In the late ‘40s, he was competition to Raj Kapoor, Dilip Kumar and Dev Anand. But when he tried to form an onscreen pair with his beautiful wife Bina Rai, it sadly didn’t work. The 14 years that Premnath spent waiting for stardom to shine again, helped him embrace other facets of himself. Like his spiritual search in the Himalayas. His tryst with music, poetry and writing...
And then he roared back... as the blockbuster baddie in Johny Mera Naam. The powerful Rai Sahab, being seduced by Padma Khanna in Husn ke lakhon rang, was the highlight of Vijay Anand’s thriller. Next, Feroz Khan’s Dharmatma – a takeoff on Godfather - had him play Dharmdas – our own home-grown Marlon Brando! And who couldn’t but love the earthy fisherman Jack Braganza in Bobby, Khan Badshah in Shor and the joyful Harnam Singh in Roti Kapda Aur Makan? Vociferous, volatile and yet vulnerable... Premnath was an emotional tornado he was. In this month, which marks both his birth and death anniversaries, his younger son/actor Monty Premnath shares memories of his father... in his words
Army to arc-lights
Papa was born in Peshawar. His family shifted to Madhya Pradesh after the Partition. While he was in school, he’d write letters to Prithvi Papa (Prithviraj Kapoor), whom he was related to, saying he wanted to join films. My grandfather being an Inspector General Of Police sent Papa to the army instead. But Papa’s heart belonged to films. Once, he wrote a letter to his father asking him to send ` 100 to buy a gun. With that money, he came to Dadar. He went straight to Prithvi Papa, his guru, and joined Prithvi Theatre.
He debuted with the film Ajit (1948) and went on to become a star in the late ’40s and early ’50s playing the lead in films like Sagai, Buzdil, Naujawan and Dard-e-Dil. He enjoyed top billing. At one point, he was paid more than his peers. He was paid ` 1.25 lakh per day, while Raj uncle (Raj Kapoor) apparently got ` 75,000, Dilip saab (Kumar) ` 50,000 and Dev saab (Anand) ` 35,000. Then after Aag (1948) and Barsaat (1949) he rose higher. He had a fit body, he exercised regularly. Girls were crazy about him. There were instances of them tearing off his clothes. Soon, Papa and Raj uncle became friends. Once they went to Jabalpur together, where Raj uncle saw Krishna aunty (Kapoor), Papa’s sister. Raj uncle fell in love with her and they got married. Raj uncle would often joke with Papa saying, “Saari khudai ek taraf, joru ka bhai ek taraf!”
Premnath-Bina Rai love story
Mom (the late Bina Rai) was a fan of dad. They first worked together in Aurat (1953). Mom was nervous in front of a superstar. Her hands were trembling, while giving the shot. So Papa put flowers around her hand in a bid to camouflage that. Papa was taken in by her simplicity. Gradually, they fell in love and got married. Randhir Kapoor, who was a child then, sat on the horse with Papa as the sarwala (best man).
After marriage, my parents started their own production unit (P.N. Films). Their first offering was Shagufa (1953). But it didn’t do well. The films that followed – Prisoner of Golconda, Samundar, Hamara Watan and Chengiz Khan – suffered a worse fate. Their charm didn’t work after marriage. But mom’s films like Anarkali (1953), Taj Mahal (1963) and Ghunghat (1960) with other heroes were hits. Ghunghat fetched her the Filmfare Award for Best Actress. Papa’s, career, on the other hand went downhill. The years between 1956 -1970 were bad for Papa. Since mom was doing well, producers would line up for her. Invitation cards were addressed as ‘Mr and Mrs Rai’. Papa was happy for her but somewhere his pride was hurt. In fact, Hrishikesh Mukherji based Abhimaan on my parents’ life.
The spiritual trek
Papa drifted towards religion. He went off to Char Dhaam in those 14 years. He travelled to the Himalayas. In 1957, he made a documentary on Kailash Parbat. He returned in 1958, when I was born. So I was given the name Kailash. He wrote three books during that period – Tears Of The Heart, Dil Ke Aansoo and Shraddhanjali. People said he had become a sadhu. But humanity mattered to him above all. He’d say, “My name Premnath. Prem batne hi aaya hoon! ”
During those years, he didn’t touch non-vegetarian food or alcohol. But years later, when he developed kidney stones, the doctor asked him to have beer. Then whisky, gin… all came along. I drew close to him during this period. He was both – mother and father to me, as mom used to be busy shooting. Later, she quit films and sacrificed for the family. Daadi Maa (1966) was her last film.
The comeback
Papa believed in astrology. He knew that Johny Mera Naam (1970) would be his comeback film. He had told Dev Anand while shooting that the film, which was releasing on his birthday would be a hit. For an actor who was out of circulation, you could see that confidence in his portrayal. He shared a special bond with director Vijay Anand. Years ago, Papa, as a chief guest at a competition, had adjudged Vijay Anand’s production as the best play. After Johny Mera Naam, he was in top form with title roles being written for him in films like Chattansingh (1974) and Dharmatma (1975).
Meanwhile, Raj uncle was devastated after the debacle of Mera Naam Joker (1970). RK Studio was mortgaged. Papa was also upset as Krishnaji was his sister. Once, when we were celebrating Holi at Chembur, Raj uncle told Papa, ‘I’m planning a film with Rishi (Kapoor) and Dimple (Kapadia). I’m a flop director but you’re in a good position. Will you work with me?’ Papa replied, ‘Kamal hai! We began our journey together. We’ll make a blockbuster!’ He would sleep with the Bobby (1973) script by his bedside.’ Such was his devotion! He went and lived in the machere basti (fisherman’s colony) in Versova for two days to pick up their mannerisms. I remember one evening at RK Studio, Raj uncle and Papa sat drinking in the cottage listening to Goanese tunes. One of them was Ghe ghe ghe re Saiba, which was selected for Bobby.
Subhash Ghai also called him ‘Papa’. Subhashji was given a chance to direct Kallicharan by NN Sippy on the condition that it would star Papa. Shatrughan Sinha was a villain, who would be playing hero in the film. Reena Roy was a newcomer. Naturally, Sippy saab was concerned about selling his film. One evening Subhashji came home to narrate the script to Papa. Papa, a music enthusiast, was doing riyaz with his Guruji. Subhashji got a chance to narrate the script after the riyaz got over at 4 am. Papa then asked him to sleep in our home. He gave his nod only in the morning.
Subhashji did many films with Papa like Vishwanath (1978), Gautam Govinda (1979), Karz (1980) and Krodhi (1981). But in Karz, he gave Papa the role of Sir Judah, a don who couldn’t speak as those days Papa was not keeping well. He had developed neuritis and couldn’t walk. Given his vociferous performances, he didn’t want to appear as a watered-down version of himself on screen.
Manoj Kumar came to Papa for Shor (1972). After the narration Manojji asked Papa about the payment saying, “Kab, kitna, kaise?” Papa relied, “Jab, jitna, jaise!” That was the level of trust Papa had in him. As an actor, Mr Premnath was a wild horse. He needed a good jockey, a good director, to control him and get the best out of him. That’s why his equation with actors-turned-directors like Raj Kapoor, Feroz Khan, Vijay Anand, Manoj Kumar, Subhash Ghai… was so special.
The romantic
As is well-known dad was supposed to marry Madhubala. But it didn’t work out for religious reasons. But his love for her remained pure even years after she was gone. Once we were passing by Mehboob Studio in Bandra. Madhubala’s father, Ataullah Khan saab, lived there. Papa had heard he wasn’t keeping well. He dropped in to see him. Discreetly, he pushed a lakh rupees under Khan saab’s pillow. I asked why he’d done that. He replied, “Had I married her, he’d have been my father-in-law. I’m just doing my duty as a son-in-law.” He was that emotional. I remember once Madhubalaji had called Papa to congratulate him for a performance. (Smiles) And my mom did feel possessive that moment!
Papa was a good-looking man, a rockstar. All heroines wanted to marry him. There were rumours linking him with several co-stars. But he gave utmost respect to my mother. He’d say, ‘Yeh meri Maharani hai!’ Later, when mom suffered a nervous breakdown, he was extremely concerned. She was finding it difficult to shoot for Daadi Maa but he encouraged her complete it. Their last years were spent looking after each other.
The sunset
His last film appearance was in Hum Dono (1985). For the industry, it’s out of sight, out of mind. Also, the lifestyle he led was responsible for his failing health. Raj uncle and he abused their bodies with their lifestyle, too much work and too little sleep. A certain depression had set in Papa. That fateful day, he had breakfast, took his medicines and went back to sleep. Sometime later, when the domestic help tried to wake him up, Papa didn’t respond. He passed away in his sleep on November 3, 1992. He was 65. Years later, in 2009, mom too passed away in her sleep. They say, good souls go like this.
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