“I was in love with Begum Akhtar”, says filmmaker Anubhav Sinha

Anubhav Sinha

Anubhav Sinha, the acclaimed filmmaker behind hard-hitting narratives like Article 15 and Thappad, recently shared a glimpse into the formative influences that shaped his life and cinematic vision. Growing up in Benaras, Sinha was immersed in a rich tapestry of poetry and music, a legacy that profoundly impacted his storytelling. He fondly recalled the atmosphere of his childhood home, where the voices of literary and musical giants filled the air.

“Ghar pe bhi aisa mahaul tha, pitaji the to Middle class, sarkari karamchari, humare ghar pe Harivansh Rai Bachchan, Begum Akhtar, Mehndi Hassan, Mohammed Rafi, Kishore Kumar phir baad me Jagjit Singh, Ghulam Ali ye sab chalta tha.” (The atmosphere at home was like this—my father was a middle-class government employee, but our home was filled with the voices of Harivansh Rai Bachchan, Begum Akhtar, Mehdi Hassan, Mohammed Rafi, Kishore Kumar, and later, Jagjit Singh and Ghulam Ali.)

This exposure to such luminaries nurtured a deep appreciation for art and its power to evoke emotions and inspire thought. Sinha’s reverence for these artists, particularly the legendary Begum Akhtar, is evident in his reminiscences. He spoke of a profound connection with her music, a connection that transcended mere admiration.

“13 saal ki Umar/ umr me ishq tha Begum Akhtar se, ‘ISHQ’, phir unki mazaar pe jaakar roya hu mein, Thappad ki shoot ke dauran.” (At the age of 13, I was in love with Begum Akhtar—real love. I even wept at her tomb during the shoot of Thappad.)

This heartfelt confession reveals the depth of Sinha's emotional investment in Begum Akhtar's artistry. His youthful infatuation blossomed into a lifelong appreciation, a testament to the enduring power of her music. The image of a grown man, a successful filmmaker, weeping at her tomb during a film shoot underscores the profound impact she had on his life. It suggests that Begum Akhtar's influence extends beyond mere aesthetic appreciation, touching the very core of his being and informing his creative sensibilities.

Sinha's films are known for their unflinching portrayal of social realities, tackling complex issues with sensitivity and nuance. This commitment to truth and authenticity likely stems, at least in part, from the artistic environment of his youth. The poets and musicians he listened to as a child were masters of storytelling, weaving narratives that resonated with audiences on a deep emotional level. This early exposure instilled in him a keen understanding of the power of narrative to connect with viewers, to challenge their perspectives, and to inspire change.

His recent work, including Article 15, Thappad, Mulk, and Bheed, exemplifies this approach. These films tackle difficult subjects like caste discrimination, domestic violence, religious prejudice, and social inequality with a raw honesty that forces audiences to confront uncomfortable truths. His latest series, IC 814: The Kandahar Hijack, further demonstrates his ability to craft compelling narratives that resonate with a global audience. The series was lauded for its gripping storytelling, powerful performances, and meticulous attention to detail, cementing Sinha's reputation as a filmmaker who consistently delivers thought-provoking and impactful work. It's clear that the early influences of poetry and music, particularly the profound impact of Begum Akhtar, continue to shape Anubhav Sinha's cinematic journey, imbuing his work with a depth of emotion and a commitment to social commentary that sets him apart.