Rekindling old flames

The ubiquitous stage is there, done in a style of architecture that could only be referred to as Bollywood Gothic. A massive dome-shaped structure flanked by two pillars — all in silver grey — dominate the night club.

Suddenly the lights come on and the high wattage reveals a true den of vice, Hindi film ishtyle: a well-stocked bar packed in a corner, a flight of stairs leading to a balcony and floors lined with small square black sheets of rubber.

Giving all the rubber serious competition is the heroine. Pooja Bhatt walks into the set wearing a silver grey PVC gown. To complement her outfit, her headgear is a diamond-studded band with small, silver grey plastic flower adorning it. She climbs on to the stage and is joined by a tall and fit-looking Akshay Kumar. Gone is his trademark mop of hair. In its place is a neat, short crop that takes years off his face.

"It’s a story of extortion and contract killing. Mahesh Bhatt, the director of the film, defines it as urban terrorism. Here we go further and try to offer solutions," says co-producer Shrishti Behl. The story revolves around a group of street children — Akshay, Nagarjuna, Paresh Rawal, Irfan Kamal and Pooja Bhatt. Akshay, who is separated at childhood, is the real hero. He comes back to the chawl to show his friends the righteous way, to guide them to the road to a good and clean life.

The song being shot is about Akshay chancing upon his sweetheart, Pooja, who is working at the den of vice that is meant to be a hotel. Pooja doesn’t recognise him, but his heart sings at the sight of love’s young dream. The yellow lights are switched off again and this time the stage is lit up with blue neon lights. Pooja and Akshay watch as choreographer Raju Khan shows them their dance steps. The cameraman stands to the left for a close-up, while Akshay and Pooja take their positions before the dome — with their backs to the audience. Suddenly, the silver bowls on top of the pillars come alive with fire. Javed Akhtar’s lyric `Tujhe Kiska Intezar Hai, Keh De’ rents the air and the extras on the right break into an energetic dance.Akshay and Pooja slowly climb the steps, looking deep into each other’s eyes. Something is wrong. "Retake," yells the cameraman. The fans are switched off and the studio feels like an oven. Pooja looks like she is melting in her PVC gown and she keeps wiping sweat off her forehead.

Take Two: This time Pooja twirls too slowly when Akshay spins her around.Take Three: Halfway through the steps, Akshay stumbles. "More light," calls a voice and the spotlight is turned on higher. Four spot boys haul the heavy light on the narrow wooden beams that run the length of the studio.

Take Four: "Can it," says the cameraman. Pooja has spun like a top. Everyone rushes out for a breath of fresh air.

"I am the no-nonsense, down-to-earth type," says Pooja, as she gathers the folds of her gown, turning her face up to catch the breeze. "Though one of the gang, I choose to make a life for myself and live alone in Mumbai. It is a well-defined character. And we all vibe well," she says. Pooja’s face has lost the puffiness of alcohol but she is still several sit-ups behind a lean, well-toned figure.

Inside the set, Akshay is involved in an intense conversation with co-producer Goldie Behl. Around him, extras are rehearsing and finally, it is time for a take. Pooja and Akshay go back to the top of the stairs. Suddenly, they are enveloped by fog. Above the swirling mists the choreographer can be heard telling Akshay to hold Pooja for a significant moment longer. This time the shot is canned in just one take.

The set is then re-arranged for the next shot. Each table is set with two or three glasses and a plate of wafers. The crystal balls are being turned into lamps. And the hero disappears to change his clothes. For another shot, another take.