Adavi ramudu jaya pradha
I suddenly became a celebrity in the eyes of my classmates after Bhoomi Kosam. I used to walk to and fro from home to school with my head bowed down, never looking at anybody. At 14, when most girls are finishing school and starting college, the danseuse got selected because of a stage recital to perform a song in Bhoomi Kosam (1974) and life was never the same again for her. So even a normal film became a costume drama for me,” she laughs. I was made to wear three petticoats and was padded up in appropriate places in order to look more than my age. I didn’t know what love was but was saying all those lines about commitment and everlasting passion to superstars who I was in awe of, whom I had grown up watching. “Because of the age difference, I was treated like a kid by my seniors. Her Kannada film Sanaadi Appanna, released the same year was oppostite Kannada icon Rajkumar, then 49. Yet the film was a super hit and the pair went onto give many more hits. She was just 17 when she was paired with the 54-year-old NTR in the Telugu film Adavi Ramudu (1977). Right from the start of her career, Jaya was paired with actors at least 20 years her senior. I’ve never seen such dedication in a star.” One day, he hurt himself on the set Sharaabi was going to be his first release after Coolie (1983), on the sets of which the infamous accident had occured, so everyone was apprehensive. Once, he was so good that Prakashji (Mehra) forgot to say cut. There used to be a hush on the set while doing her own make-up performed. He realised something was amiss and during breaks, chatted with me and broke the ice. But Bachchan saab has a way of reading the situation and calming his co-stars. “We were shooting Mujhe naulakha manga de re. She remembers feeling jittery on the first day of the shoot. Her first film with him was Sharaabi (1984). He probably shot just one scene in a day but that scene stayed with you.I subconsciously picked up things from him.” Another superstar from whom she learnt much was Amitabh Bachchan. There was a certain aura about him, a certain confidence that translated magnificently on screen. “We used to be called to the studio just to observe him. I’d request the director to take my close-ups separately.” She says she learned a lot from Kakaji despite it all. He looked fresh, while I was drained by then. I used to sit with make-up from morning and he used to turn up only after 2 pm. They had great respect for him down South. Today, when I hear of girls not cooperating because there’s no vanity van, I can only shake my head.” The man who made her wait the most was Rajesh Khanna, with whom she did two films, Maqsad and Dil-e-Nadaan. We dashed from one location to the other, flitted in an out of characters – life passed in a blur. I was working round the clock and learned to do my own make-up. The director didn’t want to lose the first light. “I once bathed in the train as we had to shoot as soon as we reached.
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In fact, I picked up my reading habit because there was nothing else to do on the set.” She reminisces about bathing at the airport bathroom and touching up her make-up during flights. A white plastic chair under an umbrella, with a large fan for company. “This is what we used to sit on and wait for the hero,” she smiles. She shrugs off any sign of discomfort and says she’s used to plastic chairs. Once she starts talking, you feel like you’re chatting with an old friend and not someone who’s been one of the top commercial actresses of her era. She sits on a plastic chair, while making sure I’m comfy on the sofa. She starts off the conversation by addressing me as ‘Sir’ and offering tea.
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