July 19, 1974, was a day of stark contrasts at the Arab Bungalow in Khetwadi, Mumbai. The film crew, including the landlady and her son Jayant Patel, were ecstatic, having just received news from Delhi that 27 Down had won two prestigious National Awards. The atmosphere was electric, with plans for a grand celebration underway, as everyone eagerly awaited Awtar Kaul’s arrival to join in the festivities. A phone call from the police station shattered the jubilant mood. Cinematographer A.K. Bir was requested to visit the hospital to identify a body that had been retrieved from the sea just hours earlier. The news was about to change everything, casting a dark shadow over the celebration and leaving an indelible mark on the lives of those who knew Awtar Kaul.
From 1974, 50 years have passed since Awtar lives as a distant memory waiting to be revived amongst people’s lives. Joining those efforts, my family and I have been trying to piece together the director’s life through the eyes of our own family members, the cast and crew of 27 Down and film critics and enthusiasts across the world.
The gaps still remain wide and glaring in this story, everyone has seen a different part of Awtar and owing to human nature, memories have blurred. Reconstructing his life has meant returning to many rarely visited memory lanes for his family (their reasons being the endless forward progression of life). But because of the contributions of a few (which has become many now!), his life is slowly unveiling again to live a renewed life in everyone’s memory who has either known him or his film.
Awtar Kaul was born on 27th September 1939 in Srinagar, Kashmir, into a family of 6 siblings. Awtar Kaul’s brother, Pradyuman Kaul, recalls his early childhood as a haven of love and warmth. It was spent in the nurturing environment of his Matamaal (Nanihal or maternal grandmother’s house). He was the grandchild who was doted on by his grandparents. But owing to his Nana’s retirement, the family dynamics started to change and Awtar had to return to his parents in Delhi. This event marked the beginning of a challenging period in Awtar’s life.
An archival image of Awtar Kaul. Photo: Special arrangement
Awtar’s father was neglectful and irresponsible in his role as a parent, abandoning his family’s well-being for a life of extravagance. He physically abused his children and wife, frequently throwing them out of the house on a whim and leaving his family to struggle.
Awtar as the eldest sibling in Delhi, bore the brunt of his father’s cruelty. His father, in a fit of rage one day, threw him out of the house, warning him never to return. With no refuge, Awtar was forced to sleep on the Delhi railway platform and eventually started working for a local tea vendor, Bansi Chai Wala to sustain himself. Later in his life, when he would return from America to make his first film, he went back to meet Bansi Chai Wala again.
Here he contracted jaundice and was greviously weakened due to lack of care. His younger brother recalls those days with the same fear and agony that gripped him then when he looked at his skeletal appearance and hopeless condition. Still nobody in the family could dare to approach their father, intimidated by his wrath.
A turning point came when Awtar shifted to Ambala, where he started working menial jobs at a hotel. For the first time in months, he received full meals, which helped him regain his strength to dream of a life more than existence.
During this phase of his life he had managed to graduate through the open school system and eventually took a job as a Class IV employee in the Ministry of External Affairs. Awtar, who was forever learning and observing, did his adab-e-fazal in Urdu during his first posting in Pakistan. This position also led to an unexpected opportunity, as he was posted to New York in 1960, which presented him with the opportunity to pursue filmmaking. In the same year, he left his job and he joined The Institute of Film Techniques in New York and completed his diploma there in 1963. From 1964-1968, he was enrolled in the City University of New York for a Bachelor’s degree majoring in Film.
To make ends meet he took odd jobs like driving a taxi and being a copyholder for the Associated Press. At this job he was caught by the editor reading Arthur Koestley’s ‘Darkness at Noon’, but he wasn’t rebuked for this behaviour. The editor upon talking to him realised that Awtar was well-read and ascertaining that fact gave him the job of a news brief writer. He held this job until 1964 he was employed by The British Information Services, New York as an editor for their informational and cultural programs for television. In the USA, Awtar also met his wife, Anne, who had returned with him after a couple of years of his work in New York. After working there for a few years, Kaul returned to India and was hired in 1970 by the Merchant Ivory Productions, as an assistant director for their film “Bombay Talkie”. This began his journey into films.
A substantial amount has been written about the art behind 27 Down across the years. But the wealth of this masterpiece lies in the tales of hardwork and unique vision of its cast and crew.
The film was made at the forefront of the New Wave Indian Cinema, amongst the likes of Shyam Benegal, MS Sathyu, Mrinal Sen, Mani Kaul and Basu Chatterjee. It was a period of FFC (now NFDC) promoting new voices and stories. Awtar Kaul had approached FFC’s chairman BK Karanjia and director Teji Bachchan, having impressed them with his unique ideas, a partnership was formed that resulted in 27 Down in the meagre budget of 8 lakh (3 lakh was contributed by Awtar Kaul and 5 lakh were loan by FFC).
Also read: Remembering Shyam Benegal’s ‘Ankur’: A Film of Timeless Relevance
27 Down housed some of the most prestigious names of today in its sets then. Hariprasad Chaurasia and Bhubaneshwar Mishra composed the film’s music, while the production design was done by Bansi Chandragupta, known for designing most of Satyajit Ray’s films including Pather Panchali. The film was truly a remarkable collaboration between budding genius minds of that time, which included MK Raina, Pandit Hari Prasad Chaurasiya, Bansi Chandragupta, Sadhu Meher and Sudhir Dhalvi. Among the cast of 27 Down, Rakhee Gulzar was the only established star of Hindi cinema at the time. 27 Down was also the debut film for A.K. Bir, a fresh graduate from FTII who has become a renowned nine-time national award-winning cinematographer and Director.
27 Down is based on Ramesh Bakshi’s Hindi novel, ‘Athara Sooraj Ke Paudhe’. Ramesh Bakshi and Awtar were contemporaries and friends from Delhi, but Awtar first came to know about Bakshi in a bookstore in Delhi. He had been searching for the story for his film and asked the bookstore keeper to give him all the books nobody was buying at that time. Amongst many, he was handed Bakshi’s ‘Athara Sooraj Ke Paudhe’. Reading that novel, one can only retrospectively see how the character of the father, Om Puri, resembled his own father; a stout and controlling figure in his own life. Akin to his father, Om Puri is the character that mirrors the control of society on a person throughout the journey of one’s life. The film uses the metaphor of a train to show the person’s life’s journey to capture the stops and connections one makes in it. The idea of a missed station and the world of possibilities it could have brought is symbolic of missed chances in a person’s life. 27 Down is a beautiful, introspective and poetic film about a person’s attempt to escape societal norms, to search for and embrace his desires and values. Rail becomes a metaphor for a linear life, with a predictable beginning and end. Many film critics have interpreted this depiction of emotional and interpersonal toll of urban alienation to the writing of Albert Camus and Kafka, a depiction rarely captured in its deeply personal details in films of that time.
A scene from ’27 Down’ by Awtar Kaul. Photo: Special arrangement
27 Down was a marked departure from the mold of mainstream Indian films. It was shot in black and white, to create contrasts and shadows alluding to the ups and downs of life. Filming in monochrome lent the movie a documentary-like authenticity and artistic flair, setting it apart from mainstream fare, but also narrowing its appeal to a niche audience. A review of the film after its completion was published in the New York Times and British Film Institute’s (BFI) monthly magazine in its 1974 winter edition, Sight and Sound, published an article appreciating the ‘intelligent use of locations’ in the film!
Cinematographer A.K. Bir recounts the days of shooting this film, which was shot all on live locations. He remembers the painstaking process of capturing the perfect shot on a moving train, often waiting for hours to achieve the desired natural ambience while also having to balance the tight budget. The production budget was extremely limited, precluding the luxury of hiring train bogies, large crews, or obtaining elaborate permissions. As a result, the film’s interior train sequences, including shots of compartments, engines, platforms, yards, tracks, and railway canteens, were ingeniously filmed on location, incorporating actual passengers and settings. The budgetary constraints were so severe that, on occasion, the crew resorted to carrying generators for lighting inside the compartments of a moving train, demonstrating Kaul’s and his crew’s unwavering dedication to their craft.
Rakhee Gulzar, the renowned actress in the 70s had agreed to act in this film purely out of her likeness to the script as well. She was at the height of her career and still did not charge anything for this film. She was recommended this script by BK Karanjia and upon reading it, she fell in love. Her role as Shalini, was unlike her other roles before, she used to shoot with no makeup and in her own sarees that she used to come wearing from home. Although initially apprehensive with the way the sets were being run on the shoot of 27 Down; the lack of dress and makeup, the minimal retakes, upon viewing the rushes, she realised the genius of Awtar Kaul and his crew. She remembers Awtar Kaul as a different kind of director who was always thinking of something new even between shots.
The life that was breathed into this film by the cast and crew under the direction of Awtar Kaul has been recognised again and again since its making. It was tremendously received upon its completion in 1974 and secured two prestigious National Film Awards in 1974 – Best Feature Film in Hindi and Best Cinematography. It was India’s official entry in the Locarno Film Festival, Switzerland, where it won the Ecumenical Prize and at the Film Dukaten Award at IFFMH Munich, Germany it was widely appreciated. In 2013, under the theme of ‘100 years of Indian cinema’, 27 Down was screened at the Festival des 3 Continents, France. To mark the film’s 50th year, 27 Down was screened specially at IFFI Goa 2024. Another recent premiere at ‘The Festival of Singular Films’ on September 23, 2024, at GES-2, Moscow, as part of ‘The Retrospective Program celebrated the film’s enduring heritage’. In October of 2024, in Barbican in UK, under the banner of ‘Rewriting the Rules: Pioneering Indian Cinema after 1970’, curated by Dr Omar Ahmed, 27 Down was screened as an exemplary film. These accolades have solidified its position as a masterpiece of Indian cinema. 27 Down has continued to captivate audiences worldwide.
The 1974 Locarno Film Festival where the film received its first international award was also the stage for Awtar Kaul to unite with his wife, Anne as during the last leg of the film shoot she had to fly back to the USA to attend to her ailing mother and they had decided to celebrate the end of this film in Switzerland together. But at this stage only Anne arrived alone to receive the award on the behalf of her recently passed husband. As only a few who met her in Awtar’s family are alive today, Anne is perhaps the biggest piece of Awtar’s unravelled story.
Awtar’s younger brother maintained contact with Anne for a while after Awtar’s death through letters but in interest of life moving forward and the transcontinental distances being too much to chart, families grew apart. A part of Awtar’s life is somewhere still alive in the USA.
Also read: When an Old Cinema Shuts Down, a Million Memories Die With It
Awtar’s younger brother, Pradyuman, who also worked with him on the film, has many stories to tell about how while pursuing his passion for stories in the uncharted waters of filmmaking, Awtar always kept his family at the centre. Despite the hardships and harsh treatment in his youth, he remained a compassionate and supportive figure for each family member. Until his last breath, Awtar was an anchor for his extended family, always willing to lend a helping hand.
His brother tells the story of how Awtar sold his bicycle that he used to travel to his work in the Ministry of External Affairs in, so that there was money to pay for his 10th board examination. Even during his time in the US as a student and later while working, Awtar continued to support his family in Delhi, sending money to his younger brothers, who were taking care of the rest of the family.
The small one-room rented house in Delhi, where Awtar grew, was a symbol of love and unity, where all the siblings, their spouses, and children would gather to cherish the affection of their Nani and Mamas. Even after his father chose to live separately, Awtar ensured during his India visits that he stayed connected with his family, visiting his married sisters in Srinagar, Jubbal, and Kathgodam, as well as his old mother and brothers’ families in Delhi.
At the special screening of ’27 Down’ during the 55th International Film Festival of India (IFFI), Goa, 2024. Photo: Special arrangement
Awtar’s confidence in his talent and the success of his film was evident when he promised his nephews and nieces that they could pursue their interests after the success of his film, 27 Down. He was building a career to not only achieve his dreams but to support the dreams of everyone in his family. It is ironic how the sudden death of such a doting person, resulted in a chasm of memory for the family which otherwise has always held him in high regard.
A.K. Bir recounts an incident during editing, when Awtar said to him, “I may or may not get it (the National Award), but I’m certain you’ll win the award for cinematography for this film”. He vocally expressed such confidence in his art, his direction and the vision and talent of the people he worked with. Perhaps this is why he lives so strongly in the minds of the people attached to the film.
Tragically, Awtar’s untimely demise at the age of 35 left his family reeling. His mother, who had eagerly awaited his return, was devastated by his loss. His youngest brother, who had left his job in the Indian Air Force to help Awtar with his film production, was shattered and suffered from mental trauma and regular fits. Awtar’s younger brother, who had been holding the fort in Delhi while his brothers were away, was also deeply distraught, but he summoned the strength to keep his composure and prevent a complete collapse of the family in the face of this devastating tragedy.
Awtar’s family was forced to start anew, struggling to come to terms with his loss. It took years for them to recover from the shock of his demise and rebuild their lives. Ironically, during this time, 27 Down and Awtar, the director, gradually slipped into obscurity, in the absence of its creator and possible caretakers. This lapse in memory stands as a testament to the transience of life and within it the enduring power of art.
Awtar Krishna Kaul left nothing in his legacy except his iconic film, 27 Down. It is now incumbent upon the film fraternity to keep his legacy alive, cherishing and carrying forward the artistic vision of this one-film wonder. Awtar Krishna Kaul’s 27 Down is a testament to his superlative artistic achievement which would have only enriched in years if he was alive; a cinematic masterpiece that continues to inspire generations. “Artists may perish, but their art remains timeless.” As Awtar’s nephew, I can attest to the profound impact he had on our family. Though he had no children of his own, his legacy lives on through us, and we continue to celebrate his life and work. 27 Down remains an iconic film in Indian cinema, a testament to Awtar Kaul’s creative genius and his enduring influence on our family and the world of cinema.
The stage is set, the dream of choosing your own journey despite society is finally realised, but it is still waiting for the arrival of Awtar Kaul. The wait was palpable – a mother’s longing for her son to return home, a wife’s yearning for a reunion after years of separation, and brothers, sisters, nephews, and nieces eagerly anticipating a celebration of his hard-earned success together. The film fraternity waited with bated breath for more cinematic masterpieces from this talented filmmaker. But the wait remains permanent.
Vinod Kaul is a writer, the former executive director of Rajya Sabha TV and nephew of Awtar Kaul.
