They don’t make them like her any more. Perhaps
that is stating the obvious but my generation and the later ones have missed out
on the great era of our movies when stories of innocence and grace ruled the
screen, when boy-met-girl stories were wonderful, feel-good entertainers. No
compromises, no need for self-publicity 24x7, no catering to a single screen or
a multiplex audience.In fact Asha Parekh, Ashaji, represented the swinging era
of the 1960s. An all-rounder, she was especially good at dance numbers,had a
flair for comedy, emoted simply and effortlessly. Even if situations in the
screenplay were incredible, she made them credible by never going over the top.
She was the darling not only of the audience but also of film producers and
directors who would rushto sign her on for a movie since she guaranteed
box-office success. My dad, Salim Khan, remembers that a film would be snapped up
by the distributors and exhibitors if Ashaji was the heroine.Newcomers as well
as the leading music directors of the time would be inspired to compose some of
their best songs for her. She did justice to the songs by performing them with
amazing ease, whetherthe number was purely Indian or westernised in its rhythm.
Thanks to re-runs of her movies at cinema halls and on television channels as
well as prints available on DVDs, it has been possible for someone like me to
become familiar with the Asha
Parekh magic. Right
from her first film as a heroine, Dil Deke Dekho to scores of blockbusters—my favourites are Jab Pyar
Kisise Hota Hai, Teesri
Manzil, Mera
Gaon Mera Desh, Kati
Patang and Caravan—she had tremendous screen chemistry,
particularly with her leading men Shammi Kapoor, Dev Anand and Rajesh Khanna. The
1960s, the decade which defined her peak period, were notable for plots about
the conflict between the wealthy and the poor. She would often portray a
sweet-natured girl who falls in love with a boy who may not have been fortunate
enough to have much money in his pocket but his heart would be richer than any
king’s treasury. The prejudiced elders
of her family and the villain with dishonourable intentions would be defeated
in the end, proving there is nothing more important than to fall in love and
preserve
this connection for
the rest of one’s life.
Today love can be on
a short fuse. There can be a power breakdown or a separation of ways in a
film’s strings of sequels or what are called a ‘franchise’. The hero or the
heroine can change in the next edition of a franchise. Happy endings, the kind
which were ordained for Ashaji and her heroes are not possible any longer. It
all depends on which hero or heroine is marketable when a sequel is launched.Ashaji
did not have to face such commercial necessities. What if a Kati
Patang 2 was ever conceived?
What if Rajesh Khanna or Ashaji were shown to be having differences? What if either
of them was substituted by another star? Would the sequelmatch the romantic
appeal of the original?
These are just random
thoughts. I am no expert at film analysis.But I can certainly say that we have
to admire and respect our artistes who continue to serve as inspirations
nowadays in various aspects like style, fashion and the professional approach
towards performing before the camera.
During the ’60s
‘method acting’ was largely unknown. Neither did artistes learn the principles
of acting in schools under the instruction of professors. Rather they were
known to learn and evolve on the job. They were also known to be punctual and
slipped into the skin of their characters—not by discussions and exercises at
heavy-duty workshops. On their own steam they made the audience identify with
the characters created for them by the writers and directors.Ashaji relied as
much on her instincts as on the instructions of her directors. When it came to
dances, she was in harmony with the choreographers. Since she had started out
as a child star, she did
not have to struggle
before the camera. An artiste can become selfconscious. It is not easy to be
natural in one’s hand movements, body language and the use of one’s voice and
eyes. Technically she was at home leading to a pleasant, friendly screen
presence. A bond was struck with the audience, a bond whereby she could compelthem
to share her laughter and tears.
For a good artiste it
is a must to be a good human being. In this context Ashaji’s kindness and
concern for people in need continues to be a noteworthy example. She has been
running a charitable hospital since decades. Which other artiste has done that in
Mumbai, a city which is all about I-Me-Myself ? It could not be a smooth task
for her to keep the institution running and helping out those who do not have
sufficient resources for medical treatment.
In addition, over
time she has been in the forefront of film associations dedicated to the
welfare of artistes and technicians. When in need Ashaji has been a friend
indeed to film workers and artistes facing rough weather, and that too without
ever wanting recognition and praise for her silent service. I would take this opportunity
to salute Ashaji for standing by firmly with the film industry where fortunes
can change drastically, a film industry which is associated by the public
unfortunately only with glamour. Sometimes one wonders why Ashaji opted out of
the movies prematurely. Maybe she was not satisfied with the roles offered to her
of the clichéd mother figure who has to suffer and shed tears.Maybe she did not
want to be a part of a system averse to writing strong roles for senior women
artistes. Maybe she wished to quit at a point when there were no new challenges
for her as an artiste.
Whatever the specific
reason may be, we have had to accept her decision to stay away from the
studios. The decision could not have been an easy one to take but she has,
depriving me of the chance to be with her in the same frame.
All of us Khans have
been blessed. Ashaji has been a family friend. We may not see her regularly but
we know she is there for us, and we are there for her, just a phone call away.
She joins us for our festive celebrations for the Ganpati puja, Christmas and
Eid.She has treated my brothers Arbaaz and Sohail, and sisters Alvira and
Arpita, like kids. She has watched us grow up. She has never been judgemental,
she has been a part of our high phases and low.To be honest I was not at all
sure if I could do justice to her many achievements in a foreword. This is the
first foreword I have ever attempted. To my surprise my words flowed easily.
Hopefully I have been able to express at least a fraction of my affection and
regard for Ashaji, for her smiles and laughter and above all for her compassion
for cinema, and the agonies and ecstasies she has faced in her life. Needless
to say this autobiography by Ashaji was much needed. The Hit Girl has taken us through her
journey belatedly. It was about time.
‘Achha Toh Hum Chalte
Hain…’ went the lyrics of one of her
songs. She can never
say goodbye really. Because movie stars may
come and go but Asha
Parekh will remain in our hearts forever.
Salman Khan
The superstar actor
at the outset excelled as a romantic hero in Maine Pyaar Kiya and Hum Aapke
Hain Koun..! Being Human is his credo. In recent years, he has belted out
mega-blockbusters such as Dabangg, Ek Tha Tiger, Bajrangi Bhaijaan and Sultan.
