Deepak Bavaskar: The uncompromising director

A television professional for the last two and half decades which includes a 18-year stint with Doordarshan, Deepak Bavaskar has produced and directed a varied genre of programming. From tele-plays, dance ballets, tele-films, musical programmes, serials, documentaries to live coverage of important events and one-day international cricket matches, the talented director has done it all. His career vitae has several achievements - RAPA award for best director for Trikaal, best director’s award for his tele-film on the plight of a destitute widow called Reva at American Video Film Festival, best documentary award from the state of Gujarat for Vasant Rajab and nomination for the best tele-film (Aspiration) at the International Television Festival at Prague, to mention just a few.

But awards and plaudits apart, Bavaskar, ever since he went his independent way in 1993, has worked his way up on the strength of his creative capabilities alone. In a cut-throat competitive environment where more than creative skills, what counts is the manipulative expertise, Bavaskar is an odd man out. “I don’t know how to manipulate my way up. Main sirf kaam karna janta hoon. I don’t even solicit work. All the work I have done so far has been offered to me on merit,” he says.

A diploma holder in dramatics and greatly influenced by Gujarati theatre actor Pravin Joshi, Bavaskar wanted to become a stage actor. But the dream didn’t come true and he joined Mumbai Doordarshan in 1975 as production assistant. While assisting Mariam Jeturwala, Bavaskar discovered the world of audio-visual from the camera’s view finder and fell in love with the medium. Two years later, he moved to Ahmedabad Doordarshan which was at its nascent stage then and over the next five years Bavaskar helped set up the kendra and gradually developed into making some of the best variety programme which include tele-plays, tele-films, serials, dance ballets and news programmes.
Tired of working under mediocre bureaucratic environment, he quit Doordarshan in the early ’90s and decided to venture on his own. He got a call from the Adhikaris to direct Commander. After directing a few episodes of the popular crime thriller, the Adhikaris entrusted him the job of directing Waqt.After that there was no looking back. Offers started coming his way in a steady stream - Asambhav, Virasat, Trikaal, Gambler, Intezaar Aur Sahi, Sparsh - Ek Ahsaas and others besides several stand-off episodes of X Zone and Saturday Suspense.

But a close look at his career reveals that the longest serial he has directed is Trikaal (62 episodes) and with the rest his association did not last for more than 13 episodes. Ask Bavaskar for the reason and he says it’s because he is too straight-forward a person and doesn’t compromise on his work. “I don’t do knock-off work and that’s probably what the producers do not like. They appreciate slap-dash work done in one-and-half shift but do not like good work done in two or more shifts. Moreover, diplomacy is not my forte,” he elaborates.

Television, in his opinion, is a narrative medium and requires good script. “The technique is secondary,” he feels. “In fact, the best way to narrate a story on television is to use the simplest possible technique. But people often indulge in technical wizardy because they work on weak scripts. I had made a story of X Zone called Kashish which got the highest TRP and it also beat Aahat hollow.”
Probably his strong narrative and simple technique format is what works well with viewers. Take for instance his current serials. Sharadha, a social drama on women’s upliftment, is the No. 1 show on Zee Alpha Gujarati. Smriti which revolves around a happy family where unexpected things happen is a hit programme on Nine Gold-DD Metro. And the daily soap Shagun of which he is one of the directors is getting the TRP of 5 on Star Plus’ afternoon band within just four weeks of its telecast.

In his long list of achievements, he considers Reva as his best work to date. Shot with a single tube camera and based on a true story from Kheda district in Gujarat, Reva depicted the plight of a destitute widow who gets alms from the well-to-do but is denied the right to work and live with dignity. But from a hapless widow she gradually emerges triumphant through sheer willpower and defies social norms. Needless to say, Reva is considered a milestone in the history of Gujarati cinema. Says Bavaskar, “it not only got good reviews but very encouraging feedback and tremendous applause from the lovers of good cinema. That’s why it remains my best satisfying and very creative achievement.”

A.L. CHOUGULE