There is hardly any occasion of grief in Bollywood that is not met by solidarity. But strangely, the death of Mani Kaul evoked a mixed response, both in terms of bitter and sweet memories regarding the style of his filmmaking, and his personality. If popular filmmakers didn’t exactly see eye to eye with him, his students at the Film and Television Institute of India and the National Film Development Corporation that he pioneered, remember him fondly, even reverentially.
Kaul, who was suffering from cancer, died at the age of 66 after a prolonged illness in his Gurgaon home on Wednesday. A favourite student of Ritwik Ghatak, his films were invariably based on a serious novel, play or a story. So, he was more of an author’s delight than a source of joy for producers and even popular actors whom he never cast in his serious films.
Films like
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Interestingly,
Intellectual filmmaker
Kaul enjoyed the position of an intellectual filmmaker among serious cine critics who always kept him many notches above popular filmmakers like Manmohan Desai or Subhash Ghai. In turn, this generated some uneasiness among them. Mahesh Bhatt admits, “Though the film industry respected him for his genius, there used to be a clear divide between him and commercial filmmakers. If one met at a public space, one didn’t know how to communicate with him.”
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If Kaul — who won the Filmfare critics award for Best Movie four times from 1971 to 1993 for Uski Roti , Aashad Ka Aik Din , Duvidha and Idiot — is remembered for his “rigidity”, his sense of humour and large heartedness made people like Kundan Shah, the maker of Jane Bhi Do Yaro , among his best friends. Shah says, “He was great friend, giver, serious, yet full of humour. At FTII, despite getting a nominal honorarium, he never refused to take classes and workshops.” One of Kaul’s students, Rakesh Shukla from FTII, fondly remembers him, saying there was no discipline on film which he didn’t know. “He was among the best teacher we had,” he concludes.
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