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It is quite surreal to talk about Nitin Chandrakant Desai’s demise today, just three days after I spoke at length about him, his work and how he redefined art direction in Indian cinema in an interview. This on-camera interview, which lasted over two hours, was for a documentary on Nitin commissioned by National Film Development Corporation of India (NFDC) as part of Azadi Ka Amrit Mahotsav. In that I mentioned that an art director of Nitin’s stature should now mentor a new generation of art directors. During his three-and-a-half decade long career, Nitin had achieved the highest place among Indian art directors. He had recreated scenes of every possible period — right from of Indus Valley civilization to modern India and futuristic settings.
During the shooting of television series Bharat Ek Khoj (1988-89), I used to drop in on their sets to meet Nitish Roy and discuss the production design for Chanakya (1991-92). There, I met Nitin, the energetic chief assistant of Nitish. I noticed that Nitin, who was in his early 20s then, used to spend long hours on the sets. Being hands-on, he used to carry out manual work, like spray painting. He didn’t stop that practice even after he became a renowned art director. Since Bharat Ek Khoj was a demanding project, he used to stay back on the sets. During those days, technicians were not held in high regard in the industry and they didn’t enjoy many privileges, such as access to comfortable rooms. He used to sleep on the sets when required and use the common washrooms. When Chanakya was under production, Nitish and I parted ways due to a clash of personalities. That’s when I roped in Nitin to head the production design and he came on board with Nitish’s blessings. He put up a massive set for the series and the rest is history.
We both were part of several government trusts and we met last year regarding the setting up of a proposed museum at the Ram temple complex in Ayodhya. Since his vision and work were appreciated by many political leaders, he contributed a lot to the creative endeavours of the government — designing many proposed public spaces as well as venues for major events. What was remarkable is that he never said no to any suggestion or proposal. He found solutions to problems and came up with innovations. So, it is tragic that he left us like this. The reports that he had taken loans and was in financial trouble came as a surprise to me.
In my conversations, I have suggested that he should be called ‘kala rishi (a saint of art)’. He was deeply involved with his work and he believed in achieving perfection in whatever he did. Both Nitish and Nitin believed in authentic recreation of a setting. Not only Nitin dominated the scene with his work in many successful movies (such as Hum Dil De Chuke Sanam and Devdas, 1942: A Love Story, Mission Kashmir, Once Upon a Time in Mumbai, Munnabhai MBBS, Lage Raho Munna Bhai, and Prem Ratan Dhan Payo), but also built spectacular space like ND’s Film World in Karjat.
Even after receiving multiple National Awards, he remained down-to-earth. Often, I used to visit his sets, including that of Devdas, even when he worked for other directors. Most of the time, we create sets on a barren land. But he made it mission to grow trees at his Karjat studio.
As told to Alaka Sahani
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