Dinesh Kamath's Editorial 'Shashi Kapoor was the most charming actor' that was published in Newsband

Shashi Kapoor was the most charming actor

Shashi Kapoor is no more. Shashi Kapoor had made his debut as hero in 1961 with Yash Chopra’s Dharmputra. Chopra next cast him in Waqt, Shashi Kapoor’s crooked-toothed good looks, amiable manner and acting skills impressed many movie lovers.

Shashi Kapoor was the youngest son of Prithviraj Kapoor, after Raj and Shammi, and the inheritor of the family’s theatre legacy. His producing landmarks such as 36 Chowringhee Lane is still remembered.  

Like Raj Kapoor, he set up a production house. It delivered landmark films like Shyam Benegal’s Junoon and Kalyug, Aparna Sen’s 36 Chowringhee Lane, Govind Nihalani’s Vijeta and Girish Karnad’s Utsav. These films also gave Kapoor a platform for his acting skills, given that the big directors had by the 1970s caged him in romances and multi-starrers.

Kapoor’s most dedicated stint was in establishing Prithvi Theatre. He built the theatre in Juhu as a tribute to Prithviraj. The usually lively Prithvi Theatre in Janaki Kutir, Juhu, mourned the passing away of Shashi Kapoor. Prithvi Theatre is the home to many theatre artistes and theatre lovers and has four units; Prithvi Cafe, Prithvi Library, Prithvi Adda and Prithvi Gallery.

Shashi Kapoor loved cappuccino. Sometimes he would order a black coffee which instantly energised him. There were times when he would order Sulaimani chai, and chocolate waffles to go with it. He was equally genial with theatre workers and security guards. He was the nicest and the most humble man

This writer had last caught a glimpse of Shashi Kapoor on a wheelchair at Juhu’s Prithvi theatre; frail, almost brittle, lost and forlorn yet calm and smiling in the crowd. He was the same obsessive Pathan lover of the young British girl Ruth in Junoon (1978) or the fascinating interpretation of Mahabharata’s Karn as the orphan Karan in Kalyug (1980). New Delhi Times (1984) is the film that deservedly got him a National Award. The famous “Mere paas maa hai” line in Deewar (1975), which only Kapoor could have delivered the way he did, became very popular.

Kapoor was one of the earliest actors who boldly ventured internationally when no one else was attempting to. Most of Kapoor’s early popular films were light-hearted romances held by the strength of his charismatic presence. Those were the years when the hero-heroine jodis (pairings) mattered a big deal and Kapoor formed several handsome ones with the heroines of the day. With Sadhana in Bimal Roy’s Prem Patra (1962) for instance. Or with Tanuja in the Roy production Benazir (1964). Or with his own sister-in-law Felicity Kendall inShakespeare Wallah (1965). The best was The Householder (1963) with Leela Naidu. Most heroines of the day found Kapoor endearing. One of his favourites was Nanda.

Kapoor was the most rooted in theatre travelling with his father Prithviraj Kapoor’s Prithvi Theatres. It was theatre that got him together with his wife, English actress Jennifer Kendal who herself was part of her father’s roving troupe — Shakespeareana. She remained a strong and abiding influence in his life and her passing away in 1984 left him broken and distraught. RIP, Shashi Kapoor!