END OF ERA

Born on Gokulashtami, he was named Krishna. He grew into a brawly young man endowed with an enormous musical sense. It wasn’t surprising when he joined a local band and came to be known as Bandwale Dada. He then wandered into the cultural wing of Seva Dal, where he stepped on the stage with Vasant Sabnis’ Vichha Majhi Puri Kara and won over the hearts of the audience with his wit and comic capers. More than a 100 shows of this play were staged then. But it was only when Bhalji Pendharkar, the doyen of Marathi cinema, hand-picked him for a cameo in Tambdi Maati that his career really took off. Songadya, his debut venture as a hero, was a bloc-buster and turned him into...DADA KONDKE.

Celebrated for his earthy sense of humour, double entendre and folksy songs, Dada Kondke gave nine successive jubilees, an unparalleled feat which earned him a place in the Guiness Book of World Records. Dada rejuvenated Marathi cinema with 16 of his home-productions. He also produced 4 films in Hindi but unfortunately he couldn’t make much of a dent on the national scene. His patent khakhi half-pants with the dangling naada, Chaplinesque mannerisms and his life-long teaming with Usha Chavan will remain permanently etched in the annals of Marathi cinema and endear him to millions of Marathi cinegoers in the decades to come.

The passing away of Dada Kondke marks the end of an era in Marathi film history. His associates, friends and co-stars relive glorious moments that they spent in the company of the undisputed King of Comedy...

Balasaheb Thackeray
The duo were close friends and
they both rose to great heights simultaneously
He was one of those rare persons in the industry who ensured that people enjoyed life through his films. He was criticised for his vulgarity and double meaning dialogue but that didn’t deter him from carrying on, regardless.

Vijay Kondke
Estranged nephew and heir apparent of Dada’s film-making legacy
Dada brought me up like his own son. He paid for my college education with the money he made from Vichha.... After I graduated I wanted to join a bank but he dissuaded me saying that a man can make a fortune in business, not in service. He started me out as the distributor of Songadya and then entrusted me with the production responsibilities of his films. Twenty-three years later, he urged me to take up direction. “Like the rest of the banners, we must also introduce a younger director now,” he pointed out. He suggested that I make my directorial debut with a Gujarati film, Maiher Ni Chunadi because he thought that that would be more suited for my temperament. With his blessings and backing, the adapted version of Maherchi Sadi succeeded and celebrated a silver jubilee.

Dada wanted me to keep the Kondke banner flying high. And I will strive to rise to his expectations. However, right now I don’t see any light. I am plunged in the darkness of grief.

Vasant Sabnis
Celebrated writer who launched Dada in his play Vichha Majhi Puri Kara and later wrote his first two films, Songadya and Ekta Jeev Sadashiv. The two parted ways after that
I spotted a spark in him when I saw him in Khankhanpurcha Rajaa,a tamasha-play for the Seva Dal. Later on, when he started his own theatre company, Shahir Dada Kondke Party, he asked me to write a play for him — that’s how we got started on Vichha Maajhi..., I acted in the play too. Vichha... earned him name, fame and fortune. When he decided to get into films, he approached me again. I wrote Songadya and his next Ekta... But I found it difficult to come up with double meaning dialogue, the kind he demanded. It wasn’t my cup of tea. He took to writing himself, after that. The general standard of his films kept slipping.

Notwithstanding our personal differences, I have to acknowledge that he was a born artiste. His sense of humour and ready-wit is unmatched. His death spells the end of the naughty, raunchy brand of humour that he had popularised.

Mahendra Kapoor
He has sung all of Dada’s songs since Ram Ram Gangaram and despite being a Punjabi himself, he adapted his diction so well that he was known as the voice of Dada
Dada was a god-send to the world of entertainment. He was so charismatic. He called me up recently and told me to be prepared to sing for his next film which was being dubbed in Hindi. He added jokingly,”You must have forgotten how to sing in Hindi by now.” He was a jolly good fellow.

When he first asked me to sing for him I was rather hesitant. Although I had sung several songs in Marathi, I wasn’t too sure if I could manage the colloquial lyrics and get the right intonation. Dada was insistent and I relented. I have given playback to more than 15 films of his since then.

I remember once I was in Pune for a stage show. The waiter of the hotel where we had put up was humming one of my famous songs, Dhagala lagli kall.... When we asked him if he knew who had sung it, pat he replied confidently, “Dada Kondke, of course.” That was the kind of fan-following he enjoyed.

Usha Mangeshkar
Gave play-back to all of his films
He approached me very hesitantly for his first film, wondering whether I would sing for a new production. But I had no hang-ups. Songadya was a big hit and so was the song Malyachya malya mandi.... Several hits followed, but success didn’t change him. He remained his earlier likeable self.He was always cracking funny jokes, making people laugh. It’s amazing how he could make people laugh, forgetting his own sorrows.

When it was recording songs, however, he meant business. He had an ear for music and he would make valuable suggestions. Yet he also gave us complete freedom of expression. “You are our Lata Mangeshkar,” he would say. We have lost a fine man and a fabulous artiste.

Raam Laxman
Dada gave him a break in Pandu Havaldar and he’s been a constant fixture in Kamakshi Pictures since then
When I came from Nagpur to Mumbai, Dada changed my name from Vijay Patil to Raam Laxman. He had a tremendous understanding of music and so he was very demanding, really hard to please. I had to keep working on a score till he approved. I remember, I started on the famous number,Baiga kelewali me... from Pandu Hawaldar from 11 am. It was nearly 3 am and it was when Dada finally gave the nod. He was always very exacting but he had a finger on the pulse of the audience.

He was my godfather. I had two patrons, Dada and Rajshri. Now I have lost one.

Mehmood
Worked on two of Dada’s Hindi Productions
The death of Dada Kondke is a major loss not only to the Marathi film industry but also to the Hindi film industry because he had plans to make some more films in Hindi.

I have worked in two of his films, Andheri Raat Mein Deeya Tere Haath Mein and Khol De Meri Zubaan. It was fun working with him. He was a great actor and a gem of a person. Though he was often criticised for resorting to vulgarity, he shrugged the criticism and continued with his style of films.

I would fondly call him DK and he would address me, bhaijaan. DK had a great respect for me. Whenever we met he would touch my feet , he treated me like an elder brother.

Once when we were shooting at his studio in Bhor, he came up to me and suddenly touched my tongue with his and got the picture clicked. Taken aback I asked him what he was upto. He replied, “Yeh mera pyar hain aapke liye. Aapki zubaan aur meri zubaan to ek hi hain na?.” Anybody else would not have liked what he did but I knew he meant no harm. All he meant to say was that Hindus and Muslims are bhai bhai. Then I understood the real meaning of his gesture.

Kiran Shantaram
Dada took potshots at his father, V Shantaram’s films
The Marathi film industry has lost its backbone. Dada Kondke wanted to give the ailing regional industry a fillip. He was working on some magical formula , something that could change the dismal scenario.

Dada was a big help to the industry. He always managed to bring back the Marathi audience to the theatres with his films.

There is this misconception that Dada used to ridicule my father, late V Shantaram’s films. But in 1974, Dada himself took pains to clarify in Screen that he meant no harm and was doing it in good fun. He also said that he and my father had been friends.

Both of us have been trying to solve the problems plaguing the Marathi film industry. We had even approached the government of Maharashtra with some solutions. But he left his work half-way and took off.

Vinay Laad
Director and son of Dada’s all-time
favourite cinematographer Arvind Laad
Dada was a 440 watt live wire, full of life and vivacity. My dad and Dada formed a mutual admiration society. The two worked so harmoniously. We spent all our holidays on location at Dada’s expense. He would invite everybody’s family over to Kolhapur and it was all one big picnic for us. He would always take us to watch the last show at the local theatres. I still remember those wonderful times.

Dada had shot for Pandu Havaldar at our place. The film was not only a commercial success, but it also won him the coveted state award. Since then he made it a point to shoot at least one portion of his film at our place. He said the location was his good luck charm.

I learnt all aspects of filmmaking under him, he was very encouraging and helpful. Owing to their massive egos, my dad and Dada parted ways but they missed each other all along. They never could patch up their differences here. Hope they have made it up now.

Ashok Saraf
Actor who was given his break by Dada
Dada Kondke gave me the first major break of my life in Pandu Hawaldar . It made me a star overnight. Ram Ram Gangaram which followed soon after further boosted my film career. He was my friend, philosopher and guide. I owe him everything, I am what I am today only because of him.

Sachin
Actor-Director
I have been his ardent follower since I was a child. I watched all his plays and films most religiously. I have seen Vichha Majhi Puri Kara 28 times and Songadya, ten times. I loved his comedies, they were so clean. It was only later that he took to double meaning dialogue. The world has lost a chunk of fun in the passing of Dada.

Vijay Chavan
Marathi comedian who was to star in Dada’s forthcoming film
It was my life-time ambition to work with Dada. My joy knew no bounds when he called me with an offer in Yevu Ka Gharat and later in Sasarcha Dhotar. He was so spontaneous, so full of life. He would stick paper tails behind our backs, he was always playing pranks. He was still a child at heart. He made you feel older with his youthfulness.