The Last Laugh

Most productions of Vishesh Films—owned by Mahesh and his brother Mukesh Bhatt—over the last decade have witnessed a similar fate,be it Raaz,Murder,Kalyug,Gangster or Awarapan. One can even spot a formula: low-budget thrillers with non-stars,erotica and hummable music. And to keep the budget low,the Bhatts rely on their camp members—a strong network of family members such as Pooja Bhatt,Soni Razdan,Emraan Hashmi and Mohit Suri apart from other loyalists like writer Shagufta Rafique and director Vikram Bhatt.

For those who have followed Mahesh’s 43-year-long film career,the criticism may seem justified. Born into a film family,he started as an assistant director at 20. While his debut,Sakat (1970) went unnoticed and Manzilein Aur Bhi Hain (1974) about two men and a prostitute was banned for “objectionable content”. It is Arth (1982) that brought him under the spotlight,followed by Saaransh (1984) and Janam (1985). However,Naam (1986) gave him what he was truly pursuing—his first box-office success. Though his career since has boasted of many such commercial successes,the quality of his movies has been questioned. In his defence,Mahesh says,“I made art cinema because I didn’t have the money to fund a commercial venture. It was not a conscious decision.”

In 1986,his brother stepped in to form Vishesh Films as well as handle money matters. Though the banner churned out hits such as Dil Hai Ki Manta Nahin,Sadak and Aashiqui,filmmaking became an assembly-line production. Rumours had it that Mahesh would start off multiple projects but his assistants would ghost direct. Mahesh explains: “My best works happened when I cannibalised my own life,like in Janam and Zakhm. I was done telling my stories,and managing stars had become too tedious.”

The 63-year-old retired as a director in 2001. But his team feels that it kickstarted a new phase. “The success of Jism (2000),which he helped his daughter Pooja produce,made him realise that the content needed his expertise. And he became a mentor,” recollects Rafique,who has penned Woh Lamhe,Raaz 2 and Murder 2.

Talking about this new beginning,Mahesh says,“We needed to make brave,new cinema for a global,net-savvy audience. Mukesh and I decided we’d make films without stars. That way,we could take bigger risks.” Soon,the Bhatts turned star makers—Nadeem-Shravan became household names with Aashiqui,Bipasha Basu with Raaz,Hashmi with Footpath and Kangna Ranaut with Gangster. Filmmakers like Vikram Bhatt and Milan Luthria too found their foothold in the industry by working for Vishesh Films. Suri,who has directed seven movies for the banner,continues his 13-year-long association with the Bhatts while Kunal Deshmukh,director of Jannat and Tum Mile,is another loyalist on the team.

The use of “erotica” has become the Bhatt’s trump card of sorts. “The models of the industry were outdated and that was proved when Murder’s morality of a woman seeking pleasure outside her marriage worked,” Mukesh says. A generous dose of this thrown in to make a fast-paced thriller along with soulful music helps them reach out to the masses.

With success,have come plagiarism allegations. Mahesh reacts furiously,“It isn’t copying that can make a film successful,but good scripts,by people who have lived a full life. It’s when they bring in their anguish and experiences that a film connects,” he says,referring to Rafique who worked in bars before turning scriptwriter. Hashmi too counts unusual scripts as one of their USPs. Suri feels no one takes risks like the Bhatts do.

Almost everyone related to Vishesh Films agrees that its strength lies in the close-knit camp mostly comprising family members — from daughter Pooja,who was nurtured to become an actor and then a director,to nephews Hashmi and Suri and Mukesh’s son Vishesh,who is being trained to take over its reins. Mahesh may be the driving force but he chooses to give equal credit to his brother and the team.

“It’s the urgency that the young ones bring that drives us to stay two steps ahead. And Mukesh has this intuitive ability to put together projects which ensure that even if the film flops,no one,including the distributors,loses money. Without him,I would have been a starving genius.”