Showing posts with label Regal Cinema. Show all posts
Showing posts with label Regal Cinema. Show all posts

Sanjiv Sharma meets Chakrapani Srinivasan - Part #1 - The Return of the Retired Civil Servant

The Return of the Retired Civil Servant - Part # 1

At eight in the evening, the city loosened its collar but did not rest. The air above the road held that particular Mumbai fatigue—warm, salted faintly by the sea, yet softened by dusk. From the front window of the upper deck, Sanjiv Sharma felt the wind flatten against his face and slide past him like a patient hand. He did not move. He allowed it to comb through the day.

The bus groaned into motion from Electric House, its body protesting the load of commuters who had decided, like him, that trains could wait one day. The conductor’s whistle pierced through layered conversations: office gossip, half-finished phone calls, arguments about cricket scores, someone explaining loudly how onions were again becoming a national crisis. The upper deck was a balcony to the city, and Sanjiv occupied the front seat like a quiet spectator to a performance he had seen all his life yet never tired of.

BEST HQ, Electric House, Colaba


He worked only a few lanes away from the grand façade of Regal Cinema, folding shirts, stacking denim, convincing customers that a color suited them when it did not, and sometimes convincing them that it did when it did. Retail was theatre. He had learned to smile with the precision of a shop mirror: wide enough to reassure, narrow enough to conserve energy. Today the crowd had been relentless. A shipment had arrived late. Two customers had argued over a discount. A child had hidden inside a rack of winter jackets and refused to come out. By closing time his calves felt packed with sand.

The bus curved away from Colaba and began its slow northward crawl. Lights flickered alive in office towers like sequential thoughts. Sanjiv let his head rest against the metal bar and drifted inward.

He saw Chembur the way memory preferred it: not as it was, but as it had layered itself over years. His grandfather, Naik Havaldar Jairam Sharma, marched through those memories in sepia. A man of straight lines and polished boots. The old stories returned whenever Sanjiv grew tired: Poona Cantonment, the last years of British command, the strange pride of wearing a uniform that belonged to a country not yet fully its own. His grandfather rarely spoke of war, but he spoke of discipline as if it were a living relative. When he retired and moved with fellow soldiers to the emerging outskirts of Bombay, they carried their regimental camaraderie like a portable homeland. Chembur then was dust and promise. The Bombay Improvement Trust chawls rose in practical rows, unadorned, determined.

Sanjiv had grown inside those corridors of shared kitchens and shared arguments. Doors were rarely shut; privacy was a negotiable idea. His childhood smelled of frying onions, kerosene, incense, and damp newspapers. He had run barefoot across the corridor with Shalini, both of them scolded by multiple mothers who believed themselves collectively responsible. He smiled faintly at the memory of her braids, always too tight, her irritation at arithmetic, her triumph when she beat him in spelling tests.

The bus lurched. Someone laughed too loudly behind him. A ringtone erupted with devotional music. The city stitched itself back into his awareness.

He pictured Shalini now, probably coaxing Vijay into finishing dinner. Their son negotiated every spoonful as if it were a legal contract. Sunita, at three, would already be asleep, one arm flung across her pillow like a fallen dancer. Sanjiv felt a sudden swell of protectiveness so intense it bordered on fear. He wanted for them what he could not yet name in concrete terms—only a broad, shining assurance that their lives would travel smoother roads than his. Education, he told himself. That was the bridge. He had seen boys from the chawls become engineers, accountants, men who returned in cars that looked like visiting dignitaries. He did not envy them; he catalogued them as evidence.

The bus stopped again. More passengers pressed upward, filling the stairwell with the smell of sweat and talcum powder. An elderly gentleman emerged, gripping the railing with deliberate care. His hair was white but not defeated; it clung neatly to his scalp. He wore a pale shirt ironed with old-fashioned pride. A small cotton cloth bag dangled from his wrist, and a plastic bottle caught the overhead light.

He paused near Sanjiv’s seat, scanning for space. The only available spot was beside him. Sanjiv shifted immediately, knees angling inward to make room.

“Please,” he said.

The old man nodded, breath slightly labored, and lowered himself with a sigh that carried the weight of the day. He took a sip from his bottle, closed his eyes for a second as if sealing in the comfort, then leaned back. The bus resumed its rhythm. Outside, Marine Drive’s curve glittered like a necklace carelessly thrown on black velvet.

Sanjiv tried not to stare, but he felt the presence of the man the way one feels a book placed beside them—full of untold pages. He wondered about the cotton bag. It had the modest dignity of long use. His grandfather had carried something similar: documents, receipts, a folded umbrella, always arranged with military logic.

His thoughts wandered again, this time to the arithmetic of survival. Rent was stable for now, but school fees would rise. Shalini had mentioned English-medium tuition. He did not resent the expense; he resented only his own limitations. If he could climb higher in the shop—assistant manager, manager—perhaps one day he could open a small store of his own. He pictured a signboard: “Sharma Readymades.” The idea felt audacious and fragile, like glass warmed in the hand.

The elderly gentleman’s head tilted slightly, sleep flirting with him. The cotton bag slipped. It fell with a soft, final thud onto the floor, unnoticed by its owner.

Sanjiv reacted before thinking. He leaned forward, fingers brushing the dusty bus floor, and retrieved the bag. It was lighter than he expected. He tapped the man gently on the arm.

“Sir…”

The old man startled awake, eyes sharpening with embarrassed alertness. Sanjiv held out the bag.

“This fell.”

A flicker of alarm crossed the man’s face, then relief. He accepted it with both hands, as though receiving something ceremonial.

“Ah—thank you, thank you,” he murmured. His voice carried the rounded cadence of the south, polished by decades in offices where clarity mattered. “These old fingers, they betray me.”

They shared a brief laugh, the kind strangers exchange to confirm mutual goodwill. The man adjusted the bag securely on his lap and extended his hand.

“I am Chakrapani Srinivasan,” he said. “Retired civil servant. And tonight, apparently, a danger to my own belongings.”

Sanjiv shook his hand, surprised by the firmness of the grip. “Sanjiv Sharma. I work in Colaba. Going home.”

“Chembur?” Chakrapani asked, with uncanny accuracy.

Sanjiv blinked. “Yes! How did you—”

“This bus,” the old man said, gesturing grandly to their rattling chariot. “It carries only the faithful. We are a community of the tired.”

They laughed again, and conversation opened easily, as if it had been waiting. Chakrapani spoke of files and ministries, of decades spent navigating corridors where decisions moved slower than the ceiling fans. He had seen governments change like monsoon moods. Yet retirement, he confessed, was a stranger terrain. Time stretched differently. He now measured days by walks to the market and arguments with his gardener.

“And you?” he asked. “Family?”

Sanjiv described Shalini, the children, the chawl. He did not dress his life in apology; he narrated it plainly. Chakrapani listened with an attentiveness that felt like respect.

“Diamond Gardens,” the old man said suddenly. “That is where I live. A small bungalow. Old construction. My wife refuses to leave it. Says the walls know her moods.”

Sanjiv’s eyes widened. “I live near the railway station. In the old chawls. Five minutes from Diamond Gardens.”

For a second they stared at each other, mapping the invisible threads of proximity. Then the absurdity struck them. Two men, divided by architecture and income, carried nightly by the same bus, breathing the same tired air.

Chakrapani chuckled. “See? This city. It arranges us in different houses and seats us on the same bench.”

“Bombay is a grand equaliser,” Sanjiv said, the phrase arriving fully formed.

“Yes,” the old man agreed softly. “Here, the bus does not care who you were. Only where you are going.”

Outside, the city streamed past—shops closing, couples arguing gently, a boy racing a stray dog. Inside, on the upper deck, they rode in companionable silence, two residents of the same neighborhood, newly aware of each other, equal passengers in the long, humming vehicle that carried them home.

(c) Bharat Bhushan

16 February 2026

"Nobody else, but Gregory Peck..."

The Guns of Navarone, my grandfather and about reliving the moment...

For my grandfather, born in 1899, and having lived through the first world war and the second world war, the independence movement in India, having seen Mahatma Gandhi, Pandit Nehru, and later, living through a free India, in the 70s, there was no other hero other than Gregory Peck. Nobody else came up to his stature. As a result, my grandfather took me to see the Guns of Navarone at Aurora theatre in Kings' Circle, sometime in 1975-1976, about three times. And each time, he would keep explaining the story to me inside the theatre, and detailed the finer points of appreciation about Gregory Peck and the movie.

India realised who Dev Anand looked like, when the nation saw Gregory Peck behind the wheels of the fishing boat, in the night storm in the movie, "Guns of Navarone". My grandfather must have pointed out the resemblance at least 2-3 times, each time we saw the movie together. Surprisingly, he had not seen the movie with his sons, my father and his uncle. But later, when I would see the movie again and again, on TV, on video VHS, on VCDs and DVDs, and lately on select clips on YouTube, my father and uncle do not fail in pointing out the resemblance in looks and similarity in style.

I miss my grandfather and his keen interest in movies, and an almost ecumenical eclecticism in his appreciation of Gregory Peck. He never appreciated "Roman Holiday" or Audrey Hepburn, though my father and uncle and myself, are diehard fans of the movie. My grandfather felt that Audrey Hepburn stole the limelight and Gregory Peck should have been smarter.

There is a scene in the "Guns of Navarone", where Gregory Peck as Mallory is at the steering wheel of the fishing boat in a heavy storm. Its night, and the rain is heavy and the boat is tilting and heaving at the wind. Gregory Peck is shown, cool as steel, and drinking coffee with a wry smile. My grandfather loved that scene. He never failed to point out the style and the mannerism of Gregory Peck during that scene. As a result, I point out the same nuances to whosoever is sitting next to me while watching the movie again and again.

It was perhaps one of the biggest disappointments to my grandfather that "Force 10 from Navarone" was made without Gregory Peck. He condemned Harrison Ford and said that he would not go too far in Hollywood. That was a classic for me, to later watch the growth of Harrison Ford and the emergence of a new super star. Perhaps Gregory Peck felt the same, knowing that he was not starring in Force 10 from Navarone.

There is a good tribute to Gregory Peck at http://www.aveleyman.com/ActorCredit.aspx?ActorID=13582 and I enjoy reading the pages at this link.

I could not help but borrow photographs of Gregory Peck in Guns of Navarone from these pages. I thank the authors of these pages for the splendid work put in by them in developing such a splendid tribute to Gregory Peck.



There is also a good blog about the movie - "The Guns of Navarone" at http://moviedearest.blogspot.com/2007/08/movie-moments-guns-of-navarone.html
This blog has a classic photograph of Gregory Peck. I thank the authors of this blog.




From the Guns of Navarone to Roman Holiday

And then, came along Roman Holiday. I am not sure of which movie actually preceded which one, but in Mumbai, Bombay at those times, Roman Holiday followed the Guns of Navarone. While we watched Guns of Navarone again and again at Aurora Theatre, at Kings Circle, the Roman Holiday was best to watch at Regal Cinema near the Gateway of India.

And the best show to watch Roman Holiday was 9 to 12 pm at Regal Cinema on a Saturday night. My grandfather did not appreciate the movie, as I said earlier, because Audrey Hepburn seemed to shadow over Gregory Peck. But, by then, my father and his brother, were diehard fans of the movie. And of course, I went with them to watch the movie.

It was the most fascinating experience. All the old-aged parsi ladies in their finest from Colaba to Kalbadevi to all the other locations seemed to have come to watch the movie. They would laugh loudly when the happy sequences were being shown, and how they cried when Gregory Peck and Audrey Hepburn separated. They began to cry visibly when the scence showing Audrey Hepburn as the Princess was shown and Gregory Peck is a visiting journalist in the queue.

One lady began to scold Audrey Hepburn from the audience. She was almost insisting with Audrey Hepburn to accept Gregory Peck, as though the movie would suddenly change and the script would take on her idea.

http://rtmulcahy.wordpress.com/ presents a beautiful short essay about Roman Holiday and a personal experience in watching the movie. I am sure there must be several such essays on the net already. There is one splendid photograph on this blog page... for all those who have seen this movie, this shot will certainly give you the tremors...