Hyderabad: Shyam Benegal was rarely seen without his cigarette or a suitcase packed with books, wherever his travels took him. A dreamer with a penchant for stories, he grew up cycling the streets of Alwal, swimming in its wells, and playing cricket at the Parade Ground.
"He was an Alwal boy through and through," recalled filmmaker B. Narsing Rao, five-time national film awards winner and maker of films like 'Daasi ' and 'Matti Manushulu ' recalled. "Multitalented, humble, and deeply connected to this city."
The passing of filmmaker Shyam Benegal on Monday, has left a void in the world of storytelling, but in Hyderabad, it feels personal.
Born in 1934 in Alwal, Secunderabad, Benegal would cycle to attend his English literature classes in the city's Nizam College. In other times he would be editing the college magazine 'Collegian' or play sports, for he was a state cycling and swimming champion as per his long-time associates.
Benegal's early years were spent surrounded by family in Alwal and a photo studio run by his father in Lal Bazaar, Trimulgherry. He left Hyderabad in 1958, staying briefly with his cousin Guru Dutt's family in Mumbai before carving out his own identity in advertising and later cinema.
His childhood home in Alwal, sold in 1986, now stands in ruins, but memories of him linger in the wells he swam in and the grounds he played on.
"He left Hyderabad early, but the city never left him, he was psychologically connected to it and quite nostalgic too," said Narsing Rao, who shared a friendship with Benegal despite being twelve years younger, adding, "Shyam asked me to send my son to him to learn filmmaking."
Benegal's roots in the city extended to his films. His first feature, 'Ankur' (1974), was shot in Yellareddyguda, a suburb of Hyderabad, and based on the true story of his friend Suryam.
It won three national film awards and was nominated for the Golden Bear at the Berlin International Film Festival. His second film, 'Nishant', which explored Telangana's Armed struggles of mid 1940s, was shot in Gundlapochampally.
'Susman', a portrayal of industrialisation in rural India, was set in Pochampally, which depicted the weavers community of the region.
"He collaborated with writers like Vijay Tendulkar, and his narratives often drew from newspaper clippings and real-life incidents," said Rao. "He didn't just make films; he created conversations about inequality, exploitation, and identity."
Benegal's attachment to Hyderabad extended to his creative choices. His movie 'Bazaar' featured the poetry of Makhdoom Mohiuddin and songs by Hyderabad's own Talat Aziz. His later film 'Well Done Abba' (2009) was loosely based on Jeelani Bano's 'Narsaiyyan Ki Bavdi'.
"He loved being in touch," added Narsing Rao. "Even when he grew frail, he responded to every message. However, this year, for the past four months, there was silence, and I knew something was wrong."
Beyond his films, Benegal left a legacy as a teacher and mentor. He taught at the Film and Television Institute of India (FTII), served as its chairman twice, and introduced audiences to talents like Shabana Azmi and Smita Patil.
A suitcase of books, a cigarette in hand, and a vision that turned Indian cinema into a global conversation but even on the global level Hyderabbad was always home in his heart. "He swam in these wells here, cycled these roads, and left to conquer the world, but Hyderabad stayed with him wherever he went," said Narsing Rao.
Now, in Alwal, Benegal's elder brother Madhusudan's son Sridhar Benegal (50) lives with two daughters but in a separate house, not the ancestral one.
