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"Camera Meri Mehbooba Hai", Said Dharmendra, Reveals Anil Sharma | Exclusive_我的网站

唐顿庄园

A | Filmmaker Anil Sharma's association with Dharmendra and the Deol family goes back a long way. He had directed the late actor in Hukumat (1987), which went on to be one of the biggest blockbusters of the filmmaker's career. Together, they delivered more hits such as Elaan-E-Jung (1989), Farishtay (1991) and Apne (2007). Filmfare caught up with Sharma, who opened his heart about this bond with Dharmendra.Excerpts: What kind of an impact did Dharamji have on your life and career? My entire career exists because of him. The first star I ever saw on the big screen was Dharmendra. When I became an assistant director, I worked with him on The Burning Train (1980). And the biggest blockbuster of my life, my first blockbuster Hukumat was also with him. We also did Elaan-E-Jung, Farishtay (1991) and Tahalka (1992), and all four were hits. I worked with his son Sunny Deol on Gadar: Ek Prem Katha (2001). I produced Policewala Gunda (1995) and directed Ab Tumhare Hawale Watan Saathiyo (2004) with Bobby Deol. My film Apne had all the three Deols in it. Then there were The Hero: Love Story of a Spy (2003) and Singh Saab The Great (2013). My whole life has been spent working with the Deols and most with Dharamji. I consider myself fortunate to have worked with this family and Dharmendra. He was a legend, an era by himself . People love him so much because he too loved them in equal measure. Go on... Dharmendra was a young man from Sahnewal... He would stand before the Frontier Mail train and say, 'Frontier, please take me to Bombay.' And truly, Dharmendra became the film industry. He would have 6–7 releases in a single year, and all of them were hits… Today, if an actor gives even three hits in a year, he’ll run around with a sword, ready to conquer the entire country. Dharmendra ji delivered massive blockbusters that no hero today has ever seen on that scale. It was not just action films that worked. He did films like Anupama, Chupke Chupke, Naya Zamana, Mera Gaon Mera Desh, Pratigya, Yaadon Ki Baarat, Hukumat. He had such a range! All these were hit films. And he was so handsome… It felt like God crafted him with his own hands, and then broke the mould forever. He was what you truly call, 'a Greek God'. Today we loosely call many heroes 'Greek God' but the real Greek God was Dharmendra. It is said that he never increased his fee even after delivering blockbusters...He had multiple hits releasing at the same time. When he watched Hukumat, he liked it a lot. His payment terms used to be that some money was given during production and the rest upon release. So, he told me, 'Anil, you've made such a wonderful film, I'm waving off my entire balance fee.' He would waive off his remaining payment if you made a good film. He had no attachment to money; his attachment was only to good cinema. How was your last meeting with him? It was a couple of months ago. He asked me about the films I was working on. He then said that he wants to do such a film that the world will watch in awe and asked me to find a role for him. He said, "Camera meri mehbooba hai, aur mujhe miss kar rahi hai..." (Camera is my beloved, and she is missing me) I'm missing her too and I have to go back to her. He actually had a film ready to release and in the last couple of years, he had done films, and he had such passion even at the age of 89. He would tell me, "Just watch, I’ll do such good work that the world will watch… you’ll see what I’ll do. You’ll see." It felt like he was the same little boy from Sahnewal. View this post on Instagram A post shared by Anil Sharma (@anilsharma_dir) How was Dharmendra as a person when the cameras stopped rolling? Dharamji never realised how big his stardom and influence was. We would tell him that you are such a big star and he would say, "I am nothing...I am just a farmer, a man of the soil." In fact, the entire Deol family is like that. They genuinely believe they are still new and have a lot more to achieve. Dharam ji once said that he worked only for the people and their love. He came to be a part of the film industry, and he didn’t just become a part of it, he became the film industry itself. Tell us about Sher, Dharmendra's shelved James Bond style spy thriller... Sher goes back to 1988. I wanted to make a James Bond–style film. Recently the poster suddenly resurfaced, and everyone was shocked seeing Dharmendra with such a fantastic, powerful physique. I was a big fan of Bond films, because what does a Bond film need? Personality, handsomeness, wit, romance in the eyes, action prowess, intelligence, and Dharam ji had every single one of those qualities. But somehow, the film couldn’t get made. Hukumat hadn’t released yet at that time and I had signed Sher during Hukumat itself. The producer ran into some issues. If the film had been made, it would have been something remarkable in Dharamji’s career. I still have the script with me. Even now, people tell me to make it with Sunny Deol. I haven’t thought about it yet, but yes, I’ll see, and maybe I will think about it again. What do you want people to remember most about Dharmendra and his legacy? He was a genuinely good human being who knew how to love. I used to ask him what defines a good actor and he always said that a good actor is first a good person. If today’s actors understand just this one thing, they’ll automatically become better actors. If you’re a good person, you can play a bad man, you can play a worthless man, you can play an average man. His goodness, and the way he showered love on people, these two qualities were truly special about him. And that is exactly how he will always be remembered. He is a legend and legends never die, they remain immortal. Also Read: Exclusive: When Esha Deol Called Dharmendra and Hema Malini Excellent Babysitters。

澎湃新闻主笔沈彬连日来，伴随着更多事实的披露，“两人三座”一事的讨论已远远超出个案范畴，更多具有重思规则的意义。随着当事人母亲接受采访介绍了更多内情，舆论讨论也从“花钱能不能多占座”转向另一个议题：当家长无力贴身护送，铁路该如何保障未成年人的单独出行？据当事人的澄清，两个未成年女孩趁着暑假来到上海和父母团聚，返乡时，因为母亲实在请不出假，无法陪着坐27个小时的火车返乡；而按照铁路购票规则，儿童票不能独立下单，必须绑定成人票购买；如果先一起买，再退掉成人票，仅保留儿童票，铁路方面却提示，此时列车员有权要求孩子下车——此路不通。

B | 同时，考虑两个未成年女孩独自乘车的安全因素，避免她俩身旁坐了陌生男性，妈妈最终选择买下第三张成人席位，“浪费”一张车票，同时也保证两个孩子有宽裕的空间。

C | 回头看，两个女孩占三个座位并不完全是放零食，而是妈妈的一片苦心：自己请不出假陪护，孩子要返乡开学；单独买儿童票，铁路规则又不允许；索性多买了一张票。对这个新闻，公众的关注点也从所谓“金钱和效率”之争，转向了更加贴地气的未成年人出行的民生痛点。被浪费的236元的成人票，并不是臆想中的“有钱就任性”，而是妈妈在既有规则之下的无奈之举。相较于铁路部门回应中“席位使用权”“合同相对性”等法言法语的专业阐释，“候鸟孩子”返乡途中陪护缺位的现实困境，才是更值得直视的民生痛点。

D | “两人占三座”不是多花钱享受舒适和特权，而是普通打工人面对制度缝隙时的无奈变通。14岁以下未成年人无法单独购买火车票，可并非所有家长都有条件陪同孩子踏上旅程。尤其对于亲子分居两地、仅靠寒暑假短暂团聚的“候鸟儿童”，独自乘火车往返几乎是许多家庭的常态。航空领域早已建立成熟的无成人陪伴儿童服务体系，家长无法随行时，可以提前申请托管，实现从送机、机中照料到到站核验接领人的全流程闭环管理。铁路系统能否参照这套成熟思路，推出相适配的未成年人陪伴托管服务？当然，普速列车站点多、人员流动性大，乘务员配置有限，很难直接照搬航空一对一托管的模式，但不妨借鉴其制度内核，探索属于铁路版的“小候鸟”陪伴机制。发现问题、讨论问题是解决问题的第一步和第二步，办法总比困难多。

E | 可以考虑设立可预约的未成年人重点关照通道，完善独自乘车未成年人登记制度，明确送站、在途关照、到站交接的流程，设置合理的服务机制甚至适度收费的专项陪护选项，厘清权责边界，把散落在民间的“土办法”纳入规范化的制度框架之内，补上未成年人独自长途出行的民生短板。公共交通的公平，不只有防止“花钱就能多占资源”，也包含对特殊处境群体的制度关照。三张火车票的背后，是千万个务工家庭的现实困境、“候鸟家庭”的不得已。制度理应补上缺口，让孩子漫长的返乡旅途，不必靠家长花钱买一张空座位来换取安全感。这起事件也提醒我们：公共讨论与其执着于“公平正义”的抽象演绎和交锋，不如回归事实、倾听当事人的真实诉求。