PREM KUMAR
Goans are supposed to be having a languorous personality, but there are a few
who have defied this personification. Prem Kumar is one of them. He can be
called the reformer of the Konkani stage as his contribution has brought
Konkani tiatr to a standard, which can compare with the other regional language
dramas.
Peter D’Costa- (his given name) was born in the historic village of Chandor, a
former capital city of the Kadambas. As a member of the Cine Artistes’
Association, a Hindi films outfit in Mumbai, Peter was bold enough to ask
Producer-Director Dhirubhai Desai, the doyen of Hindi films, for a role. As
Peter was neither young nor old, it was difficult for him to bag a role. But
Desai’s Production Manager Pralhad, scanning Peter’s talent, offered him a role
of a blind man, which Peter acted to satisfaction. It is here that Peter
baptized himself as Prem and set his foot in the Hindi film industry.
He enacted several small roles in Hindi films like Mera Salam, Bandish,
Shaukeen, Hum Bhi Insan Hai, Sakhi and Bahadur. K.N.Singh, a noted Hindi films
character artiste, spotted him on the sets and patted him for his excellent
portrayals. His performance in Hamara Hax as a Muslim moulvi (priest) won him accolades for
reciting the dialogues in pure Arabic. Many spectators were bewildered to find
a Goan Catholic doing this role to perfection. The veteran film director S.M.
Esmael promised him a big role in his next Hindi film but fate willed it otherwise
as the director expired and the promise remained unfulfilled.
Prem made his debut on the Konkani stage at the tender age of thirteen at P. T.
Bhangwadi, Mumbai, in Mhozo
Put written and directed by
himself and has today 54 dramas under his belt.
Vasant Joglekar- a noteworthy name of Marathi stage once accompanied him to
watch a Konkani drama of a top Konkani writer-director at P.T.Bhangwadi.The
guest’s reaction to the scene of a landlord’s house against the backdrop of a
jungle scene put Prem to shame. Here started the pursuit of Prem for the
upliftment of the Konkani stage. His love for Konkani made him bid adieu to
Hindi films.
His dramas specialize in settings and visuals through the aids of projectors
and slides- a new concept he introduced on the Konkani stage way back in the
fifties. It is a joy to watch his dramas. He drenches them with spectacular
scenes like in the movies. His dramas are patronized by the masses as well as
the glitterati as they mix a strong story with powerful dialogues.
Mortikar showed the fleeing of a murderer
through a majestic back-stage projection of a road scene showing the criminal
at his heels as is done on celluloid. Jivit
Ek Soponbrought the best of Betty Fernandes- one of the finest actresses of
the Konkani stage- in the disguised role of a male. Abdul Narayan D’Souza and Fulam
ani Kantte dealt with
communal harmony. Vavraddi enacted naturally by Prem himself presented
a panorama of the rural scene-a treat to be cherished. His Piso is the only monologue of the
Konkani tiatrs. The audience remembers with appreciation the scene in Maria
Magdalena where Jesus asks her to quench her thirst from the rock, which will
fetch her water. She strikes the rocks and the water zooms like a fountain on
the stage to the thunderous applause from the audience. The late
CardinalValerian Gracias was all praise for this religious drama. The late
Y.B.Chavan who was then the Chief Minister of Maharashtra was flabbergasted to
note that he was presenting the award to the same actor (Prem) who had acted
superbly in the role of a crippled in Angounn.
His magnum opus is Rinn,
an experiment on the moving stage, portrayed a courtroom drama showing a court
scene with flashbacks of events by moving the stage from the court scene to the
actual events and returning to the original scene of action. The same drama
witnessed the superb comic performance of Paul Romy in the garb of a gouio (blockhead) so much that the scene
received an encore, unheard of in dramas.
Although his dramas are big budgeted because of the props he uses, some of them
have crossed the century mark, namely
Dukh, Kakut, and Peleache Vostuchi Axea Korum Naie.
He has over sixty trophies
to his credit, including the Bandodkar Cup and Gold Medal for Vavraddi, I.G.P.
Arun Bhagat Shield, Emanuel Printing Press Shield, Cine Times Awards, Natraj Award
by Vasco citizens, Konkani Cultural Association Award, Konkani Sahitya Samiti
Award, Prohibition Award of the Government of Maharashtra.
Besides Konkani dramas, Prem has acted in the Konkani film Boglantt as the hero, which has Goan and Mangalorean
actors.
When asked as to how he manages to enact a role so naturally with emotions he
says whilst acting he forgets himself and completely merges with the role. He
is never complacent with the roles he performs and says his best is yet to
come. Prem, who possesses a strong memory and can recite any song or dialogue
from his dramas and films, is now busy with his new tiatr entitled No Time. On the future of the
Konkani drama, Prem is full of optimism and believes that there is always light
at the end of the tunnel and that Konkani tiatrlike
the proverbial phoenix will rise from the ashes to reach the pinnacle of glory.
Prem who has ploughed all his earnings from films and dramas for the betterment
of the Konkani stage needs sponsorship as the production costs have soared and
the audience cannot afford exorbitant pricing of the tickets. He has been the
tireless votary of the cause of Konkani and rightly deserves help and
appreciation from the government.
By Isidore Dantas
