That sounds exclusive and enticing… made one feel like a star. But it was just a start — a start to showcase what a small group of talented individuals can do.
The idea for the fourteen-and-a-half-minute film brewed over a cup of coffee where writer Tanuj Khosla shared his story with actress Renita Kapoor. Kapoor said she always wanted to play a dark character and the story offered that.
Set in an indeterminate interior, in this case Kapoor’s house in Singapore, the film mapped the life of a stand-up comedian couple in India (and there is no way to figure out where the locale is if it is all within a room). We know the country because the dialogues mention the fact that the husband is a top comedian in India. The movie is mainly conversation between the couple — in a mix of colloquial Hindi with a smattering of English — the way any person would in a well-to do Hindi speaking Indian home.
The story takes a strange twist.
The wife is Kapoor. And the husband? The husband is no less than actor Shishir Sharma, a well-known actor on stage, television and Bollywood in India.
For fifteen minutes, no one spoke. No one moved. And all eyes were glued to the screen that told a gripping tale with a strange twist at the end.
Zafar Anjum, the founder of Kitaab and Filmwallas made his grand debut as a director of this film – The Sacrifice. Why would Zafar Anjum — a writer with a number of books under his belt and some published by Penguin — move to direction and filmmaking?
He is a well-known figure on television. He is a prominent actor in films… a good friend to famed actor Nasseruddin Shah and actress Ratna Pathak. He is kind to young filmmakers who start their career and does short films for them as he recently did in Singapore. He starred in Kitaab and Filmwalla founder Zafar Anjum’s first short film that has been shown to the public — a fourteen-and-a-half-minute movie called The Sacrifice with a talented actress from Singapore, Renita Kapoor.
And yet this man has a secret, a small office in Mumbai where he spends time by himself and writes. Meet Shishir Sharma, the character actor who can be seen on stage in theatre, on the silver screen, both in Indian television and cinema.
And what does the actor write?
You would think… it would be something for the screen or maybe about his life. But no, he writes about his parents and his father’s past. For spoilers, the story starts as a romantic one. Picture this: 1951 — in sepia tone — A young man in his early twenties goes off to get milk as does a fifteen-year-old girl. This would be a common thing but, wait, the story does not end there. The two meet and they travel in the opposite direction from their home on train to spend time with each other unbeknown to their families and, a few years later, they are married, and they have their first child — Shishir Sharma.
Talking to Shishir Sharma was not just a privilege but like a walk through the annals of Indian theatre and film history. His parents were involved with theatre and films, including the Leftists IPTA (Indian People’s Theatre Association founded in 1943 to bring cultural awakening among Indians during the independence struggle). Though his father earned a living through his small business, the interest in theatre and films stayed. He was even part of the production unit of NFDC (National Film Development Corporation) when the legendary film Garam Hawa was filmed in 1970s, says Sharma. Based on an unpublished story by the noted Urdu writer, Ismat Chugtai, this award-winning film gives a poignant telling on the impact of the 1947 Partition.
Living in Mumbai moving around with friends Naseeruddin and Ratna Pathak, Sharma was cajoled into theatre in 1974 by a person no less than Satyadev Dubey, an Indian theatre director, actor, playwright, screen writer and director and winner of numerous national awards ultimately crowned by the fourth highest civilian honour in India, Padma Bhushan. He had trained outstanding actors like Amrish Puri, Amol Palekar and, later, Nasseruddin Shah, Ratna Pathak and Neena Kulkarni, says Sharma. He was picked together with Naseeruddin Shah and Ratna Pathak. He tells a story of how Dubey came into Pathak’s house and found the three friends having a meal. He asked them to join his group. Sharma refused initially but eventually gave in.
From theatre he moved to television in 1993 with Swabhiman that came after Buniyad, both popular television serials in the early days of soaps in India. They were very well paid in those days, says Sharma.
Satyam, his first film was in Telugu. That came after some more years. Sharma started acting in a number of Telugu movies. And he actually has a Telugu tutor coming in to teach him the language. “All the characters I play are not really Telugu. They don’t want the pukka (pure) Telugu accent.”
Uri…courtesy Fandago
Raazi… courtesy Democracy News Live
Then came more films, this time in Hindi; among them, the national award-winning films, Uri and Raazi, and short films, like Roganjosh, where he and Naseeruddin Shah, were back together. Roganjosh, written and directed by Sanjeev Vig, won the Best Filmfare Award in the category of short films and is an emotional telling of how the terrorist bomb blast of Bombay Taj in 2007 destroyed the lives of everyday men and women. He was picked for this movie, Sharma says, because of his forty-four-year-old friendship with Naseeruddin Shah. Their mutual camaraderie was an asset to the film.
Ajay Bahl, Director of Section 375, in conversation with Zafar Anjum, founder of Kitaab and Filmwallas, at the global premiere of the movie in Singapore at Sg.SAIFF*, September 2019
A private viewing of a film?
