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Book and Author Name:The Prithviwallahs by Shashi Kapoor with Deepa Gahlot. Publisher: Roli Books Price: Rs. 895

At the age of 21,a charismatic young man called Prithviraj Kapoor left his home in Peshawar and journeyed to Bombay in search of that elusive chimera called stardom. In typical Hindi film style this was totally against the wishes of his family who wanted him to become a lawyer. Prithviraj, however, was adamant. Leaving his wife behind until he could make a career for himself, he arrived in Bombay carrying a suitcase and a hockey stick. There he stood in front of the Gateway of India, raised his hands to the sky and declared, "My God, if you don’t make me an actor and a star here, I will swim the seven seas and go to Hollywood."

The dramatic beginning continued to an even more dramatic life. His exceptional good looks were backed by equally remarkable luck. One day on a set, the hero of the film Cinema Girl failed to turn up and the heroine picked him as her lead actor out of the line up of extras. From Cinema Girl, Prithviraj went on to act in films like Sher-e- Arab (1930), Vijay Kumar (1930), A Bid for the Throne (1931), Toofan (1931) and the first Indian talkie, Alam Ara (1931). He was splashed across a million schoolbooks as Sikander. At the peak of his career, Prithviraj launched Prithvi Theatres in 1944 and began to take his troupe of actors across the country, performing pathbreaking plays. The names of those who acted with him at the time read like a Who’s Who of Hindi Film. Sadly the theatre could not make ends meet and whatever success it achieved was based on the driving spirit of Prithviraj, who led it through a mix of genius and democracy.

This book, written by his son Shashi Kapoor in collaboration with journalist Deepa Gahlot, outlines the life and creation of an extraordinary man and is written in three acts, like a play, spanning three generations. From the birth of Prithviraj Kapoor’s dream, the theatre’s trials and tribulations and the constant struggle that plagued its founder; to the second act where Shashi and Jennifer Kapoor enter the story and the theatre acquires a physical presence in building form in Mumbai, to the third, featuring Shashi Kapoor’s children.

Over the years Prithvi Theatre has become a landmark institution, synonymous with theatre in Mumbai. Since the tragic death of Jennifer Kapoor, Prithvi’s activities have gone beyond the confines of the building at Juhu. Steered by Sanjana and Kunal Kapoor, it now hosts international theatre festivals and plans for further extensions are on the anvil.

Deepa Gehlot, while organising the information, has wisely allowed Shashi Kapoor’s speaking voice to come through, so that the narrative sounds like a collection of affectionate anecdotes. These have been combined with the history of the theatre and the legendary men and women who brought it to life. At one level the book throws light on a family that dominates Hindi film in India, along with the stars who took the stage side by side with them. At another this is an invaluable addition to Indian theatre history which, currently, is short of adequate documentation. Family saga, fan memorabilia, call it what you will, The Prithviwallahs is a fascinating book with a wealth of photographs and a must for anyone interested in theatre and the Kapoor khandan.

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