In the scores of songs that he has choreographed over the years, Remo D’Souza made dozens of superstars fall in step with his direction on dance movements but few know that he himself was twirled and hurled around by life before he reached where he is today. The struggle included going without food, money and sleeping on railway platforms. “Life has been like a Disney’s rollercoaster ride –– taking me up and down, spinning my head out of focus till it landed me on my feet from where I took off,” is how he describes his eventful journey from Jamnagar.
Reminiscing about those days, the winner of the 63rd National Film Award for Best Choreography for “Deewani Mastani” in Bajirao Mastani , recalls how he had thrown in the towel when he was judged by his looks and appearance rather than ability and talent. Yet, at that turn of life, he decided to fight back. “I went back to the very same people and said ‘throw me out if you don’t like my dance’. I realised that you have to fight your own battle and have self-belief. It was a lesson for lifetime which I still follow and would like to share it with others too.”
Holding no bitterness or grudge against anyone he is quick to praise those who helped him. “People usually have one godfather but I was fortunate to have three. Ahmed Khan who introduced me as a dancer, later making me his assistant; Anubhav Sinha who gave me the first choreography break in a video and Hansal Mehta whose Dil Pe Mat Le Yaar was my first film. They were part of my destiny, which helped shape my career based on hard work.”
Associated with choreography for more than 15 years, Remo is noted for the natural and smooth movements he invests in his dance sequences making them memorable for the viewers. “The essence of a good choreography is to be as natural as possible and in sync with the story, characters, situation and the music. I repeatedly listen to the composition to trigger my imagination and helping to decide whether the dance movement will be fast, slow or moderate.”
Describing graduating to filmmaking a step forward, Remo reflects, “Having created a niche in choreography, I decided to make films and that is how FALTU , ABCD and ABCD-2 came into being.” Remo wants to be known as dancer, choreographer and director in that order but his heart now throbs for direction. “Even though filmmaking entails much more responsibility, it is fun and challenging at the same. Moreover, I get to decide dance scenes which is not so when I am working with another director,” he says with a twinkle in his eyes.
Box office plays truant with the best of filmmakers but Remo has managed to deliver back-to-back hits. “Well, there is no set formula but I do try and make good films. Many feel that I play on my strength of dance and choreography alone but that is not true as these alone do not make a film successful. What is very important is a powerful story –– something which eggs me to make the film and share with others. It must be of human interest and primarily inspirational. Thereafter, I infuse in it a well-balanced mix of different emotions to make the film relatable to the audience. All the other things are secondary, including dance.” Waiting for a few seconds, he goes on to add, “But believe me, I still get jitters before the release of my film.” A great fan of films where music and dance played a crucial role like Guide , Amrapali and Pakeezah , the choreographer nurses a secret dream of making a film on the lines of V. Shantaram’s superhit film Navrang . “Everything in it is simply marvellous, the dance based on our traditional forms, the music and the sequences. I wish to make something as memorable as that,” says Remo. Has he thought about who will play the main leads. “We will cross that when I am ready to make the movie,” he quips.
For now he is busy with A Flying Jatt . “You see there are two things I love in life. One is dance and the other is action. Having proved that I can make films based on the first, I now want to explore my second passion.” Is that the only reason? “This film is about a superhero played by Tiger Shroff and like any other kid I too wanted to be one –– fly and fight the baddies just like Superman,” he says.
Having worked with almost all the leading actors in Bollywood, Remo rates Hritik Roshan and Deepika Padukone as the best. “Their body language, expressions and movements are perfect. You can actually discern every movement and step when they perform.” With many actors now undergoing training, Remo says it does help. “In fact it is better if it is in the traditional and classical form as it helps the actor develop an ear for music, rhythm and movement. It is much easier to make them perform any form ,” he says.
Remo has judged a number of dance reality shows and will now be seen as the super judge in Dance+ Season 2 of Star Plus. He feels that these platforms give a great chance to those passionate about dance to exhibit their talent. But does it help in building their career? “No, not the way it should. Many have approached me asking for work and that truly saddens me. I do not know about other shows but in the ones I am associated with I have tried to ensure that the talent discovered in them does not go waste. Today a number of them work with me.”
Between the lines
On winning the National Award for “Deewani Mastani”
“It is the best appreciation I have received so far. I was surprised like several others when Sanjay Leela Bhansali chose me as the choreographer as I am known for using styles like hip-hop but he knew I had a keen eye for folk dances and the semi-classical forms too. We discussed a lot as to what kind of movements should be there keeping in mind the story and characters, especially the costumes.”
On drawing inspiration from Indian dance forms
“I take a lot of elements from Indian folk dances and semi-classical forms. My first film Lal Pahare’r Katha starring Mithun Chakraborty was based on Chhau dance –– my favourite. This form is beautiful and it is enchanting to watch the performers wear those big masks and fillip in the air. I do take inspiration from Indian forms including the Maharashtrian lavani and malhari and Kathakali and Puli Kali from south and weave them in my creations. At times watching Indian classical dances a particular gesture or step deeply inspires me to create something new. Pandit Birju Maharaj is my favourite.”
