Tag Archives: Leadership

Narrative Fallacy

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During one of the client meetings, Vijay, Head of Talent Acquisition (which was earlier termed as Personnel, HR etc) was  waxing eloquent about how the right hiring and the talent management has been the crucial factor leading to the company’s phenomenal growth.

I was reading an article by a renowned Hindi film critic on similar lines. This media reporter had written about Hrishikesh Mukherjee (Hrishida as he was affectionately called), the Dadasaheb Phalke award winner having directed some of the notable films like Anupama, Anuradha, Satyakam etc. and how he selected Rajesh Khanna for the title role in Anand. The point he was trying to make was the success of the film was primarily due to selection of the right people be it the actors, music director, lyricists among others.  

Anand, made in 1970 is a story of a young man who has been diagnosed with intestinal cancer. The doctor had diagnosed that Anand will not survive for more than six months. In spite of the grim future, Anand has a cheerful disposition towards one and all and tries to keep everyone around him happy. The title role was played by Rajesh Khanna and the supporting role of Dr. Bhaskar Banerjee was played by Amitabh Bachchan.  

 But was the selection of people so logical and linear as we see in hindsight? When Hrishida first conceived of the project in 1955, the person whom he had him in mind was Raj Kapoor but both of them being busy in their own spheres; the project could not take off. By 1968 when Hrishida revived the project, Raj Kapoor was looking old for the role. Shashi Kapoor was thought of but he too was busy.

Hrishida wanted Kishore Kumar to do the role. When he visited Kishore Kumar’s house to discuss the role, the latter mistook the visitor from a distance to be someone else who had not paid Kishore Kumar’s dues. The security guard was instructed not to allow this visitor inside Kishore Kumar’s bungalow. (1)

By this time, Rajesh Khanna who was the emerging superstar got news of the project and approached Hrishikesh Mukherjee.  Anand was a low-budget film and Hrishida could not afford his fees. Those days Rajesh Khanna used to charge a princely sum of Rs 5 lakhs per film. When Hrishida expressed the apprehension, Rajesh proposed a creative solution. He said, “I will not charge a Rupee, instead can you give me the distribution rights for the Bombay territory”? This creative solution not only was accepted but also  helped Hrishida sell the film on a pan-India basis.

Amitabh Bachhan also had a wild card entry in the film. He was having a negative role  in a film called Parwana. One day Omprakash, the character actor met Hrishida and provided a strong recommendation for Amitabh who was cast in the supporting role of Dr. Bhaskar Banerjee.

The script had a role of Dr. Prakash Kulkarni, a friend of Dr. Bhaskar.  Ramesh Deo was a renowned actor in Marathi films and theatre. He was struggling to get a breakthrough in Hindi films. He had approached Hrishida a number of times in the past but could not cut much ice. Hrishida one day approached him for the role of Dr Prakash Kulkarni and had planned Nimmi for the role of his better half. Nimmi was one of the leading ladies of yesteryears who had acted in blockbusters like Aan, Udan Khatola etc.

When offered the role, she said, “The role is small; there is no heroine per se in the film and all the spot light is on Anand. Can you at least tell me  with whom am I paired with?” Hrishida: “He is Ramesh Deo, a seasoned and a successful actor in Marathi film industry.” Nimmi : “I have not heard that name. I have worked with stars like Dilip Kumar, it is below my dignity to work with such unknown people. Can I make you suggestion? Why don’t you take Raj Kumar for this role instead?” The next day, Hrishida and N.C.Sippy along with Nimmi went to Raj Kumar’s house in Worli.

After exchanging pleasantries, Raj Kumar asked Nimmi to chat up with his wife in the kitchen and said, “Incidentally I have my reservations taking up this role with Nimmi. She has the looks and the charm but that is the past.”

Apart from casting aspersion on Nimmi, Raj Kumar demanded that he needs to have at least a song on him. Hrishida dropped him like a hot potato.

Back to square one, Hrishida zeroed in on Ramesh Deo. Chess was their common interest. One day when he went to Deo’s  flat in Bandra for a game of chess, Hrishida was quite impressed with Seema, Ramesh’s wife. Seema was a leading Marathi actress even otherwise.

When Hrishida said, “Ramesh, why did not you suggest Seema for this role”? Ramesh said, “ First of all I myself was not sure of my role, how could I recommend her?” With quirk of fate, Ramesh and Seema Deo thus got the roles of Dr. and Mrs Kulkarni.

The music composer was decided as Salil Chowdhary and the lyricist as Gulzar. The film had a provision for only three songs. But when the film was completed, it had four songs: Maine Tere liye and Na Jiya Laage Na by Gulzar & Zindagi kaisi Hai Paheli and Kahin Door Jab Din Dhal Jaye by Yogesh. How did Yogesh get a wild card entry?

In the late sixties, Gulzar was an established lyricist in the mainstream Hindi cinema whereas Yogesh was a struggling one who was mainly bracketed as a lyricist for B-Grade action films. 

Circa 1967 there was a film producer called Anand Gadnis who was making a film and roped in Basu Bhattacharya as  the director and Salil Chowdhury as the music director. Gulzar was to be the lyricist. But whenever meetings for the music were scheduled, Gulzar could not make it. As the producer wanted the project to go on fast-track, he asked Salilda to look out for an alternative. Salilda knew Yogesh. This was a golden opportunity for Yogesh to get into popular mainstream cinema.  Within no time, he penned lyrics for three situations. Salilda composed the music and later recorded. Due to some unfortunate circumstances, the project was shelved. Yogesh cursed his bad luck, felt that he is destined to be with B grade films. He felt making an entry into the popular genre was not his cup of his tea. He went back to Lucknow fully dejected.

Three months later, a  producer called L. B Lachman approached Salilda for a new film called Annadata starring Jaya Bhaduri and Anil Dhawan. When the contract was signed, Salilda said that he already has three songs ready from a previous project. Lachman picked two from the lot; the deal was that the payment was to be released only after all the songs were composed and recorded.

Lachman happened to be close friends with Hrishida. When he shared the audio recordings of the two songs; Hrishida liked the songs and showed interest to purchase both. A compromise was worked out. Hrishida purchased one and that was Kahin Door Jab Din Dhal Jaye.

Next day Yogesh was called for  and Hrishida made a cheque payment of Rs 2500 to Yogesh. It was the debut of Yogesh in A grade films. Incidentally this song is based on a Bengali song, Amay Proshno Kore Neel Dhrubotara sung by Hemant Kumar and written and composed by Salil Choudhary.  

Salilda had another Bengali composition called Na Mono Lage Na sung by Lata Mangeshkar. He asked Yogesh to compose a Hindi song on similar meter for Annadata. He composed a song for Lachman’s film accordingly.

In the meanwhile, Hrishida asked Gular to compose a song on the same meter. He assumed there should no issues as it is Salilda’s composition, the music director of the film. Now there were two songs based on Salilda’s original Bengali song one for Annadata and the other for Anand. Lachman got furious and said to Hrishida, “Why did you copy this song? What will people say when they hear two Hindi songs based on the same Bengali tune?”

Salilda had another issue to settle for. He said to Hrishida: “This struggling lyricist Yogesh has already composed a song for Lachman which has to be discarded. He needs to be compensated.” Expressing his sincere apologies, Hrishida accepted the proposition and agreed to compensate Yogesh.

Next day when Yogesh went to Hrishida’s house, he refused to take the cheque. Salilda said, “You fool, you are going through tough times. Why did you not take the payment?”

Yogesh: “Any way I have not written this song for Hrishida. He has taken it from Gulzar even otherwise. Ethically it is not right for me to take payment for the work which I have not done.”

As a via media, Hrishida thought of having an extra song. And that is how the fourth song was added in the film and was to be the title song.

When Rajesh Khanna heard the song, he said, “Hrishida, this song is too good. Why keep it as  a title song? I want you to film the song on me.” And that’s how Zindagi Kaisi Hai Paheli’ got included in the film.(2)

If you were to see the events by themselves, they are all random in essence. But in retrospect we connect the dots and create a story around the random events . This is called as Narrative Fallacy. It is the human tendency to create a story or an explanation out of a chain of some random events.

When I reflect on the major personal events like admission in an engineering college, getting a job or getting a training assignment; I ask myself whether the specific event happened because of me or in spite of me? Is it merely the talent, intelligence or the hard work of a person or a combination of some fortuitous circumstances complimenting the traits? Should experience make us more confident or humble?

Two years back one of my senior trainer friends, Narayanan was sharing an incident. A public program he had scheduled had to be cancelled due to insufficient nominations. When enquired about the likely reasons for cancellation, he replied, “ Rajan, frankly speaking, I do not know. But if you were to ask me a similar question 20 years back, I would have ascribed the failure to some plausible causes like bad timing, poor marketing strategy, competition etc.” My son Aalhad then made a succinct distinction between causation and correlation leading to specific events.

Quite often the success of an organization is ascribed to the  hard work and the intelligence of the top leader. Can you recollect the debate on 70/90 hours per week some successful leaders are advocating? Is that the gospel truth or a narrative fallacy? By becoming aware of this human bias called narrative fallacy; can it make us more humble and help us come out of hubris?

John Brockman the editor of Edge Magazine says: Success = Talent + luck &  

Great Success =Little more talent + a lot of luck.(3)  What do  you think?  

References:

  1. Wikipedia
  2. Ten Classics by Anita Padhye
  3. Thinking Fast & Slow – Daniel Kahneman

What makes A Maverick stand apart?

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“Shantaram, it’s high time you retire from the film industry” said Shankar Bhat, the owner of Prakash Pictures casually during a meeting of the Film Producers Guild. V Shantaram, the renowned director and the owner of Rajkamal Studios was taken aback. When asked for the reason he said, “Your last film, Zanak Zanak Payal Baje has been a blockbuster through which not only have you reached a pinnacle of success but the film is also considered as an epitome of creativity. You will never be able to repeat such a feat. Any subsequent film you make will be compared to this blockbuster.”

A few days later. G. D Madgulkar, a noted Marathi poet and writer narrated an experiment of an open prison and the rehabilitation of prisoners carried out by Maurice Frydman to Shantaram.

Maurice Frydman, a Polish Jew who came to India and was influenced by Mahatma Gandhi and guided the King of Aundh (Near Pune) draft the declaration for transfer of power from the king to the people of Aundh. It was during this process of giving self-governance to the citizens of Aundh, that a question came up about the prisoners. Frydman then took on the responsibility of taking care of the convicts in an open prison. An open prison is any jail in which the prisoners are trusted to complete sentences with minimal supervision and perimeter security and are often not locked up in their prison cells. Prisoners may be permitted to take up employment while serving their sentence. This provides an opportunity for criminals to reintegrate into society and withdrawal from their criminal behaviour. Without the constraints and stresses of typical incarcerations, criminals can discover more positive lifestyles through support and light supervision from the criminal justice system.

“It‘s a great plot, why don’t you make a preliminary draft on rehabilitation thro’ an open prison?”  Shantaram said to Madgulkar. After a few days while reading the draft, Madgulkar himself got bored and said “The story does not have enough material to convert into a full-fledged film. The subject is too drab and boring.”

Shantaram said,” But I see a great potential to make a classic film out of this narrative. No doubt we need to hone the script more.” Looking at Shantaram’s enthusiasm, Madgulkar had no choice but to accede to his demand.

The film Do Ankhein Barah Haath slowly started taking shape. The title connotes the eyes of the jailor and the hands of convicts. The storyline revolved around six hard-core criminals who have been jailed for heinous crimes like murder, arson, looting and rape. The conventional perception of the legal and the prison setup was to brand a convict as a life-long criminal without any scope for reform. The convicts were thus jailed in inhuman conditions typical of any jail. The protagonist of the film Adinath (played by V. Shantaram himself) feels that people irrespective whether they are criminals or not, are human beings first. There is a possibility of reform by putting them in normal environment like an open prison.

Adinath takes the permission from his senior, the Superintendent of Police (SP) to take these six convicts to a place with minimal monitoring. There are some challenging moments Adinath faces in this novel experiment. Once the inmates make a request to go to the nearest town. Adinath permits them with a caveat that they should return by the sunset. He goes through some anxious moments as the day comes to a close and gets relieved to see them back though a bit late.

The inmates are engaged in a daily routine of clearing the shrubs, digging well and plant vegetable. Within a few months the barren land is converted to a green area with fresh vegetables.  Adinath asks them to sell the produce at the village with nominal profit.  The local traders charging high rates till then get upset with the new competition.

The inmates do not return home in time. Adinath is perplexed about his decision on granting freedom. The inmates return late fully drunk. Adinath not only gets furious but also anxious about the outcome of his experiment. The next day he gets to know that the local trader has coaxed them in getting drunk and go berserk.Not able to digest the success of the farm, the local trader sends his goons and the bulls to destroy the crop. While making a valiant fight with the bull, Adinath breathes his last.

The SP who was initially a sceptic of this experiment, is now fully convinced of the transformation Adinath had brought about in the convicts. “You have served your sentence and are free to go back home.” Says the SP. The inmates decline the offer and decide to continue the work as inspired by their mentor, Adinath.

What made V. Shantaram take on such a challenging film? The seven types of motivators which define a creative personality are Pioneering Motivation, Self-Actualization, Altruism, Career Success, Hedonism. Security Motivation and Affiliation. (1)

Out of the above, the Pioneering Motivation, Self-actualization and Altruism need to be very high; Hedonism and Career Success need to be moderate and the security and the affiliation motivation need to be low for a creative personality.  

Pioneering Motivation: Do Ankhein Barah Hath was an off-beat, black and white movie sans glamour with no tricks of the trade like love triangle, expensive sets, or iconic stars.

Self-Actualization: When Shankar Bhatt asked him to retire after the phenomenal success of Zanak Zanak Payal Baje, Shantaram questioned himself and his own identity and the purpose of life. He decided not to rest on the past laurels.

Altruism: The protagonist Adinath believed in the inherent goodness of people He sacrifices his life to help the prisoners let go of the past.

Security Motivation: His scriptwriter told him that the plot was too mundane and there is not much drama to make into a full-fledged film. Shantaram thought otherwise. He looked at the worst case scenario. His earlier film Zanak Zanak Payal Baje  was a runaway hit. Shantaram was willing to write off even if this film were to flop at the box office.  .

Career Success: Intuitively Shantaram knew that the film will come out well and will be appreciated by the audiences. He did not get into the success trap of comparison with the  success of his preceding films. In a way he did not become a prisoner of his past success!

 Affiliation: This motivation is to tread the beaten path and need to be very low for a creative person. Madgulkar who was asked to write the screenplay got bored while narrating the first draft. Shantaram did not give up.

The film was premiered at Opera House in Mumbai on 27th September 1957. It was attended by the staff of Rajkamal Studios, friends, relatives and acquaintances of V Shantaram along with celebrities from the Bombay Film industry (now Bollywood). Even if the film were to be a disaster, audiences would make kind remarks about the film’s success out of courtesy. But the scene was quite different. Forget an applause, there was a total silence. Vijay Bhatt, a film a producer said, “You have said something different in this film.” Save this remark, there were hardly any comments. One could hear people whispering: had it not been for V. Shantaram, the film would hardly run for 5-6 weeks. The film reviews in the media were more towards criticism rather than praise. (2)

Do Ankhein Barah Haath ran for 65 weeks in Opera House and proved the naysayers wrong. The then Mumbai Police Commissioner had issued an unofficial dictum making the film mandatory for every policeman.

‘Ae Malik tere Bande Hum’, the prayer song was played in many schools and jails across the country and also in Pakistan. The film won the Best Film and the Best Direction award from the Govt of India. It was honoured with the best Foreign Film Award in the Berlin Film festival.

V. Shantaram wanted to acknowledge the contribution made by Maurice Frydman by including him in the film credits. Maurice flatly refused. 

The black-and-white film had no glamour, a drab subject and an idealistic protagonist.  Madgulkar the scriptwriter, the Staff at Rajkamal Studios, the celebrities of the film industry, or the media; none of them predicted a decent run for the film, leave aside the commercial success or the critical acclaim. Shantaram swam against the tide and showed what it means to be a maverick.

As someone has said, “if you can visualize the invisible, you can accomplish the impossible!”

References:

  1. The Fourth Eye – Pradip Khandwala, the seven indicators of creativity are discussed in detail. The different levels of motivation be it high, medium or low can be understood through the questionnaire. Blockages to creativity and the ways to enhance are also discussed.
  2. Ten Classics – Anita Padhye