Rakesh Bedi is a veteran Indian Film, stage & television actor. He is best known for his comic roles in Chashme Buddoor, Shrimaan Shrimati & Yes Boss. Shaheen Raaj Sahdev met up with Rakesh Bedi who is passionate about theatre as it gives a lot of tangents to his creativity which keeps on itching him to do something new.
Coming to Mumbai for an acting career without a Godfather! Was it an easy decision?
No it wasn’t and it never is for anybody. Because you are going into a black hole and you don’t know whether there is some light at the end of the tunnel. The only thing which you can have with yourself is your talent & confidence. By talent I mean a very hard core & purely self assessed talent. Just because you think that you are a good actor you can act or just because you think that some people have liked your performance somewhere, just because you think you are very handsome and you know acting and you are the king of acting, all those things really don’t work. You have to have a very balanced mind & a pure self analytical mind where you know where you stand.
What challenges you faced in Mumbai?
The challenges initially were many. The basic challenge at that time was that there was only one medium. It was cinema, theatre was not there as such. It was there but not paying so you could not survive on theatre. You can’t survive on television at all. So the only thing was cinema. And cinema was a monopoly of a few big producers and a lot of other people also but then you have to go & you have to meet & you have to struggle. First you have to struggle for role and then struggle to make contacts than you get the role than you struggle to do it and than you struggle to get money from the producers. These challenges were there and then to survive in this city without any external help has always been a very tough task.
You got recognization with the film Chashme Buddoor in 1981? What was the difference before and after it?
I won’t say extremely amazing. See today what happens is that the marketing tools are many. That time there were no marketing tools. Suppose I have done a good film how do I tell people. They have to only see it that’s all. I cannot tell them. Like you send a message across and it reaches millions of people. Put on facebook it reaches millions of people in seconds. That time the only way to show my work was that somebody should come & see my film. So the difference was there. I am not saying not there. But it was not that you know I say something like a rocket, something very sensational. The difference was there. But It was slow & gradual.
Is Media Industry stereotypical?
I think in India that’s how the industry has survived. Over the last 70’s, 80’s, & 90’s decade whatever we have been in this industry that’s how it has survived. Because cinema has slightly changed a bit in the last 1 decade where a lot of new talent has come in now, a lot of new thoughts & subjects are being made which are not stereotyped and which are not stencil cut. The formula films you know hero, heroine, hero’s sister will be raped and the villain, the heroine in the songs around the trees and the climax and the chase and a happy family photograph. There are thousands of films made on this formula. And plus a comedian & a comedian’s girlfriend also. So these were the ingredients which were almost there in so many films. But we got rid of that kind of cinema. I will say somewhere in the middle of 90’s and the early 2000, people were able to make cinema of their mind & of their taste. But still what happens is the media industry preliminary remains stereotyped. Because you know what happens is that everybody wants to make a hit film like a film which has been a hit. If you notice now Sultan is a big hit suddenly you will see some things coming on Kushti, some serials have been made on Kushti. Television has gone into Kushti suddenly. Pehle Kushti kyu nahi yaad aayi abhi kyu yaad aayi. Yeh stereotypical hi hai naa tabhi yaad aayi. Kuch apne dekha kuch chala toh aapko laga ki, Saas Bahu chala tha to so saas bahu was there on every channel. Abhi saap aur sapni chal raha hai uski TRP jyaada aa rahi hai so everybody is trying to make something on snake. So it has always been there in the industry.
How you been able to cope up with stereotyping?
I haven’t been able to cope up with it much. I could not rather. That’s why I do theatre. Because all my feelings, all my emotions, all my talent which is there inside me not only my acting talent even my writing talent my all kinds of energies I can channelize them in theatre I can experiment with myself in theatre. So I know in cinema they will give me a stereo cut role because for my kind of body, my kind of looks they are going to give a role of a hero’s friend or a comedian. They are not going to give me a main lead. So I am aware of these things. So that’s why I have a lust I mean when I came to Mumbai I was doing theatre even before joining FTII not that I started theatre only after coming to Mumbai. I was doing theatre before I joined FTII in Delhi. Then I joined FTII then again came here and joined theatre. So I have never left theatre for a simple reason that it gives a lot of tangents to my creativity.
Theatre gives you nothing as compared to films. So how did you manage your theatre with films?
The kind of theatre we do in IPTA does not give much at all. Much kya it does not give anything at all. It does not even give the conveyance along with all the rehearsals put in together. But it gives a lot of satisfaction. Then there are some kinds of commercial theatre also like my new play “Mera Woh Matlab Nahi Tha” with Anupam Kher & Neena Gupta which I have written & directed. It is doing wonders around the world. Even for IPTA’s play when we do commercial plays for some organisations we charge them reasonably.
Actor, writer, director & teacher. What do you enjoy the most?
All. I can’t say that I enjoy one portion more and other portion less. I enjoy everything in equal proportions. I love teaching also. A lot of people come to me to get trained.
You have worked in diverse spaces? How did you manage your personal life with so many mediums?
There is a famous saying that goes “where there is a will there is a way”. If you just say nahi nahi theatre ke liye time nahi milega, theatre se kya milne wala hai, theatre ke liye time nikalna mushkil hai. Time kabhi nikalega hi nahi. Maine toh apne career mein yeh dekha hai 35 – 40 saal ho gaye mujhe kaam karte hue. I have always been on stage. I don’t think there has been a single month in my life in the last 35 – 37 – 38 years whatever it is or may be 40 also when I have not been on stage for a single month for some play or the other.
What motivated you in delivering performances in diverse spaces?
Creativity. It keeps on itching me to do something new and it keeps on telling me come on go. For example my solo play “Massage”. It’s not a joke to do a monologue. That too something written by Vijay Tendulkar. He is not basically a comic writer. He is a very deep writer with very strong contents messages. And I chose the play because I saw the ingredients in it. So I saw if I give it my point of view it will be a hit. It can run it can appeal to the audiences. That’s what I did. It’s still running for the last 13 years. Just recently I had a show in Delhi. It was a houseful and a rocking show.
Audiences today have less patience level. How do you keep the audiences hooked on to the show?
Exactly! They have less patience level. So the content has to be stronger that’s the only answer. The moment you give them a little bit of lee way, a little bit of gap, a little bit of you know you can say uninteresting portion of the content and they will go away. They have their mobile to go away and they have their entire world in their mobile. They can connect to the data in seconds. So the secret is not to give them time. For example “Massage” is my solo play but I can say with so much of confidence that in 2 hrs time nobody can even see the watch once.
When working on a project as an actor with another director, how does the director inside you cope up?
That’s nothing. That’s very easy. You know who is the Captain of the Ship. So If something comes to my mind I definitely suggest the director. I suggest him this should be done this way. Can I say this line, can I improvise here or whatever it is. You can say it only twice or thrice. If he does not take it he doesn’t want to take it. It’s his call ultimately.
You have done a lot of comedy roles. But you have a much more serious side to you. Tell us about that?
Everybody has a serious side to oneself. I always believe that see what happens when comedy also does not make people laugh. Making people laugh is a purpose with a message with a little bit of pathos which goes deep inside the psyche of the audiences. If there is a play and there is a lot of laughter in it but only at the surface level. Like there are entry, there are exits, there are some mistaken identities. Things like that. A lot of plays running like that. But then they don’t have a life. You can’t go & see them twice. Because you are not taking home anything. The play should be such that where you are able to take home something, where it stays with you. I have people who have seen “Massage” 7 times 8 times over the period of 12 – 13 years. I know people who have seen “Shatranj Ke Mohre” 27 times. I have seen a man watched “Shatranj Ke Mohre” 27 times. Can you beat it? It is running for the past 40 years ofcourse. I know a person who has seen “Mera Woh Matlab Nahi Tha” which is running with the past 1 odd year only around 5 times. Why these plays? Why not other plays because they say something they keep you engrossed and you are not engrossed till the time of the play you are mentally occupied even when you go home, may be when you get up the next day. So it questions you and your mind.
Today stand up comedy is taking centre stage of the national television. What do you feel about this changed media scenario?
It’s okay, change is imperative. Change has to happen. I have nothing against it. It’s fine some people are making money what’s wrong with it but it should be neat. It should be clean. I don’t like making people laugh at the cost of others I don’t like demeaning somebody and than creating a laughter. I feel that it is a short cut to laughter. You can’t think of anything concrete & anything creative you just demean somebody and tries to make others laugh. And such people I have seen in my life, they cannot laugh at themselves if somebody else cracks a joke on them they get very hurt. They love laughing on other people but they cannot take a joke on themselves. Where as my policy is that you should be your own first victim. A good comedian’s first victim should be he himself. He should be able to laugh at himself and make people laugh at himself. That’s what I feel.
Tell us about your latest venture Y. A. R. O. Ka Tashan’? Tell us about your character?
It’s a show on Sab Tv coming at 7:30 in the evening. It’s a very sweet character so I liked the concept. There is one professor. He has a wife and wife doesn’t have a kid. He is a Robotics professor and a scientist. His wife is after him. Please I need a kid so he says okay I create a kid in my lab. He makes a Robo which is almost human. He can think he keeps on uploading his data from time to time making him in sync with the surrounding. He creates this. It’s a happy family. He goes on creating some mischief outside and the professor keeps on correcting him taking the blame on himself.
