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PublishedonTheCaravanAJournalofPoliticsandCulture(http://www.caravanmagazine.in)

TheShowofShows
ProducingIndia'sgreatesttelevisionshowever ByAKSHAYMANWANI|April1,2013
INDIANEXPRESSARCHIVE

(Lefttoright)GirijaShanker (Dhritarashtra),FirozKhan (Arjuna),RenukaIsrani (Gandhari),VirendraRazdan (Vidura),Nazneen(Kunti), PraveenKumar(Bhima), GajendraChauhan (Yudhishthira),Nitish Bharadwaj(Krishna),Sameer Chitre(Nakula)andSanjeev Chitre(Sahadeva).

INDECEMBERLASTYEAR,betweentakesfortheHindiromanceserialPyaarKaDardHaiMeethaMeethaPyaaraPyaara, MukeshKhanna,dressedinabrownthreepiecesuitandapolkadottie,walkedtohisdressingroomonthesetofRajshree ProductionsinMumbaisFilmCity.Ontheway,Khanna,whoplaystheleadingmansgrandfather,ranintoKanwarjitPaintal, whoplaysafriendlyinlaw.Thetwomen,bothslightlybulgingatthewaist,exchangedpleasantriesanddiscussedthedays shootingschedule. Itwas,inmanyways,abanalmoment:twospentactorscasuallychattingbeforetheirnexttakesforaregulartelevisionshow. Buttherewassomethingstrikingaboutit,too.Twentyfiveyearsago,attheverysamelocation,thesetwoactorswerelocked inbattleastwoofthemostcrucialcharactersinthemostsignificantprogrammeevershownonIndiantelevision:BRChopras Mahabharat.(PaintalsandrogynousShikhandiwasusedbythePandavastotakedownKhannasindomitableBhishmainthe battleofKurukshetra.) EverySunday,beginninginSeptember1988,streetsincitiesacrossthecountrywouldgrowdesertedattheapproachof9am. Inruralareas,peoplecycledtensofkilometrestothenearesthousewithatelevisionset,neighbourscrowdingintogetherto watchtheepicshow,whichdepictedthemythologicalconflictbetweenthePandavasandKauravasforthethroneof Hastinapur.Acrossthenation,Mahabharatheldthecollectiveattentionof200millionIndiansfor45minuteseachweekfor nearlytwoyears.

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Partoftheshowsappealwasduetoitstiming:Doordarshanbeganbroadcastingitsoonafteritairedthefinalepisodeof RamanandSagarsRamayan,astupendouslypopulartelevisionadaptationofValmikisepic,whichhadstokedpublicdemand formythologicalentertainment.ButMahabharatwassomethingmore. FormanyIndians,thiswastheirfirstsustainedexposuretoanepicwhosetalestheyhadgrownuphearing.Comparedtothe Ramayana,whichiscelebratedannuallyintheformofRamlilas,theMahabharatahadhadlessreachinthepublicimagination. Astoryofendlessfamilyfeuds,manyIndiansweresuperstitiouslyaversetokeepingthebookintheirhouseswhichmeant that,formostofthem,theironlylinktotheepicwasthroughthe700versepublishedextractoftheBhagavadGita,the theologicalandspiritualdiscoursethatKrishnapassesontothePandavawarriorArjunabeforethebattleofKurukshetra. AlothaschangedintheworldofIndiantelevisionentertainmentsinceMahabharatsfinalepisodewastelecaston Doordarshan,Indiasnationaland,atthetime,onlychannel,onSunday,8July1990.Twoyearslater,cableenteredIndia by2012,therewere848channels.TheRs.370billionIndiantelevisionmarketisnowthethirdlargestintheworld.But,a quarterofacenturyafteritsfirstappearanceontelevision,anddespitealltheadvancementsincraftandtechnologythe industryhasseen,whatremainsunparalleledisthescaleatwhichMahabharatwasmade,andtheimpactithadonits audience.WatchedbyalmostaquarteroftheIndianpopulation,whichwasonthecuspofthewiderangingpoliticaland economicchangesthattheearly1990swouldbring,thismonumentaltelevisionadaptationofarelativelyunpopularepic becameoneofthemostimportantculturalsignpostsofindependentIndia. CONTRARYTOPOPULARPERCEPTION,MahabharatwasntcommissionedbyDoordarshantocapitaliseonRamayanafter thelatterwasrapturouslyreceivedaccordingtoSevantiNinansThroughtheMagicWindow:TelevisionandChangeinIndia, Ramayandrewcloseto100percentviewershipinpartsofthecountry.ThegenesisofMahabharatwaslesscalculated.Early in1985orthereaboutsRajivGandhihadwrittenorspokentotheministerforinformationandbroadcasting,VNGadgil,about thekindofserialsbeingshownonDoordarshan,wroteBhaskarGhose,whowastheDirectorGeneralofDoordarshanfrom mid1986totheendof1988,inhismemoirsDoordarshanDays.TheministersaidthatthePMhadgivenhimandthe secretarySSGilltounderstandthatDoordarshanshouldbroadcastserialsthatdepictedthevaluesenshrinedinourancient textsandphilosophy,thekindofvaluesthatwerecontainedintheMahabharataandtheRamayana.Thesecretarytookthisto meanthattheprimeministerwantedboththeepicstelecastonDoordarshan,andimmediatelyshotoffletterstotwoprominent filmproducersinBombay,RamanandSagarandBaldevRajChopra. IntheireagernesstocarryoutwhattheytooktobeRajivGandhiscommand,theauthoritiesatDoordarshanbypassed standardproceduressuchasshortlistingproducersandscrutinisingtheirwork.BothRamanandSagarandBRChoprasaw theimmensepossibilitiesofmakingafortunefromtheseserials,Ghosewroteinhismemoir.Bothlostnotimeingettinghold ofsponsors,whoalsorecognisedthattheseepicswoulddrawlargeaudiences.Withinashorttime,byearly1986,eachhad readiedsixorsevenepisodesoftherespectiveepics. Topreventthemessthatasimultaneoustelecastmighthavecreated,especiallythesplittingofadvertisingrevenues,Ghose askedBRChopra,whowasproducingtheserieswithhissonRavi,todefertheairingofMahabharat.ThustheChopras,who shotthefirstfewepisodesofMahabharatforDoordarshansapprovalinearlytomid1986,postponedtheshootingofthe remainderofthe94episodedramatoearly1988,thesameyearthattheseriesfinallywentonair. Choprahadjusthitanotherhighnoteinwhathadbeenaglitteringcinematiccareer,withaseriesofsuccessfulmoviesthat includedInsaafkaTarazu(1980),Nikaah(1982)andTawaif(1985).Hisentryintotelevision,likemanyotherfilmproducersof histime,suchasRameshSippy(withthePartitioneradramaBuniyaad)andPremKishen(withtheshortstoryserialKatha Sagar),followedtheimplementationofanewpolicyatDoordarshantoallowprivateplayerstoproducecontentforprimetime broadcasting,amovethatusheredinthefirstrushofsponsoredprogramming. Afilmjournalistbeforehemadehisfirstmovie,Afsana,in1951,BRsinterestincinemasprungfromadeepdesiretobring aboutsocialchangethroughart.AsRachelDwyerwroteinherbiographyofhisyoungerbrotherYashChopra,BRwascritical offilmproducers,who,inhisopinion,werewastingtheirtimewithcomediesandmythologicals,dancingandsongs,thus avoidingdealingwithanyserioussocialissues.WhenB.R.Filmswaslaunchedin1955,thefilmmakerchannelledhis discontentintomoviesthataddressedarangeofdiversesubjects:Nehruviansocialism,theemancipationofwomenonthe marginsofsociety,communalharmony,Partitionandcorruption.AajKiAwaaz(1984),whichwasaboutaprofessorcombating

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theworldofcrime,evenbeganwiththemessage,THISPICTUREISADDRESSEDTOTHECONSCIENCEOFTHENATION TheMahabharata,astoryfullofmoralconflicts,wasanepicthatBRhadlongwantedtoadaptforscreen.Itisfamouslysaid oftheMahabharatathatVyasaimbuedallconceptsoffeeling,emotion,sentiment,relationship[s]whateveristhereinthe worldinit,BRsaidinMahabharatkiMahabharat,abehindthescenesproductioncommissionedbytheChopras.Aurkaha jaatahai,joismeinnahinhain,wohkahinnahinhain(Anditissaidthatwhatisnotthereinit,doesnotexistanywhereelse).It wasastorytoobigtobecompressedintothethreehoursofafeaturefilm.TelevisionofferedBRthefreedomtoexploreits scale. BETWEENTHEIRFIRSTCOUPLEOFTELEFILMSTeriMeriKahani(1982)andDhartiAakash(1983)andMahabharat, BRandRavihaddirectedandproduced,in1986,theirperiodtelevisionseriesBahadurShahZafar.Whenworkon Mahabharatbegan,severalmembersofthecastandcrewfromtheserieswerecarriedovertothenewproduction.Most prominentamongthemwasGufiPaintal,whosecontributiontothemagnumopusrangedfromproductiondesigntocastingto associatedirectionand,mostmemorably,portrayingShakuni,thedicetotingplottinguncleoftheepicsantagonist, Duryodhana. Raviwasveryinterestedinexpandingthebusiness.Withallhisaspirations,heventuredintotelevision,whichwasverybigby then,Gufinowbespectacledandalmost70toldme,whenImethimonthesetofZeeTVsMrs.KaushikKiPaanch Bahuein,afamilyfriendlydramainwhichheplayedthecharacterofagenialghost. Thefirstchallengebeforetheproducerswastocommissionthescriptfortheextraordinarilyintricateandmultidimensionalstory ofgods,princes,miraclesanddestinies.Inordertocaptureontelevisionthenuancesofemotion,ethicaldilemmasand relationshipstheMahabharatacontained,theChoprasknewtheyneededtheverybestwriters.Theteamtheyputtogether wasaformidableone:RahiMasoomRaza,thewellknownauthorofnovelssuchasTopiShukla,signeduptowritethe screenplayanddialogueSatishBhatnagar,aneminentwriterofscreenplays,cameonboardtodoresearchandworkonthe scenariosandPanditNarendraSharma,whohadtranslatedseveralofMahatmaGandhisspeechesintoHindi,andconceived AllIndiaRadioslightentertainmentstation,VividhBharati,agreedtoadviseontheconceptandwritetheoccasionallyric. SharmawasanexpertontheMahabharata.WeusedtorefertohimasteamkeSanjay,saidGufi,likeningSharmatothe blindKauravakingDhritarashtrascharioteer,whorelaystothekingthroughmiraculousvisiongrantedtohimbyVedVyasa, theepicsauthortheeventsatKurukshetra.Sharmawouldnarratethesubjectasifhewaswatchingit.Itwassoclearinhis mind.Whatcomeswhere,everycharacterwhatishisattire,whatishislook,whatishispersonality,Gufiadded.Sharma wrotetheshowstitlesong,AthaShreeMahabharatKatha,andanumberofdohas(couplets)thatappearedeitherattheend ofeveryepisode,asakindofsummary,orinthecourseofaparticularepisode,tostressspecificpoints. AccordingtoananecdoteSharmasdaughter,LavanyaShah,narratedtomeoveremail,BRChopraandRahiMasoomRaza onceaskedPanditji,asSharmawasknown,howheknewthatKhannascharacter,Bhishma,alwaysworewhite.Inhisreply, SharmareadoutapassagefromtheepicinwhichBhishmagentlyreproachesoneoftheyoungprotagonistsforjumpinginto hislapwiththewords:Vats,dekhotumhaareydhoolbharevastronsemereshwetvastra,dhoolidhoosrithojaateinhain (Child,seehowyourdustyclothessullymywhiterobes). Calling,nodoubt,onhisreservesofexperienceaswellasthedistantdayswhen,asagraduatestudentatGovernment College,Lahore,hehadstudiedEnglishliterature,BRsupervisedthescriptingandscreenplaysessionsalmostdaily.Inthose sessions,inadditiontotheauthoritativecriticaleditionoftheepicfromPunesBhandarkarOrientalResearchInstitute(BORI), theteamreferredtoanumberofadditionalsourcesacrosslanguages,includingpoetandtranslatorPurshottamLalsversion inEnglishperhapsthemostcompleterenderingoftheepicinanylanguage,andanattempttostayfaithfultotheoral traditioninwhichtheworkwasoriginallycreated. ASBRANDHISTEAM ofwriterslabouredonthescreenplay,castingfortheseriesgotunderway.Auditionswereheldat FilmalayastudiosintheMumbaisuburbofAndheriWest.WegaveadsinallthepapersalloverIndia.Wehadabouttento fifteenthousandapplicants.Wecamedowntoabout1,500individualswhomwescreentested,RaviChoprasaidin MahabharatkiMahabharat.(Themakingofvideoisaninvaluableresource,especiallynowthatBRhasdiedandabreathing ailmenthasconstrainedRavisabilitytospeak.)Thebriefsforcasting,heexplained,wereinspiredfromexistingdepictionsof thesecharactersinpopularculture:Youveseentheminpaintings,youveseenthemincomicbooks,Ravisaid.So,in

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MahabharatkiMahabharat,weseeaveryyoung,slenderKituGidwaniauditioningfortheroleofgoddessGanga,Bhishmas supposedmotherandlosingtheparttoKiranJuneja,abuxomwomanwhobetterconformedtopopularconceptionsoffemale deities. Wedidntreallygiveasmuchimportancetotheactingpartofit,Ravisaid,astatementconfirmedbytheprevioustrack recordsofmostofthefinalcast.MukeshKhanna,FirozKhan(whoplayedtheheroArjuna),NitishBharadwaj(whoplayed Krishna),andSurendraPal(whoplayedthecousinstutor,Dronacharya)hadallbeeninsmallrolesandforgettablefilms. PankajDheer,whoplayedthePandavasestrangedhalfbrother,Karna,hadplayedtheleadroleinacoupleofaverage moviesBekhabar(1983)andMeraSuhag(1987)buthadnotmanagedtoleavemuchofanimpressiononaudiences.Even thosewhohadbeenworkingintelevisionwerenotexactlystars.GajendraChauhan,castastheeldestPandava,Yudhishthira, hadappearedinthehitseriesRajni,inDarpanandeveninBRFilmsBahadurShahZafar,butwasstillwaitingforareal breakthrough.GirijaShanker,theblindkingDhritarashtra,hadplayedRaliyaRaminthememorableBuniyaadbuthadbeen overshadowedbystrongeractorsinthatcast,likeAlokNathandAnitaKanwar. Despitetheemphasisonlooks,matchingactorstoroleswasapainstakingprocess,andmanycastingdecisionswere eventuallyreversed.Theentireprocess,GufisaidinMahabharatkiMahabharat,tookafulleightmonthsfromlate1986to early1987. Kaunsaroledoge?(Whichrolecanyouoffer?),KhannarecalledaskingGufiwhenImethim.HehopedtoplayeitherKarna orArjuna,thetwocentralwarriors.Bhishmawasnowhereinmymind,headded.Afterhisauditions,Gufitoldhim:[BR] ChoprasaabthinksyouwillbeaverygoodDuryodhana.Khannasaidhewasnonplussedbythesuggestiontoplaytheepics mainantagonist.Heprotested,saying,Gufi,mereandarsevillainnahinnikalta(Ijustcannotplayavillain),buttherolesof KarnaandArjunawereassignedtoPankajDheerandFirozKhan,respectively,whilehisownfateremainedundecided. ThenexttimeGuficontactedhim,itwaswiththeoffertoplaytheheroesteacherandmentor,Dronacharya.Ijusttookone secondandsaid,Ok,kartahoon(Iwilldoit).Hisfamilymemberswereaghastathisdecision.Mybrotherwassittingnextto me.Hesaid,Tupagalhogayahai?TuneDuryodhanamanakardiya(Haveyougonemad?YouturnedDuryodhanadown), whowasonemanagainstfivepeople,tumekgurukarolekarraheho?(Youllplayaguruinstead?)ButKhannadidntcare. IjustwantedtobeapartofMahabharat,hesaid.IattendedthemuhuratasDronacharyawhereRajBabbarthefilmstar whohadbeenropedintoplaytheking,namedBharat,fromwhomallthemaincharactersdescendedaskedmeMukesh, aapkyakarraheinhain(whatroleareyouplaying)?towhichIreplied,AbhitaktoDronacharya(Dronacharya,asofnow). Therecouldnthavebeenamoreappropriateanswer. ThemaninitiallychosenforBhishmawasVijendraGhatge,anestablishedcharacteractorinHindicinema,whohadalso earnedrecognitionasVrushbhaaninBuniyaad.ButGhatgeturnedtheroledownonlearningthatitwouldrequirehimtoplay anelderlyfigureforalargeportionofonscreentime.AccordingtoGufi,however,Buniyaadsschedulewasclashingwith Mahabharats,andsotheChoprasthoughtitwisetoreplaceGhatge.Staturewise,jouskocostumeaaye,wohiskofitaa gaye(ThecostumesthatweretailormadeforVijendra,fitMukeshperfectly),saidGufi,whoaskedKhannatostepinto Ghatgesshoes. AndthatiswhyIalwayssay,thiswasnotdonebyGufiPaintalorPapaji[BRChopra],Khannatoldme.Itwasdoneby destiny. PUNEETISSARSCASTINGasDuryodhanawassimilarlyunforeseen.FewinthefilmworldwereunawareofIssarsreputation, andtheChopraswerenoexception.TheyknewmebecauseofCoolie,explainedIssar,whohadinadvertentlyinjured AmitabhBachchan,thenatthedizzyingheightsofhisstardom,onthesetofthe1983ManmohanDesaifilm.Bachchanlayfor weeksonthebrinkofdeath,andtheaccidentearnedIssarboththefuryofBachchansfansandconsiderablenotorietywithin thebusiness. IssarhaddonequiteafewfilmsbythetimeheauditionedforMahabharat,includingtheRamsaybrotherscultproduction PuranaMandir(1984),buttheCoolieepisodecausedhimtobetypecastasafighter.Thus,whiletheChoprasthoughthis muscled,sixfootthreeframemadehimtherightcandidateforBhimathesecondofthefivePandavabrothers,knownforhis strengthandsizeIssarwasntinterested.IwasclearthatifIplayedBhima,Iwouldcontinuetobebrandedasaheman,said Issar,whoshavedhisheadin1993toplaythemainvillaininAshaant(oppositeayoungAkshayKumar)andhaskeptthelook

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eversince.Instead,Issar,whotrainedatMumbaisRoshanTanejaactinginstitute,waskeenontheroleofDuryodhana. Everythingrevolvesaroundhim,Issarsaid.AndmyowncriterionwasthatIwantedtoprovemyselfasanactor. TheChopraswerenotconvinced.IssarrecalledRahiMasoomRaza,whowaspresent,evenrebukinghimforhissuggestion: Youmustconsiderityourgoodfortunethatyouarebeingofferedaherosrole.Everyoneiscomingheretobeahero. Beggarscantbechoosers.Theproblem,asIssarsawit,was,Yehparokshmeinthaa.Pratyakshmeinthaa(Myqualities werehidden.Whattheycouldseewere)height,eighthdegreeblackbelt,amazingbody.HerememberedBRtellinghim, Bete,ismeinaapkoHindibolnipadegiaurdialoguesbahuthongey(Son,youwillhavetospeakinHindiandmemorisealot ofdialogue). Issarcouldnthaveaskedforabetterchallenge.HavingperformedJayadrathVadhalengthypoeticrenditionofthe MahabharatawrittenbythefamousHindipoetMaithiliSharanGuptasastudentatMumbaisMithibaiCollege,Issar respondedbyrecitinglinesfromittotheChopras.Mujhewohkanthasttabhiyaadtha(Irememberedthepoembyhearteven then).Ispokecontinuouslyfor15to20minutesinklisht(chaste)Hindi,saidIssar.Onfinishing,heheardBRsay:Thatsmy Duryodhana. IssarsselectioncreatedacuriousproblemfortheChopras.SagarSalunke,whowasalsobeingconsideredfortheroleof Bhima,appearedanunequaladversarytoIssarsformidablybuiltDuryodhana.Choprasaab[BR]wouldtellmejokingly, Puneet,ifwedontgetabiggerBhimathanyou,toterekoDuryodhananahinmilega(youwillnotplayDuryodhana). IntheirhuntforabiggermanthanIssar,theChopraseventuallyheardofPraveenKumar,atwotimeAsianGamesgold medallistinthediscusthrow(1966and1970).Issarpromptlypushedforhisselection.Beingasportsfanatic,PraveenKumar wasmyhero.Sixfeeteightinchestall,awesomepersonality,Issarsaidofthemanwhowouldeventuallykillhimonscreen. Kumar,donewithhiscareerinsports,hadalreadytriedhishandatHindicinemaasthevillainshenchmaninfilmssuchas Loha(1987)andShahenshah(1988).HisselectionasBhimawassettledthemomentheenteredtheroom.Usmeintantana hogayi(Therewasasenseofcommotion),hetoldmeoverthephonefromDelhi.WithKumarcastasBhima,SagarSalunke wasrelegatedtotheroleofBalarama,Krishnaselderbrother. MEANWHILE,fourpeoplewerecontestingforthecentralpartofKrishna.MahabharatkiMahabharatshowsthreeoftheman awkwardlookingGajendraChauhan,asoftspokenRishabhShuklaandahairychested,moustachioedNitishBharadwaj auditioningfortherole.RakeshPandey,asmalltimeactorinseveralHindifilmsofthe1970sand1980s,whohadplayed KrishnainafewBhojpurifilms,wasalsoconsideredforthepart.IwascastasVidura[thesoftspokenroyaladvisor]initially, BharadwajrecountedwhenImethimonthesetofJalloshSuvarnayugacha,adancecompetitiononETVMarathi,whereheis ajudge,thoughheinsiststhatheisonlyaguidetothecontestants.Assoonasourconversationbegan,Inoticedthathe spokewiththesamecleardictionthatwasahallmarkofhisperformanceintheseries. BharadwajwaslatercalledforanotherscreentestforMahabharatbecauseRaviChopra,whohaddirectedhiminafewad films,thoughthimtooyoungtoplaytheroleofVidura,theelderlyuncletothewarringroyalcousins.Thatscreentest, specificallyforKrishna,wasviewedbytheentireteam,whichconsistedofBRuncle,Raviji,RahiMasoomRazaandPandit NarendraSharma.ThatshowIwasselected.WhatworkedforBharadwaj,aMaharashtrianBrahmin,asGufisaid,washis commandoverHindi. Whenthefirstlist[followingtheauditions]cameout,IwasdoingKrishnasrole,GajendraChauhantoldme.Onceitwas decidedthatMahabharatwouldbebroadcastonlyaftertheconclusionofRamayan,andtheshootingschedulepushedahead, ChauhanusedthetimetoactinaseriesofMalayalamfilms.IshotinCochin,Trivandrum,Quilon,Chalakudi,Chauhansaid. Althoughhiscareerflourished,thesouthernstatesfamedfooddidnotexactlysuithim.Ibecamefat,heexplained.WhenI camebackhereandmetRaviChopra,hesaid,Mygod,whathaveyoudonetomyKrishna?Youhavetocutdown.Buttryas hedid,Chauhanjustcouldnotgetbackinshape.Itwasatthispoint,hesaid,thattheChoprasreplacedhim.Myweight issuesandhissmile,whichworkedtohisadvantage,ledtoRavijivotinginNitishsfavour. Subsequently,ChauhanwasaskedtoauditionforthepartofYudhishthira.HavinglostoutonKrishna,Chauhanwas apprehensiveaboutplayingtheeldestofthePandavas,ofwhoseroleintheMahabharataheknewlittle.(PankajDheerand GirijaShankerwerealsointimidatedbytheirlackoffamiliaritywiththeirrespectivecharacters,KarnaandDhritarashtra.)Asa child,inschoolandcollege,wehadheardofthePandavasandtheKauravasandtherewassomefightbutwedidntknow

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what,exactly,thefightwasabout,Chauhansaid.Krishnasrole,theLordsrole,hadtobeimportant,buttherestwedidnt know.Ravi,nonetheless,prevailedonhim.TheymademedressupinYudhishthirasattire,auditionedme,Chauhan recalled.EverybodylikeditandIwastakentoChopraji[BR],whowasimmenselyimpressed.Iwasfinalisedonthesameday. RoopaGangulywasnttheChoprasoriginalchoiceforDraupadischaracter,either.ThatwasJuhiChawla,who,havingplayed BegumNurJahaninBahadurShahZafar,hadinitiallybeensignedon.Butshebackedoutafterlandingtheleadrolein prominentfilmmakerNasirHussainsQayamatSeQayamatTak,whichwentontobecome1988sblockbuster,andmadeher anenduringstar.ItwasonlyafterChawlabackedoutthatNarendraSharmarecommendedRoopaGanguly,whomhehad seeninaserialcalledGanadevta.DirectedbyPKumarVasudev,whohadalsodirectedthepopularsoapHumLog, Ganadevtawasastorybasedinavillage,withGangulyplayingtheroleofaprostitute. GufiPaintalhadnoideawhowasgoingtoplayShakuni.AfterGufihadauditionedseveralpeoplefortherole,theChopras turnedtothemanwhohadalready,forthem,establishedhiscredentialsasavillaininBahadurShahZafar,Gufihadbeen castasthewickedBriton,Metcalfe.Gufihadbeenabouttoundergoanoperationtofixahipproblemthatforcedhimtomove aroundwithaslightlimpbuthedecidedagainstit,inordertotapintothepopularnotionthatevilcharactersgenerallysuffered fromsomesortofinfirmity.IaskedmybossesifIcouldmakeShakunilame,saidGufi.Theyallagreed,sayingthisiswhatwill giveShakunischaractershade. EVENAFTERALLTHEACTORShadbeenchosen,onepartremainedunfilled:Samay(Time),whowouldbindtogethereach episodeoftheshowwithanopeningnarration.Oneofthefirstthingsthatwediscussedwasthatitissuchavastsubjectthat werequireanarrator,BRrevealedinMahabharatKiMahabharat.OnedayDrRahicametomeandtoldme,Iwantyouto hearsomethingwhichIhavewritten.Themomenthespokehisfirstsentence,MainSamayhoon(IamTime),wewere floored,BRsaid. Eveninhisearlierwork,BRChoprahadbeenfondofusingvoiceoverstoestablishthemes.Nikaah,whichdealtwiththelaws ofdivorceinMuslimsociety,beganwiththeimageofanudewomantakingupthecentreofthescreen,beforeafemalevoice begananextendedcommentaryonthemanyrolesofawoman.Theopeningwordswere:Mainaurathoon(Iamawoman). ButwhereNikaahsfemalenarratormerelyexplainedthebackgroundtothefilm,thenarratorinBahadurShahZafar,a personificationofDelhisRedFort,wascloserinitsscopetoSamay.HavingintroduceditselfinafamiliarmannerMainLal Qilahoon(IamtheRedFort),themonumentexplaineditsraisondtre:MainlalpathharonparlikhihuiHindustaanki kaumitaareeqkaekbaabhoon,jokaheenarqegulaabselikhagayahaiaurkahinkhoonishaheedase(Iamachapterin Indianhistory,wheretheengravingsonmyredstonehaveattimesbeenmadewiththeextractofrosepetalsandatothersin thebloodofmartyrs). InthefirstepisodeofMahabharat,Samaypresenteditselfas:Maineiskathakoitihaaskitarahguzartedekhahai(Ihave seenthisstoryunfoldlikethepassageofhistoryitself). Inthe1965filmWaqt,BRFilmsfirstcolourproduction,directedbyYashChopra,theChoprashadestablishedthenotionof theprimacyoftime.Thiswasevidentinthefilmstitlesong: Waqtsedinaurraat,waqtsekalauraaj, Waqtkiharshaighulam,waqtkaharshaiperaj (Nightanddayareafunctionoftimeasaretomorrowandtoday Everyentityisaslaveoftime,timelordsovereverybeing) Someonesaid,DilipKumarhasneverdoneanynarration,whydontyoutakehim,hewilldoit.Someonesuggestedwetake NTRamaRaobecausehehasasaintlyimage,BRsaid,recallingrecommendationsforthevoiceofSamay.Theproducers zeroedinonHarishBhimani,anestablishedvoiceoverartistandwriter.Oye,Harish,aajatuphirse(Harish,youhaveto comeagain),Bhimanirecalled,impersonatingthemannerinwhichGuficalledhimeachtimeoverthephoneinhisPunjabi accentforthemanytrialsessions.Bythistime,Bhimanihadlenthisvoicetosomefamousadvertisements,includinghisturn asthedevilinanOnidatelevisionadthatran,Neighboursenvy.Ownerspride.Hehadalsowrittenthescreenplayforthe populartelevisiondramaKhandaan.AccordingtoBhimani,ittookhimalongtimetogetSamaystoneright,becausethe

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Chopracamphadntfullydisclosedthedetailsoftheproject.Ithoughtitwasastoryforkids,Bhimanitoldme.Theonlybrief giventohim,herecalled,was,WedontwantGod,wedontwantAkashvaani,wedontwantHarishBhimani. Attheendofhiswitsinthethirdmeeting,butwillingtogiveitonefinalshot,Bhimaniadoptedacertaingrandeurinhistone, dramaticallyslowingthepaceatwhichhereadtheopeninglines.Iwasthinkingtomyself,thisisridiculous,saidBhimaniof thatlastattempt.Tohissurprise,though,apaanchewingRahiMasoomRazatoldhimwhenhefinished,Harishbeta,suno,is kopakadkerakho.Iskoapnezehenmeinbaandhkerakho(Harish,rememberthistone.Holdthisthought).Later,when Bhimaniattemptedtospeedupthepaceduringtheactualrecording,reasoningthatthetonewastoolaborioustocatch viewersattention,Rahiscurtresponsewas:Saramulksunega.Aapwohiraftaarrakhiye(Thewholenationwilllisten.You maintainthatpace). Iwaswrong.Itworked,Bhimaniadmittedtome.Thatfinaltone,hebelieves,wassowellreceivedbecauseitwascompletely myoriginaltimbre.ItwasarhythmthathadnotbeenheardbeforeandIromancedeveryword. WITH150MAINACTORS,over100peopleintheproductioncrew,over2,000pagesofscriptandtwostraightyearsof shooting,thescaleonwhichtheChoprasexecutedtheprojectwasneverindoubt.Theexpenditureincurredonproducingthis entireshowisapproximatelyRs.9crore,theproductioncontroller,KishoreMalhotra,saidinMahabharatKiMahabharat, whichputstheaveragecostperepisodeatjustunderRs.10lakh,animposingfigureforthattime. MuchofMahabharatwasshotatMumbaisFilmCityinGoregaonEast.Afewoutdoorsegments,suchasthoseportraying Krishnaschildhood,wereshotatChenaCreekinNaviMumbai,whiletheopeningepisodesoftheseries,wherethe personificationoftheGangaemergedfromherriver,wereshotatMahad,whichisbetweenMumbaiandMahabaleshwar.For thefinalbattleofKurukshetra,theentireunitmadeitswayfora15dayscheduletoJaipur,wherethousandsofpeoplewere hiredonadailybasistorecreatethebattleground. Butbigbudgetsdidnotnecessarilytranslateintosmoothproduction.Inthosedays,neitherdidwehavethetechnology,nor theequipment,northeknowhow,northetechnicians,saidPankajDheer,who,today,livesafewblocksawayfromIssar,with whomhehasmaintainedaclosefriendship.Thatmeantwehadtopracticallydoeveryscenephysically.Wehadtodoactual shootsatactuallocations.SegmentsthatwouldtodaybeproducedusingspecialeffectssuchastheoneinwhichKrishna revealshisishwariyaroop(divineform)toArjunajustbeforethestartofthewar,orthecrucialsceneofDraupadisvastra haran(disrobing)tookdaystoshoot.Imaginewearingamukut(crown),whichweighedaboutthree,threeandahalfkilosall daylong.Todayamukutweighsafewgramsbecauseitismadeofalightermaterial,butlooksjustasgood,remarkedDheer. ThattheChoprasmanagedtomaketheserialsvast,vividscenescredibleatallwas,toalargeextent,duetotheingenuityof artdirectorYLBagchi,whohadrecreatedtheMughalerainBahadurShahZafar.Acommercialartistwhohadtrainedatthe StateLalitKalaAkademiinVaranasi,BagchistartedbycreatingmagnificentsetsfromscratchatFilmCitysuchasthe Lakshagrahset,thehousemadeoflacinwhichtheplottingKauravasinducedthePandavastosleep,sotheycouldbeburned alive.Bagchiexplainedthatthestructurewasbuiltwithnothingbutplywoodandplaster,overwhichheputacoatofwax.Itwas agimmick,Bagchisaid. EVENASEPISODESWEREBEINGSHOTandreadiedforair,BR,whohadenvisionedtheshowashavingasocialrole,kept improvisingonthescripttoaddresscontemporaryIndianconcerns.Hisideologicalbentwasapparentfromtheveryfirst episode,whichbeganwithBharat,themonarch,grapplingwiththeissueofdynasticsuccession.AsSarojaBhate,memberof theregulatorycouncilatPunesBORI,confirmed,thiswasnothowthecriticaleditionoftheMahabharata,onwhichtheshow wasbased,commenced. Samay,too,hintedatthisdepartureafewscenesintotheepisode.WhenBharatwasabouttoannouncehissuccessor,Harish Bhimanisvoiceoverboomed,YehhaiMahabharatakiamarkathakapehla,anlikhapanna(Thisisthefirst,unwritten chapteroftheeternalstoryoftheMahabharata).Laterintheepisode,havingfoundnoneofhisninesonsworthyofrulingthe kingdomafterhim,BharatproclaimedBhumanyu,thesageBharadwajsson,ashissuccessor.Whenconfrontedbyhismother, Shakuntala,aboutthedecision,Bharatresponded:Imnotonlyafather,butakingaswellEverycitizeninmykingdomis partofmyfamily.IfIweretonominateoneofmysonsasheirtothethrone,thenIwouldbeguiltyofbeingunjusttobothmy kingdomandmysubjects.

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SincethisepisodewastelecastatatimewhenPrimeMinisterRajivGandhi,whohadsucceededhismother,wasbeing criticisedforhisincompetenceandcorruption,viewerswereabletorecogniseitsrelevancetocontemporarypolitics,wrote mediaanthropologistPurnimaMankekarinherbookScreeningCulture,ViewingPolitics.BRbroughtuptheinheritancedebate againwhentheold,blindkingDhritarashtraBharatsdescendantandtheKauravasfatherwashauntedbytheghostsofhis ancestors.Bharat,longdead,confrontedhimwiththeinjusticehehadmetedouttothePandavas,callinghimakingwho, Apneputramohmeinpadkar,deshprem,rajneetikimaryadakobhangkiyahai(Intheloveforhisson,hasviolatedthe normsofpatriotismandpolitics). Overthecourseofitstwoyearrun,theseriesmadeanumberofothersociopoliticalassertions.Afterthebattleof Kurukshetra,whentheeldestPandavaYudhishthiraiscrownedking,heenvisionsgoodandprosperoustimesforthepeopleof Hastinapura,buthealsoholdsthatsuchautopianstateisonlypossiblewhenpeoplearecommittedtotheserviceofthe country.InthewordsofDevduttPattanaik,theprominentauthorandmythologist,thiswasaspeechverysimilartoJohnF Kennedys,Asknotwhatyourcountrycandoforyouaskwhatyoucandoforyourcountry.Inthefinalepisode,thefamily patriarchBhishmawhohasspentmuchofthewaronabedofarrowsstressestothePandavasthepreeminenceof defendingthenationstate,atanycost,againstdivision.Yadikoiparisthitideshkevibhaajankimaangkarrahiho,toh Kurukshetrameinaajao,kintudeshkavibhaajankabhinahonedo(Ifanycircumstancethreatenstheunityofthenation,be preparedtobattle,butdonotallowthenationtosplit),hewarned,atatimewhenSikhseparatismroiledPunjabandsimilar movementswerebrewinginKashmirandtheNorthEast. Theshowssocialmessagescameunderfirefrommanysides.SeveralcriticsexcoriatedBRfortheargumentheseemedto advanceabouttheconnectionbetweenwomanhoodandnationhood.ThoughthedyingBhishmatoldthePandavasthatthe developmentofanysocietycouldonlybegaugedfromthemannerinwhichitswomenweretreated,awomanshonourwas ultimatelyshowntobesecondarytothenationsinterest.Tumapneapmaankobaarbaarbeechmeinmatlao(Dontletyour humiliationgetinthewayeverytime),ArjunaadmonishedDraupadiontheeveofhisfinalbattleagainstKarna.Draupadi respondedbyaskingArjunawhetherherdisgracecountedfornothingTokyamereapmaankakoiarthnahin, dhanurdhar?Butheheldfirmtohisview:Hai,priyaDraupadi,hai.Kintuutnanahinjitnatumsamajhrahiho.TumDraupadi hopriye,Hastinapuranahin(Yesitdoes,Draupadi.Butnotasmuchasyouthink.YouareDraupadi,mydear,not Hastinapur). Choprasinterpretationechoesthemesfoundinfascistdiscoursesofnationalism,thecriticMankekarcommented.Notonlyis thenationconflatedwiththestate,butitispatentlyclearthatthepersonalproblemsofIndianwomen,iconicisedbyDraupadi, cannotbepermittedtoovershadowthenationalproblem. Othercommentatorsworriedthattheshowflattenedsomeofthedeepethicalissues,andthesuffering,oftheoriginal narrative:ItportrayedPandavasasgoodandKauravasasbadanddidnotdwellontheirrespectivemoraldilemmasorwhat madethemthisway,Pattanaiksaid.ItendedwiththePandavaswinning.Nosufferingdespitelosingalltheirchildren.Then therewastheproblemofculturalhomogenisation.TheacademicAnandaMitracriticisedtheseriesforbeingapredominantly NorthIndianinterpretationoftheepicasisobviousinthecostumes,propsandbackdrops,aswellasinthelanguageand music.ThewritersandproducerswereallNorthIndian,andtheirchoicesignoredotherregionalversionsofthestory.Still,as MitrapointsoutinhisbookTelevisionandPopularCultureinIndia:AstudyoftheMahabharat,thenarrativeboundariesofthe serial,clearlyexpressedinthesongthatplayedattheendofeveryepisodeBharatkihaikahaani,sadiyonsebhipuraani... hainitnayeepuraani,Bharatkiyehkahaani(ThisstoryofBharat,isanancientoneItisatalethatisbotholdandnew,this isthestoryofBharat)presentedtheshowasthestoryoftheentireIndiannation. FORTHEMAJORITYoftheIndiantelevisionaudience,however,theshowwasutterlyriveting.Thefiguresmorethan confirmedthecraze.Doordarshan,itisbelieved,nettedRs.65crorefromitasadvertisingrevenue,withadvertisingratesfor thisoneprogrammebeingraisedthreetimesduringitstelecast,fromRs.65,000fortensecondsinOctober1988toRs.1lakh fortensecondsinMay1989.Incomparison,therateforRamayanneverexceededRs.70,000,wroteNinaninThroughThe MagicWindow. Withafamilyfeudatitscore,MahabharatwasanevolutionovertheRamayanintermsofplot.Itmayhavebeenprofoundly religiousinpartsparticularlytheepisodesduringwhichKrishnarenderedtheBhagavadGitatoArjunabutintrackingthe decliningfortunesoftheBharatvanshfamilyoverseveralgenerations,itsscopetranscendedthatofmythology.

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Mahabharatwasabletooccupythatmedianposition,whereitcooptedfromboththereligiousandthesocial,wroteAnanda Mitra.MankekarmadeasimilarstatementbasedonherworkwithHindu,MuslimandSikhviewers,whofeltthattheRamayan wascomparabletoparticipatinginaHindureligiousritual.Bycontrast,wroteMankekar,theMahabharatstaleofbloodand gore,romanceandfamilypolitics,conspiracyanddeceptionmadeforamultitextualviewingexperience. Atanindividuallevel,too,MahabharatscharactersappealedtocontemporaryIndians.WhereRamainRamayanrepresented theideal,eachofMahabharatscharacterswassteepedinambiguityandwaseminentlyrecognisable. Draupadi,forone,emergedasanempoweringfigureforthewomenofIndia.AlthoughMankekarsstudyshowedthatwomen acrossreligionsweremovedbyDraupadisvastraharan,sinceitmadethemrelivepersonalhumiliationsintheirfamilies,in theiroffices,inpublicspaces,andreflecton,andsometimescritique,theirownpositionsintheirfamily,classandcommunity, DraupadiseemedamoremodernwomanthanRamayansfemaleprotagonist.WhereSitaappearedtobearhersuffering silently,Draupadibecameaniconforgenderemancipation,herindignationattheexcessesofpatriarchyfullyjustifiedto womenacrossthecountry.Itsnoteasytogathersomuchofcourage,somuchmentalstrength,saidRoopaGanguly.Thats whywomenaspiredtobelikeDraupadi. MahabharatsimpactswiftlymovedbeyondIndiasshores.InBritain,whereitwasbroadcastonBBC2onSaturdayafternoons intheearly1990s,audienceswerestimulatedbyitsdiscourseondharmaandrighteousaction.ProfessorMarieGillespie,who studieditsimpactonaBengalifamilyaspartofalargerethnographicstudyofthetelevisioncultureamongyoungIndian immigrantsinLondonsSouthalldistrict,toldmeoverSkypethatthebroadcast,apartoftheBBCsdiversitypolicy,was empowering.Asshefurtherexplained,ItenabledyoungdiasporicIndianstoacquireadeeperknowledgeandunderstanding ofandtofeelproudoftheirreligiousheritageinacontextwhereparentshadexperiencedracismandreligiousintolerance,and inanationstatewherereligionwasdeemedtobeamatterfortheprivateandnotthepublicsphere. InIndia,thecombinedimpactofRamayanandMahabharatwasamplifiedbecausetheirtelecastcoincidedwiththelong politicalrevivalofHindufundamentalism,whicheventuallyledtothedemolitionoftheBabriMasjidinDecember1992.The telecastofthisepic[Ramayan]everyweekformorethanoneandahalfyearshelpedtopowerfullyreestablishthisHinduepic inthenationalconsciousness.IndoingsoitfuelledtheRamJanmabhoomimovementonanationalscale,Ninanwrote. Withinpopularculture,therecirculationoftheRamayanaandMahabharatabroughtHinduheroesintothedomesticityof nearly90percentofIndianhomes,reemphasisingtheHindunessofIndia,andconsequently,theunIndiannessofnon Hindus,wroteMitra.TherepresentationofRam,KrishnaandthePandavasinthetwoserials,accordingtoMitra,established theconnectionbetweentheproductionofaheroicnationalimageandHindureligion. However,ArvindRajagopalinanarticletitledWhatIfDDHadntTelecastRamayan?inOutlook ,in2004suggesteda nuanceddifferencebetweenthetwoepics.HadMahabharatbeenbroadcastbeforeRamayan,heargued,theethicalrather thantheidentitycomponentofHinduculturemighthavebeenforegrounded.This,wroteRajagopal,wasbecause,Thereare fewrakshasas[demons]intheMahabharat.InsteadthereisaHindujointfamilyengagedinaruinouscivilwar.Itscharacters areofaroyallineage,orhaveunparalleledqualitiesofstrengthorbeauty.Buteachisultimatelyalone.Noidentity,noreligion ordynastycansavethem.Eachhastofindthepathofvirtue,howeverdifficultitmaybe.Thatisthelessonofthisepic. Rajagopal,whoteachesintheDepartmentofMedia,CultureandCommunicationatNewYorkUniversity,stuckbyhisanalysis inanemailexchangewithmeinDecember2012,writing,TheMahabharatwasactuallyclosertogreatartitmadepeople think.Ramayantoldyouwhattothinkandfeel,bycomparison. NOTABLY,allthosefromMahabharatscastwhoenteredpoliticsfollowingtheseriessuccessMukeshKhanna,Pankaj Dheer,GajendraChauhanandNitishBharadwajalignedthemselveswiththeBJP.Iamnotafanatic,saidDheer,who campaignedfortheBJPduringVajpayeesregime.MyreasonswerethatIwasantiCongressandIwasapersonwhoadmired AtalBihariVajpayee.Bharadwaj,whojoinedthepartyin1995,andwhoin1996waselectedtotheLokSabhafrom Jamshedpur,hadsimilarreasons.IthoughttheBJPwasapartywithadifference,hesaid.ThewayIndiahadgonerampant corruption,thingsbeingincompletedisarraytherewasthisnationalisticfeelinginme.IthoughtIcouldcontributethroughthe BJP,tochangethewrongthingsinIndia.Chauhan,whostartedcampaigningfortheBJPintheearly1990s,wasjustas unequivocal:No,ourcharactersdidntshapeourpoliticalleanings,hetoldme.IcampaignedfortheBJPandShivSena becauseIfeltthesepartieswereworriedaboutIndiaandIndians.

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Inanycase,itwouldhavebeenastruggletocreateapoliticalidentityindependentoftheirassociationwithMahabharat. Peoplewouldvisitusonthesetsliketheywerevisitingatemple,Khannatoldme.Chauhansaidpeoplecametoseehimas inseparablefromhischaracteronthedaythecrucialgamblingepisodefromMahabharatwasbroadcast,hetoldme,Ihad gonetoJuhuinmycarintheevening,andwasdrivingbackalone.IthinkitwasatasignalatSevenBungalowswhensomeone fromtheadjacentcarshoutedatmeandsaid,Sabkuchtohjueymeinhaargaya.Draupadikigaadilekarghoomrahahai kya?(Youlosteverythinginthecourseofgambling.AreyoudrivingDraupadiscar?) Today,theactorsunanimouslyacknowledgethepushtheseriesgavetotheirrespectivecareers.Thiswastherolethatput meinthespotlightandputmeinthecategoryofagoodactor,saidSurendraPal,who,afterhisstintasDronacharya,went ontobecomeaprominentfaceontelevision,workinginserialslikeChanakyaandChandrakanta.Mahabharatgavemethe stampofanactor.Istartedgettingworkmoreeasily,saidPuneetIssar,whoactedinseveralmajorfilmsafter,suchasSanam Bewafa(1991),Khalnayika(1993)andRamJaane(1995).PankajDheersaid,AfterMahabharat,Iwasfloodedwithfilms.Idid about175filmsafterthat.AllAgradefilms,alldifferentroles.Iplayedthebadguy,Iplayedthegoodguy,Iplayedcharacter roles:Sadak (1991),Saugandh(1991),IkkePeIkka(1994)bahutzabardastdaurchala(itwasagreatphase). AlthoughseveralcommentatorsthinkthattheactorscouldnotshedtheirMahabharatimages,irrespectiveofhowtheircareers developed,manyfromthecastrejectedthistheory.Iamnottrapped,GufiPaintalsaid,vehemently.Ihavedonevaried roles.Chauhansaidthesameforhimself:Itneverhappenedwithme.Noimagecanbindanactor.Ifanactordoesanyrole convincingly,hewillfindsuccess.IdidAjnabeeonDoordarshanforfouryearsafterthat.IwasthemainvillainoppositeDanny Denzongpaitwasasuperhitserial.Othershandledsuchcriticismsbyexaggeratingtheirlatersuccess.Ienjoyedverygood popularity,FirozKhantoldme.Ididabout165films.Unfortunatelyformyothercolleagues,theydidntclimbtheladderas high,butIshotup.EvenNitishBharadwaj,whoinitiallyadmittedthatproducerswereunwillingtoexperimentwithhim,ultimately said,Iwasnottrappedintheimage,butpeopleweretrappedinseeingmeasKrishna. OnlyRoopaGangulyandMukeshKhannacouldescapetheirMahabharatpersonastoanysignificantextent.Ganguly,having unsuccessfullytriedherhandatHindifilmsaftertheseries,returnedtoKolkata.IdidtwoorthreeHindifilms,butIrealisedit wasnotmycupoftea,shetoldme.Iwasnotthekindofpersonwhocoulddancearoundtrees.InKolkata,shefound stardomquiteindependentoftheserialthathadshakentherestofthecountry,andwentontoworkwitheminentBengali filmmakerssuchasRituparnoGhosh,GoutamGhoseandSekharDas. Khannascareerfollowedauniquetrajectory.AfterMahabharat,Idid60filmswhereIbecameeveryonesfatherfromShah RukhKhantoFerozKhan,hetoldme,referringtofilmslikeGuddu(1995)andYalgaar(1992).Hewasprimarilyseenasthe vivashpitamaha(helplesspatriarch),aclearreflectionofhisroleasBhishma,whichcameinthewayofhimgettinglead roles.ThefrustrationspurredhimtomakeShaktimaan,asuperheroseriesinwhichheplayedthetitlecharacter.Itfirstaired onDoordarshanin1997andwentontobecomeaphenomenoninitsownright.Asasuperhero,Khannaappealedtoa generationverydifferentfromtheonewhosawhimastheelderstatesmanoftheHastinapurrajsabha.IntheBJPselection campaigns,Iwouldbeintroducedas,Badonkepitamaha,chotonkeShaktimaan(Bhishmafortheelderly,Shaktimaanfor kids),hesaidofthisdualimage,onehestillenjoys. Itistelling,however,thatMukeshKhannamadeShaktimaanwithhiscompanyBhishmaInternational.Astellingisthefactthat SurendraPalnamedhisBhojpuriproductionhouseDronacharyaFilms,thatFirozKhanchangedhisnametoArjun,andthat GufiPaintalanchoredasatiricalpoliticalshowforSaharaSamaycalledPaisaPhenkChunaavDekhdressedinthecostumeof Shakuni. THECASTofMahabharatcontinuestocoexistinthevastexpanseofMumbaisentertainmentindustry,barringafew.Nazneen, whoplayedKunti,thePandavasmother,stoppedactingaftertheshowendedSameerChitre,whoplayedNakul,oneofthe youngerPandavas,emigratedtotheUS17yearsagoandVirendraRazdan,whoplayedVidura,passedawayin2003,butthe restofthemcontinuetowork. NitishBharadwajhasgivenuppolitics.IrealisedwhatIndianpoliticiansneedfromactorsisactorswhocanparrotlinesor dialoguesfromtheirserialsorfilms,hetoldme.HeisabouttomakehisdirectorialdebutwithaMarathifilm.Healsoawaitsthe releaseofaHindimovie,oneinwhichheplaysthelead. PankajDheerhadasimilarexperienceinpolitics.Intheend,itwasfutile.Allofthem[politicians]aredirtyeggsinthesame

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basket.Heisdoinganumberofshowsontelevision,asisSurendraPal.Theycanbeseentogetherinthehugelypopular DevonKeDev,Mahadev,amythologicalseriesbasedonlegendsaboutShiva. GajendraChauhancontinueshisassociationwiththeBJPasthejointconvenorofitsculturalcell,whileremainingactiveon television,appearinginserialslikeDoordarshansNancy.ArjunonceFirozKhanislookingtomakehiscomebackafter havingtakenabreakfromcinemaaboutfiveyearsago.Iwasgettingstagnated,withthesamevillainousroles,thesamefight andrapesequences,hetoldme. MukeshKhannaplanstoreviveShaktimaan.IhavealreadymadeatelefilmonShaktimaan.IwouldevenlikeShaktimaanto bemadefor70mm,hesaid,beforeexplainingtherationaleforhisambitionsplan:EveryoneknowsRa.Onewasadisaster. KidsstillknowthatShaktimaanisIndiasfirstsuperhero. PuneetIssarclaimstobewriting,directing,actingandproducinganIndoBritishfilm:Itsacrossoverfilm,onthelinesofBend ItLikeBeckham.Ihaventtitledityet.GufiPaintalisbusydoingcharacterrolesinfilmsandtelevisionGirijaShankerrunsa productionhousecalledGreenlightFilmsandRenukaIsrani,whoplayedDhritarashtrasqueenGandhari,canbeseenon SonyswelllikedtelevisiondramaBadeAchheLagteHain. RoopaGangulyisnowbackinKolkata,afterhavingspentthepastfiveyearsinMumbai,appearinginshowslikeKasturifor STARPlusandAgleJanamMoheBitiyaHiKijoforZeeTV.ItookthosecharacterstobreaktheimageofDraupadi,shetold me.Bothwereveryweakwomen.Ienjoyeddoingthoseroles.GangulyalsowonaNationalAwardforBestFemalePlayback SingerfortheBengalifilmAbosheshey(2011),andplayedIleanaDCruzsmotherintheRanbirKapoorstarrerBarfilastyear. Idontplanmyfuture,shetoldmewhenIaskedherwhatshewasdoingnext. PraveenKumarseemstohavevanishedfromthescreen.IrecentlydidsomeBhojpurifilmsandads,butwillcometoMumbai onlyifthereissomegoodwork,Kumar,whohasretiredtoDelhisAshokVihar,toldme. ThemanywhohavestuckaroundinMumbai,mostofthemresidinginoroperatingoutofofficesaroundtheLokhandwalaand VersovaareasofAndheri,hardlymeettorelivethememories.Ithinkpeopleareverybusy,saidBharadwaj.Theirliveshave goneindiversedirections.PuneetIssartookamorepragmaticview.Inourline,friendshipsareonlyprojectwise,hesaid. Whenyouassociateonaproject,youthinkthatthefriendshipwilllastforever,butitdoesntworkthatway. SINCEMAHABHARATWOUNDUPin1990,therehavebeen,unsurprisingly,severalattemptstorecreatethephenomenon.In fact,eventhoughSamayhaddeclaredanendtotheshowwithMaharishiVedVyaskajaikavyaaajsamaapthua(Ved Vyasasgreatepicconcludestoday),theChoprasthemselvestriedtoexploititspopularitythroughMahabharatKatha,a45 episodeseriesthatairedonDDMetroafewyearslater.Theideawastodealwithsomeinterestingsidestoriesintheepic,but thesequeljustdidntmeasureup.Thereasonsweremany,GajendraChauhanexplained.Itwasshownonawrongchannel [insteadofDDNational].Satellitewasbooming.Thirdly,theKauravaswhowerekilledinthemainMahabharatwerebrought backtolifeinthis.Peopledidnotacceptthis. They[theChopras]shouldnthavedoneMahabharatKatha,buttheywantedtostretchitbecausetheyrealisedthiswasa goldmine,remarkedPuneetIssar.OtherattemptsincludedastylisedtellingoftheMahabharatabyEktaKapoorinKahaani HamaarayMahaabhaaratKi,whereactorsboastedsixpacksanddesignercouture,fortheTVchannel9Xin2008.That,too, failedtocapturethepublicsinterest. Fiveyearson,thisFebruary,afilmtitledMahabharatAurBarbareek releasedacrossIndiantheatresandwentunnoticed.It wascentredonthestoryofBhimasgrandsonBarbareek,whomKrishnapreventsfromtakingpartinthebattleofKurukshetra becauseofthreeinfalliblearrowsawardedtohimbyLordShiva,whichseemedaninsurmountablethreatgiventhebrave warriorsownoathtoalwayssupportthelosingside.Thefilmbroughttogethermostoftheactorsoftheoriginalseries.People recognisethemeventoday,thefilmsproducer,KKYadav,toldmewhenImethiminhisofficeinAndheriWest.Otherwisea businessmanfromGurgaon,YadavsfirstfilmwasMissAnara(2007),basedonareallifepornographyscandalinJammuand Kashmirinvolvingabeautypageantwinner. IfArjunisstandingononeside,PuneetIssarontheother,andtheyareengagedinbattle,youdontneedtoexplaintothe audiencewhotheyare.ButBarbareek wasapaleshadowoftheoriginal.Themensomeofwhomnowhavedoublechins

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areawkwardincarnationsoftheircharacters,whoaresupposedtobetheperfectembodimentsofsuppleness,strengthand virility. YadavhadbegunhisambitiousquestbyapproachingGajendraChauhan,whohadworkedinMissAnara,withtheideaof Barbareek .HewasshootingatFilmCity.IwentthereandItoldhim,MujhesaareyMahabharatwaaleychahiye(Iwantallthe Mahabharatcharacters).Besidesagreeingtohelponthiscount,ChauhanalsosuggestedthenameofDharmeshTiwari,who playedKripacharyainMahabharat,fordirector. Andso,25yearsaftertheoriginalMahabharatwentonair,NitishBharadwaj,RoopaGanguly,GajendraChauhan,Arjun, PraveenKumar,SanjeevChitre(Sahdeva),PuneetIssar,PankajDheer,SurendraPal,GufiPaintalandVinodKapoor (Duhshasan)foundthemselvescastinthesamerolesthathadmadethemhouseholdnamesinIndia.Weevengotthesame costumeandmakeuppersonswehadintheMahabharat,saidChauhan,whenwemetbeforethefilmsrelease. Ididnotwanttodotherole,butevenifoneofusbackedout,thenitwouldnthavehappened,RoopaGangulysaidbyway ofexplanation.Afewothers,suchasPankajDheer,weremorepractical.Ididitforthemoney,Dheertoldme.Iwaspaid reallywell.Therewerenoemotionsattachedatall. ThenotableabsenteeinYadavsproduction,madeonamodestbudgetofRs.5crore,wasMukeshKhanna.Hisprimary concernwasthathenolongerdidrolesthatrequiredhimtostickonabeard.Gumitnalagachukaahoonki(Ihaveappliedso muchgumovertheyearsthat)myskinrevoltsagainstit. WherewillIfindthesamededicationtoplayBhishma?headded.Iamaseriousactor.Idontwanttolookstupid.On probinghimevenfurther,Khannasaid,inatonenottoodissimilarfromthatofthetaatshreeimpartingwisdomtothe PandavasinthelastsceneofthefinalepisodeofMahabharat:WohMahabharatbantey,bantey,banngayee.Aajchancehi nahinhai,kyunkimahaulbadalgayahai(ThatMahabharatwasdestined.Today,itdoesnotstandachance,because circumstanceshavechanged).

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