When did you get the idea to make Krantiveer?
When the riots after the Babri Masjid demolition happened, I thought of making a film based on this issue which has been going on for many years. I thought if we made a film as it is, the audience wouldn’t be able to digest it.So, I thought of creating a story and then bringing up this issue during the climax.Nana’s character was inspired by a friend of mine from college who used to brag about many things as if he could transform an entire nation. I said to him once, “Tu toh sirf bolta hai. Kuchh kar ke toh dikha.” He said, “Maine poore desh ka theka thodi le rakha hai? Main toh sirf bolta hoon.” So, from this character, I weaved the story of Krantiveer.
How did Nana Patekar come on board?
My film Tiranga with Nana Patekar and Raajkumar Sahab was a hit. When I narrated the story of Krantiveer to Nana, he loved it. The turning point came when I announced the film. At that time, distributors would give the signing amount at the film’s muhurat. My price was fixed, and I was given a signing amount. My distributors from CPCI and Rajasthan told me, “Mehul Ji, you cast Raaj Sahab and Nana in Tiranga. Now, you’re offering the lead role to Nana. Will people digest it?” I told them that I was not making the film for Nana. He was the perfect fit for the role. I said, “Let me complete the film. If you don’t like the film at the first trial, I’ll give you my signing amount back. I don’t want any money under production.”
At the film’s trial at Ketnav, the distributors hugged me and said, “This is the best role of Nana’s life. Nobody else could have done it.” They even agreed to pay my full price and whatever amount they didn’t pay under production. People didn’t believe in the film initially. But it was a super-duper hit upon release.
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When I narrated the film to Nana, I told him that it was a common man’s character. I asked him to give us his old clothes. We didn’t make any new clothes for him. He gave us his old clothes and footwear. I told him that we wouldn’t be ironing his clothes but I would give him new clothes after the film was complete. He got totally involved in the film and character.
How did you get Dimple Kapadia to do the film?
When I narrated the story to Dimple Ji, she said that she had never been a part of such a story, nor played a role like Kalamwali Bai. “My image is totally different”, she said. I said, “I believe in you as an artist. Maybe your image will change so that you could pull off roles like these too.” Today, people sometimes still call her as Kalamwali Bai.
The same thing was with Paresh Rawal who used to play villains mostly. He asked me, “How will people accept me as a simple, positive, slightly comic character?” I told him that I had seen his work from our theatre days and I had faith in him as an actor. Krantiveer changed his image and he started getting positive and comic characters more and more.
Atul Agnihotri and Mamta Kulkarni were new at the time. I had given a break to Mamta in Tiranga. When we were going to shoot the ‘Hundred’ song, Nana was a bit hesitant that he had not done anything like that before. If an artist is good, you should experiment with them. You know their capacity as actors so people will digest them in different roles as long as you justify it. I experimented and it was successful.
Did you face any problems with the CBFC?
No. In fact, it was released without cuts, also tax-free in a couple of circuits. There was truth in the film as well as a message.
What was the film’s highlight during the making?
We shot the climax of the film in Film City where Nana Patekar gives the speech, ‘Aa gaye meri maut ka tamasha dekhne…’ Nana had a heart problem and he was tense and got admitted to Nanavati Hospital. I went to meet him and told him that we would shoot the climax after he got well. He said, “Mehul, if I pass away, not just your climax but your film will not be completed.”
I had called for 500 junior artists for the climax scene. The set was also erected in Film City. The dates of other artists were also locked. So, he asked me, “Can you shoot this climax in one shot?” I said, “Yes.” He asked, “How?” I told him, “I’ll call for four cameras. One on your close, one mid, one long shot and one on a crane.” We will film your 2-3 shots with Danny Denzongpa separately. He said that he would learn his dialogue and improvise a line or two if he thinks of it in the momentum. I said, “Okay.”
Nana came to the shoot with his doctor. I believed that he could do it. We shot the climax in one day and it is an immortal climax. Nobody would believe that it was shot in one day.
Any memorable feedback to the film that stayed with you?
Dilip Kumar Sahab and Saira Ji watched Krantiveer at its trial at Dimple theatre. I was present there. After the trial, Dilip Sahab sat down at a marble seating and called me to sit next to him. He said, “Mehul, tumne aisi picture banayi hai jiska hangover ho jata hai.” There used to be a photo of Nargis Ji. He asked me to look back and said, “After watching Mother India’s trial, I told Nargis, whatever you do henceforth, what you have done in Mother India will be there with you for a lifetime. Tell this same thing to Nana – he will be known as Krantiveer for his lifetime.” I told Nana what Dilip Sahab said about him. When Nana got the Best Actor award for Krantiveer, he touched Dilip Sahab’s feet and said, “Mehul, this award is for you.” None of today’s actors will say something like this to their directors.
So, Krantiveer is the most memorable film of my life. Wherever I do, I am known for Tiranga and Krantiveer even after so many years.
