Gulzar, who will receive the Dadasaheb Phalke Award in the capital on Saturday, said it is important to present literature on television without the normal song and dance routine as is done in feature films. "Doordarshan can help literature expand its reach," he said.
The 79-year-old film director, known for adapting literary works by a host of writers ranging from Saratchandra to Shakespeare, also highlighted the need to preserve regional literature through television. "We should have 500 hours of such films on every language in the country," he said. Making Nirmala and Godan, he said, were his own contribution to the idea.
The maker of Koshish, Achanak, Mausam, Namkeen and Ijaazat recalled travelling through the hinterland of Maharashtra in search of a village that could provide a realistic flavour for Godan, a novel set in early 20th century pastoral north India. He finally found a bunch of them on the Maharashtra-Gujarat border.
"It made me happy at one level. But it also made me sad to think that nearly 70 years after independence, some villages are untouched by development," he said.
The poet revealed how the meaning of Premchand's works evolved for him over the years. He spoke of the master storyteller's heart-wrenching tale, Idgah, where a small boy wants to buy a chimta (iron tongs) for his grandmother because her fingers often got burnt pulling rotis out of the fire. "I saw my mother's fingers getting burnt pulling rotis out of the tandoor," he said. Life was imitating art.
After he went to college, his interpretation of Premchand's works changed. The budding writer could see how Premchand's characters were located in a feudal society and how his works sought to address them. "When I became a filmmaker, I could again see how he had detailed rural India. Premchand knew how a lantern was lit, how a chulha's fire was doused," said Gulzar.
In a celluloid journey that began over 50 years ago, Gulzar said he was guided by many film personalities. He singled out masterclass filmmaker Bimal Roy, whom he assisted, as the person who really held his hand during the early part of his career. Gulzar's first film song, Mora gora ang le le, was for Roy's Bandini in 1956.
In reply to a question why he relies more on stories written by others to make a film, Gulzar first pointed out a few of his films, such as Maachis, were written by him. He then added, "Main bura to nahin likhta par main jaanta hoon mujhse behtar likhne wale bahut saare hain. (I am not a bad writer. But I am aware that there are many are better writers than me.")
Gulzar also explained why he had used the word chaddi (underwear) in the title song of The Jungle Book TV series. "That's the only thing Mowgli wears. The usage was apt," he said.
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