Today Wednesday June 19 marks 2,000 days since Farooque Shaikh (Rehmatul Alaih) passed away.

Mushtaq Khan is his ardent admirer, having been a close friend since the late 1970s. He readily made time for this tribute and met TOI at a coffee shop near Shaikh Sahab’s home in Highland Park, Lokhandwala.

“You are seeking a few minutes of my time to speak about Farooque Shaikh — I would willingly spend hours! There is so much to say, years of unforgettable memories I am happy to relive. There are certain topics one loves to talk about. If this interview was about me I might have tarried or said thode dinon ba’ad kar lenge. But I am so fond of Farooquebhai, it is a pleasure and a privilege to speak about him. Unke liye main hamesha haazir hoon.”

Mushtaq Khan is two years younger than Shaikh. He was born in 1950 in a village named Baihar in Madhya Pradesh and lived there until he completed his MA from Balaghat nearby. “I was fond of acting from childhood. I was in class six when I began to perform and sing in school plays. I did some mono acting as well. I cultivated a desire to become a film actor in college where I wrote, acted and directed my own plays,” he says.

His father was a garment dealer who was not happy at his son aiming for cinema. However, his elder brother was supportive. “And then something happened which compelled my father to back my passion. One day a serious fight broke out between a group of students from my college and some policemen. I think a couple of policemen even died of their wounds. The incident blew up and became a talking point. My father felt it was best to send me away from there lest I be drawn into the controversy. I took my chance and came away to Bombay.”

Khan had a friend named Suresh Zargar who guided him to the Bharatiya Jan Natya Manch (IPTA) to channelise his talent. “I began to get good work. I did a play called ‘Dronacharya’ by Shankar Shesh which received wide acclaim. It was in IPTA that I met Farooque Shaikh who was my senior. I had heard so much about him and was looking forward to meet. He was already a phenomenon owing to the the success of plays like ‘Khalid Ki Khala’ in which he essayed the role of Khalid in drag, and ‘Aakhri Shama’ where he played the main part of Mirza Ghalib.”

Khan’s wish came true shortly and he met Farooque Shaikh. He says, “We did a few plays together. I am yet to meet another man like him in my life who was such an integral part of the film industry yet kept his personal character spotless white without blemish. No cigarette, no tobacco — alcohol was a far cry. To this day I look around me and I cannot find another man like Farooque Shaikh. Saaf-dil, khoobsurat, great, understanding, intelligent, intellectual. He had everything.”

Shaikh Sahab and Khan formed their most memorable partnership through the TV serial ‘Chamatkar’. Khan says, “I played Farooquebhai’s boss ND Tiwari and he was my employee Prem Kumar Chaube. It was a weekly series that became very popular. Partho Ghosh produced it and assigned different directors beginning with himself and Bombay Doordarshan veteran BK Giri and ending with Ananth Mahadevan.”

‘Chamatkar’ ran for approximately two years in the early 1990s. It was filmed variously in Juhu, Jal Hotel in Vile Parle East, a few bungalows and also in Dadar.

Mushtaq Khan says, “You know one day, after we had completed 25 episodes of Chamatkar, a unit hand came around to inform us that there was a party the following evening. Now what would you think if the spot boy said this to you? That the producer was throwing a celebration.”

“But after we arrived we found out it was Farooquebhai who was treating the whole unit! And you know how we came to know? Because there was no liquor! Farooquebhai would order a feast of the choicest vegetarian and non-vegetarian food — but never was beer or any other form of liquor laid upon the table. He would say, main na peeta hoon na pilata hoon. He was so firm about avoiding alcohol. That day others were saying, what a stingy producer this is to not even serve liquor at this celebration. But later they learnt that this was the signature of Farooque Shaikh’s party!” laughs Khan.

“Farooquebhai would liberally praise his co-actors. He would ring me during ‘Chamatkar’ and exclaim, ‘Shahenshah! Shahenshah e’ adaakari!’ He would say to me, ‘When my family sees the serial they dismiss my performance! It is you who impresses them more!’ I would blush in embarrassment and say, ‘No Sir. What are you saying, how can that be. You are saying it to make me feel happy.’ But he would insist, ‘No no, really. My family enjoys your acting more!’ ” laughs Khan.

A few years before this in 1986, the two also came together for Muzaffar Ali’s ‘Anjuman’ that was shot in Lucknow. Here Mushtaq Khan was a rogue nawab who tried in vain to marry Anjuman (Shabana Azmi) who was paired with Farooque Shaikh. He got a chance to observe his idol closely.

“Farooquebhai ki zubaan, unka lehja, unki language, vocabulary — peerless. Jitni achchhi unki Urdu, utna hi ooncha mayaar unki Angrezi ka tha. Aur Gujarati bhi. We did a few plays but even when we were not working together, I would just sit and watch him and listen to him.”

Of course Shaikh Sahab’s acting talent held his peers in thrall. But his natural, understated style meant that he was not given to larger than life expressions that are often typical of Hindi cinema. Shaikh Sahab was reportedly shy while filming his first romantic movie ‘Noorie’ (1979).

Mushtaq Khan says, “He had to extend one arm wide while singing ‘Noorie Noorie’! He felt so awkward doing that! He said, I have never done that in real life, it feels so unnatural. He literally ran from that shot! He told the director (Manmohan Krishna) yeh mujhse nahin hoga, kisi aur se karva lo! Everybody ran to bring him back. What do you mean kisi aur se karva lo, you are the hero of the picture!”

“As a hero, he may have had soft features but Farooquebhai was very strong and muscular. Each time we shook hands or I pumped his arm, I could feel the steel in his body. Aisa lagta tha ki agar kisi ko marenge toh woh aadmi uth nahin payega.”

Shaikh Sahab would laugh with an open heart. And so, a funny shot could take somewhat longer to film as happened in Satyajit Ray’s ‘Shatranj Ke Khilari’ during Shaikh Sahab’s scene with Farida Jalal. Also in ‘Chamatkar’.

“Chamatkar was a mad comedy so sometimes Farooquebhai would be unable to control his laughter at our repartee. He would tell me, Khuda ke liye itna na hansao yaar! And the director would become vexed and say, please stop laughing, shot itna achchha ja raha tha. Lekin unki ada itni kamaal thi that secretly, everybody wanted him to keep laughing!” Khan recalls with a smile.

In 2002, Shaikh Sahab directed a play named ‘Aazar Ka Khwab’, Qudsia Zaidi’s Urdu adaptation of ‘Pygmalion’. He himself acted the part of Professor Higgins while Smita Jayakar was Eliza Doolittle. He drafted Mushtaq Khan for the second lead. “Would you believe, Farooquebhai would take us to Lonavla for rehearsal! We would head out in a big SUV and travel there, all seven or eight people of the team, eat at the best restaurants and have a picnic while we worked. It was such fun.”

“Unki faraghdili ka kya kahoon. Even during spells when we were not working together, he would ring me and say, can you take out two hours for me? Okay, spare one hour at least! Then he would host a meal in a restaurant. Just like that. No special occasion, no reason to indulge me. After all, what could I do for him. For that matter, what could anybody do for him. But he was like that, a generous soul.”

As in food, Shaikh Sahab had fine taste in clothes. “Farooquebhai dressed beautifully always. His beautiful white chikankari kurtas were especially designed for him in Lucknow. Even his regular clothes were so fine and well crafted. He wore shoes that have a flap across the foot. And he had this habit of running his fingers through his hair!” smiles Khan enacting the flourish.

“Do you know, Farooquebhai would bring his own wardrobe for the shoot of ‘Chamatkar’. He would hand a bunch of clothes to the dressman and ask him to keep it for the duration of filming. He perhaps felt those would suit him best, or maybe there was some doubt that the clothes given to him would not suit his taste or fit well.”

Khan endorses the well-known fact that Shaikh Sahab would treat everybody on set with dignity and honour. “Their social standing did not matter neither did their role on set. I tell you, I introduced so many people to him, as soon as they met him woh unke deewane ho gaye,” he says. “And he loved children. If there were any children on set he would send for loads of chocolate for them all.”

“He was a true Muslim who respected all religions. During Ganpati, he would bring modak ke laddoo and distribute to everybody. He was very fond of modaks. And you know, during the mango season, he would despatch crates of the choicest fruit to his friends in the unit! His errand boy or driver would come and say, Shaikh Sahab ne bheja hai. Farooquebhai owned mango orchards in his hometown of Gujarat. I consider it my good fortune that I have been able to spend a little time with this large-hearted person over the years.”

“Farooquebhai was a unifier. Woh chahte the sab milke rahein, khush rahein. He was an exemplary Muslim who prayed five times a day yet never imposed his views on religion on others. Woh kabhi kisi par haavi nahin hue. He never made a big show of religion like wearing a skull cap or beard, or saying I kept this fast or went to pray. His namaz was also discreet. He would just disappear for a few minutes as the hour came, and then return quietly on set.”

“He would seldom get angry. I saw him annoyed only a couple of times, and when he was, he was always justified. Either the person he was angry with had not done their work or was careless and negligent. But even when he was upset, he never used a bad word. He would firmly point out the mistake and say to the person, why did you not do as you were told.”

“Farooquebhai was a keen observer. If he saw anyone unusually quiet or off mood on set, he would go up to them and ask why they were sad. Is everything all right at home?”

“And no one who approached him for help ever went back disappointed.”

“Islam teaches you that your charity should be discreet. If you are giving with your right hand, your left hand should not come to know. Farooquebhai lived by this principle. He silently helped so many people that nobody really knows the full count.”

“He would of course make all inquiries before giving financial help. For instance, if a person sought money saying a family member was ailing, he would see his medical papers or refer him to a nearby hospital and even speak to the doctors — he had very good connections — and ascertain the diagnosis. He did not close his eyes in blind charity. Poori tehkikaat karte the.”

“I know of two or three people who cheated Farooque Shaikh of his dues. I cannot take names because they are friends. But it broke my heart to see this good man who only knew how to give, never to take, be deprived of his rightful wages. For so many years he did not purchase his own house because he felt one had to lie one’s way through the process. He continued to live in a rented apartment saying mujhse jhooth na bola jayega. Also, an element of bank interest is involved if one takes a loan, and interest is contrary to the values of Islam. So he held out as long as he could. Aajkal ke mahaul mein Farooquebhai ki yeh baatein kisko bataoon. Kaun samjhega, kisko yaqeen aayega.”

Khan pauses awhile and says, “Now I will tell you something about Farooquebhai that I will not forget as long as I live. When we were shooting ‘Chamatkar’, a middle aged Muslim man would come on set and just do odd jobs. He was not a member of the unit but would just hang around to help. Mohammedbhai was his name, I think. He was something of a healer so he would press the actors’ or director’s feet or massage the head if they were tired or unwell. If someone was suffering from some minor ailment, he would recommend a cure. Somebody might pay him a small tip, say fifty rupees, that was how he got by.”

“One day Mohammedbhai brought two small girls to meet Farooque Shaikh. Now Farooquebhai’s room was right next to mine, and as my door was open Mohammedbhai paid salaams to me when he passed by. I saw the children and asked, Farooque Sahab se autograph lene aaye hain? Mohammedbhai said no. He came into my room and shut the door lest our voices carry. He then said to me that these were his daughters and that Farooque Shaikh was funding their education! He said Farooquebhai had instructed him to not speak about it with anybody. Every three months, Farooquebhai would send for the children and ask after their progress. Kisi cheez ki kami toh nahin hai, he would say, and ask if they needed anything else. Kasam khuda ki, aise kitne log honge,” Mushtaq Khan said.

Overwhelmed by emotion, Khan clutched his arm, bent his head and dissolved in tears at the memory of Shaikh Sahab’s goodness.

As he regained his composure, he said, “I cannot tell you how it pains me that I was unable to attend Farooquebhai’s last rites. I was at a hotel in Delhi for a function December 28, 2013 when the waiter came up to me and broke the sad news. He said I am telling you because I have seen you act with him. The ground shook beneath my feet. I switched on the TV and there it was, flashing on screen. Just four days before, we had spoken on the phone. I am not surprised that 5,000 people turned up for a final glimpse. Five thousand is nothing for a man like him. Main roya hoon unke jaane pe. Kasam khuda ki, main roya hoon unke jaane pe. I was speaking to another actor Ashok Banthia about his passing and I cried. Had he lived longer we would have seen some great work no doubt. But that is secondary. We have lost a gem of a person. Woh hote toh kitne aur ghareebon ka bhala hota. There is no man of the stature of Farooque Shaikh.”