The book starts with a brief introduction to Sanjeev Kumar’s family tree and then jumps straight into a detailed chapter on his death. The latter is narrated by two people––‘The Last Supper’ by Shabnam Sippy Pillai of NN Sippy productions, and ‘The End’ by Kumar’s fan, a good friend and fellow actor Sachin Pilgaonkar. The narrative by the author picks up the thread to take us through the events that followed the death of Kumar on November 6, 1985. Strangely, the chapter is almost completely devoid of emotion, and it is left to the reader to evoke any sense of loss.
A handful of narratives about Kumar, born as Harihar Jethalal Jariwala, by Moushumi Chatterjee and Sharmila Tagore, Gulzar and Shatrughan Sinha give us an insight into some aspects of how the actor approached his roles and what they perceived to be the secret of his effortless acting. It is, however, the chapter by Amardeep Singh Kohli, son of Kulwant Singh Kohli, who owned Mumbai’s Pritam Restaurant famous for its butter chicken, which paints a portrait of Kumar as a loyal friend. By letting us into the close friendship between the actor and the hotelier, Kohli’s essay shows how the former was quietly kind and never hesitated to help a fellow “industry walla” in need.
His generosity and his love of food and drink are the common threads that run through the many essays in the book, whether by family, close friends (whom the world mistook for being hangers-on), or fellow actors. But despite the repetitions, reading through the book can bring some gems to the surface.
Like when Tagore talks about how during his visits to their place, “Haribhai would have one too many. I remember that, on one occasion, Haribhai had to hold one hand with the other, to ensure that the spoon of food actually landed inside his mouth”––a poignant image that hints at unspoken sorrows. Again, she tells us of him having friends from all walks of life, including the formidable mafia gang leader Haji Mastan.
Actor Randhir Kapoor tells us of Harry, as he called Kumar, being close to Shammi Kapoor, and that his approach to life was to let his tensions waft away with the smoke of his cigarettes. Others talk about the surprisingly private person he was, who would go completely silent after the first few drinks, never saying a word. And obviously, the actor had plenty, by the way, of tensions.
An entire section on his love life discusses the relationships with co-actors Nutan and Hema Malini and an unidentified ‘Muslim actress’. Unfortunately, no new information is offered in these chapters, and they remain just a key-hole for the voyeuristic reader to peep through.
More important, though,are the facts that Kumar lent his Mercedes as a prop in many movies, or that he, along with Mumtaz, shared reels of a young Shatrughan Sinha’s maiden work with producers to further his career. Generosity also shone in the fact that the actor never stinted on praise. He could ask a 13-year-old Sachin how he did the role in the Marathi film, Ha Majra Mark Ekta, and seek his autograph. And it is to Kumar that the credit goes, for suggesting a still undiscovered Amjad Khan to Ramesh Sippy for Sholay.
It may come as a surprise to readers that the no-star-quality actor was the heartthrob of countless lady fans, and an emotional account by singer Sulakshana Pandit talks about her undying love for him. Never considered hand-some, because of the fleshiness drinking gave to his face, and the girth it added to his middle, a few photographs in the book show him as a handsome young man who could indeed have been the heartthrob of a nation. Yet, there is truth in the observation, made at least twice in the book that Kumar never tried to be a star, or unseat any hero, which is why he could garner a variety of plum roles in movies as varied as Silsila, Sholay and Trishul.
The book could have been more carefully edited, with repetitions cut out. The interspersing of
chapters by the author with those by others also does the book a disservice. Kumar needs a really
good book that studies his craft that he raised to the levels of fine art; and how his life and work influenced each other. That’s the least the publishing industry can do for an actor of his calibre.