and also produce Policewala Gunda. Memories of this icon remain priceless treasures for this filmmaker.

Excerpts from the interview:

How did you meet Dharmendra?

(Smiles) Dekhiye, Dharam-jo aur mera ek Karmic connection hai! I was less than 10 years old when I had gone to attend a marriage in my hometown Meerut with my grandfather. There was a movie-hall next to the venue, and I stubbornly demanded that I want to watch a film as I had never watched one. My Dadaji indulged me and the very first individual I watched when I entered the theatre was Dharam-ji. So that was how destiny interlinked me with him. The film was Ganga Ki Lehren.

And then, when I came to Mumbai and became an assistant to Ravi Chopra on The Burning Train, I met him for the first time. I worked with him a lot on the film, and he showered me with so much love.

I was entrusted with the task of ensuring that every star came on time. For the last shot of the film in Delhi, we needed the entire principal cast on location and Parveen Babi had told me that she would be delayed. I had instructed her thrice that she had to report on time and Dharam-ji had overheard me. But when she was missing and the director began to fire me, Dharam-ji came to my defence! He asked the director whether “this boy, who is working so hard” could have brought her along as if she was a small child. “Isski koi galti nahin hai! I have seen him working 20 hours a day with just a few hours’ sleep! He is the hardest-working boy in the unit!” he told him. Imagine a mega-star standing up for a humble, first-time assistant! I was pleasantly shocked at seeing this side of him.

So that was the beginning of your attachment for him?

No, no! My attachment began when I had watched his films—Guddi, Mera Gaon Mera Desh, Pratiggya, Sholay and more! I felt then, as I feel now and will feel forever, that he is a member of my family!

And how did Hukumat happen?

Now, that is another story of his greatness! Hukumat was a 75-week runner and the biggest hit of 1987! And at that time, most directors were 40+, whereas I was in my 20s. And even though I had directed two films— Shraddhanjali and Bandhan Kuchchey Dhaagon Ka, he was too big for my level—he was meri auqaat ke baahar!

But thanks to my younger brother Anuj and financier Mathuradas-ji, I got to meet him for my film with a five-minute idea, not even a script. I would be spellbound and speechless whenever I saw him, but he recognized me and said, “Aren’t you the same chutka from The Burning Train?” He told me that his brother Ajit (Abhay Deol’s father) had praised both my films.

Dharam-ji’s sensibility was so strong that he sensed what a film was all about after just a brief narration. Many stars take months to read and judge a script, their relatives or associates read it too, but they still cannot decide whether they should do the film! But Dharam-ji had his village Sahnewal, the countryside and an audience all ingrained within him, and he promptly said he would do it. Does any actor of his stature do that, especially with a new director?

I touched his feet and he blessed me by putting his hand on my head, just as he had done when I first met during The Burning Train and had introduced myself. “Jeete raho! Mehnat karna, hum acchi film banaayenge!”

And with Hukumat, a beautiful chapter began. Dharam-ji mere dil mein rehte hain, rehte the, aur rehte rahenge! I never worked with him as a director or nirdeshak but as a darshak (viewer)! We would often have arguments that certain things I told him to do were not really in character but I told him that I just needed Dharmendra as I wanted to see him on screen and not only as the character, and told him that he should leave that aspect to his other directors!

Like the song Ram Ram bol Prabhu innki aankhen khol, which was filmed in a brothel. He asked me how a superintendent of police can sing such a song. I said that if an SP can be in disguise and go to a gambling den, why can’t he go to the red-light area? I had designed this song especially for him!

In Hukumat, there was this sequence with a seven-foot giant played by Praveen Kumar Sobti and he asked me how it was possible to beat him on screen. I told him that he cannot beat my Dharmendra! I designed my shot with him jumping onto his thighs and punching him. For me, his image was a fixture as strong as that of a divine figure. He was the most powerful and handsome man for me.

And every film of his must have stories…

True! There would be crowds of hundreds thronging our shoots and he would always make it a point to talk to all of them and connect with them even if by just giving them his glimpse, sometimes at six in the morning! During lunchtime on sets, he would sit with the unit members and eat while chatting with the crowds.

And see what is happening today. Everyone of us has spent golden moments with him. The entire nation has become “Dharmendra-maya”! Every home is discussing him and so is the social media. Dharmendra ek ehsaas hai jeevan jeene ka! He is a timeless legend. He has not gone anywhere.

You had announced Apne 2 with him.

Apne 2 as a movie, will now remain a shraddhanjali for him! Why should I not do it? I am thinking how to approach the subject.

Tell us a top of your mind memory of him.

I was thinking of making a film with all three Deols, and was mulling on several ideas. I did not want an action drama but something emotional. One day, I got the germ of an idea and wrote the story. I went to narrate it to him. He heard my story, but at intervals would keep going to the bathroom. I asked him whether he did not like my story. He smiled and replied, “I could not stop my tears, that is why I was going again and again!” Then he looked at his wife—and I will never forget that look!—and simply told her, “Prakash, ho gaya! Picture mil gayi mujhe! Ab main yeh picture karoonga!” He was waiting for the right film!

When was your last meeting with him?

I met him about six weeks ago and he put his hand on my head and had told me, “Acchi kahani banaa! I want to do a good film. I will do such kamaal, ki duniya dekhti rahegi!” At this age, his passion was unchanged from the man who decades back had ‘told’ the Frontier Mail to take him to Mumbai! I felt then that he was still back there in Sahnewal, craving to do films because he considered the camera his sweetheart and had to go and meet her!”