“Childhood memories are always timeless treasures of my heart! Our childhood days were indeed different from today’s generation. Getting clicked is something that everybody loves! We, as older millennials, are more likely to remember the days of disposable cameras, specifically that excited feeling you got whenever you went to pick up the pictures you had taken with them! You never really knew what to expect, and it was so special to have that moment of discovering a truly awesome photo!” she says.

She adds, “When I was really young, I was able to see stars from my roof. My brother and I would lie down and count stars and constellations. However, for the present generation, such a privilege might not exist given the pollution levels. In fact, it’s been years since I even noticed the stars.”

Talking about the technological advancements today, Megha says, “The current generation has lost out on the enrichment that comes from experiencing things. They have been raised on the internet and social media, where everything from their lunch to major life events are subject to sharing. They lose out on the possibility of experiencing something without capturing it. They lose out on the moment that it is their own.”

She adds, “I find a big difference between how the new generation interacts with nature and how we did it in our times. But I don’t blame them for it because the development which we all are chasing does come at a price. One of my most favourite things that I used to do as a kid was to sit in the front of the radio and create cassette tape mixtapes. It was so much fun to anxiously wait for your favourite song to come on so you could record it. That being said, I also miss Nokia phones the most. There wasn’t much to do with them except phone calls or play the original snake game which was awesome!”

The post Megha Kishore says that her childhood days were indeed different from today’s generation! first appeared on Latest News, Breaking News, National News, World News, India News, Bollywood News, Business News, Politics News, Sports News, Entertainment News - CineBuster.

It has been 21 years since the movie released, and the first thing that comes to our mind when we think of it is — where is Chandrachur Singh?

He has not been in the movie business for a long time now. What happened to him?

Like other forgotten heroes of his generation (for instance, Mukul Dev and Rahul Roy) he didn’t appear on Bigg Boss to hog the limelight. He didn’t even join politics like Sunny Deol or Urmila Matondkar, and neither did he buy an IPL team like Preity Zinta. He is not even on Twitter retweeting grammatically incorrect compliments or on Instagram posting his oh-so-hot pictures that leave us pleasantly shocked!

Well, it’s good that he is not trying so hard and doing crazy things to stay in the limelight, but, where is he?

Fact is, you can tell a lot about the industry by how it treats its side heroes. There have been many like him who came, conquered and soon faded away in oblivion. So, this is our ode to Chandrachur Singh, the forgotten hero who could have been the Shah Rukh Khan of Bollywood.

After a stellar debut in Tere Mere Sapne and critically acclaimed performance in Maachis, followed by in 1996, it didn’t look like anything could go wrong for Chandrachur Singh. But luck wasn’t on his side, it seems.

In one of the best songs Bollywood has ever made, Chappa Chappa Charkha Chale, Chandrachur Singh’s smile was the highlight.

Did you know, Chandrachur Singh won filmfare best debut for Maachis.

He became an instant hit with female fans with a strong role in Josh. 

Didn’t we all drool over those innocent chocolaty boy looks and those eyes you could see his heart through.

We crushed over him while he crushed over Aishwarya Rai in the song Mere Khayalon Ki Mallika!

Our hearts fluttered and we all went like, Haye Mera Dil Chura Ke Le Gaya… Churane Wala… Chandrachur Singh!

But destiny was cruel to his talent and he suffered multiple dislocations of his shoulder joint during the shoot of the film. 

His appearances post that in movies like Kya Kehna and Aamdani Atthani Kharcha Rupaiyaa among others were sporadic and mostly unnoticed. 

But then, he did make a comeback sporting a handlebar moustache without a beard just like he did in Maachis.

He no longer played the hero but the character on the sidelines in movies such as Chaar Din Ki Chandni, Zilla Ghaziabad and Mira Nair’s The Reluctant Fundamentalist.

He said that downfall wasn’t easy for him.
“A lot of people feel that I got films like Maachis and Tere Mere Sapne just like that. Mujhe aise hi kaam nahi mile tha! I came to Mumbai in 1988 and assisted Mahesh Bhatt, and I had to struggle a lot before I got the break. There were some big films from which I was replaced at the last moment. Fighting through that phase gave me a lot of inner strength and made me a tough person. For someone whose entry in the film industry was so difficult, handling the downfall was much easier. I utilized my time very constructively, watching world cinema, reading books and listening to classical music,” he in an interview.
A couple of years later, he was seen in Govinda’s comeback movie Aa Gaya Hero and Yadvi – The Dignified Princess. Both movies didn’t make a lot of buzz, and Chandrachur Singh’s comeback went unnoticed.

From hero to character roles, Chandrachur Singh showed his versatility through distinct roles through his career. Be it a militant in an off-beat movie like Maachis or a die-hard romantic role in movies like Kya Kehna, he proved his mettle and caught people’s fancy. In a short span of time, he won millions of hearts.

Had he not had health problems, he had all the potential to be the next Shah Rukh Khan of Bollywood. He had both talent as well as charm, after all.
But he hasn’t given up on acting yet. If reports are to be believed, he is shooting for a web-series that marks the comeback of Sushmita Sen.

The post The Forgotten Hero Chandrachur Singh, Who Could’ve Been The Next Shah Rukh Khan Of Bollywood! first appeared on Latest News, Breaking News, National News, World News, India News, Bollywood News, Business News, Politics News, Sports News, Entertainment News - CineBuster.

Om Prakash played the leading man in films like Dus Lakh, Annadata, Charandas and Sadhu aur Shaitan. His pivotal roles in the films Dil Daulat Duniya, Apna Desh, Chupke Chupke, Julie, Joroo Ka Ghulam, Aa Gale Lag Jaa, Pyar Kiye Jaa, Padosan and Buddha Mil Gaya are considered to be among his best along with Daddu in Namak Halaal and De Silva in Zanjeer. His roles in Sharabi, Bharosa, Tere Ghar Ke Samne, Mere Humdum Mere Dost, Loafer and Dil Tera Diwana were also appreciated.

He is known for his roles in comedy films. One of his best performances in his later years were Naukar Biwi Ka, Sharaabi (1984) and Chameli Ki Shaadi, where he played a role that was pivotal for the movie. His role in Gopi with Dilip Kumar is considered best in terms of acting. Critics still think he gave better performance in tragic scenes in front of Dilip Kumar. Once Dilip Kumar revealed the fact , I was only afraid once in my acting career and it was during Gopi when Om prakash ji’s performance overshadowed mine.

Early life and education
He was fascinated by theatre, music and films. He started taking lessons in classical music when he was just twelve and was recognised as a master in no time.

Career
He joined All India Radio in 1937 on a monthly salary of Rs 25. He was known as “Fateh Din”, a radio personality and his programmes made him popular all over Lahore and Punjab.

He was regaling people at a wedding one day when the well-known filmmaker Dalsukh Pancholi spotted him and asked to see him in his Lahore office. Pancholi gave Prakash his first break as an actor in the film Daasi. He was paid only Rs 80, but the film earned him the kind of recognition that would give him a means of livelihood for a lifetime. It was his first major role; he had played a bit role in Sharif Badmash, a silent film. He followed his good work in Daasi and with Pancholi’s Dhamki and Aayee Bahar.

Soon after the Partition he came to Delhi and then to Bombay (now Mumbai). Baldev Raj Chopra noticed his talent when he was a film journalist and critic; he urged Prakash to carry on with his acting career. He was sure Om Prakash had the talent to prove himself a versatile actor.

The actor had to struggle initially. He got his first break as a villain in a film called Lakhpati. It won him acclaim and got him roles in films like Lahore, Char Din and Raat Ki Rani. It was during this phase in his career that he did Azaad[3] with Dilip Kumar, Sargam with Raj Kapoor and Miss Mary, Bahar, Pehli Jhalak, Asha and Manmauji with Kishore Kumar followed by Howrah Bridge with Ashok Kumar and then Tere Ghar Ke Samne with Dev Anand. He was noted for his performance in both films in spite of the presence of powerful star personas like Dilip Kumar, Raj Kapoor, Ashok Kumar, Kishore Kumar and Dev Anand.

He had developed a style of his own, a style which was going to take him places and earn him a big name in the world of film entertainment for the next forty years.

Om Prakash soon became a household name. He was good in almost every character he played. He was the comedian, the family man burdened with problems, the accountant, the alcoholic fallen on bad days because of the evil designs of the villain, the nagged husband, the old man in love, the wily politician and the big brother with a heart of gold.

He played an assortment of characters with the same ease and had some of the best directors vying for him every time they had a role which they felt only he could play. His role in Gopi is still remembered, some analysts believe he has overshadowed Dilip Saab.

Om Prakash was a versatile actor with 307 films to his credit. One can never forget his comic performances in Howrah Bridge, Dus Lakh (he won his first major award for this performance), Pyar Kiye Jaa, Padosan, Sadhu Aur Shaitaan, Dil Daulat Duniya, Chupke Chupke, Namak Halaal, Gol Maal and Chameli Ki Shaadi. His performance as Dilip Kumar’s elder brother in Gopi gave his career new impetus.

He proved that he could play mature roles with equal ease and depth: Films such as Chacha Zindabad, Khandan, Haryali Aur Raasta, Dil Apna Aur Preet Parai, Pati Patni, Neend Hamari Khwab Tumhare, Mere Hamdam Mere Dost, Annadata, Ek Shriman Ek Shrimati, Doli, Chirag, Amar Prem, Aankh Micholi, Ek Hasina Do Diwane, Anuraag, Zanjeer, Sagina, Aa Gale Lag Jaa, Loafer, Roti, Julie, Khushboo, Lawaaris, Bandish, Sharaabi and Chameli Ki Shaadi.

Om Prakash had a special rapport with Amitabh Bachchan and both worked in many successful films from Zanjeer to Sharaabi.

Prakash produced many films including Sanjog (1961), Jahan Ara (1964) and Gateway of India (1957).

Death
Om Prakash suffered a massive heart attack in his home and was rushed to Lilavati Hospital in Mumbai where he suffered another heart attack and went into a coma from which he never recovered. He died on 21 February 1998.

FILMOGRAPHY

Khandan (1965)
Ghar Ki Izzat (1994)
Pratikar (1991)
Pati Patni Aur Tawaif (1990)
Ghar Ho To Aisa (1990)
Halaal Ki Kamai (1988)
Bees Saal Baad (1988)
Mohabbat Ke Dushman (1988)
Hawalaat (1987)
Insaniyat Ke Dushman (1987)
Imaandaar (1987)
Kalyug Aur Ramayan (1987)
Muqaddar Ka Faisla (1987)
Karamdaata (1986)
Bhagwan Dada (1986)
Chameli Ki Shaadi (1986)
Kaanch Ki Deewar (1986)
Alag Alag (1985)
Meetha Zehar (1985)
Do Dilon Ki Dastaan (1985)
Yeh Ishq Nahin Aasan (1984)
Raaj Tilak (1984)
Raja Aur Rana (1984)
Sharaabi (1984)
Rang Birangi (1983)
Naukar Biwi Ka (1983)
Pyaasi Aankhen (1983)
Shubh Kaamna (1983)
Prem Rog (1982)
Dharam Kanta (1982)
Badle Ki Aag (1982)
Dil-E-Nadaan (1982)
Johnny I Love You (1982)
Namak Halaal (1982)
Ek Aur Ek Gyarah (1981)
Itni Si Baat (1981)
Biwi-O-Biwi (1981)
Naram Garam (1981)
Aas Paas (1981)
Dhanwan (1981)
Lawaaris (1981)
Sharada (1981)
Do Aur Do Paanch (1980)
Do Premee (1980)
Abdullah (1980)
Bandish (1980)
Gol Maal (1979)
Naya Daur (1978)
Parmatma (1978)
Aakhri Goli (1977)
Aashiq Hoon Baharon Ka (1977)
Alaap (1977)
Saheb Bahadur (1977)
Maa (1976)
Julie (1975)
Aandhi (1975)
Chupke Chupke (1975)
Dhoti Lota Aur Chowpatty (1975)
Khushboo (1975)
Sunehra Sansar (1975)
Roti (1974)
International Crook (1974)
Do Chattane (1974)
Chowkidar (1974)
Dukh Bhanjan Tera Naam (1974)
Sagina (1974)
Zanjeer (1973)
Loafer (1973)
Aa Gale Lag Jaa (1973)
Phagun (1973)
Joroo Ka Ghulam (1972)
Annadata (1972)
Apna Desh (1972)
Dil Daulat Duniya (1972)
Ek Hasina Do Diwane (1972)
Mome Ki Gudiya (1972)
Amar Prem (1971)
Buddha Mil Gaya (1971)
Paraya Dhan (1971)
Parwana (1971)
Aansoo Aur Muskan (1970)
Ghar Ghar Ki Kahani (1970)
Gopi (1970)
Mera Naam Joker (1970)
Purab Aur Paschim (1970)
Pushpanjali (1970)
Suhana Safar (1970)
Badi Didi (1969)
Chirag (1969)
Doli (1969) (as Om Parkash
Ek Shriman Ek Shrimati (1969)
Pyaasi Sham (1969)
Sajan (1969)
Do Kaliyaan (1968)
Ek Kali Muskai (1968)
Gauri (1968)
Kanyadaan (1968)
Man Ka Meet (1968)
Mere Hamdam Mere Dost (1968)
Padosan (1968)
Parivaar (1968)
Sadhu Aur Shaitaan (1968)
Aman (1967)
Around the World (1967)
Laat Saheb (1967)
Do Dilon Ki Dastaan (1966)
Dus Lakh (1966)
Neend Hamari Khwab Tumhare (1966)
Pati Patni (1966)
Pyar Kiye Jaa (1966)
Khandan (1965)
Naya Kanoon (1965)
Aap Ki Parchhaiyan (1964)
Door Ki Awaaz (1964)
Jahan Ara (1964)
Kaise Kahoon (1964)
Mera Qasoor Kya Hai (1964)
Raj Kumar (1964)
Suhagan (1964)
Bharosa (1963)
Nartakee (1963)
Tere Ghar Ke Samne (1963)
Dil Tera Diwana (1962)
Half Ticket (1962)
Hariyali Aur Rasta (1962)
Manmauji (1962)
Bhabhi Ki Chudiyan (1961)
Sanjog (1961)
Bindya (1960)
Dil Apna Aur Preet Parai (1960)
Mehlon Ke Khwab (1960)
Chacha Zindabad (1959)
Kanhaiya (1959)
Pyar Ki Rahen (1959)
Baghi Sipahi (1958)
Howrah Bridge (1958)
Police (1958)
Sohni Mahiwal (1958)
Aasha (1957)
Bhabhi (1957)
Ek Jhalak (1957)
Gateway of India (1957)
Miss Mary (1957)
Sharada (1957)
Sheroo (1957)
Basant Bahar (1956)
Bhai-Bhai (1956)
Dhake Ki Malmal (1956)
Shrimati 420 (1956)
Albeli (1955)
Azaad (1955)
Bhagwat Mahima (1955)
Kundan (1955)
Lagan (1955)
Marine Drive (1955)
Musafirkhana (1955)
Pehli Jhalak (1955)
Chor Bazar (1954)
Danka (1954)
Dost (1954)
Kavi (1954)
Pooja (1954 film)
Aas (1953)
Chalis Baba Ek Chor (1953)
Ladki (1953)
Rail Ka Dibba (1953)
Shikast (1953)
Anhonee (1952)
Ghungroo (1952)
Hamari Duniya (1952)
Poonam (1952)
Bahar (1951)
Khazana (1951)
Nazneen (1951)
Sargam (1950)
Bansaria (1949)
Char Din (1949)
Lahore 1949
Naach 1949
Raat Ki Rani (1949)
Sawan Bhadon 1949
Zameen Aasmaan 1946

The post Om Prakash : Most versatile character actor first appeared on Latest News, Breaking News, National News, World News, India News, Bollywood News, Business News, Politics News, Sports News, Entertainment News - CineBuster.

Dev Anand, born Dharam Dev Pishori Anand, was an iconic Hindi film actor, producer and director who began his acting career in 1946, with a film called Hum Ek Hain. Born in September 1923 in Gurdaspur, Punjab (British India), Dev Anand was the son of a well to do advocate.

Anand graduated from the Government College, Lahore, from where he obtained a degree in English Literature. After completing his education in the early 1940’s, Dev Anand left his hometown for Bombay where he secured a job in the military censor’s office. He also joined his older brother, Chetan Anand as a member of the Indian People’s Theatre Association (IPTA).

Long before Indian films and stars went international, there was Dev Anand. Debonair and inimitable, Dev Saab (as he was affectionately called) was the first really ‘cool’ hero of the Hindi silver screen. Known as the Adonis of Indian cinema for his good looks and charismatic personality, he cast his cinematic spell over generations of Indian women.

Over his seven-decade strong career, the uniquely stylish heartthrob also went on to earn much acclaim as one of Indian cinema’s iconic actor-directors. Dev Anand’s movies were suave, modern and not afraid of tackling bold subjects, just like the man himself. Whether it was Hare Rama Hare Krishna (that dealt with Hippie culture) or Des Prades (that explored the lives of Indian immigrants in the UK), all his films personified his different way of thinking.

During his struggling days, Dev Anand used to work as a clerk to make ends meet.
Born Dharam Dev Anand on September 26, 1923, the superstar spent his early years in Gharota village in Gurdaspur district in Punjab (British India). After completing his schooling from Sacred Heart School in Dalhousie, he joined Lahore’s Government College for a BA degree in English Literature.

With dreams in his eyes and little money, a 20-year-old Dev Anand came to Mumbai in 1943 to become an actor. During his struggling days, he would work as a clerk in an accountancy firm for a meagre salary of ₹ 85 to make ends meet. Later, he shifted to the Military Censor Office where he worked for a few months (earning ₹ 160) before he finally got a role in his first film, Hum Ek Hain, in 1945.

Dev Anand and Kalpana Kathik were offered many films together and eventually the onscreen couple fell in love during the filming of Taxi Driver and Dev Anand proposed marriage to Kalpana Kathik. The couple got married in a quiet ceremony in 1954 and in 1956 had a son named Suniel.

When love blossomed between Dev Anand and Suraiya
Dev Anand’s first love was Suraiya, the beautiful singing superstar with whom he did seven films — Vidya (1948), Jeet (1949), Shair (1949), Afsar (1950), Nili (1950), Do Sitare (1951) and Sanam (1951). The talented dev fell in love after a dramatic incident during one of the film shoots, when their boat capsized and in true Bollywood hero-style, he saved her from drowning.

Dev Anand proposed to Suraiya on the sets of Jeet. However, Suraiya’s maternal grandmother was strongly opposed to the inter-religious match and the lovebirds never married. Eventually, Dev Anand eventually married his Taxi Driver co-star Kalpana Katik while Suraiya remained single all her life. Much later, in a rare newspaper interview, she said that her one regret in life was she could not marry Dev Anand.

The terrific troika of Dilip Kumar, Raj Kapoor and Dev Anand
Dev Anand, Dilip Kumar and Raj Kapoor were the trio of stars who ruled Indian cinema in the 50s and 60s. While the popular notion was that these prominent stars never worked together, each one actually shared one film with the other. Dev Anand worked with Dilip Kumar in SS Vasan’s Insaniyat while he starred with Raj Kapoor in Shreemanji (though they didn’t share screen space). Dilip Kumar worked with Raj Kapoor in Mehboob Khan’s Andaaz.

Despite the professional rivalry (exaggerated by most media publications of the era), the trio shared a warm personal relationship. In fact, one of Dev Anand’s last wishes was to meet his peer and veteran actor Dilip Kumar on his birthday even though he was ill. He had even marked out the date in his diary so he wouldn’t forget. Sadly, he passed away on December 4, 2011, a week before Dilip Kumar’s birthday on December 11.

His screen idol was the one who gave Dev Anand his first movie hit.
Dev Anand with Kishore Kumar, R.D.Burman and Yash Chopra
Dev Anand was a big fan of Ashok Kumar and, in fact, it was Dadamoni’s (as Ashok Kumar was fondly called) movie, Achyut Kanya, that had motivated him to take up acting seriously. A chance encounter with Shaheed Latif (Ishmat Chugtai’s husband) on a train took him to Bombay Talkies Studio for a meeting that would change his life.

It was here that Dev Anand met Ashok Kumar Impressed by the young actor’s confidence; Ashok Kumar offered him the leading role in his upcoming movie ‘Ziddi’ before asking how much he wanted as his remuneration. To this, Dev Anand gave an answer that sealed the deal for him: “My fee will be people saying that you have given the industry a star.”
Interestingly, a young singer named Kishore Kumar was also introduced in the same film!

Dev Anand’s film ‘Guide’ was the first international collaboration of Indian cinema.
widely considered a masterpiece of Indian cinema; Guide was among Dev Anand’s best works ever. A film adaptation of author RK Narayan’s acclaimed novel, it was made in both Hindi and English. The premiere of the Hindi version, made by Navketan Films (the production house run by Dev Anand and his brothers, Chetan and Vijay), was held in New York.

It was here that he met David Selznick (best known for producing Gone with the Wind and Rebecca, both earning him an Academy Award for Best Picture), who wanted to cast him for a movie that would be shot in Kashmir. However, this wasn’t to be as Selznick suddenly died of a heart attack soon after.

The English version of Guide, written by Pearl S Buck and directed by American Tad Danielewski, never saw the light of day till it was screened at the 2007 Cannes Film Festival, 42 years after it was made. Interestingly, besides the English version of Guide, Dev Anand also acted in an international movie, The Evil Within, a crime thriller directed by Lamberto V. Avellana and produced by Rolf Bayer.

When Dev Anand met Charlie Chaplin
a huge fan of the legendary actor, Dev Anand got the opportunity to meet him in 1954. After being asked to leave the USA for allegedly being involved in un-American activities, Chaplin had settled down in a villa in Monteux (in Switzerland).

It was here that Dev Anand visited him as a part of an Indian delegation. He had seen Chaplin’s film, The Great Dictator, during his college days and deeply admired it. So when he met the legend, he couldn’t help but raise his arms and exclaim, ‘Hail Chaplin!’ Chaplin burst into laughter before replying in the same spirit, ‘Welcome to my white house!’

The autograph Charlie Chaplin gave him on this visit remained one of Dev Anand’s most treasured possessions for the rest of his life.

Dev Anand was once ‘banned’ from wearing black suits.
Dev Anand’s unique brand of acting — his rapid-fire delivery of dialogues, the serial nodding of his head and his way he walked in a springy slouch — endeared him to millions of fans. What also made him a force to reckon with was his signature style that made him a major fashion icon of the 1950s and 1960s.

Whether it was the puff of hair on his crown, his bright scarves or his crisp white shirts teamed with loose, exquisitely-tailored pants, Dev Anand’s style had women swooning over him. There was a time when the frenzy reached such a crescendo that female fans started sending him letters in their blood and jumping off buildings, especially after seeing him in a black suit. He was then banned from wearing a black suit in public!

Anand is remembered for his trademark head tilt and his style of nodding while speaking, which drove his fans crazy. By the 1960’s, Dev Anand had acquired for himself the image of a romantic hero and shared space with actresses like Nutan, Mala Sinha, Meena Kumari and Asha Parekh among others. Later in the 1970’s Dev Anand became producer with his directorial debut, Prem Pujari, which was not a commercial success. He followed that with Hare Rama Hare Krishna, starring Zeenat Amaan and himself.

Dev Anand always made the time and took the effort to foster new talent.
A warm-hearted superstar who epitomised the expression joie die vivre, Dev Anand launched many aspiring actors and directors to Hindi cinema; Zeenat Aman, Tina Munim, Kabir Bedi, Shekhar Kapur, Ekta Sohini, Sabrina, Zarina Wahab, Yash Johar, Guru Dutt and more.

In an interview with Shatrughan Sinha he said, “In the film Sharif Badmash (1973) I had a fight scene with Dev Saab in which I had to shout at him and put a knife to his neck. In those days, big stars would edit out such scenes which showed them in a bad light. But he didn’t do it; he was a natural scene stealer he wasn’t threatened by anyone. For me, he was 88-years younger rather than 88-years-old.”

However, it was Guru Dutt (who he described as “my greatest pal”) that Dev Anand shared a special relationship.
Thought his career Dev Anand has won many Filmfare Best Actor Awards, for his films like Munimji, Kala Bazaar, Hum Dono, and Guide, including others. He was also awarded the Filmfare Lifetime Achievement Award. Anand was also honoured by the Government of India and had received the Padma Bhushan award in 2001 and the Dada Saheb Phalke Award in 2002 for his outstanding contribution to Indian cinema.

Two young men struggling to find a foothold in the film industry, they became fast friends on the sets of Hum Ek Hain (which Guru Dutt was choreographing) when their shirts got swapped in the laundry. When Dev Anand asked Dutt why he was wearing his shirt, Dutt replied that the shirts had got exchanged in the laundry and since he didn’t have another spare one, he wore the one he had found.

The good laugh the duo shared became the foundation of a long-lasting friendship and a promise they made to each other — if Guru Dutt turns a filmmaker, he would sign Dev Anand as his hero, and if Dev Anand ever produces a film, he would let Guru Dutt helm it. This led to Guru Dutt directing or producing many of Dev Anand’s films such as Baazi, Jaal and C.I.D!

Dev Anand passed away on December 3rd 2011 due to a heart attack in London, where he had gone for medical treatment.

The post Dev Anand “The Evergreen Star” first appeared on Latest News, Breaking News, National News, World News, India News, Bollywood News, Business News, Politics News, Sports News, Entertainment News - CineBuster.

Sanjeev Kumar was born on 9th July 1938 in Surat, Bombay Presidency, British India and Died on 6th November 1985 at the age of 47 in Bombay, Maharashtra, India Because of Heart Attack. He was a Great Indian Actor.

Sanjeev Kumar as Thakur in Sholay.
It is heartbreaking when one gets to know that the life of one of our favorite stars was cut short by a heart problem. As if it wasn’t enough that iconic Indian screen beauty Madhubala died at a young age of 36 because of a hole in her heart, talented Bollywood actor Sanjeev Kumar (fondly called Hari bhai by many of his colleagues in Bollywood) too died rather young, aged 47, due to a massive heart attack.

Harihar Jethalal Jariwala (Sanjeev Kumar was his screen name) was born in Surat, Gujarat but soon his family moved to Mumbai (Bombay). He started out as a theatre actor, working in plays by Indian People’s Theatre Association (IPTA) at a young age. In fact veteran character actor AK Hangal cast him in one of his plays, early in his career.

Sanjeev Kumar and Deepti Naval in Angoor.
Though Sanjeev made his film debut in 1960 with a small role in Hum Hindustani, it was a movie called Khilona (1970; remade from Tamil original Engerindho Vandhaal) that Sanjeev first tasted success. He played a man who loses his mental balance after being jilted. A courtesan (Mumtaz) is hired by the family to pretend to be Sanjeev’s wife and take care of him. In one his many bouts of madness, he rapes her. How he gets back his sanity and how the two get reconciled with each other, forms the rest of the story. The film helped Sanjeev display his acting prowess—importantly his ability to move from loud and often melodramatic moments to ones of restraint, making him a natural choice for many directors and storytellers.

He would go on to work with various directors and in many different genres, acing many styles of acting. With films like Manchali, Seeta Aur Geeta, Anamika and Aap Ki Kasam (in the last one, he played the second lead) he channelled the romantic side of his personality with ease. In films like Angoor, Biwi O Biwi, Itni Si Baat, Pati Patni Aur Woh among others, his comic timing wowed all.

Sanjeev Kumar with Hema Malini in Seeta Aur Geeta.
Thanks to his realistic acting, soon he would become a regular in Gulzar films as well. In movies like Mausam, Namkeen, Angoor and Aandhi, together they set the bar rather high for others to emulate. The thing about Sanjeev was that despite commanding the admiration of millions of fans, he never really allowed himself to be caught in an image of a star. Even in his days as a theatre actor, Sanjeev wouldn’t contend himself playing the ‘young hero’. True to his craft, through his career, he often played older characters. Watch him in Sholay, Mausam, Trishul and Koshish and you will understand what one is pointing at. In fact, often he played these roles where the other actors, often playing his sons, were much older than him. He played a dad to Shashi Kapoor in Trishul, while the virile Dharmendra in Sholay was also elder than him.

Sanjeev never batted an eyelid even when he was cast in much smaller roles, despite being a powerhouse performer. In films like Parichay (lead were Jaya Bhaduri and Jitendra) and in Silsila (where he played a small role as Rekha’s husband; watch him as he notices his wife flirt with her ex-lover, played by Amitabh Bachchan in the song Rang Barse).

If in the early ’70s he got lead roles, towards the late ’70s and early ’80s, Bombay filmmakers often cast him in character roles.

It is a measure of Sanjeev phenomenal acting prowess, that a filmmaker like Satyajit Ray was willing to cast him in a rather realistic (often bereft of any drama at all) in Shatranj Ke Khiladi even as Ramesh Sippy would think of him as Thakur in Sholay with all his typical mannerisms. What would Gabbar Singh’s ‘yeh haath humko de de, Thakur’ have been without Sanjeev heavy baritone ‘nahin’?

Such a consummate artist Sanjeev was that he worked in other language films as well, while he was among the most talked-about actors in Bombay. His Punjabi film, Fauji Chacha and Tamil films (in small roles) Bharat Vilas and Uyarndhavargal are cases in point.

Sanjeev was an immensely popular star but he never married. It is reported that he was in love with Hema Malini (he even proposed to her, it is said) and later got involved with actor Sulakshana Pandit. Sadly, they never married and she reportedly chose to stay single even after his death.

Sanjeev suffered his first heart attack in 1976. He went to the US and underwent a bypass. However, in November 1985, aged 47, he suffered a massive heart attack, which resulted in his death.
33 years have gone by since his passing away but his legion of fans, still remember him and say: Tum aa gaye ho, noor aa gaya hai

Bollywood legendary versatile actor Sanjeev Kumar died on November 6, 1985. One of the most famous stars in the 60s and 70s, Kumar was popular for bringing offbeat characters to life. With a small debut role in Hum Hindustani, Sanjeev Kumar became one of the most influential actors of Bollywood.

Sanjeev Kumar was known for his iconic roles in the films like Sholay, Trishul, Shikar, Pati Patni Aur Woh etc.

Sanjeev Kumar (born Harihar Jethalal Jariwala; 9 July 1938 – 6 November 1985) was an Indian film actor. He won several major awards including two National Film Awards for Best Actor for his performances in the movies Dastak (1971) and Koshish (1973). He acted in genres ranging from romantic dramas to thrillers. Kumar did not mind playing roles that were non-glamorous, such as characters well beyond his age. Movies such as Arjun Pandit, Sholay and Trishul, along with the remakes of Tamil films into Hindi such as Khilona, Yehi Hai Zindagi, Naya Din Nai Raat, Devata, Itni Si Baat and Ram Tere Kitne Naam exemplify his talents. He also did suspense-thriller films such as Qatl, Shikar, Uljhan and Trishna. Kumar also proved his ability to do comedy in films such as Manchali, Pati Patni aur Woh, Angoor, Biwi O Biwi and Hero. He is well remembered for his versatility and genuine portrayal of his characters. His double role in the film Angoor was listed among the 25 best acting performances of Indian cinema by Forbes India on the occasion of celebrating 100 years of Indian Cinema.

Personal life
Kumar remained single all his life. He had proposed to Hema Malini in 1973 and they remained in touch even after he suffered his first heart attack in 1976. Later he was involved with actress Sulakshana Pandit, but both of them remained unmarried. Kumar refused to marry her, as a result of which Sulakshana vowed to never marry anyone.

His closest friends from the film industry were Rajesh Khanna, Hema Malini, Shashi Kapoor, Sharmila Tagore, Tanuja, Deven Varma, Shivaji Ganesan and B. Nagi Reddy. Among his juniors he was a very good friend of actor, producer, and director Sachin Pilgaonkar and actress Sarika.

Career
Kumar started his acting career as a stage actor, starting with IPTA in Mumbai and later joining the Indian National Theatre.[3] Even as a stage actor, he had a penchant for playing older roles; at age 22, he played an old man in an adaptation of Arthur Miller’s All My Sons. In the following year, in the play Damru directed by AK Hangal, Kumar again played the role of a 60-year-old with six children.

Kumar made his film debut with a small role in Hum Hindustani in 1960. His first film as a protagonist was in Nishan (1965). In 1968, he acted alongside the famous actor of that time, Dilip Kumar, in Sangharsh.

He starred in the 1966 Gujarati film Kalapi, which was based on the poet Kalapi’s life, with Kumar playing the titular role, Padmarani playing the role of his wife, Rama, and Aruna Irani as the love interest. The film was directed by Manhar Raskapur. Later Aruna Irani was paired opposite Sanjeev in another Gujarati film, Mare Javun Pele Par (1968).

In 1970, the movie Khilona, which was remake of Tamil film Engerindho Vandhaal, brought Kumar national recognition. In 1972, he played in an Indo-Iranian film, Subah aur Shaam. This was when director Gulzar first spotted him. Later he cast Kumar in the roles of older men in 4 films Parichay, Koshish (1973), Aandhi (1975) and Mausam (1975). Gulzar casted Kumar in role of young man in the films Angoor (1981) and Namkeen (1982). Kumar won the BFJA Awards for Best Actor (Hindi) for his exemplary portrayal of a deaf and mute person in Koshish, in which the female lead was played by Jaya Bhaduri, who acted as his deaf and mute wife and was herself nominated for Best Actor award by Filmfare for the same role. He went on to star in the box office hits Seeta Aur Geeta (1972), Manchali (1973) and Aap Ki Kasam (1974). In 1973, he made a guest appearance during a song in a Tamil movie, Bharatha Vilas (1973). He performed in nine movies directed by Gulzar. Hrishikesh Mukherjee directed him in Arjun Pandit, for which he won the Filmfare Best Actor Award.
He did three films opposite famous Tamil actress L. Vijaya Lakshmi, including Husn Aur Ishq and Badal which became hits. Their first film was Alibaba Aur 40 Chor which was unsuccessful. His Raja Aur Runk, released in 1968, was a great success. He did Kangan, Rivaaz, Zindagi, Beraham, Archana and Do Ladkiyan opposite Mala Sinha. He did Priya, Anubhav, Gustaaki Maaf, Bachpan and Khud-Daar with Tanuja. He was paired with Rakhee in Angaare, Paras, Trishna, Shriman Shrimati and Hamare Tumhare. His hits with Leena Chandavarkar included Apne Rang Hazar, Manchali and Anhonee. He was paired regularly with Sulakshana Pandit in films such as Uljhan and Waqt Ki Deewar and with Moushmi Chaterjee in Itni Si Baat and Daasi.

The producers and directors of the South wanted to remake their Tamil and Telugu films in Hindi with either Kumar or Rajesh Khanna in lead. It was these Hindi film remakes which elevated him to a great actor. The film Khilona and its Tamil version Engirundho Vandhaal were made simultaneously. Navarathri was remade as Naya Din Naya Raat. Kumar reprised the role played by Thengai Srinivasan in Yehi Hai Zindagi which was a remake of Kaliyuga Kannan. He starred as lead in the film Shaandaar in 1974 which was a remake of Kasturi Nivasa which had Kannada actor Rajkumar in the lead. He enacted the role played by AVM Rajan in Anadhai Aanandhan, in its Hindi version Chand Aur Bijli in 1970. Gnana Oli was remade as Devata in 1976 with Kumar reprising the role originally paid by Shivaji Ganesan. He also acted in the Telugu remake of Swargam Narakam, as Swarg Narak (1978). Though the film Suraag was a hit, during the mid 1980s, Northern Indian producers and directors casted Sanjeev Kumar primarily in supporting roles in films like Khudaar, Sawaal, Zabardast, Hero and Silsila. However southern Indian directors casted him in lead roles even in the period 1980 to 1985. He played the role which N.T. Rama Rao did originally in Devina Chesina Manushulu, in its Hindi version Takkar in 1980. Tayaramma Bangarayya was remade as Shriman Shrimati in 1982; Raman Ethanai Ramanadi was remade as Ram Kitne Tere Naam in 1985. Kumar reprised the role played by R.Muthuraman in Alukuoru Aasai in its Hindi remake Itni Si Baat in 1981. Shivaji Ganesan gave Kumar a role in his own home production Gauri (1968), which was a remake of Shanti (1965). The role played by S.S. Rajendran in Shanti was re-enacted by Kumar in Gauri.

Sanjeev Kumar’s excellent comic timing entertained audiences in films such as Seeta Aur Geeta, Biwi O Biwi (1981), Pati, Patni Aur Woh, Angoor (1982) and Hero (1983).

His performances in films such as Charitraheen, Angaare, Grihapravesh, Chehre Pe Chehra, Sawaal and Yaadgaar, though they became-box office flops, were appreciated by critics and during their subsequent screening on television. Kumar always demonstrated a willingness to take on unconventional roles that challenged him as an actor. His role as Mirza Sajjad Ali, a chess-obsessed Lucknowi (citizen of Lucknow), in Satyajit Ray’s classic Shatranj Ke Khilari (1977) exemplified that aspect. Perhaps his best remembered roles were in the blockbuster films Sholay (1975) and Trishul (1978). His portrayal of the character Thakur, from Sholay, released in August 1975 was one of his stellar performances. In Naya Din Nayi Raat (1974), Sanjeev Kumar reprised the nine-role epic performance by Shivaji Ganesan in Navarathri (Tamil; 1964), which was also previously reprised by Akkineni Nageswara Rao in Navarathri (Telugu; 1966). This film enhanced his status and reputation as a serious player in Bollywood. He stood his ground against leading superstars such as Rajesh Khanna in Bandhan and Aap Ki Kasam; Amitabh Bachchan and Shashi Kapoor in the Yash Chopra multi-star cast film Trishul (1978) and Dilip Kumar in the film ‘Sangharsh’ and Vidhaata (1982).

He has done many regional films in different languages including Marathi, Punjabi, Tamil, Telugu, Sindhi and his mother tongue Gujarati. In 1980; he starred in the Punjabi movie Fauji Chacha. He made guest appearances in two Tamil films Bharata Vilas and Uyarndhavargal.

The post Sanjeev Kumar “Remembering The Only Bachelor Actor” first appeared on Latest News, Breaking News, National News, World News, India News, Bollywood News, Business News, Politics News, Sports News, Entertainment News - CineBuster.

To put that in context, Sohrab Modi in the 1950s was like Yash Chopra in the 1990s, a titan of the film industry. It was a sign of Raaj Kumar’s self-belief, integrity and, as some would call it, pride that he turned down one of the biggest directors of the time.

This incident is one of many that mark out the actor’s eccentric and enigmatic personality. Born in a Kashmiri family as Kulbhushan Pandit in 1926, the actor moved to Bombay having cleared the civil services examination. He joined as a sub-inspector at the Colaba branch of the Bombay police. However, his style, grace, and charm eventually led him down the path of films.

Making his debut in Rangeeli (1952), the actor went on to deliver iconic performances in films like Dil Ek Mandir (1963), Waqt (1965) and Mere Huzoor (1968), among others. These films established him as a unique star outside the romantic hero template exemplified by Rajendra Kumar, Shammi Kapoor, Shashi Kapoor and Dev Anand.

In an article in Cine Blitz magazine in 1996, when Raaj Kumar died of cancer, veteran director BR Chopra had said, “As an actor he was an absolute delight to work with. He was totally a director’s actor who put in that extra little something which only belongs to the greats. The only little difficulty that takes place is right at the begin¬ning. He needed exactly 48 hours to discuss the script with the writers. If he was satisfied with the role, he would sign on immediately. He always needed to be approached properly. He always arrived well prepared and was most punctual. When I heard about his problems with other directors, I used to chuckle to myself. They must have allowed themselves to be taken for granted.”

While Raaj Kumar was a natural at his craft, it was his life outside the craft that fascinated people. Well-read, a florid orator, and a gentleman, Raaj Kumar was often known for his spontaneous, eccentric behaviour. As the actor himself said in a Stardust magazine interview in 1972, “I believe in things I do, I do things I believe in.”

The statement captured the confidence and measure of the man. A legendary wit, he is said to have once told Zeenat Aman, who was at her peak in the 1970s, “You have a pretty face. You should try acting.”

At another time, he walked into Rajendra Kumar’s studio and upon finding a large photo of the star hanging by the entrance remarked to the attendant in his inimitable style, “Jaani, ye chale gaye, aur tumne hamein bataaya bhi nahi? [Darling, he passed away and you didn’t even inform me?]”

BR Chopra said, “Different people hold different opinions [about him] and I think he did that deliberately. I always got the impression that he dealt and talked to people with a bemused attitude, as though he had an ace up his sleeve… He liked up¬right, confident people and was nobody’s fool. He could imme¬diately see through any kind of sycophancy. Personally, I think he was a very misunderstood person, mainly because of his bluntness.”

But to consider such savoir-fare as a sign of nonchalance was a mistake. Despite his image as a commercial actor, Raaj Kumar was also a keen watcher of arthouse cinema. A proof of that is the anecdote about him calling up director Mani Kaul after the release of Uski Roti (1971) and telling him, “Jaani, kya art-vart film banaateho, Uski Roti. Hamaarepaaschaleaao our commercial film banaate hain Apna Halwa.” That a man, now lampooned for his over-the-top style, knew and watched Mani Kaul’s film is a sign of his mysterious personality.

His fashion remains a topic of great mirth for the internet generation. From purple velvet suits to collar bands, the actor sported a wide variety of styles that can only be defined as unique. However, he could say, as the designer Coco Chanel did, ‘I don’t do fashion, I am fashion.’

The actor passed away on 3 July 1996 after a tiring battle with throat cancer. Even in his last days, he remained as he was. Resolute and adamant. When director Subhash Ghai paid the ailing actor a visit, Raaj Kumar is said to have remarked, “Raaj Kumar ko bi maari hogi toh badi hogi na, koi zukaam se thodi na marega Raaj Kumar. [Even Raaj Kumar’s sickness has to be grand, he isn’t one to die of a common cold.]”

Puru Raajkumar
A whistling train dissolving into the brooding night, a slumber-kissed Meena Kumari cradled in it. A stranger, a co-traveller, mesmerised by her exquisite feet leaves behind a note, which reads, “Aapke paon… bahut haseen hain. Inhe zameen pe mat utariyega. Maile ho jaayenge!” Even 40 years later, the dialogue rendered by the late Raaj Kumar in Kamal Amrohi’s classic Pakeezah (1972) is listed among Hindi cinema’s most romantic moments. And to think that the actor once served in the police force. That perhaps explains the inadvertent undertone of authority that crept into his dialogue delivery. “My father had strong language skills. Born as Kulbhushan Pandit in Loralai, Balochistan (now in Pakistan) into a Kashmiri Pandit family, he could write and speak Urdu,” comments son and actor Purru Raaj Kumar on his father’s formidable dialogue delivery famously prefixed with a ‘Jaani!’

Just as forceful were his on-screen portrayals in over a 100 films like Mother India, Waqt, Heer Ranjha, Saudagar and Tiranga, his off-screen person was as quirky, be it his wacky fashion sense or outspokenness. If the paparazzi went berserk shooting him in brocade shirts and outlandish footwear, the media had several stories about his unapologetic (and often embarrassing) run-ins with his peers. For instance, he allegedly refused Prakash Mehra’s Zanjeer because he didn’t like ‘the director’s face’. On another occasion, he supposedly told Zeenat Aman that after Satyam Shivam Sundaram it was difficult to recognise her with her clothes on.

“My father was a moonhphat (outspoken) though I’ve no clue about this incident with Prakashji. But it’s believable. Dad did have a wicked sense of humour. But no ill-intent,” smiles Purru. “My father may have been bizarre but he was never boring. They don’t make stars like him anymore,” says Purru, as he goes into flashback mode.

Growing Up
My first memory of my father was when I was a couple of years old — leaping from my mother’s arms into his. I also vividly remember the two-and-half-month long summer vacations that we — Amma (mother Gayatri), Abba (I also called dad, papa or bauji), my younger brother Panini and sister Vastavikta — enjoyed in Kashmir, year after year, right up till 1987. There would be a stopover in Srinagar and then we’d proceed to Gulmarg and Pahalgam where we stayed in a log house.

We’d play golf, go horse riding or play table tennis during the day. Dad would go for treks with mom. In the evening we’d have barbeques. I remember I was 14, when dad threw a party to celebrate mom’s birthday. Friends from Kolkata, Delhi, Mumbai and Gulmarg trooped in — around 200 people. There was song and dance. Dad enjoyed classical music and ghazals. He’d keep playing Aye dil-e-nadaan (Razia Sultan) and the valley reverberated with the melody.

For dad, the most beautiful woman in the world was my mother. She was an airhostess and they met on a flight. The romance blossomed and they got married (during the 60s). An Anglo-Indian, her original name was Jennifer. She was later renamed Gayatri according to her kundli. Basically, we’ve been brought up in all faiths. We’d visit churches, dargahs, mandirs and synagogues.

Our childhood was spent in a bungalow at Worli Sea face. We studied at Green Lawns School. When our house was being painted, we shifted to our Juhu bungalow for a while. Dad would drive us to school in Worli in his Chevrolet. My parents pampered us but never spoilt us. It was not like you’ll get everything in the toy shop. And even though dad was kadak (disciplinarian) there was no pressure on us to be A-graders. Rather, he encouraged us to engage in outdoor activities, reading and the fine arts. He got magazines like National Geographic and Reader’s Digest. It was not to make us intellectual but aware. We weren’t affected by his stardom. It was not like you raised your hand and the staff came running, saying ‘Jeesaab!’

As an adolescent, I remember having inane arguments with him. I’m hot-headed too. It’s a genetic trait. Like he’d ask me, ‘You want to play golf?’ I’d say, ‘No!’ He’d retort, ‘Why?’ I’d shoot back, ‘I don’t feel like!’ He’d fume, ‘That’s not how you talk to your father!’ But actually he was soft at heart. When he came to drop me at college in the US, he began crying. I thought, ‘What’s wrong with him? I couldn’t imagine a larger-than-life figure like him in tears!

Dad and Mom
Dad was a romantic. He sought romance even in the smallest things — like driving in his jeep with mom to have paan at Peddar Road. They also enjoyed watching TV or reading a book together. They’d debate on even what to make for lunch. And when she’d cook something, she’d wait for him to compliment. But he’d be busy eating. Then hours later, looking into nothingness, he’d say, ‘What you prepared today was delicious’.

It would have been natural for mom to be insecure, dad being the star he was. But she never shared any such feelings with us. I can’t say why she never accompanied him to public events. Maybe she wasn’t comfortable. He never gifted her on occasions. But it would be a surprise, like a holiday.

What He Liked
Dad began his day with kahwa, a Kashmiri drink, made with black tea, honey, almonds and tulsi leaves. On off days, lunch and dinner would be with the family. Being a Kashmiri Pandit, he loved rogan josh, chaman (paneer) with baingan and kasuri methi. He also enjoyed continental food. At times, he cooked and sometimes we’d catch him in the kitchen stirring the kheer. He enjoyed methi parathas for dinner, which was at 8 pm. He was a light eater and remained fit because he was a golfer. He did horse riding at the Old Amateur Riders Club at Worli. My mother was a horse rider too. During their romance, they did a lot of horse riding in Gulmarg.

Dad was interested in fashion but he wasn’t a fashion victim. He liked wearing kurta pyjama, shirts and trousers and khadau (wooden sandals). He imbibed a lot from his trips to Switzerland and London and picked up stuff from there. There would be fabric brought home for curtains. And a week later, he’d be walking around in a shirt made of that material. That was him. Dad smoked a pipe and had a great collection of those too. He was fond of cat eye sunglasses. He loved cars and had a Chevrolet, a Mercedes, a Volkswagen and a Willy’s Jeep.

As an Actor
Dad was in the police force during the 1940s when he once went to watch a film at Metro cinema. There veteran filmmaker Sohrab Modi saw him and offered him a film. But he declined it. He eventually did Nausherwan-E-Adil (1957) with him. Later, he went on to do films like Mother India, Dil Apna Aur Preet Parayi and Dil Ek Mandir (between 1957-1963). His quintessential style emerged after Waqt (1965) and he came into his own with Kaajal, Humraaz and Neel Kamal in the late 60s. It was often said that he didn’t suit the romantic category. But look at him in Heer Raanjha, Lal Patthar and Pakeezah (early 70s). How much more romantic can you get? Personally, I liked him in Karmyogi, Bulandi, Police Public and Saudagar (between 1978- 1991).

We never went on his set. But we had once been for a vacation to Manali where dad had to shoot with Dilipsaab (Kumar) for Saudagar. The song Imlikabuta was being shot. We saw Dilipsaab and dad rehearsing the dance steps. My father was a horrendous dancer.

The Waining Years
I never saw him in dull spirits ever except during the last two years when illness got the better of him. Those were excruciating times. I’ve repressed those memories, it’s a defense mechanism. It began with Hodgkins, where you get lumps on the nodes. He underwent chemotherapy for that. He even shot for Police Public during those days. But the lumps recurred even more aggressively and reached the lungs and the bones in the rib cage. He refused to remain in hospital. He wanted to pass away peacefully at home. I left college in the US and came home to be with him. He passed away on July 3, 1996. The last conversation that I shared with him will remain with me forever. It’s too private to share. It’s difficult to watch his films in his absence. You hear his voice, you see him… it’s painful. The void is impossible to fill. I wish he had lived longer. Today, I’d love to have a man-to-man chat with him.

The post Raaj Kumar “Remembering The Wit And Eccentricity Of Raaj Kumar” first appeared on Latest News, Breaking News, National News, World News, India News, Bollywood News, Business News, Politics News, Sports News, Entertainment News - CineBuster.

Atal Bihari Vajpayee was three time Prime Minister of India, first from 16 May to 1 June 1996, and then from 19 May 1998 to 22 May 2004. A member of the Bharatiya Janata Party (BJP), Vajpayee served as the eleventh Prime Minister of India. He headed the BJP-led National Democratic Alliance in the Indian Parliament, and became the first Prime Minister unaffiliated with the Indian National Congress to complete a full five-year term in office. He died at the age of 93 on Thursday 16 August 2018 at 17:05 at AIIMS, New Delhi.

After the 1996 general election, the BJP emerged as the single largest party in the LokSabha, the lower house of Parliament. Vajpayee was invited by President Shankar Dayal Sharma to form a government, but after 13 days in office, proved unable to muster a governing majority and resigned. He was replaced by H. D. DeweGowda, leader of the United Front (UF) coalition, and became the Leader of the Opposition.

The United Front was only able to sustain a majority in Parliament until 1998, resigning after the Indian National Congress withdrew its support. In the Indian general election, 1998 the BJP again emerged as the single-largest party, but was able to assemble a governing coalition called the National Democratic Alliance (NDA). Other constituents of the NDA included the All India Anna Dravida Munnetra Kazhagam (AIADMK), Bahujan Samaj Party, Shiv Sena, Shiromani Akali Dal, National Conference (NC) and the Trinamool Congress (TC), amongst others.

By early 1999, the NDA government lost its majority after the AIADMK withdrew its support. President Kocheril Raman Narayanan dissolved the Parliament and called fresh elections – the third in two years. Public anger against smaller parties that jeopardised the NDA coalition and the wave of support for the Vajpayee government in the aftermath of the Kargil War gave the BJP a larger presence in the LokSabha. The NDA won a decisive majority with the support of new constituents such as the Janata Dal (United) and the DravidaMunnetraKazhagam.

The Vajpayee government expanded the process of economic liberalisation initiated by the P.V. NarasimhaRao government (1991–1996). His government initiated the privatisation of most state corporations, including the Videsh Sanchar Nigam Ltd. His government also began the establishment of special export processing zones, Information Technology and Industrial Parks across the country to bolster industrial production and exports. In its third term (1999–2004), his government launched the National Highway Development Project, with the first phase being the Golden Quadrilateral. In 2003, the government launched the PravasiBharatiyaSamman (Honouring of Non-Resident Indians) and initiated plans to establish an Overseas citizenship of India to enable NRIs to invest and do business freely in India. His government also expanded efforts to encourage foreign investment, especially from Europe and the United States.

The Vajpayee government improved India’s ties with the People’s Republic of China, boosting trade and seeking the resolution of territorial disputes through dialogue. India also established strategic and military cooperation with Israel, with both nations establishing cooperation in fighting terrorism. In 2000, U.S. President Bill Clinton became the first American president to visit India since Jimmy Carter. The U.S. and India ended the Cold War-era distant relationship and expanded trade and cooperation on strategic issues. After the 11 September 2001 attacks, India provided much strategic assistance to the U.S. in its war against the Taliban and Al-Qaeda.

Pokhran-II nuclear tests
In May, 1998 India conducted five underground nuclear tests – Pokhran-II, following the Pokhran-I test of 1974. These tests established India as a nuclear weapons power, although it also resulted in the imposition of limited sanctions by the U.S., UK, Canada and other nations. By 2001, most of these sanctions had been lifted.

In 1999, Vajpayee personally travelled to Pakistan on the inaugural Delhi-Lahore Bus, which established a regular road link between the two countries for the first time since 1947. Vajpayee and the then-Pakistani Prime Minister Nawaz Sharif issued the Lahore Declaration, which committed the two nations to resolve bilateral disputes through dialogue and concurrently boost trade.

Why did Vajpayee’s bus diplomacy failed?

‘As events at kargil and pakistan’s continued support to terror activities in India prove, pakistan has always felt that the break up /destruction of India was within its capability,’notes Colonel Anil A Athale(retd).
However, the Lahore sumit’s success was diminished by the outbreak of the Kargil War just months later. In 2001, Vajpayee and Pakistani President Pervez Musharraf held the Agra summit, which failed to produce results and was overshadowed by the 2001-2002 India-Pakistan standoff. In 2003, Vajpayee declared in the Indian Parliament that he was making his final initiative to make peace with Pakistan, and oversaw considerable improvement in relations and a ceasefire between Indian forces and militant groups in the state of Jammu and Kashmir.

In 1999, two months after the bilateral summit in Lahore, India discovered that Pakistani army disguised as terrorists had infiltrated through the Line of Control (LOC) into the state of Jammu and Kashmir with active Pakistani assistance and participation. In response, the Indian armed forces launched Operation Vijay to evict the infiltrators. By July, 1999 Indian forces had reclaimed territories on its side of the LOC. The Vajpayee government also established the Defence Intelligence Agency to provide better military intelligence and monitor India’s border with Pakistan.

The terrorist attack on the Indian Parliament building on 13 December 2001, conducted by Lashkar-e-Taiba and Jaish-e-Mohammed terrorists led to the death of a dozen people (5 terrorists, 6 police and 1 civilian) and then 2001-2002 India-Pakistan standoff. In response to these attacks and an escalation in terrorist attacks in other parts of India, the NDA government promulgated the Prevention of Terrorism Act. Although a tougher anti-terrorism law than Terrorist and Disruptive Activities (Prevention) Act, POTA was criticised as compromising civil liberties and encouraging profiling of the Indian Muslim community.[6] As the Rajya Sabha, the upper house of Parliament, was controlled by opposition parties, the Vajpayee government called a historic joint session of both houses of the Indian Parliament in order to enact POTA into law. For all his bravery, perhaps Vajpayee was afraid of younger leaders publicly questioning his authority.

Eight months earlier, in late September 2001, amid massive political infighting, it was decided that Modi would replace Keshubhai Patel as chief minister of Gujarat.

On 1 October, Vajpayee asked Modi to meet him in Delhi, where Modi had lived for the previous three years. Modi had put on weight from the last time they had met. Vajpayee joked about too much ‘Punjabi food’ and then got to business. Modi had to go to Gujarat as CM to prepare the state for the next elections due in 2002.
Vajpayee insisted, because the Keshubhai Patel administration had incurred public wrath over not doing enough for the people of the state after the 2001 earthquake. Some members of the government were in cahoots with unscrupulous builders indulging in shoddy construction. Some of them enjoyed Patel’s patronage.

Modi agreed to accept the CM’s position after being convinced by his mentor Advani to do so. Advani knew about Modi’s lack of administrative experience, but was very fond of him. Finally, Modi was sworn in as chief minister of Gujarat on 7
October 2001.

On 27 February 2002, the Sabarmati Express train was attacked at Godhra by a Muslim mob. 59 Hindu pilgrims returning from Ayodhya were killed in the attack. Lasting for over a month, the riots claimed the lives of more than 1,000 people, mostly Muslims. The state government, led by Narendra Modi of the BJP, was severely criticised for being unable or unwilling to stop the violence.
Vajpayee was accused of doing nothing to stop the violence. He later admitted his mistake in underestimating the violence and not doing enough to stop it.

K.R. Narayanan, then president of India, stated that the violence stemmed from a “conspiracy” between Vajpayee’s central BJP-led government, and Gujarat’s BJP government. Narayanan said he wrote several letters to Vajpayee asking him deploy the Indian army to quell the violence. Narayanan didn’t speak out against Vajpayee during his term as president, as the Indian Constitution permits the president to speak only with the permission of the Prime Minister.

Modi has to go’: Post-2002 Gujarat riots, Atal Bihari Vajpayee wanted then CM to step down

Atal Bihari Vajpayee, one of the shrewdest politicians of India, is known for negotiating multiple paradoxes: from militant nationalism to his secret family life; his stint as a communist; his indulgence in food; and his attempt to project himself as a moderate, if not a liberal. Exploring crucial milestones of Vajpayee’s career and his traits as a seasoned politician, looks at his relationship with leaders of his party and his love–hate association with the RSS and its feeder organisations. The Untold Vajpayee will open a window to the life and times of a poet-politician.

On 27 February 2002, a group of people from a Muslim populated area of Godhra had set fire to a few bogies of a train — the Sabarmati Express — which carried pilgrims from Ayodhya, a town considered holy by the Hindus. Massive riots broke out, mostly targeting Muslims, for nearly a week.

name, the more so because Gujarat had a BJP government  All the killing and pillaging in Gujarat had given Vajpayee a bad in place, with a chief minister who had reportedly not risen enough to the occasion to rein in the violence. Vajpayee was blamed for his failure as PM to get rid of Chief Minister Narendra Modi, who reportedly shouted back at a Muslim leader on the phone for seeking help after a mob had gathered outside his house. Some hours later, the Muslim leader was launched, and Modi is alleged to have asked the police forces to let the violence continue. At that moment, Modi seemed to be the villain who brought a lot of shame to the central government.

Modi had also dared to publicly snub Vajpayee at a press conference where he was seated alongside the prime minister. The reporter wanted to know Vajpayee’s message for the chief minister in the wake of the riots. In controlled displeasure, Vajpayee stated that Modi should ‘follow his Rajdharma’. He explained that Rajdharma was a meaningful term, and for somebody in a position of power, it meant not discriminating among the higher and lower classes of society or people of any religion.

Three days before his foreign tour in April, when Vajpayee visited the Shah Alam camp in Ahmedabad, which housed 9,000 Muslims displaced by the riots, he was deeply touched when a woman told him that he alone could save them from the hell that their lives had become. Now, on the flight to Singapore, Vajpayee was worried he would expose himself to more humiliation while outside the country. His grouse was: why am I being paraded abroad at such a time?

Shourie suggested that the PM speak to Advani, who had by now become the deputy prime minister, about the possibilities of salvaging the situation — it could even mean replacing Modi. But even after the ‘pep talk’ with Shourie, Vajpayee appeared cheerless. He told Shourie that he would speak to Advani about it.

They reached Singapore; there were no meetings scheduled for the first day. The next day there were several engagements, including ceremonial visits to dignitaries, which included the former ruler Lee Kuan Yew. The Gujarat issue came up in an interview on the third and final day of their stay in Singapore. The journalist who interviewed Vajpayee first stated that Singaporeans were wary of communal disturbances, clearly indicating that he was referring to the recent riots in Gujarat, under the BJP rule. Then he shot off his question:
‘And in India such disturbances have happened not once, but several times. In this regard what can Singapore learn from India’s experience and what can you share?’

Vajpayee paused and rubbed his forehead… before answering, betraying a level of discomfiture in answering questions related to the Gujarat riots. Then, weighing his words, he said, ‘Whatever happened in India was very unfortunate. The riots have been brought under control. If at the Godhra station, the passengers of the Sabarmati Express had not been burnt alive, then perhaps the Gujarat tragedy could have been averted. It is clear there was some conspiracy behind this incident. It is also a matter of concern that there was no prior intelligence available on this conspiracy. Alertness is essential in a democracy. We have been cautious. And if one does not ignore even small incidents like one used to in the past, then one will certainly be successful in fighting terrorism.’ Clearly, he was on the defensive, and the issue worried him no end.

It was Vajpayee who had asked Modi to take over as Gujarat chief minister. Before the delegation left for Cambodia that day, Shourie asked Vajpayee whether he had a chat with Advani. The prime minister looked distraught, but answered that he had not yet had a word on the matter with Advani, Modi’s mentor.

On the same day, 9 April, Vajpayee met the Cambodian prime minister, Hun Sen, and other officials. He also made ceremonial speeches at Phnom Penh. Over the next two days, the prime minister signed various pacts with his Cambodian counterpart, and announced that India would offer 10,000 tonnes of rice for distribution among the people of Cambodia, especially among the flood-hit. He also visited the famous Angkor Wat temple, where Shourie again found Vajpayee to be distracted and lost in thought. He asked Vajpayee again if he had spoken with Advani, and he answered in the negative. The Indian delegation led by Vajpayee returned on 11 April. The next day, senior BJP leaders were to attend a national executive meet in Goa.

Shourie went home and took a shower. He was reading a book when he got a call from Brajesh Mishra asking if he had booked tickets to Goa. Shourie said he had. ‘Please cancel them. You are going with the PM and the deputy PM in the PM’s aircraft,’ Mishra said, emphasising that if he didn’t go, both Vajpayee and Advani would not talk if they were left alone in a plane.

When Shourie boarded the plane, Vajpayee was already there, seated next to the window, and facing him, across a table, on a window seat was Advani. The external affairs minister, Jaswant Singh, was also there.

The plane took off and after a few minutes, Vajpayee took a newspaper from the table in front of him and opened it so widely that he didn’t have to face Advani at all. A little while later, Advani also picked up a newspaper and began to read. Shourie and Singh looked at each other and sighed.

Then Shourie surprised himself. He pulled the newspaper out of Vajpayee’s hands and interjected, ‘Vajpayee, newspapers can be read later also. Why don’t you tell Advani ji what you wanted to tell him?’ Vajpayee kept the newspapers away, and muttered in his usual style about what had to be done. First, Venkaiah Naidu would replace Jana Krishnamurthy as BJP president. Then he said, ‘Modi has to go.’ By the time they landed in Goa, the decision was taken: Modi would go.

The post The untold Vajpayee first appeared on Latest News, Breaking News, National News, World News, India News, Bollywood News, Business News, Politics News, Sports News, Entertainment News - CineBuster.

Amjad Khan was born in Hyderabad on 12th November in 1940 to legendary actor Jayant. He was an acclaimed Indian actor and director. He was an macho actor with brown eyes, black hair. He worked in over 130 films in his film career spanning nearly twenty years. He enjoyed iconic popularity for his villain roles in Hindi language films — he is most famous for playing the role of the dacoit Gabbar Singh in Sholay (1975). He did schooling at St. Theresa’s High School, Bandra. He attended R D National College, Bandra for further studies.

He was the brother of fellow actor Imtiaz Khan. In 1972, he married Sheila Khan, and the following year, she gave birth to their first child, Shadaab Khan, who has acted in a few films. He also has a daughter Ahlam Khan and son Seemaab Khan.

Before Amjad came to films he was a theatre actor. His first film was as a child artist at the age of 17 in the film Ab Dilli Dur Nahin (1957). He had assisted K. Asif in the film Love and God in the late 1960s and had also made a brief appearance in the film which would have been his official adult film debut. But the film was left incomplete after K. Asif’s death in 1971 and it ended up releasing in 1986.

His first major break was Hindustan Ki Kasam (1973). But the role that immortalized him forever was that of Gabbar Singh in Sholay. Sholay happened in 1975 and catapulted him to the status of a star. Arre 0 Samba, Kitne Aadmi The?, Tera Kya Hoga Kaalia?, holi kab hai kab hai holi?, “jo dar gay ,samjho mar gaya”, “yeh hath hamko de de Thakur” are couple of the most popular lines of Bollywood mouthed.

His used to love songs ,His favourite singer was R.D. Burman and favourite actors was Amitabh bacchan and madhubala as he got married in 17th august 1972to his childhood friend Shehla khan at the age of 11 he played as an child artist in film Nazneen (1951)and when he played the role of Gabbar he was just 35 years old

The movie “Sholay” is one of the all time blockbuster movies in India and one of the highest earners, and although the movie had a cast of superstars including Amitabh Bachchan and Dharmendra the most memorable character was considered to be that of Gabbar Singh. Amjad Khan later appeared in advertisements as Gabbar Singh endorsing Britannia biscuits, and it was the first incidence of a villain being used to sell a popular product.

After the success of Sholay, Amjad Khan continued to play villain roles in many subsequent Hindi films in the 1970s, 1980s and early 1990s.

Due to the Sholay impact; he got the opportunity to act opposite Amitabh Bachchan in many movies in the heydays of the latter.”Parvarish”, “Hum Kisi Se Kum Nahin”, “Aakhri Goli”, are some of his movies of 1977. Similarly, in 1978 came such big successes as “Phool Khile Hain Gulshan Gulshan”, “Muqadar Ka Sikander”, “Kasme Vaade”, “Heeralal Pannalal”,”Khoon Ki Pukaar”, etc.

Amjad Khan was also acclaimed for playing many other unconventional roles. He appeared in the critically acclaimed film. Shatranj Ke Khiladi (1977) directed by Satyajit Ray. In 1988 he appeared in the Ivory Merchant’s English film The Perfect Murder as an underworld don..

In 1979, Amjad Khan played, Vikram, a notorious smuggler that drives Amitabh Bachchan (Natwarlal) to unscrupulous ways. “Hum Tere Aashique Hain”,”Chambal Ki Kasam”, “Suhaag”,”Bombay 405 Miles”,”Kaatil”, “Kalia”,” Teesri Aankh”, the list is very long. To sum it up there was hardly a block-buster in the late seventies and early eighties that didn’t have Amjad Khan as the chief negative protagonist. He often acted as villain opposite Amitabh Bachchan as the hero.

He played positive role opposite Amitabh Bachchan in “Yaarana” (1981) where he played Bachchan’s character’s best friend and also in “Laawaris” where he played Bachhan’s father. In the art film “Utsav” (1984), he portrayed Vatsayana, the author of the Kama Sutra.

In 1988 he appeared in the Merchant-Ivory English film “The Perfect Murder” as an underworld don. He also played comic characters in films such as “Qurbani”(1980) and “Chameli Ki Shaadi” (1986). In 1991, he again played Gabbar Singh in “Ramgarh Ke Sholay”, a parody of the legendary film which also included a look-alike of Amitabh Bachchan and Dev Anand.

He also ventured into directing for a brief period in the 1980s directing and also starring in “Chor Police”(1983) and “Ameer Aadmi Gareeb Aadmi” (1985) but both films failed to do well at the box office.

Amjad Khan was also the recipient of the prestigious National Awards on a number of occasions, including for portraying Wajid Ali Shah. Besides other recognitions, Amjad Khan was conferred the Filmfare Award on numerous occasions for the best villain.

In 1976, he had met with a near fatal accident on the Bombay-Goa road, when he drove his car to a tree while trying to avoid a boulder. The drugs administered to him for treatment caused a serious weight problem for the rest of his life. As. a result of his increasing weight he died in 1992 after suffering from a heart failure at the age of 51.

Several of the films like In Custody (1993) and Do Fantoosh (1994) that he had completed when he was alive were released after his death in 1996.

SHADAAB AMJAD KHAN
Amjad Khan, my father and best friend, passed away on 27 July, 1992, as suddenly as he had shot to the status of a legend as Gabbar Singh, after the release of Sholay.

A very big producer of the time had entrusted the task of directing a mega budget multi starrer filled with superstars, to a first time rookie director. So, needless to say, all the stars of the film were doing exactly as they pleased – arriving 5-6 hours late for the shoot, changing dialogues at will and even writing their own scenes, with absolutely no regard for the director’s authority. He never forgot even for a moment that a certain legend by the name of Amjad Khan was big enough to deliberately abase himself, so that a new-comer would be respected and taken seriously. Now, that’s class.

Another incident that I can never forget, took place just a few months before his passing.Dad and I were at an auditorium one evening for an awards function organised by a charitable foundation. There were just a handful of film stars, along with well known personalities from various other professions, and the odd politician. One of the actors in attendance, sitting at a considerable distance from us, was an upcoming young hero whose debut film hadn’t released until then. So needless to say he was going unrecognised, which obviously made him feel uncomfortable and out of place.

The only person who caught on to the young actor’s low self esteem was dad, who decided to help him out. So, whenever someone from the audience approached dad for an autograph, he would oblige, then subtly point in the direction of the newbie and tell the autograph seeker, “You may not know that young man today, but in a couple of years time, he will be a superstar and very difficult to approach, so take his autograph right now while you can”. By the time the evening came to an end, the young actor had signed more than a hundred autographs, and was beaming from ear to ear, looking decidedly better.

How Amjad Khan filled the doorway?
He was not a particularly large man, but his lumbering gait, thickset face and curly hair gave him the appearance of one.

From the low angle, Amjad loomed larger. Something clicked. ‘He had an interesting face,’ says Ramesh. ‘I felt very positive.’
The actor had to have both talent and charisma to hold his own against the galaxy of stars. Bad casting could destroy the film.

How did he manage to do Sholay?
He was asked to grow a beard and come back. Meanwhile, Ramesh and Salim-Javed pondered. Salim-Javed were convinced that Amjad was the right choice.They shot pictures in the office garden. Amjad had grown a beard and blackened his teeth.His diction was right, his language was perfect. He was confirmed for the role.

Amjad hurried ecstatically to hospital to break the news to wife Shaila. The date was September 20, 1973.His son Shadaab was born that afternoon.Amjad devoured Abhishapth Chambal, a book on Chambal dacoits written by Jaya Bhaduri’s father, Taroon Coomar Bhaduri.He marked out the pages on the real-life Gabbar, insisting that Shaila read it too.

He remembered a dhobi from his childhood who used to call out to his wife: ‘Arre o Shanti.’ The lilt in Gabbar’s ‘Arre o Sambha’ came from this dhobi.The morning Amjad was to leave for Bangalore, he put the Quran on his head and prayed.As abruptly as he had started, he stopped. He placed the holy book back in its place, ‘I think I’ll be able to do it,’ and drove to the airport.

The post Amjad Khan “GABBAR OF INDIAN CINEMA” first appeared on Latest News, Breaking News, National News, World News, India News, Bollywood News, Business News, Politics News, Sports News, Entertainment News - CineBuster.

If you do not have the passion for the tools that you use, you cannot become a good filmmaker. I like the camera, sound recorder etc”, Mrinal Sen said when I talked to him recently at Calcutta where his Bengali film Chaalchitra was screened as an entry in the Indian Panorama of the recently concluded Filmotsav 82.

“Before coming to films, I was a salesman of medicines, without knowing or liking anything about medicine. I quit the job soon and gatecrashed into films because I found the medium more fascinating. My business is to serve my own conscience. I am basically a communicator. That’s exactly what the nature of my job is. I do not know if I have any special aptitude for exporting my thoughts outside.What I aim at as a filmmaker, is to break the barriers that exist around us.

“I am not a Gandhian. I do not want to live in a fool’s paradise and indulge in wish fulfillment. Nowadays I find that the wealthy persons are coming to see me with proposals to make films for them. Who does not wish to go commercial? Even Godard wants his films to reach a wider audience. The trouble as well as the tragedy with the pseudo intellectual filmmakers is that they form a kind of defence mechanism around them and proclaim that they make films only for their personal satisfaction if their films do not do well at the box office.

Mrinalda continues. “Shashi Kapoor wants to make a film- a comedy with me. I believe he has a lot of money to make good films like Kalyug and 36 Chowringhee Lane. Even G.P. Sippy now wants to make a good small film with me after making blockbusters like Sholay and Shaan. Today, thanks to some of my films winning accolades and awards at some of the foreign film festivals which really matter; I find that I as a filmmaker am being watched not only by minority spectators as in the past when I was known only within and around Calcutta, but also by a sizeable section of the audience abroad.

“To make your mark as a filmmaker on the international level is quite a herculean task. It is primarily important to build up a case for a particular kind of cinema, for a particular kind of filmmaker to sell his film abroad. Even three or four years ago, frankly speaking, it was difficult for me to sell my films abroad. Today it has been made possible thanks to an international agency based on Europe-Cactus Films.

“Last year at the festival, Guney’s film was released in India.Yet nobody even knew who Guney is. This year at the Calcutta Filmotsav, people have become aware of him because of the films showcased in his retrospective section. It is imperative that the agency which sponsors you and your films to an international clientele believes in continuity and building up the maker’s case to make its point felt.

“Can a filmmaker do without press and publicity? As an honest filmmaker, I feel that you just cannot do without publicity. It is very important to project your image not only within the country but also abroad. Even a celebrated filmmaker like Akiro Kurosawa needs publicity. Last year in Cannes, my film Ek Din Pratidin was screened in the competition section and Kurosawa’s Kagemusha was there as Japans’ entry. You know what Kurosawa did? At a get together hosted by him, he presented to each and every one of the 200 odd guests-mostly from the various newspapers and magazines from all over the world- a transistorized clock. Did he really need to do that?

“Today a few filmmakers like Ray, Benegal, Ritwick Ghatak and myself have fortunately managed to create a clientele abroad for the kinds of films that we make here. However what inhibits the sale of Indian films abroad are the very stringent government rules. Moreover the films being selected and sent abroad for film festivals aren’t at all up to the mark. Will you believe it; I find it cheaper to make a print of mine in a foreign laboratory than in India. Moreover the quality is also far better if you make a print there.

“To be austere is part of your aesthetic approach. I am not as austere as I was earlier. I admit it. Yet, within the existing format, I find that the maximum budget of a film of mine has only been six lakhs which is chicken feed compared to what some of the commercial extravaganzas cost the maker in terms of crores of rupees.

“I project the national milieu in my films. Critics accuse me of attacking the middle class morality in most of my films. I tell them that since I myself belong to the middle class even today, I also am actually attacking myself. I am only being true to myself. My next film will be based on a rural theme. By telling about the irresistible human compassion in Pather Panchali, Satyajit Ray had not sold our poverty abroad. The fact is that everybody abroad wants to know about Indian reality as it exists today without any clap trap. What is important for us to capture on the screen is the enormous ability and determination to exist here in spite for illiteracy and poverty.

“I have made only one film each in Telugu and Assamese and two in Hindi- Bhuvan Shome and Mrigaya, because it is difficult to make a film in a language which is not your own especially in a country like that of ours in which we have a queer habit of not making an attempt to understand the nuances of one’s neighbor’s language. “To make an impact as a filmmaker and convey your point objectively to the audience, you ought to have a detached involvement with the medium. I have achieved at times and also failed many times as far as my films are concerned. As and when I make a couple of enemies after my films are released, I feel that I have made my point successfully. It is the barometer of your success as a maker”.

According to Mrinal Sen, the moment an artiste becomes a star, he loses track of his objectivity and commitment to the medium. “I made Mrigaya with Mithun when he was a nobody. I paid him only 4000 rupees. Today he draws around 4 lakhs per film and hence I do not want to cast him in my films. Do you know it was I who had paid Amitabh Bachchan his first remuneration in the film industry? Amitabh was working for K.A. Abbas’s film Saat Hindustani with which Amitabh Bachchan was actually introduced to the film industry. I asked Abbas to recommend a guy who could give a commentary in Hindi for my Bhuwan Shome. Amitabh Bachchan who overheard our conversation stepped in to introduce himself to me and asked me to consider him. He did the job and I happily paid him Rs 150”.

Mrinal Sen signs off. “Someone once asked me whether my films are autobiographical. Physically, they may not bear any semblance of my life. But the very experience of filmmaking is an exploration and an extension of my intellectual and my emotional self. “I wish I could start from scratch. I have done good, bad and indifferent films. I wish I could erase it all and start afresh like the professor in Ek Din Achanak who walked out on his family on a rainy day and never came back. One of the characters in the film says, ‘The saddest thing with life is that you live only one life.”

On his 95th birthday, we bring to you 10 amazing facts about Mrinal Sen
Mrinal Sen’s name has always been taken along with his contemporaries Satyajit Ray and Ritwik Ghatak. The trio would enjoy a healthy competition and were big fans of each other’s works. Sen’s method of experimental filmmaking and his depiction of Indian society have remained unparalleled.

Mrinal Sen, who was born in Faridpur, a town now in Bangladesh studied at the Scottish Church College where Netaji Subhas Chandra Bose had also completed his studies.Sen had joined the cultural wing of the Communist Party of India (CPI) but he never became a member. He understood how politics was taking the purpose of culture away from all cultural activities.

Mrinalda was a member of the Indian People’s Theatre Association, which was instrumental in unifying the youth of Bengal and involving them in theatre at a time when India was on the verge of Independence.Sen’s tryst with cinema began in the ‘Studio Para’ at Tollygunge in Kolkata. He was introduced to the world of filmmaking when he was reading Film as Art, a book by famous German film theorist Rudolg Arnheim, at the National Library. In order to start his filmmaking career, Sen took the job of an audio technician at a Kolkata-based film studio.

Sen’s first movie, Raat Bhor, was released in 1955. It was the debut film of Bengal’s film icon Uttam Kumar, but it failed in box office. Sen’s next film Neel Akasher Neechey (1959) earned him recognition.

His film Baishe Srabon (1960) was based on the tragic death of a child in a stampede during the cremation of Rabindranath Tagore. Baishe Srabon (the 22nd day of the Hindu month of Shravan) is Tagore’s date of death. This film earned Sen international acclaim.

Punascha (1961) earned Sen his first award. The film, featuring Dadasaheb Phalke award winner Soumitra Chatterjee, received the National Award for the Best Film in Bengali. Another of Sen’s masterpieces, Calcutta-71 (1972), depicts the social and political turmoil that Bengal had been going through from pre-Independence to the contemporary time. The 1980 film Akaler Sandhane had won the most National Awards for Sen. It got the National Film Award for Best Feature Film, Best Direction, Best Screenplay and Best Editing. It also won the Silver Bear – Special Jury Prize at the 31st Berlin International Film Festival.

Sen was the pioneer who brought experimental filmmaking to India. His unusual camera movement, his use of episodic narratives, news-reel type montages, discontinuities, and even slogans were something the Indian audience had never seen before. Because of his experimental filmmaking and youthfulness, he has been given the name ‘Maverick Maestro’.

Mrinal Sen had introduced many unknown faces to the screen. His 1976 film Mrigaya was the debut film of actor Mithun Chakraborty.

The post Mrinal Sen : You Can’t Do Without The Press first appeared on Latest News, Breaking News, National News, World News, India News, Bollywood News, Business News, Politics News, Sports News, Entertainment News - CineBuster.

Satyajit Ray (1921-1992) was a renowned filmmaker, music composer, author and screenwriter. Born in the family which is known for its prominence in literature and arts, Satyajit too started off as a commercial artist with keen interest in independent filmmaking. Vittorio De Sica’s movie Bicycle Thieves and meeting French filmmaker Jean Renoir are said to have influenced him greatly.

Ray initially worked as a graphic artist, before moving on to filmmaking. He founded the Calcutta Film Society in 1947. During the Second World War, he became friendly with many American soldiers stationed in Kolkata from whom he learnt about the latest American films being shown in Kolkata.

In his illustrious career, Ray directed 37 films, which included feature films, documentaries and short ones. He shot to fame right from his first film, Pather Panchali, winning 11 international awards. Besides direction, he was also involved in scripting, casting, scoring, cinematography, art direction, editing and advertising. He also wrote detective stories for children and two of his characters Feluda, a professional detective, and Professor Shonku a scientist became very famous.

Ray was awarded the Dadasaheb Phalke Award in 1985. The French government awarded him their highest civilian award, Le’gion d’honour in 1989.He received the honorary Oscar for lifetime achievements in 1991 and in the same year he was awarded the Bharat Ratna.
He received honorary doctorates from many famous universities around the globe, including the Oxford University.

“Regional Cinema has moved from Bengal to the South because there are better filmmakers in South today who are making content-oriented movies today,” quipped Satyajit Ray addressing a crowded press conference at the Vigyan Bhavan in New Delhi, where his film Shatranj Ke Khilari figured as an entry in the Indian Panorama of the Internationalo Film Festival of India (IFFI).
“I have been impressed by films like Malayalam films like Thampu by Aravindan and Kodiyettam by Adoor Gopalakrishnan”, said Mr Satyajit Ray who is fondly referred to as Manekda and added that during the film fete, he had solely concentrated on films made by Indian directors all over the country instead of devoting his time to seeing the European films only since he had already seen a vast majority of them in other major International film festivals.

Satyajit Ray said that over the last couple of years, there have been several feelers from abroad to him for making films. “I was requested to make a film to be financed by Columbia Pictures. I may be reviving the project which was shelved for the time being. It will be a science fiction in two versions- English for consumption of the audiences abroad and Bengali for the local audience”.

Ray added. “I have made a very belated delayed entry in Hindi Cinema and also made a rapid exit from the film scene in Bombay only because of my lack of confidence in Hindi even after making my maiden film Shatranj Ke Khilari. Frankly speaking, I’d feel out of my depth making a Hindi film or for that matter, any regional film other than in Bengali”, he sighed.

Mr Ray is of the opinion that an International film festival ought to be held only in film producing centers like Bombay, Madras or for that matter Bangalore, Hyderabad or Calcutta, if a festival is of international caliber and expected to achieve tangible results.

“Delhi is the most unsuitable venue for a festival”, he said, without mincing words, as a matter of fact since he is known for calling a spade a spade. Because major countries in the world do not send their better films to India and prefer to send them to other important festivals, he said the standard of the films entered in the Seventh International film festival of India in New Delhi was not at all above average.

At the moment, Mr Ray is toying with the idea of making a film on the dice play in Mahabharata. “If I do not venture into making any project currently, the reason is I have got to think of my foreign audience too, apart from the Indian audience. While setting out to make a film for the Indian audience you must establish every character in detail, you need not waste unnecessary footage while making a film for the audience abroad,” he chuckled.

Referring to the acute paucity of cinema houses in West Bengal, Mr Ray said that the emphasis on the part of the government should be to construct more and more cinema houses to screen a large number of films, especially contented oriented and off-beat experimental films made by the new and talented directors.

“Unfortunately in West Bengal today there are more number of films which are waiting for their turn to be released and very less number of theatres. As a result, believe it or not, even I had to wait for a year to release Shatranj Ke Khilari, which I made in Calcutta.”

Currently, Mr Ray does not even have a single feature film on the floors. However, he is all set to make a film on music in Western Rajasthan for the French Television. It will be a co-production with the government of India; he said and added that he was waiting for a final clearance from the Ministry of Information & Broadcasting before he is able to go abroad with the project.
Talking about his film Shatranj Ke Khilari which stars Sanjeev Kumar and Saeed Jaffery with Amjad Khan and Shabana Azmi, he said that he enjoyed making the film even though there were quite a few unpleasant troubles over its distribution.

On being asked what prompted him to say yes to the offer to direct a Hindi film like Shatranj Ke Khilari, he said, “I took up Suresh Jindal’s offer to make the film for him only because he gave me complete freedom and conceived the project based on the late revered Munshi Premchand’s story”. Besides Shatranj Ke Khilari, the only other Hindi telefilm that Satyajit Ray has made is Sadgati which starred Om Puri and Smita Patil.

Ray stated bluntly in his own inimitable style that earlier when a showman like Raj Kapoor had offered to make a film with him, he didn’t accept it because he did not like the subject which he had chosen for him. Ray signed off by declaring that commercial films do not at all fascinate him, as a filmmaker.

Satyajit Ray’s magic on-screen (The classics)
Pather Panchali- 1955, Aparajito-1956, Parash Pathar – 1958, Jalsaghar – 1958, Apur Sansar – 1959, Devi – 1960, Teen Kanya(The Postmaster, Monihara ,Samapti) – 1961, Kanchenjungha -1962, Abhijan- 1962, Mahanagar -1963, Charulata- 1964, Kapurush-O-Mahapurush – 1965, Kapurush- 1965, Mahapurush- 1965, Nayak – 1966, Chiriyakhana- 1967, Goopy Gyne Bagha Byne – 1968, Aranyer Din Ratri- 1969, Pratidwandi – 1970, Seemabaddha – 1971, The Inner Eye – 1972, Ashani Sanket – 1973, Sonar Kella- 1974, 25. Jana Aranya – 1975, Hirak Rajar Deshe – 1980, Ghare Baire – 1984, Ganashatru – 1990, Shakha Proshakha – 1992, Agantuk – 1992, Shatranj Ke Khilari – 1977, Sadgati – 1981

The post Satyajit Ray “I couldn’t accept raj kapoor’s offer to direct a film for him” first appeared on Latest News, Breaking News, National News, World News, India News, Bollywood News, Business News, Politics News, Sports News, Entertainment News - CineBuster.