FOR ME, like cinema, theatre was a love born in a climate of opposition. My father, an officer in the Provincial Civil Services, was a stern and austere man who never had a car or fridge in the house. He wanted me to be a doctor and strive for conventional respectability. My need to act was anathema for him and I was always thought of as the doomed one: the boy who would amount to no good. It certainly looked like that for many years, but I couldn’t set aside my burning desire to act and be famous. This created extreme friction in the house — anger, condemnation, humiliation — but my impulse held good. It was like being possessed. I left home fairly early and it would be many years before my father and I would speak. He lived to see my first film, Nishant and liked it. But before we were entirely reconciled he died and that remains a big vacuum in my life. When he died, I brought home an old pair of his shoes, standard Bata Naughty Boy shoes that must now be at least 50 years old. I use those shoes sometimes in my plays and wonder quietly whether he is watching from somewhere.
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