The Anthony Gonsalves generation: What Bachchan means to a ’70s kid
It happened one evening. Sitting in an open-air theatre in our cantonment, huddling close to my mother, it was a magical moment, watching a man emerge out of a huge Easter egg singing 'My name is Anthony Gonsalves'. A fan recalls the Bachchan magic on his 72nd birthday.bollywood Updated: Oct 11, 2014 15:11 IST
Yet much of this was hardly of any significance to a 6-year old. Coming from largely conservative yet educated middle class Indian background, studies was all that mattered. Sport was the only other indulgence allowed. Barring that my parents did allow one more indulgence, strictly rationed though -- movies. We were allowed two films viewing a month in the hall. This was much before the TV era would begin.It is in one of those moments of indulgences that I bumped into Anthony Gonsalves. Err... who? Well, sitting in an open-air theatre called Harkeerat Theatre in our cantonment on a rain-soaked evening, huddling close to my mother in a raincoat with an umbrella for cover, it was a magical moment, watching a man emerge out of a huge Easter egg singing 'My name is Anthony Gonsalves'. Ever since, movies have meant Anthony Gonsalves.
'Anthony Gonsalves' is someone any Indian born in post independence India would easily know. It was a character Bachchan played in 1977 cult hit Amar Akbar Anthony. Along with Lata Mangeshkar, there’s one name that comes to mind when you think entertainment – Amitabh Bachchan.
It must take something God-given to be loved by such a spectrum of people. I vaguely recall college-going cousins keeping day-long fasts and praying for Amitabh Bachchan when death came knocking at his doorsteps after the unfortunate accident during the shooting of Coolie. I recall my uncle’s driver Liaqaat telling me as a 10-year old how his favourite Amitabh was Iqbal from Coolie and how his much-loved song was the one Iqbal sings as pilgrims leave for Hajj in the film. I recall how daddy, bhai and myself would all break into UP bhaiyya style jig, with various degrees of grotesqueness, as Bombay Doordashan's Hindi music programme Chhaya Geet would run 'Mere Anganey Mein Tumhara Kya Kaam Hai' from Laawaris.
It is in these little moments that an abiding image of the man, his craft, his staying power and finally his legend emerges. For most parts, Amitabh Bachchan is famous for belittling his greatness, much to the disgust, actually revulsion, of an avid fan like yours truly. Big B remains one of the most powerful images of modern India.
If pre-independent India lived with the romance of a Gandhi, Nehru and many other stalwarts of the freedom movement, post 1947 India owes much to its popular culture (cricket and Bollywood) for being the emblems of Indianness, however flawed.
In the years to come, I was to discover more and more of Bachchan magic. His voice, his suave, his style, his impeccable manners, his sophistication, his seamless blend of east and the west would all slowly but surely dawn on me. But the most iconic remains his acting.
I got to know Amitabh first through his comedies. Dialogues that would regale me time and again –
-- Amar Akbar Anthony
-- Namak Halal
His underdog act in film after film would invariably tug at the leftist leanings in me. As Vijay, Bachchan excelled at mirroring the angst of the have-nots. As Deewar’s renegade son, as Trishul’s illegitimate son of a rich man, as the ‘adopted’ son of police officer who would turn up against his dacoit father and renegade brother in Parvarish, as the sacrificing friend who would pay with his life in Sholay, as the rebel who would fight the corrupt landlord in Khoon Pasina, as a coal miner who would stand up against the self-serving coal mine owners in Kala Pathar, Amitabh would leave a deep imprint as a rebel.
My quintessential Bachchan remains the ’70s star. Come the '80s and '90s, and it left me completed disinterested. Agneepath is said to be one of Bachchan’s best, but for me as a fan, the fount of his genius seemed to have dried with the coming of '80s and more so, '90s. May be, he had aged and no longer made sense like before. I had moved on to Shah Rukh Khan.
Cut to 2000. Kaun Banega Crorepati would change the rules of the game. Suddenly, on my TV set was a new Amitabh. Gone was the guy with hagged skin and slouch-ish body who was wooing women like Jaya Prada. In came a sophisticated and suave individual, straight up there at once at ease with his Indian roots as he was a consummate global citizen. His wit, charisma and humour would charm him to his audience. I recall trying lazily to dial into KBC number in a futile effort to earn some fortune and get to meet my star. Alas!
But KBC enthused a new life into Amitabh’s career. Suddenly, Bachchan was everywhere – from TV commercials to newspaper adverts to hoardings to what have you. It was as if he had moved from monotonous grih hasta ashram to a rocking vana prastha ashram. Man, who knew old age could be so damn cool! With this new found ‘coolness’ came a plethora of roles – anti-hero gangster in Sarkar (loosely based on Bal Thackeray), a 10-year old suffering from degenerative progeria in Paa, romantic hero in Cheeni Kum, an ageing father (quite a romantic one too!) whose children neglect him and his wife in Baghban and friendly ghost in Bhootnath. Wow!
But is this not all that endeared Bachchan to me? Not quite. In his background lay a significant measure of his appeal for me. The fact that his father is one of the stalwarts of Hindi romantic literature (Chhayawad) had a lot to do with it. The fact that his family nurtured deep relationship with Panditji and later on with Mrs Indira Gandhi was immensely attractive. Panditji had a knack of spotting talent. He did it with Atal Vihari Bajpayee and would repeat it with Harivans Rai Bachchan when he appointed him as his Hindi translator.
It is combination of all these things that have added to the staying power of a man like Amitabh Bachchan. I have seen my father turn from someone who detested Bachchan for his larger than life portrayals (by the ’70s my dad, though an avid Raj Kapoor-Dilip Kumar admirer, had been completed taken in by new wave cinema of Shyam Benegal and Adoor Gopalakrishnan) to copiously crying like a child watching Bachchan play an Alzheimer-hit old man awaiting death in Black.
To quote Shakespeare in King Lear, Bachchan may be ‘four score and 10’ but to corrupt another famous Robert Frost line, I’d say Bachchan has ‘miles to go before he sleeps’.
Happy 72nd, my friend!