Past perfect

A stroll in the Kamalnayan Bajaj Gallery, replete with original silver gelatin prints of acclaimed photographer J.H. Thakker’s photographs, is enough to transport one to the golden age of Hindi cinema. Thakker’s old view camera shall also be on display, in an exhibition curated by noted lensman Ram Rahman.

Most of these sepia portraits of the ’50s and ’60s were shot at the Indian Photo Studio at Dadar, which became the hub of aspiring and established actors. They would drop by for long chats and end up creating theatrical portraits with Thakker.

Thakker, who had come to Mumbai as a Partition refugee in 1947, apprenticed at a photo studio in Karachi before setting up his own. A chance visit by an aspiring actress opened the gates to Bollywood. Soon, he became synonymous with narrative portraits and developed a signature style of dramatic lighting with spotlights, shadow textured backgrounds, studio props and costumes. His studio became the one stop for publicity stills.

Many of the resulting photographs were not connected to any particular film, mostly done in collaboration with actors. In the art community, his work has generated interest for a long time. Ram Rahman recollects the first time he came across Thakker’s work — a picture of Raj Kapoor smoking a cigarette — at the Illustrated Weekly, which instantly captivated him. “It was almost like he directed the picture just like a film director. His subjects would pose for hours patiently, as they knew the results would be worth it. These pictures are treasures, as the chemical that was used isn’t available today,” said Rahman.

Remembering Thakker as a “ jovial and charming personality, who would give her gossip about the film industry”, Bengaluru-based artist Pushpamala N. says, “His work was very unique and cinematic, as he used the expressionist and narrative style. I shot an entire series with him and worked on few assignments. I particularly remember how he would recreate smoke by asking his studio assistant to lie down by his subject’s feet and smoke a cigarette. He had different props in his studio including strange pillars and windows.”

The exhibition has been divided thematically. The first section features photographs of the khandita nayikas or woman enraged with their lovers. There are walls dedicated to the bad boys or villains of Hindi cinema too, as well as the charmers and lovers.

“His work is not just significant as it depicts the studio photography tradition in India, but (also because) primarily it creates the public image of the Bombay film industry in its golden period,” adds Rahman.

Till January 12, at the Kamalnayan Bajaj Gallery, Dr Bhau Daji Lad Museum