Mills to the movies: Immerse in the uniqueness of Dadar East through this new heritage walk

Former journalist and author Samant (in pink) has lived in Dadar East for 47 years with her family (left) . FILE PIC

Faaltugiri is not just the title of Janhavi Samant's book; it is also the first word she learnt from her building's istriwala, Baban Kaka. Others were bhankas, ishtyle, and more.

Former journalist and author Samant has lived in Dadar East for 47 years, and now gives her book, Faaltugiri and other flashbacks, a new life by hosting a neighbourhood walk. Along with Go Hallu Hallu, a tour company, Samant traces the area's cinematic and personal history, many of which you will find in the book as well. Why did she choose to do this? "I think oral histories everywhere have been very powerful in keeping the memories of people alive. But if we don't document them, they get lost," she says. Samant grew up steps away from Ranjit Studio, Rooptara Studio, Shree Cine Sound, among other spaces, part of the film ecosystem. In Faaltugiri, published in 2019, Samant has documented her childhood, stories of her father, and showcased how different parenting was in the '80s.

A big part of the story Baban Kaka, in whose care she stayed at home while her parents worked. "When we were kids, in the mornings, we would see mill workers going from the station. During the day, we would see junior artistes. There was a very popular Junior Artist Association office in our gully… many of them would come to get their clothes ironed before auditions," she recalls.

Samant grew up with tales of trashy cinema, listening to stories her istriwala told her, and neighbourhood gossip that informed her which actor was visiting which studio that day. Her walk kicks off at Hindmata Chowk, a few metres away from where Hindmata Theatre once stood. Right at the centre of the chowk, where a bust of Dadasaheb Phalke, the father of Indian cinema, sits, Samant's filmy stories begin.

Down the road, Samant narrates personal stories of watching mill workers from the TATA Mills and Gold Mohur Mills, also referred to as Gulmohar Mill. The two mills still stand mostly defunct, but with a little activity around them. "On payday, we would see millworkers buy alcohol and head home. There used to be matka [a gambling game] parlours, and boiled egg vendors along the street," she narrates, painting a picture of what Dadar East looked like in the '80s.

One can imagine how things played out. Like, how many old buildings belonged to the Pathans who financed films, chawls around that till today house Jains and Muslims alike, among other facets that present Dadar as a largely secular neighbourhood.

There are no grand monuments or larger than life stories. But they are crucially important to Indian film history. For example, Mathura Bhavan - once a bungalow, now a cluster of buildings - where Phalke once lived and worked on his craft, no longer exists. It's here that he combined his sensibilities with Raja Ravi Verma and experimented with a film camera. His first project, Samant tells us, was filming a seed turn into a sapling. "To think that he was at that place and he was learning and experimenting till he got what he wanted. It's very exciting," she says.

As the group walks, Samant points to buildings that once formed the infrastructure of India's early film ecosystem. Ranjit Studio, now shut, still stands behind iron gates. Rooptara Studios, practically in a crumble, is where hopeful actors - including a young Dharmendra - came looking for work.

As Dadar gentrifies, this walk is Samant's way to keep its history alive. "The face of Dadar is changing very fast… it is so casual, so fun to walk the streets on. I don't know whether it will be the same in the next 10 or 15 years," she says.

Dwadle around Dadar East

Raja Harishchandra in motion: The first Indian film, was made in Mathura Bhavan by Dadasaheb Phalke. Due to the location's proximity to Dadar station, Phalke would have to time his shots well, as the structure would shake anytime a train passed.

Kanya Kumari: A young Meena Kumari lived with her parents along the street, opposite Rooptara Studio. The Abdul Razzaque Haji Abdul Karim Patel Orphanage now stands in its place. Meena Kumari began working in films at the age of four, and lived in Dadar till she turned 14.

King of Chevrolets: Bhagwan Dada, in his later years, lived in a chawl around this neighbourhood. A stark contrast to his days in the limelight, he stayed here humbly till his death in 2002. He was a lover of Chevrolet cars, and Samant recalls seeing a blue one parked in the chawl's compound when she was growing up.

The Dhaba that fed all: Many who came to act in films in Mumbai, including Dharmendra and others, worked for and were fed by the caterers serving the studios. One such caterer would later go on to open Pritam Da Dhaba, now one of Mumbai's most recognisable restaurants.

Pyaar kiya toh darna kya: The famous track of the iconic film, Mughal-e-Azam, and all others featured in the film were recorded at Rooptara Studios. The studio's tin shed was padded up to ensure each song was recorded perfectly.