Archive for December, 2009

Sharmila Tagore recalled on Super Star Rajesh Khanna at IFFI

Posted in Super Star Rajesh Khanna with tags on December 5, 2009 by manoharv2009

Sharmila  Tagore at iffi 

Aradhana - 1969

Aradhana - 1969

Tuesday, December 01, 2009, 20:58 IST

The actress recalled how Shakti Samanta had planned Aradhana with her and Shammi Kapoor in the lead but how things failed to take off as the latter could not give dates.

“Hence, Shaktida did the film on a smaller scale with newcomer Rajesh Khanna. The film went to be such a huge hit and Rajesh Khanna was catapulted to superstardom. It became dangerous to go out with him because he would get mobbed all the time,” she recalled.

http://connect.in.com/rajesh-khanna/article-sharmila-calls-better-focus-and-face-to-raise-profile-of-iffi-612-ce5a5057ef88906f18acaef8c56277afed8e32e4.html

Sharmila Tagore

Sharmila Tagore

Quotes by Super Star Rajesh Khanna

Posted in Uncategorized on December 4, 2009 by manoharv2009

At my age, this is the fit role for me. I am taking it as a challenge for myself to prove that the actor in me is still alive and kicking, whatever may be the film’s fate at the box office.

Rajesh Khanna – Badshah Of Bollywood Down The Ages

Posted in Super Star Rajesh Khanna on December 4, 2009 by manoharv2009
Super Star Rajesh Khanna

Super Star Rajesh Khanna

 

Badshahs Of Bollywood Down The Ages!
- Vimla Patil
Vimla Patil was associated with Femina, India’s number one women’s magazine, published by the Times of India Group for 29 years. Femina is Vimla Patil’s personal success story. Today, FEMINA is one of the strongest international brands with a vast readership in India and abroad. She initiated the Miss India contest in the mid-sixties for the journal and brought it to its present international stature. Vimla Patil promoted Indian textiles and fashion garments – especially handlooms – for decades by presenting over 4000 fashion shows in India and most countries of the world.
After finishing her long stint with Femina, she built a brand new career for herself as a freelance multi-mediaperson with writing, events, public relations, shows and many more activities in her portfolio!

Vimla Patil will be delighted to answer readers’ questions. Please click on the comments page link at the bottom of the article to post your questions for her or to comment on her article.

Like any royal family, the Indian film industry passes on the crown for the title of Badshah of Bollywood in each generation. Each Badshah gives Bollywood a new status and rings in changes, which become an integral part of the lore of India’s multi-billion-rupee film industry!

 

Then came Rajesh Khanna, the eternal romantic lover who charmed India and became the first superstar of the country.

One turn of Rajesh Khanna’s sexy shoulders, and millions of women in India would swoon with joy when he ruled the Bollywood horizon. He was the archetypal lover, gentle, soft spoken and caring. He was the Bengali babu who spouted poetry, cried tears of sorrow and happiness when finally united with his heroine and immortalized films like Amar Prem. Rajesh Khanna was such an incredible success that he is called the first official superstar of Bollywood. It is said that thousands waited for a ‘darshan’ of his handsome face when he was shooting in locations in and around Mumbai. He made romantic duos with Sharmila Tagore and Mumtaz, both of whom were considered the top heroines of their times. Rajesh Khanna retired as soon as Amitabh Bachchan began the series of ‘violence and crime’ films which became the trend of the 70s which led to Bachchan being labeled ‘the angry young man’. Rajesh Khanna in “Amar Prem” (1971) Amitabh Bachchan has ruled as the Badshah of Bollywood for the longest period. Amitabh Bachchan in Virudhdh with another reigning star of the past – Sharmila Tagore, who made a wonderful romantic pair with Rajesh Khanna. The Big B is going great guns and is called the star of the millennium. His success is legendary. He is definitely the longest ruling Badshah of Bollywood. When Amitabh Bachchan came to the film industry, many producers took one look at him and turned their noses up to dismiss him as a ‘lambu’ who could make no impact in Bollywood. Amitabh has shown over the years how wrong they all were. In the seventies, he was nearly monopolized by three producer-directors. Manmohan Desai, Yash Chopra and Prakash – the triumvirate of directors cast him in every film they made during the high ‘socialist’ inspired years of Indira Gandhi’s rule. The downtrodden hero who fought for the slum people became the icon of this period and no one could portray the agony of this class except Amitabh who played umpteen roles of the good hearted goonda who wreaked revenge and havoc to put rich people in their places on behalf of the labourers, slum dwellers and other deprived classes. His films ran on the strength of the one character he played in most films where he was shown as using wile and violence to punish the rich and indulgent, so as to give their legitimate rights to the poor. Amitabh’s position as the Badshah of Bollywood was confirmed once Sholay became the superhit of the century. But as his fortunes declined, his position too became shaky. However, one series of the television game show called Kaun Banega Crorepati and AB was again at the top of the popularity chart. Today, at 63, he continues to rule Bollywood with his towering personality. He is in innumerable ads and commercials, television game show, films and events. He is all pervasive in Bollywood. Shah Rukh Khan is the youngest and current Badshah of Bollywood. Shah Rukh Khan became the Badshah of Bollywood by the sheer risks he took in accepting roles. To begin with, as is now well known, he became the negative hero in Darr, Bazigaar and Anjam to give three back-to-back hits. Then he switched over to the persona of a passionate lover and became the quintessential romantic hero of Bollywood. So vast was his appeal, that people began to say that only two things sell in Bollywood: Sex and Shah Rukh Khan! But on his own, Shah Rukh has done two kinds of films. Shah Rukh Khan achieved extra popularity after an actress said, “Only Shah Rukh Khan and sex sell in Bollywood.” He reportedly charges the highest fee for a film and his name on the marquee is sure guarantee that the film will gross good money at the box office. He is publicly referred to as the Badshah of Bollywood. The collegy, campus romances like the all time hit Dilwale Dulhaniya Le Jayenge, Kabhi Khushi Kabhi Gham, Kal Ho Na Ho and the ultimate Main Hoon Na. On the other hand, he has done a Devdas, a Swades and an Asoka or a Paheli too. Shah Rukh Khan endorses many products and is a specialist at live shows in foreign countries. SRK has an added feather in his cap that during his reign, Bollywood truly has gone international. He definitely takes some of the credit for taking Indian cinema to shores faraway and making Indian films popular in remote places like the countries of Africa, Russia, Egypt, Iran and others. Among women, Aishwarya Rai rules unopposed as the Maharani of Bollywood! Normally, female stars are not called Badshahs of Bollywood. But Aishwarya Rai has changed this male-dominated notion by notching up a hugely successful career in the past one decade after she won the Miss World crown in 1994. Currently, with 17 films in her kitty in India and Gurinder Chadha’s Mistress of Spice ready for release internationally as well as other Hollywood films in the offing, she is the undisputed Badshah or Maharani of Bollywood among all female actors. Just as there are seasonal flavours and permanent flavours, actors like Rani Mukherjee, Kareena Kapoor and Preity Zinta continue to attract fans depending upon the success of their releases every year. But over and above all of them, is Aishwarya Rai, who is on a different career graph altogether. Aishwarya is the female Badshah of Bollywood not only because she is definitely the international face of Indian cinema, but also because she inspires wonderful films in which she plays a wonderful variety of roles. In the coming year, she will be seen in a number of period films which give her opportunities to look dazzling in costumes and jewellery of various periods of Indian history and literary movement. She is enacting the late megastar Nutan’s role in the new version of Bandini – to be made by Anil Sharma, who made the superhit Gadar, Ek Prem Kahani earlier. She is Umrao Jaan and Maharani Gayatri Devi in J P Dutta’s new films. For Ketan Mehta, she is Jhansi Ki Rani. Most important, for Ashutosh Gowarikar, she is Jodha, the Rajput Hindu queen of Emperor Akbar in his film Akbar-Jodha. She is Rajkumar Santoshi’s Samyukta in the film Prithviraj-Samyukta. She has the lead roles in the forthcoming as yet unnamed films of Sanjay Leela Bhansali and Dharmesh Darshan. She is the boss of 17 films, which will start shooting schedules this year. Most of these films are period flicks or based on literary classics – and almost all have a budget of over Rs.20 crores. She has the maximum films among all actresses in the coming years, and thus takes the crown of the Badshah of Bollywood among women stars. View and Post comment on this article The contents of the article are Copyright © of SAWF and may not be reproduced in any form without prior written permission.

Aakhri Khat – 1966

Posted in Super Star Rajesh Khanna on December 4, 2009 by manoharv2009

 

 

 

AAKHRI KHAT

Production Year 1966

Language Hindi

Genre Drama

Producer  : Himalaya Films

Director Chetan Anand

Music Director Khayyam

Star Cast Rajesh khanna, Indrani Mukherjee, Nana Palsikar, Maruti, Tun Tun, Master Bunty,

Colour Colour 

 Synopsis  :

Akhri Khat is a black and white movie made in 1966.

Rajesh Khanna is a student who loves a girl of a village – Indrani Mukherjee. He comes to the city and has to leave for his education. The girl meanwhile gets pregnant and gives birth to a little boy. Carrying her 1 year son she comes to Mumbai to meet Rajesh Khanna. She dies leaving her son alone.

Rajesh Khanna comes know all through a letter, realizes his mistakes and takes help of police to find his wife and son. He breaks down when he find his wife’s body. His resolve to search for his son gets more strong. The whole story follows the child how he survives in such a big city- how he drinks milk from the milk bottles left on people’s doorsteps by the milk man, avoids accidents etc.. The camera follows him everywhere. The climax is really moving. The baby boy is cute.

The story is new and moving. The music is fine. The acting is first rate. Direction by Chetan Anand is astounding. Rajesh performs well- looks lean and young. It is a great and completely different movie.

1. Aur kuch der theher – Mohd. Rafi
http://www.youtube.com/watch…

2. Baharon mera jeevan bhi sawaaro – Lata M.
http://www.youtube.com/watch…

3. Mere chanda mere nanhe – Lata M.
http://www.youtube.com/watch…

4. Rut jawaan jawaan raat meherban – Bhupinder Singh
http://www.youtube.com/watch…

Safar: A memorable journey – Super Star Rajesh Khanna

Posted in Super Star Rajesh Khanna with tags on December 3, 2009 by manoharv2009

Rajesh Khanna is well known for his Asit Sen’s 1970 hit Safar is a story of ordinary people grappling with staggering challenges and compromises. But in this refreshingly non-melodramatic fare, a murmur of protest, an escaped sob and a half-concealed smirk are the only emotional luxuries its characters afford themselves in the inexplicable journey of life, the eponymous safar of the title. A famous song from this film emphasises the primordial requirement for coping instead of moping: Nadiya chale chale re dhara, chanda chale chale re taara, tujhko chalna hoga (The river flows on, as does the tide; the moon goes on, as do the stars; you too will have to move on). Caught in the eddying whirlpool of emotions are Safar’s protagonists Neela (Sharmila Tagore [ Images ]) and Avinash (Rajesh Khanna [ Images ]). Safar is narrated as a long flashback from a greying Neela’s point of view. Neela is a budding doctor who lives with her cynical writer-brother Kalidas (I S Johar at his deadpan best) and his wife (Aruna Irani). Avinash, their bachelor neighbour and friend, is a painter by profession and poet by aptitude. But behind his life-affirming smile lurks death. He suffers from cancer. CREDITS Producer Director Music Cast Mushir Riaz Asit Sen Kalyanji-Anandji Rajesh Khanna, Sharmila Tagore, Feroz Khan [ Images ] Neela and Avinash’s touching match of compassion and artistic vivacity finds expression in the beautifully penned Indivar number, Jeevan se bhari teri aankhen, majboor kare jeene ke liye (Your eyes, so full of life, compel me to continue living). But unlike Hrishikesh Mukherjee’s Anand (which also saw Khanna play a cancer patient who spreads bonhomie wherever he goes), Asit Sen’s Avinash seems more real. He experiences pendulum-like swings from fierce optimism to brooding pessimism as he sings, ‘Phool aise bhi hai jo khile hi nahee, jinko khilne ke pehle hi khiza kha gayee (There are flowers that never bloom, autumn sets in even before they can blossom).’ There is one unforgettable scene in Safar where you realise the import of the visual vis-à-vis the spoken word in cinema. When Avinash asks his doctor Chandra (Ashok Kumar) if he will live long, Chandra places an hourglass on the table. Avinash stares at the rapidly falling grains of sand; he doesn’t need an answer. Neela, too, is fighting to survive — economically. She teaches Montu (Mahesh Kothari), the younger brother of a stockbroker Shekhar (Feroz Khan). But when she reprimands Montu for reading pornography during her tuition, she incurs the wrath of Montu’s aristocratic mother (Nadira) and is sacked. A contrite Shekhar brings her back, this time as mistress of the manor. Neela had been reluctant to marry him, but Avinash compels her to think logically. Though Neela had been content savouring every moment spent with Avinash, hoping he would miraculously survive, she finally relents. Scant hours after the nuptial night and a honeymoon vow about ‘Jo tumko ho pasand wohi baat karenge (I will only say what pleases you)’ — picturised imaginatively on the ghats of Mahableshwar with the sound of a car’s honk serving as musical accompaniment to Mukesh’s masculine voice — the husband changes his tune. He resents Neela’s visits to Avinash. He sees a hidden agenda in simple gestures like Neela rearranging Avinash’s bedsheets. The drama now revolves around the question: which of these two men — one eaten up with jealousy, the other by cancer and misplaced sympathy — will win the right to ruin Neela’s life even more? The film affords a fascinating study of the link between worldly success and male self-worth in the sequences where Shekhar, after losing heavily in the share market, distracts himself by obsessing over the possibility of Neela’s infidelity. His desire to divert his attention so that he can feel less uncomfortable in his own skin is a sad but telling comment on human nature. Shekhar ultimately commits suicide by getting an unsuspecting Neela to give him a drink laced with poison. The film folds up when the court acquits Neela of Shekhar’s murder after his mother testifies in her favour. The mother’s motivation for clearing Neela remains shrouded in ambiguity. Portions of the film are perhaps a bit too opaque for its own good. Thereafter, Safar limps unnecessarily to show a dying Avinash unattended by Neela who is busy with an emergency. Montu’s screaming declaration to Neela that she was responsible for Avinash’s death, and her subsequent reaction that he shouldn’t address her as sister-in-law any more, leave one a trifle baffled. The only conclusion one can hesitatingly draw is that Neela has decided to be unencumbered by emotional attachments so that she can unreservedly serve mankind. Rajesh Khanna beautifully conveys his character’s desperation and his conviction that surviving by a slender thread is not really living. Song Singers Jeevan se bhari teri Kishore Kumar [ Images ] Zindagi ka safar Kishore Kumar Hum the jinke sahare Lata Mangeshkar [ Images ] Jo tumko ho pasand Mukesh Nadiya chale chale re Manna Dey Sharmila Tagore is a study in stoicism. She is largely effective, but does blow up a couple of crucial scenes due to her preoccupation with mascara and mannerisms. It is Feroz Khan, in an author-backed role, who singes you with his simmering jealousy. The potassium cyanide he consumes to kill himself seemed like the external manifestation of the suspicion he is consumed by. If only the motivations for Sharmila’s character weren’t so often left to the viewers’ interpretation, Safar would have featured higher on the list of all-time classics. Instead, it emerges as a collection of impressive segments. Memorable dialogue Sharmila Tagore (remarking on Feroz Khan’s unremitting jealousy): Suyee jab record par atak jaati hai, sangeet nahee shor nikalta hai (When the needle gets stuck on the record, you hear noise instead of music). Sidelights Within six months of winning accolades for his performance as a dying man in Safar, Rajesh Khanna played another memorable cancer patient in Anand. After Safar’s premiere, Meena Kumari remarked to Nadira that Rajesh Khanna looked too ruddy-cheeked to be a cancer patient. Nadira promptly conveyed the message to Rajesh Khanna. Feroz Khan won a firm foothold in the industry by immediately following his flamboyant act as the corrupt builder in Aadmi Aur Insaan with Safar. Music One of Kalyanji-Anandji’s best scores, Safar had Mukesh’s haunting rendition of Jo tumko ho pasand. It suited Feroz Khan’s rugged personality to the tee. Consequently, Feroz employed Mukesh’s vocals in most of his films, including Apradh and Dharmatma. historic Foremost Super Star of Nation-image at first instance. But at the same time it is most appreciable that he maintained his Super Stardum with perfect sophistication. Being a background holder of theatre world since his student life, he never forget the artistic view of cinema world and perform in innumerable classics in commercial environment, some of which can be named as Safar, Anand, Khamosi, Red Rose, Dhanwaan, Avishakar, Bawarchi, Dushman, Haathi Mere Saathi, Avataar, Amrit, Khudai and so on. Being a main stream commercial world’s Foremost Super Star, he never dare to accept the challenging characters of non-glamorous nature and always do justice with them, as he is a perfectionist by nature (Cook, Flower saler, Hawker, Post man, Barber, Ricksha pooler, etc.). Over and above we can view his movies along with our grand father to grand children or grand mother to grand daughter.

So he is the greatest entertainer with sophistication of cinema world.

Super Star Rajesh Khanna

Super Star Rajesh Khanna

Reviewed in Rediff.com :

http://www.rediff.com/movies/2003/may/09safar.htm

Rajesh Khanna, the phenomenon

Posted in Super Star Rajesh Khanna on December 3, 2009 by manoharv2009

Rajesh Khanna, the phenomenon

 

Third Innings (1991-Till Date) In 1991, Rajesh gave up movies and entered politics. He was part of the Congress party from 1991 to 1996, and served as Member of Parliament from the New Delhi constituency.

But in politics, too, his presence did not make much of a difference, like his contemporaries, Raj Babbar and Shatrughan Sinha.

In 1991, Rishi Kapoor cast him in his directorial venture Aa Ab Laut Chale, where Rajesh played Akshaye Khanna’s father. The film did not work.

In 2001, he ventured into television, with serials like Aapne Parai and Ittefaq.

In 2006, Rajesh starred in forgettable films like Jana: Let’s fall in Love opposite Zeenat Aman.

Rumour goes that he is likely to sign more films. We wish the superstar all the love and luck.

Reviewed in rediff.com : 

http://www.rediff.com/movies/2007/dec/28sli5.htm

Super Star Rajesh Khanna

Heroines/Actress with Super Star Rajesh Khanna

Posted in Super Star Rajesh Khanna on December 2, 2009 by manoharv2009
Babita in Raaz – 1967
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