'It's this swag and body language that convinces you that he can pound 10 men to dust with his bare fists.'
He was a stuntman on the sets of Mard when he got to see Amitabh Bachchan from up close.
Over the years, they have moved from being professionals to cementing a personal bond that never ceases to amaze their colleagues.
As the legend turns 80, action director Sham Kaushal opens up about their relationship in conversation with Rediff.com Senior Contributor Roshmila Bhattacharya, "I got myself clicked with Amitji in Ooty, at the Mard shoot. Years later, when I reminded him of that meeting and showed him the black-and-white picture, he was immediately excited and asked me to share it with him."
From on screen to off screen
I saw Amitji for the first time when I was in college in Punjab, on screen, in films like Zanjeer, Sholay and Deewaar.
Back then, I never imagined that one day, I would meet him in person or have the good fortune of working with him.
But I did get to live out an impossible dream when I found my way to Mumbai, and while working as a struggling trainee stuntman, saw Amitji from a distance at Seth Studio where he was filming the Namak Halaal song, Ke Pag Ghunghroo Bandh Meera Naachi Thi, dashing in a pink pagdi.
The second darshan was in Bandra (north west Mumbai), where Parveen Babi and he were shooting for Khudgarz.
Picture perfect moment
Once I joined action director Pappu Vermaji, I went on to do stunts in many of Amitji's films, including Mard, Coolie, Ganga Jamuna Saraswati and Jaadugar.
In Mard, he played a tangewala and Manmohan Desaiji (Producer-Director) would insist on having three-four young stuntmen on the set all the time to handle the tanga and the horse when Amitji was riding.
I was one of them.
I got to observe him at close quarters and was impressed by Amitji's dedication and discipline, the way he carefully listened to Manji and Pappu Vermaji and followed their instructions, wanting to do every stunt himself.
He was always punctual and jovial, would crack jokes to keep the atmosphere on the set light.
Back then, I was just one of the fighters and there was no personal connection.
But I got myself clicked with Amitji in Ooty, at the Mard shoot.
Years later, when I reminded him of that meeting and showed him the black-and-white picture, he was immediately excited and asked me to share it with him.
The next day, I had become famous because he had uploaded the picture on Twitter and written how happy he was that Sham Kaushal, a stuntman during Mard, was now a top-ranking action director,
It was so humbling that a superstar of his stature would mention me in his post.
The next morning, I could see dawning respect for me in the eyes of everyone present on the set, such was the combined power of Amitji's magic and social media.
The Big B in a harness
I turned action director in 1990, but for the next 18 years, till 2008, I did not get an opportunity to work with Amitji.
Our first film together as actor and action director was Bhootnath.
We were in Mehboob Studio, when I hesitatingly approached him and informed him that we would need to put him in a harness and zip him down a wire for a shot.
He was 60 plus, but wowed me with the childlike enthusiasm with which he approached and executed the stunt.
I saw the same excitement on the sets of Ribhu Dasgupta's 2016 thriller, Te3n.
We had to film an action sequence in a tram in Kolkata.
It was a 10 am-10 pm schedule, and after shooting with him non-stop from 2 pm to 5.30 pm, I told him he could go back to his vanity van and rest for a couple of hours while I planned the next shots with my fighters and the night lighting was set up.
He told me, 'Paaji, don't worry about me, I am comfortable here,' and continued to carefully observe us from his chair.
After a while, I saw him beckon his Man Friday, and having gauged what I had in mind, asked him to get his sports shoes and kneecap, quietly prepping for the shots.
By then he was in his 70s, but his enthusiasm, energy and passion to learn was that of a newcomer.
While we were shooting in Shantiniketan, while the rest of us chose to stay put there, Amitji would drive down every day from Kolkata, and after 'pack-up', return to his hotel in the city, a three to four-hour journey.
Joining the Yudh
While Ribhu was shooting his 2014 psychological thriller, the miniseries Yudh, Amitji's debut fiction television show, I got a call from the set one day.
Ribhu asked me if I could direct some action sequences.
The dates were clashing with a prior commitment and I was trying to tell him that it would be difficult for me to do adjust when Amitji, who was sitting beside Ribhu on the set, took the phone from him.
He told me that they were really keen on me.
He said he was even willing to change his dates to accommodate me.
I was so surprised that a superstar like him would give so much importance to a technician like me.
It was a wonderful gesture of a great man and an unforgettable moment for me.
I assured Amitji that I would definitely join their Yudh.
And I did.
It is always a pleasure working with Amitji whose passion and dedication is so inspiring.
While on Yudh, one day, we were shooting in Ghatkopar (north east Mumbai).
Amitji had given us time from 9 am to 5 pm after which he had to rush to Film City for a promo shoot of Kaun Banega Crorepati, then take the late night flight to London for R Balki's film.
Unfortunately, that day, the heavens opened up and though he left home on time, because of water-logging and traffic snarls, he reached our set only around 11 am.
We shot with him without a break till 3 pm.
Then, figuring that I had things under control to wrap up the shoot by 5 pm, I suggested he go to his van for half an hour and finish his lunch since we had all had ours in turns.
He refused to budge, saying, 'Paaji, khana to roz khate hain, aisa kaam karna to kabhi kabhi naseeb aata hai (Paaji, I eat every day, but I am fortunate to work like this only once in a while).'
I was left speechless by his words, but insisted he eat.
To indulge me, he asked for a sandwich, and ate it, dirt-streaked, on the set, refusing to budge.
Priceless praise, sleepless night
Our most recent film is Sooraj Barjatya's upcoming Uunchai.
While I can't talk about that one yet, I can share that when I went on the set after Vicky's (actor son Vicky Kaushal) wedding, Amitji was the first to hug and congratulate me.
As his famous baritone rang out on the set, 'Badhai, shaadi ki bahut bahut badhai ho, Paaji', Soorajji and others from the unit marveled at how comfortable we were with each other.
It is a relationship that has grown over the years.
Today, if I were to text him, I know I can expect an answer in 10 minutes.
Over the years, he has sent me so many warm messages.
When Vicky's Masaan released, he watched it on the first Saturday, and as soon as the film ended, messaged me around 1 am, raving about the film and my son's performance.
His praise is so priceless that none of us could sleep that night.
Since then, whenever Vicky has done good work, there have been letters, texts and bouquets from Amitji.
It is so humbling!
There is so much to learn from him.
As an actor, he is a true professional, with the rare skill of doing an action scene with both his shareer (body) and his chehra (expression).
When he is hitting someone, you can see it in his eyes.
And when he is the one getting hit, you can see that in his expression as well.
It's this swag and body language that convinces you that he can pound 10 men to dust with his bare fists.
Amitji's talent and histrionics, along with his hard work and heart-warming humility, makes him great in my eyes.
