VIJAY BHATT - A life in films
With the founding of Prakash Pictures, Vijay Bhatt had finally come into his own as a film maker.
He would now realize the dream of a lifetime. A dream he was to convert into celluloid many times over. Among the vast repertoire of films made under this banner are some timeless classics such as Ram Rajya, Bharat Milap, Chaitanya Mahaprabhu, Baiju Bawra, Goonj Uthi Shehnai and many more. In 1933, Vijay Bhatt wrote and produced one of the earliest films in his mother tongue, Gujarati. The film was ‘Sansaar Leela’, a family social drama which was a big hit. This was followed by a two-reeler, ‘Jayman nu Rasjivan’ (1935) and ‘Snehlata’ (1936), which also had a Hindi version.
It is interesting to note that playing a small role in ‘Sansaar Leela’ was a newly recruited actor with a good voice and an imposing personality.He was Zakaria Khan, who was rechristened Jayant by Vijay Bhatt. He was a police officer with the erstwhile state of Alwar who gave up his job to pursue a career in films. The role in ‘Sansaar Leela was merely a screen test. The actor had made such a favorable impression on the Bhatts that they cast him as a leading man in a series of Prakash films like ‘Bombay Mail’ (1935), ‘Challenge’ (1936), ‘His Highness’ (1937), ‘State Express’ and ‘Bijli’. For his own part, Jayant, who started out on a mere Rs. 30 as monthly wages and soon rose to a salary of Rs. 700 a month, distinguished himself both as a leading man and later as a character actor. Vijay Bhatt always maintained good relations with him and was extremely proud of Jayant’s son, Amjad Khan’s achievements. When Amjad Khan was hospitalized following an accident, the film maker went to call on the son of his former artist. Moved by the gesture, Amjad Khan told his family members ‘ Remember him – he is the man responsible for bringing all of us into films.’
In the meanwhile, Vijay Bhatt decided to take on the baton of a director. Until now, he wrote and produced the films which were directed by others. But now, he had a firm grasp over the medium and a definite perspective on the kind of films that should be made under his banner. Shankarbhai concerned himself with production, studio affairs, business and financial matters. While Vijay Bhatt made a foray into the creative side of film making.
His first directorial venture was ‘Dreamland’ (Khwaab ki Duniya), made in 1936. It was inspired by Hollywood’s ‘Invisible Man’. An enthusiastic and enterprising young artist form the painting department in the studio was a great help during the filming of this movie. The black thread he used for the trick scenes earned him the epithet ‘Kaala Dhaaga’. He was none other than Babubhai Mistry, a man who eventually became the most sought after trick-scene photographer, a technician par excellence and as Vijay Bhatt said, ‘a star in his own right.’
The directorial ventures that followed were ‘State Express’ (1938) and ‘Leather Face’, starring Jairaj, Mehtab and a seven year old child artist with a somewhat cumbersome name, Mehezbin Naaz. Vijay Bhatt, or Vijubhai as he was fondly known, wanted her to have a simple name and so he named her Baby Meena. This child artist eventually became the celebrated Meena Kumari, who after attaining maturity and working in scores of action and mythological movies, came back to Prakash in 1952 to give a memorable performance in ‘Baiju Bawra’. It was Vijay Bhatt, who with this classic helped her to establish herself as an actress to reckon with. It was this film for which she received her first Filmfare Award. In fact, it was the first time that a category for Best Actress was introduced by the Filmfare Awards Committee. Vijay Bhatt was responsible for making another young actor named Bharat Bhushan, into a top league leading man through this film.
‘Baiju Bawra’ also helped take the career of another artist to dizzying heights. It was that of Naushad the music director. But Baiju Bawra was not the first time Vijay Bhatt worked with Naushad. In fact, it was Bhatt who was responsible for giving Naushad his first major break way back in 1940. At that time, lyricist D. N. Madhok, who had also written the story and dialogues for ‘Mala‘, recommended a young struggling music director, who had only scored the music for only one film till then, ‘Prem Nagar’. The Bhatt brothers heard some of his tunes and signed him on a monthly salary of Rs.250. Naushad scored music for two more Prakash films, ‘Darshan’ (1941) and ‘Station Master’ (1942). It was ‘Station Master’ that helped Naushad showcase his amazing talent for composing and eventually put his career on a fast track to fame.
In 1952, Vijay Bhatt recalled him to Prakash to compose the score for ‘Baiju Bawra’ – a script that would be every music director’s dream. Vijay Bhatt inspired Naushad to come up with one of his career’s most memorable scores.
A notable film belonging to this period, which exemplifies Bhatt’s concern for burning social issues was ‘Poornima’. At that time, along with most other studios, Prakash too was making action films, fantasies and legend based movies. But ‘Poornima’ was an attempt at experimentation with socially relevant themes. It was a story about a prostitute’s daughter seeking marriage and respectability and it was adapted from a novel of the same name by one of Gujarati literature’s most notable writers, Ramanlal Vasantlal Desai.
From 1940 onwards, Vijay Bhatt produced and directed a series of outstanding films which depict and glorify our ancient culture and philosophy on one hand and socially relevant and nation building thoughts on the other. The first among those was a bilingual titled ‘Narsi Bhagat’ in Hindi and ‘Narsi Mehta’ in Gujarati. Made in 1940, it was based on the life of the great poet saint of Gujarat, whose ‘Vaishnav jan to tene re kahiye je…’ was one of the favorite bhajans of Mahatma Gandhi. In fact, the suggestion to make the film had come from the Mahatma himself. On a visit to Valsad, Vijay Bhatt and his friends went to seek Gandhiji’s ‘darshan’. They approached him during his morning walk and sought his blessings. In a brief talk that Bhatt managed with the Mahatma, he was asked, “What are you doing?” “I make films”, said Bhatt. “Have you thought about making a film on Narsi Mehta?” was the second and the only other question. “I will try to make it Bapuji” said Bhatt.
That was it. The inspired film maker immediately got down to working on the script. This was also the time when Prabhat Pictures had successfully made the life of the saint Tukaram into a memorable film – ‘Sant Tukaram’. And Vijay Bhatt signed on the lead player from Prabhat’s film, Vishnupant Pagnis, to essay the role of Narsi Mehta. He also signed on another noted Maharashtrian actress, Durga Khote to play the saint’s wife. The bilingual was very well received throughout India and even celebrated silver jubilee at many places. Bhatt’s only regret was that Gandhiji could not see the film.
Before ‘Ram Rajya’, a Hindi-Marathi bilingual, Vijay Bhatt had produced and directed another Hindi-Marathi bilingual, ‘Bharat Milap’ and ‘Bharat Bhet’ in Marathi. It was based on a touching episode from Ramayana after Ram was banished from Ayodhya and it highlighted the love the brothers had for each other.
Dr. Radhakrishnan had premiered ‘Bharat Milap’ at Majestic Cinema, Bombay. Though Radhkrishnan had very little time at his disposal, he liked the film so much that he sat through till the end. In Calcutta, the premier was inaugurated by Dr. B.C. Roy who was then a minister in the Bengal Cabinet. The film was a great success and celebrated silver jubilees everywhere. In Bombay, celebrations at various places were presided over by prominent dignitaries like Dr. K.M. Munshi, Shri Pranlal Devkaran Nanji, N.C. Kelkar and the late Shri Malvankar. Vijay Bhatt was felicitated at numerous functions by various organizations and presented with trophies and platters.
His next venture, ‘Ram Rajya’, also based on the Ramayana, was even more ambitious and won him great honors and adulation
throughout the country. It was eulogized as a torch bearer of our glorious past and cultural heritage. The film ran for 100 weeks in one theater alone in Bombay and 50 weeks at various theaters elsewhere. The dignitaries who praised and paid tributes to Shri Vijay Bhatt were Dr. K.M. Munshi, Justice Chagla, Pt. Madan Mohan Malviya, Goswami Ganesh Chatterjee, Smt. Aparna Das, Justice Bhagwati and many other distinguished citizens all over the country. A special committee of citizens was formed under the chairmanship of late Shri Pranlal Devkaran Nanji to felicitate the Ram Rajya unit and a number of public addresses were given to Mr. Bhatt.
However, what makes this film truly unique is not merely the human treatment given by Bhatt to a mythological tale. It is the
fact that it was the only film to have been seen by Mahatma Gandhi in his lifetime. ‘Ram Rajya’ was shown to Mahatma Gandhi in 1945, when he was convalescing at Juhu. His secretary, Smt. Sushila Nayar, had given Vijay Bhatt only 40 minutes for “Bapu” to see the film. But the movie so engrossed him, that Mahatma Gandhi saw it for over 90 minutes, uninterrupted. Since it was a ‘moun’ day for him, he gave Bhatt a pat on the back at the end, to show his appreciation. This remained for Bhatt, one of the greatest events of his life. He never won the Dadasaheb Phalke award, despite being nominated year after year. But he often used to say : “The pat on the back by Gandhiji is more precious to me than any award that can be obtained by lobbying the corridors of power.”
Vijay Bhatt then went on to produce and direct a grand historical, ‘Vikramaditya’ (1945) at the instance of the Vikram Bimillenium Committee, which wanted the film to be a part of the celebration of the 2000 years of Vikram era. Focusing on the historic aspects and abjuring myths and legends, the film maker portrayed the ancient monarch as a savior of the nation from subjugation. Prithviraj Kapoor, who was at the height of his career then, enacted the title role. His son, Raj Kapoor, who was still a teenager at that time, often came to the studio with a tiffin carrier, with lunch from home for his father. “His inquisitiveness was remarkable”, recalled Vijay Bhatt. “He always met me with respect even when he himself became an outstanding actor and film maker,” he added. “Respect for elders and seniors is a remarkable trait among the Kapoors.”
In 1947, Bhatt toured the US with the twin objective of attending the premiere of ‘Ram Rajya’ over there and exploring co-production possibilities of a film on the life of Buddha. The script of Buddha was written in English by the late Shri Harindranath Chattopadhyay. He also carried with him the prints of ‘Bharat Milap’ and ‘Vikramaditya’ for private screenings.
Going round the famous studios of Hollywood, Vijubhai met a number of stars and filmmakers. These included then fifteen-year old Elizabeth Taylor, swimming beauty Esther Williams, funster Eddie Cantor and the future President of America, Ronald Reagan, who was shooting for ‘Voice Of The Turtle’ and the legendary Cecil B. De Mille. The most cherished of all his memoirs from his travels abroad, was the personal note from the one of the greatest makers of historicals and mythological films in Hollywood – Cecil B DeMille (maker of classics such as ‘Ten Commandments’ and ‘Sampson and Delilah’.)
It remains the prized possession of the Bhatt Family. In a humble gesture, DeMille wrote: ” Greetings from one director who is still trying to make good pictures, to another director, who will make great ones long after I am gone.”
Vijay Bhatt even visited the Soviet Union in 1954 as a member of the first Indian film delegation. He had taken with him his film, ‘Baiju Bawra’, which was a great musical hit with exquisite “raaga” based songs
In 1959, Prakash Pictures made ‘Goonj Uthi Shehnai’, another memorable film with enchanting classical. The celebrated Shehnai player, Ustad Bismillah Khan played the background score of shehnai music for the Shehnai-playing hero Rajendra Kumar. In fact, some of these exquisite compositions of music director Vasant Desai were liked so much by Bismillah Khansaheb, that he even included their tunes into his vast concert repertoire.
Vijubhai once again wanted Rajendra Kumar to play the male lead in his next venture, ‘Hariyali Aur Raasta’ (1962). But the actor had heavy commitments in the South. Instead he promised to send a young new actor, who according to him was very good and would do justice to the role. The outcome saw the introduction on Manoj Kumar into films as a leading man opposite Mala Sinha. The music by Shankar Jaikishan, became a big hit and the new leading man, Manoj Kumar, came into his own.
Prompted by this success, Vijubhai decided to cast the leading pair once again in ‘Himalaya Ki Godmein’. Written by Viju Bhai’s son Arun Bhatt, it was about a doctor who dedicated his life serving tribals. A huge blockbuster this one, its compositions by Kalyanji-Anandji were a huge hit too.
Prakash was a spring-board to many a later day film celebrities. One day, in 1941, M. Zahur, an actor on the staff of the studio, brought along with him his eleven-year old niece, who was a good singer. Naushad who was then serving there, took her test and pronounced her “very good”. She was Suraiya, who was cast as a singing child star in ‘Station Master’. A couple of years later, she was going places in films made by A.R. Kardar and others.
Playing a character role in the film was O.K. Dar. He went on to play character roles in other Prakash movies. When the mythological ‘Bhakt Dhruv’ (1947) was about to go on the floors, producer Vijay Bhatt worried, “Who would play the role of Narad?” What prompted Dar, one doesn’t know.
He shaved off his head one morning, leaving a sleek lock of hair in the back portion of the shaved head and presented himself before Vijubhai saying, “Here is your Narad!” He was promptly cast to play the mythological and was given a simple name by Vijaybhai, Jeevan, who was to play Narad in over hundred films besides other character roles.
Among other films produced and directed by Vijay Bhatt were the socially relevant ‘Samaj Ko Badal Dalo’ (1947), which dealt with matrimonial problems, ‘Chaitanya Mahaprabhu’ (1954), a devotional, projecting the life and work of the great medieval saint of Bengal and ‘Patrani’ (1957), a historical.
He also directed movies outside of Prakash Studios. They included the Thai government’s Buddhist period film, ‘Angulimaal’, ‘Banphool’ and ‘Heera Aur Patthar’. In 1959, he directed ‘Bapu Ne Kaha Tha’ for the Children’s Film Society. Mr. Morarji Desai appeared in the film and spoke to children about Mahatma Gandhi.
Committed to social and cultural causes, Vijay Bhatt was a member of several advisory and awards committees in Maharashtra and Gujarat. He also served as president of the film industry’s Gujarat Flood Relief Fund and was associated with various charitable and community welfare organisations and functions in Bombay.
Vijay Bhatt’s contribution to the Indian Film Industry was recognised even after he stopped making movies. In 1978, the late Prime Minister of India, Smt. Indira Gandhi honoured him on the 75th anniversary of the Indian Film Industry.
In 1990, the Indian Motion Picture Producers’ Association (IMPPA) felicitated Vijubhai for his outstanding contribution to the film industry.
Vijubhai passed away peacefully on October 17, 1993. On hearing the news, all the Municipal Offices in the suburb of Vile Parle declared a holiday in memory of Vijay Bhatt as a mark of respect.
The following year in January, Bhatt was honoured with a retrospective of his films at the International Film Festival, Calcutta. Both filmmakers and artistes paid glowing tributes, and at the same time lamented the fact that he was never given the Dadasaheb Phalke Award, which he rightly deserved.