THAKSHAK

Only love has the power to change life today, to build a brave tomorrow
He was a leading light even when he was just known as Shyam Benegal’s cinematographer and like Shyam was one of the foremost leaders of what was called the forces of the parallel or new wave film movement. It took Govind, a man of the genius and the calibre and the power over the medium, very little time to branch out and start a one-man movement of his own. Govind Nihalani made his mark as a director with Ardh Satya and made the world sit up and wonder what kind of cinema this cinematographer-turned director was upto, what kind of films he was trying to bring alive. Govind Nihalani made it very clear with his very first attempt that he was not around to play and frolic with dreams. He made sure that he was here to portray the truth as it is, a little liberty here and there, but the truth, the whole truth and nothing but the truth sincerely or not say anything at all. With just one Ardh Satya he made it clear that he was in the business of entertainment, entertainment with a very big difference, entertainment blended with enlightenment which would make an impact on society. He also raised debates, serious debates about who was better, his guru, Shyam Babu or Govind, the chela. The debates still continue and there’s been no conclusion as yet.

Govind went great guns after the grand success of Ardh Satya (it was acclaimed at every festival in the world and Om Puri, Govind’s favourite mascot, even won the best actor award at the prestigious Karpuvy Vary Festival). A string of some very significant films followed, all of them created and shaped out of life -- films like Vijeta, Aakrosh, Party, Droh-Kaal, Hazaar Chaurasi Ki Maa and some experimental films which like most experimental films made with double the effort still find it difficult to find buyers. Appreciation and awards continued to flow in. Govind was recognised as one of the leading filmmakers of the country but the people of India generally proved that they were in no mood to accept the truth in these true to life films. Their addiction to all those mega films with little or no meaning but all the gloss, glitter and gore was too difficult to detoxify. They were too high on what was being fed to them for years.

The reaction of the masses rocked all the geniuses. And some of them decided to go into a conclave and come out with some concrete results before they were forced to rush into oblivion on their own. Govind and his best friend and guide, Manmohan Shetty, realised that they could make films that would be appreciated by the people. It was not so easy but they would have to try, to experiment if they had to survive. Fifteen per cent, eighteen per cent and twenty per cent collections were an insult to their genius. They wanted to rise, to change their strategy. Manmohan played a key role in convincing Govind and once Govind agreed there was no saying no, no going back. They know they could find a way. They tried and the result was Thakshak, one of the most eagerly expected films, even anxiously. Govind had gone out of his way to blend the best of art, the best of commerce and conscience to try and make a film that would appeal to everyone, even the common man, the man who has been brought up largely on experiments in cinematic expression which only reached the notorious, disastrous ‘Canned Film Festival’. Govind had taken a major decesion. He would change.

Govind went around desperately looking for a story that was relevant to today’s times. He found it and called it Thakshak. It took him time to convince even his best friends about his decision to call his first major experiment by such a difficult name. They tried. But he refused to budge. Thakshak it was and Thakshak it would be because it suited Govind’s subject like no other title, he said. Govind showed his will to change with positive vengeance when he cast Ajay Devgan, Tabu and Amrish Puri (a must, a mascot like I said) in key roles. His friends he had left behind on the other side wondered if he would be able to manage these big stars of the other big world. He didn’t have to manage them. They were so full of awe and respect for their director that they gave him more than what he wanted. They wanted change as much as he wanted. It was a mutual admiration society working towards one goal -- making a film that was more than an ordinary film, even an extraordinary film.

Govind surprised his friends and admirers again when he signed the whizkid of the South, AR Rahman to score the music. Govind made any number of trips by night (Rahman works only at night) to Chennai where he inspired the already inspired genius of Rahman to come up with music that would suit a rough subject like Thakshak. Rahman was pleased to work with Govind and gave him nothing but his most powreful, his most soothing, something that suited the power and the power of love in Thakshak. The effort -- the team has come up with music which is being talked about long before the film can be released. Govind is also the producer and cinematographer of the film. He has taken up too many responsiblities but those who know Govind and have been following his work know what Govind does only to come up with what he wants, what his conscience prods him to do, want.

Govind’s Thakshak is the story "about an individual caught in the eternal moral conflict, a choice between personal relationship and social responsibility. This conflict is manifest in Ishaan’s (Ajay Devgan) character who symbolises the youth of today, caught in a web of personal relationship, their apathy to social responsibility. He is beckoned to look beyond his own world by the idealistic Suman (Tabu). Her love gives him the strength to stand for the truth, to rise above the personal and see violence and crime in its true and ugly form garbed under the clock of friendship and loyalty".

Govind knew he had to pass this very crucial test. It is a crucial test for him, for Ajay, Tabu and Amrish, for all those who are interested in the growth and betterment of Indian cinema. He knows he has done his best. He knows the responsibility he has carried on his shoulder and faced it. Govind cannot fail because the power of his talent has seen to it. Govind must succeed if all of us have to succeed. A simple man in a giant of a genius cannot fail. This is my prayer.

APJ