December 19: ‘‘Kaahe ched ched mohe.’’, the bandish sung by a velvety-voiced Kavita Krishnamurthy set to raga Basant serenades you as you walk in. There’s a faint hint of laughter too like the clinking of china as ghungroos keep beat with the percussion.This is no ideal situation though. The gravel on the floor makes practice difficult for guru and shishya alike. ‘‘Sambhal kar beta,’’ says a doting Birju Maharaj as he takes Madhuri Dixit-Nene through the paces. The celebrated kathak exponent is choreographing dance sequences for Sanjay Leela Bhansali’s Devdas which is being shot at Film City. ‘‘Since Chandramukhi’s character is that of a courtesan, a proper kathak based sequence became essential,’’ explains Madhuri who has worked with Birju Maharaj in Dil To Pagal Hai. Okay we know the choreographer for that film was Shiamak Davar and he even bagged the Filmfare award for it but there was this small sequence just before the intermission where Shah Rukh Khan who is playing the drums goes up to her ecstatic ‘‘tum hi meri Maya ho.’’ ‘‘Since that piece required a very Indian feel to it Maharaj was requested to help out and he graciously agreed even though it was conveyed to him at the eleventh hour,’’ explains Madhuri, ‘‘I’ve always been a great admirer of his style but after working with him closely I had hoped we would work together closely again.’’ When Sanjay Leela Bhansali explained his conceptualisation of Chandramukhi’s character it was Madhuri who suggested that the choreography be handled by Birju Maharaj. Ask him to explain how he worked on the steps and he smiles. ‘‘the traditional courtesan that was explained to me led me to suggest the use of bandish composed by my Guru Maharaj Biddudin. Bhansali not only agreed to use the bandish but also kept the same tune,’’ he says lauding Kavita Krishnamurthy’s rendition. Along with the bandish Bhansali is also using two of Maharaj’s poems he is a remarkable poet and the folksy flavour has made him popular at many a kavi sammelan which are based on the shringar ras. He is very pleased with Bhansali. ‘‘He is not the paisa-phek-tamasha-dekh kind. He took great pains to understand every little gesture movement, footwork and the use of the eye. I have no doubts that the final product will be a treat for the eyes.’’ Of Madhuri, he says, ‘‘She has the basics right due to her earlier training in kathak. I only have to improvise and teach her subtle details.’’ Lamenting on the vulgar and obscene use of kathak by contemporary choreographers, Maharaj says, ‘‘It’s not their fault since most directors today want a mix between a mujra and a cabaret.’’ From a gruelling schedule on the sets, the septuagenarian moves into the hallowed hall for a concert with tabla wizard Zakir Husain. Music and dance does not sap his energy, he says, only revitalises him. ‘‘I have never been insincere with my art, so I doubt it will let me down ever,’’ he remarks, ‘‘Wednesday’s will be a totally extempore performance since Zakir is also flying down from another concert to Mumbai just before the show.’’ But Devdas work, he is certainly looking forward to. Sanjay Leela Bhansali’s Devdas is an ambitious and latest Bollywood recreation of Saratchandra’s classic love story. The first version had the unparalleled KL Saigal in the lead role while thespian Dilip Kumar epitomised Devdas in the later version. Shah Rukh is the new Devdas and Bhansali, with films like Hum Dil De Chuke Sanam, has already become famous for having constructed the most expensive set ever in Bollywood to recreate the Calcutta of the 30s. It was constructed for a reported sum of Rs 11 crore.
