Shyam Benegal I know

Suddenly, Color Tune made sense. The song choice, about working hard, was no fluke. Benegal made his directorial debut at the relatively late age of 40 with Ankur (1974), but over the next 50 years of his life he created an astonishing body of work, directing more than 20 feature films as well as 70 documentaries and short films. He also held several prominent positions at various stages of his career such as National Film Development Corporation (NFDC), Film and Television Institute of India (FTII), Pune, and MAMI Mumbai Film Festival.

But it was Benegal. For the last two years, when his health began to deteriorate, he followed a strict routine of showing up every morning at his office at Everest Bhawan in Tardev, Mumbai. Even during the epidemic, he went to the office regularly. He did not believe in taking his “star status” or letting the many accolades he received reflect in his behavior. Every time I called or texted him, he responded immediately. Once, I asked why he answered every call himself. Maybe he should have a full-time assistant? My question amused him – the idea of ​​someone else handling his calls was pointless. When I met him on the sets of Mujeeb: The Making of a Nation (2023) at Film City in March 2021 and was confused about the location, he was the one I called for direction.

Actor Naseeruddin Shah was among those who paid tributes to veteran filmmaker Shyam Benagal, who was cremated at Mumbai’s Shivaji Park crematorium on Tuesday. (Express Photo)

On many occasions, including controversies related to Central Board of Film Certification (CBFC) or FTII, I would approach him for his point of view. His responses were always precise, and if he didn’t want to comment on an issue, he would make it clear immediately. That clarity and precision was reflected in his storytelling, which was minimal but packed a punch. Imagine another filmmaker delivering landmark Indian films like he did from Ankur (1974) to Nishant (1975), Manthan (1976), Bhumika (1977), and Junoon (1979).

Benegal was a rare star – he was aware of his stature but never inclined to establish it. He always speaks realistically about his films. This may be mistaken for modesty, but it was actually his way of life. I once asked her how it felt to introduce some of India’s best actors, Shabana Azmi, Naseeruddin Shah, Smita Patil and others, to the screen. He refused to take any credit for his career, believing that talents like him would have lit up the screen with or without his help.

Perhaps his work ethic came down to old-school professionalism or his “passion” (passion). Benegal spoke of being inspired by another icon of Indian cinema, Satyajit Ray, who was also known for his caution. When I asked if he was influenced by Guru Dutt, his second cousin, he ignored my question. When asked about Ritwik Ghatak, he did the same and reiterated his respect for Ray. I suspect that Benegal aligned himself with Ray in part because the latter was known to be disciplined, focused and organized. Ghatak and Guru Dutt were excellent filmmakers but had a reputation for being eccentric.

I last met Benegal at a special show of the restored edition of Manthan in Mumbai after the Cannes screening in May. About a year ago, he turned down my interview request because of my “deplorable health.” That’s why watching him and his work being celebrated by his colleagues, friends and fans in cinema halls is unforgettable. See you in Shyam Babu movie.

alaka.sahani@expressindia.com