Like a phoenix he rises again

Sanjay Dutt has carved a rare niche for himself as a valuable box office proposition and a commendable performer. GIRJA RAJENDRAN writes about his trials, turmoils and eventual success.

AT THE unlikely age of 40 plus, Sanjay Dutt has re-discovered a rare commercial niche, a niche that is fetching him his share of critical acclaim too. The latest in Sanjay's line-up of noteworthy performances is his role as a cop in ``Kurukshetra'', one that slots Dutt, for a 'culture' change, on the right side of the law. It is under the care of new writer-director Mahesh Manjrekar that Sanjay Dutt, undergoes this remarkable screen metamorphosis in ``Kurukshetra''.

It was Mahesh Manjrekar's ``Vaastav'' that saw Sanjay Dutt hitting, with a vengeance, the comeback trail. An actor matures with every kind of exposure. And Sanjay, you discern, has (in this his `second coming') gained, not just in manly stature, but in mental strength, from each trial and test in his chequered life.

In coming of age as an actor in the best Hollywood tradition, Sanjay Dutt is but fulfilling the promise that a performer of Naseeruddin Shah's sensibilities spotted in Dutt long ago: ``This boy is different from the other newcomers of today. Sanjay's eyes can reflect real pain, unlike any other young actor. This is because Sanjay has already gone through so many experiences in life, experiences which have contributed to his being a good actor already. A good actor is one who can add to his range as he goes through various personal experiences in life. This look of pain endows Sanjay with both vulnerability and raw power on the screen.''

Yet the Return of the Native (which is what Sanjay's strongman comeback symbolises) has not come about without the actor slogging single-mindedly and concentrating unswervingly on his career. Two Maheshs have played key roles in working out the amazing transformation in the career of this now polished actor. If it was Mahesh (``Sadak'') Bhat yesterday, it is Mahesh (``Kurukshetra'') Manjrekar today.

Mahesh (``Naam'') Bhat, as Sanjay's early mentor, brought out the best of the sensitive side of this actor. While, in the case of the other Mahesh, it was with that major Manjrekar-breakthrough, ``Vaastav'', that Dutt found the ultimate recognition, after having been at the job for nearly two decades. This recognition came in the shape of the Filmfare Best Actor award for his sterling performance as a simple young man who is forced to swing to the wrong side of the law.

Yet it is not as if Sanjay Dutt, given his lineage, had not turned in good work before ``Vaastav'' - and that too not only as ``Khal-Nayak''. In fact, Sanjay's earlier films (like ``Naam'' and ``Sadak'') got him a lot of favourable attention as a wayward young man who gets sucked into the orbit of crime and pays severely for it. His character shades, almost coincided with his real-life image at that traumatic point of time. Both Kumar Gaurav and Sanjay Dutt jelled perfectly as the good and the bad side of human nature, reminding viewers of their actor-fathers, Rajendra Kumar and Sunil Dutt, in ``Mother India'', though the milieu was different from the 1957 Mehboob classic.

Not that Sanjay Dutt could always land on the kind of role that suited his talent best; or even the kind which helped him progress as a performer. At best, his producers expediently cashed in on Sanjay Dutt's strong, action hero image. Still Sanjay certainly could be proud of his showing in films such as ``Sadak.'' and ``Saajan''. In ``Saajan',' Sanjay essayed the soft, sentimental character of the handicapped introverted poet, who lets his lady-love (Madhuri Dixit) be snatched away from him by his best friend (Salman Khan), letting the young man almost walk away with the girl. All three lead players, here in ``Saajan'', turned in natural performances under the able direction of Lawrence D'Souza.

``Saajan'' established Sanjay Dutt as the conventional soft hero, after the offbeat ``Naam'' had broken his prolonged run of bad luck in the wake of his hit debut as ``Rocky'' (1981). Followed a number of films which did nothing much except venturing to ride on his run of good luck. This when Sanjay Dutt has always been a cut above his contemporaries as an actor. This, sadly, also was the period in which Sanjay's off-screen life got more projection than his on-screen performance.

So when Sanjay Dutt finally emerged as the ``Khal-Nayak'' in Subhash Ghai's film of that name, he seemed to live the role of the roguish villain who refuses to turn over a new leaf. Sanjay, as ``Khal-Nayak'', was once again paired with Madhuri Dixit in a film that displayed his in-depth understanding of his role. This came about not only because Subhash Ghai is a director who consistently draws good performances from his artistes but also because Sanjay worked hard.

No other star perhaps, has gone through such varied and troubled times as Sanjay. Sanjay's life had been an open book for anyone to make what he or she would of it. No other star could have carried on with a career while confessedly being on drugs - as Sanjay managed to do. He showed his strength of character in the way he fought off the deadly habit. However, just as his career graph seemed to be on its way up after all that he had gone through, the TADA case sent Sanjay Dutt's career backwards by five years at least.

But Sanjay has always been lucky to have a loving and supportive family - full of admiration for him as one who had always fought his battles himself. Not only did his politician actor-father Sunil Dutt stand solidly by him, but Sanjay's steadfast girl- friend and now wife, Rhea Pillai, lent tremendous moral support. His detention and personal tragedies - like his first wife Richa Sharma's untimely death and his being distanced from his only daughter - have only mellowed Sanjay all the more. And if offers fell into his lap at the outset, Sanjay, in his comeback, worked as he never did before, focussing entirely on his career, putting his past behind him.

The Filmfare Best Actor award happened to Sanjay Dutt (for ``Vaastav'') at just the right age and stage in his life. It came at a point when he had learnt to appreciate and value the recognition that comes with genuine effort. And today, he has started getting roles that suit his personality. Sanjay is no longer overtly conscious of his fortuitously revived position as a star performer - with a market value all his own.

If Sanjay had found dancing on the screen a trying feat before, today he is a delight to watch, as he lets himself go before the camera - as a good actor should. Just watch his easy gait and deportment in David Dhawan's ``Chal Mere Bhai'' in the company of such a scene-stealer and exhibitionist as Salman Khan. One would have thought a comedy of this genre was not Sanjay's cup of tea, action being more his scene. Yet the actor in Sanjay does not suffer at all in comparison with Salman in ``Chal Mere Bhai''. He is so comfortable (doing all those dances) with Salman and Karisma that the way he has evolved as an actor proves a revelation.

Sanjay Dutt is now tailor-made for those tough parts, as in his recent films like Vidhu Vinod Chopra's ``Mission Kashmir'' in which he, effortlessly, essays the role of a terrorist. Do not forget that he is, here, seen with the latest heart-throb of millions, Hrithik Roshan. Even while conceding to the lad, his youth, Sanjay suffers not a whit, being able to hold his own. So is he seen to advantage in Mahesh Manjrekar's ``Kurukshetra'' - in the central role of an honest police officer. Reviewers, even while panning the film, could not but take note of Sanjay Dutt's stand-out performance in ``Kurukshetra''.

Today, Sanjay Dutt has established his own screen persona, so different from that of any other currently popular star, creating his own distinct slot as a crowd-puller - with powerful performances as his drawing point. Sanjay is not afraid to play his age on screen and, because of so commendably coming to terms with reality, Dutt has gained, not lost. Sanjay Dutt thus sets a fine example to his seniors in the field, seniors who still fight shy of being seen in roles that become their chronological age. Because of this serene acceptance of life as it is, Sanjay has been able to keep his career options open. He is no longer the confused youth he was - he is both sure of himself and of his goals. Here then is one star actor who is not interested in manipulating his career - Sanjay is not here to snatch anybody's slot, or to replace anyone. He is happy to be where a lifetime's harsh experience and concentrated effort have placed him - as a ``bestseller'', still.

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