Chinni Prakash recalled Jumma Chuma: ‘Just seeing Amitabh Bachchan was the biggest blockbuster of my life – exclusive. Hindi Movie News – The Times of India

Veteran choreographer Chinni Prakash recently talked about his journey in the film industry, his roots in a family of choreographers, and his career-defaulting experience. Jumma kiss From us (1991).
Chinni Prakash was born deeply in a family contained in a deeply contained in cinema and choreography. His uncle, Hiralal Masterji and Sohanlal Masterji, were famous choreographers, who worked with legends like OP Ralan and Raj Kapoor. His father was also a choreographer, located in Chennai. When the family was from Rajasthan, he was raised in Chennai, where southern languages ​​were spoken at home.
He said, “Speaking Hindi was not a part of our upbringing because we were in Chennai. Southern languages ​​were spoken instead. I married a Telugu -speaking woman,” she shared with us.
After this, Prakash remembered how filmmaker Mukul Anand, impressed by his work in Maha Sangram, horrified him. He said, “Forget about choreographing Amitabh Bachchan, it was my dream that Mr. Bachchan also came true to see,” he said, “when he said,” when he said, “when he said,” when he said, “when Mukul Asked me if I would like to work on us, I was flattering. I don’t know, perhaps it was the work of God or stars that ended everything for me. ,
Their excitement increased only when he was invited Mehboob Studio To see Jumma Chuma’s live recording, composed by Laxmikant-Pyrelal. “In those days, there used to be live orchestration. This was the first time I went to Mehboob Studio – Recording Hall, Theater and Vishal speakers,” he said.
Recalling his first meeting with Bachchan, he said, “Before I could enter the theater, I saw a person sitting on the couch, looked comfortably.” He had long hair and he was listening to the song. When I was introduced to Mr. Bachchan, I was strange to see him. The way he spoke and welcomed me. He was standing in front of me like a huge. And I was a small man. Seeing him was like seeing a god in front of me. I had cows. I did not know how to react to this situation. Forget about choreography and such things. Seeing it was the biggest blockbuster of my life. ,
He further said, “Then Mr. Bachchan Took me and my wife in his van. He said, ‘Come in my van, I will listen to you.’ I think he was the first person for the vanity van. Manmohan Desai was the owner of that van. He heard us singing in his van. Just imagine a small boy from Chennai, who heard a song played by Amit ji. He used to take his leg to the beats of the song. Such a long leg. I forgot to listen to the song. I was just praising him. He said, ‘Aap Gaana Suniyega.’ I could understand Hindi but I was not fluent in Hindi. ,
The choreograph pressure was immense for Amitabh Bachchan. Prakash initially composed steps on his assistant, Ravi, but Ravi supported, just a day before presenting Bachchan. This forced light to rehearsed the routine overnight. “There was a small hall in Juhu called Mangla Hall. I remember I composed a song on my assistant named Ravi. It took me about 3 days to compose. I showed Mukul for the first time. He said,” It’s very fantastic. . This is very spectacular. This is very spectacular. This is very spectacular. is fantastic. “He wanted to show it to Amit ji.

When it came time for Bachchan to perform, he got nervous. “My head was walking. I was trembling. All the dancers were trembling. In those days, they used to be cassettes. Someone played the song, and I started dancing. He got up from the chair, hugged me, and said, ‘Great!’ He then told Mukul, ‘I need a month’s rehearsal for this. After that, I will shoot. ,
Prakash credited Mukul Anand for making his visionary film, stating, “Mukul was completely another league. You cannot compare it to anyone. He was a master of cameras. He recalled the Grand Production Design, which included live screams of Kiss recorded on 2000 dancers and tapes.
From shot compositions to lighting patterns and even the use of white mugs in the scene, Anand carefully prepared every frame. While working with cinematographer WB Rao, two employed two -two new techniques, establishing a double camera – one handled himself and the other by Rao. His cooperation brought a visual prosperity for the song. “14 days of shooting were like a miracle,” he recalled.
Despite not being trained in the dance style required for Jumma Chuma, Bachchan ensured that he would complete every step. Prakash said, “He will take his sweet time, but he will ensure it to do it 150 times with me.” The biggest challenge was breaking Bachchan’s earlier dance pattern, which was influenced by the style of Lord Dada.
“It was the main issue for me to break this pattern. I needed to bring a new league with this song. I needed to do something else that he was doing. 8 days. In those days, we are shooting on the film. Were.

The mythological actor was also conscious of how some steps would be seen on their long frame. “He said, ‘Chinni, you are small, so it looks good on you. I am 6 feet tall, how will this step look on me?’ But I was firm that he should do it and said to him, ‘Sir, You should do this step because you have never done this step, you can make this step 1000 times with me. Before doing this, he tried that step on so many South Indian actors.
The song became a milestone in Indian cinema, with its black and white aesthetics, the km cutkar was given the signature touch of the tactile of Anand in red. Prakash said, “This type of canvas was never seen in Indian cinema.” “This is a cure for a director with such vision.”