Archive for December, 2009

Rajesh khanna – Bombay Super Star

Posted in Super Star Rajesh Khanna on December 30, 2009 by manoharv2009

Bombay Superstar

By memsaab

In 1973, the BBC documentary series Man Alive aired an episode about the then-reigning superstar of Hindi cinema, Rajesh Khanna, called “Bombay Superstar.” Thanks to my friend and fellow Rajesh fan Asli Jat (who also wrote a helpful synopsis of it for me) I managed to finally get a rare look at it: a copy of a VHS tape digitally converted several times, so quality is not optimal, but it’s easily interesting enough to make it worth seeing.

Reporter Jack Pizzey went to India and managed to interview the reclusive star, along with directors Hrishikesh Mukherjee and J. Om Prakash, actors Mumtaz and Shashi Kapoor, and others. Footage includes his surprise wedding to Dimple Kapadia, the Kashmir location shoot of Aap Ki Kasam and the film premiere of Daag. Besides being a profile of Rajesh, it’s also a fascinating look at the politics and power plays inside the industry, and the struggle it takes to stay at the top.

I’ve included some audio clips so that you can have the pleasure of hearing these legendary film personalities speak, along with some (very poor) screen shots of the program.

The program opens on the sets of Namak Haraam, where Hrishikesh Mukherjee is waiting for Rajesh to show up. Pizzey informs us that Rajesh has the “charisma of Rudolph Valentino, the arrogance of Napoleon, and he’s late.”

When Rajesh finally shows up, Mukherjee makes him wait in a game of one-upsmanship. Finally Rajesh makes the first conciliatory move, and goes to meet Mukherjee, who briefly scolds him before they begin shooting. Rajesh has said that his legendary lateness on set was never deliberate but due to his inability to get going in the morning. He also claims to have been generally more punctual than usual when working with Mukherjee, which somewhat negates that first statement. In any case, his habitual tardiness is generally considered a large contributor to his downfall.

His breakup with actress Anju Mahendroo is also briefly mentioned by Pizzey (who calls her his “latest mistress”—I can only imagine how that must have made her feel since she shared a serious long-term relationship with Rajesh).

Even the BBC has trouble getting Rajesh to show up for their scheduled interviews. When he is finally—on the fifth try—granted an audience at the actor’s home, Pizzey asks Rajesh what it’s like to be a star. I’m surprised by Rajesh’s English: it’s more British than Indian-accented. He’s also very soft-spoken.

He comes across as quiet and somewhat shy, but quite candid and sure of getting what he wants.

This interview is followed by footage of his baraat and wedding to Dimple Kapadia. It is interspersed with comments by a gossip columnist for “Star & Style” magazine named Devi. She has known Rajesh for a long time, since before he became famous. She says that he had called her to tell her of his impending nuptials, but she dismissed it as drunken rambling and told him to go to bed! Hilarious. She is quite a character (and we meet her again later).

Next stop is Kashmir, on location with Aap Ki Kasam. Pizzey sits and talks with Rajesh about his heroine-romancing style. Again, Rajesh seems quite shy and a little embarrassed, but demonstrates his characteristic eye-crinkling for Jack and the cameras.

There is extensive footage of the huge crowds that have gathered to watch the day’s filming, and Pizzey asks Rajesh and Mumtaz as they wait on the sidelines what they think of the mayhem. I love Mumtaz’s reaction.

Pizzey then talks about music’s place in Hindi cinema with the film’s director and producer J. Om Prakash, and watches Rajesh and Mumtaz filming the song “Suno Kaho.” He asks Mumtaz about lip-synching and playback singing.

Devi shows up to visit Rajesh and gather fodder for her column, and takes the piss out of him too:

She reminds me of Farah Khan, just a bit, with her caustic wit.

Song filming continues, and when J. Om Prakash is asked about the lack of a kiss to seal the musical romancing, he is quite droll:

Rajesh is shown doing the same step for the “Suno Kaho” picturization over and over and over again, after which he talks about the choreography, doing retakes and playback singing (referring also to whom I can only assume must be Kishore Kumar).

The BBC crew takes Mumtaz out in a Kashmiri boat to get her away from the crowds, and Pizzey talks to her about stardom, and about an article which Devi has written about Mumtaz on her return to Bombay, which casts aspersions on Mumtaz’s mother’s character. Mumtaz has decided to sue.

She talks a little about the pitfalls of stardom as well.

I love getting to see Mumtaz as Mumtaz (or at least as much as she’s willing to be “herself” in front of a stranger). She is just gorgeous, too.

Back in Bombay, it’s time for the annual Filmfare awards, and Rajesh is reportedly unhappy that he hasn’t won (he has won the Best Actor trophy the previous two years in a row).

I have to say that if I were an actor I’d be pretty upset about losing an acting award to Manoj Kumar too (for Be-Imaan). Rajesh’s fans aren’t happy either, as Filmfare editor Mr. Karanja explains to Pizzey.

A friend of Rajesh’s is throwing a party on the same night as the awards show and is busily inviting everyone who is anyone. Devi opines that in order to be considered a success, Rajesh’s party will need at least five big stars to show up. On the day of the awards, Rajesh himself is reported to have fallen ill, but no one is really buying it. The big question is: will he show up at the Filmfare show, at his party, at both or at neither? Nobody knows for sure except Rajesh and he’s not telling.

At the party, Devi says that only one big name has shown up (Dilip Kumar) although I’ve spotted another one whose name I consider big, anyway, and that’s beautiful Rakhee.

Rajesh and Dimple do eventually arrive, but general consensus gives the win on this one to Filmfare. The next morning Rajesh denies any ulterior motive behind the party, and then in the next breath claims to have been missed by the awards show attendees.

It’s an appropriate segue into a discussion of Rajesh’s recent failures (Devi says five flops in a row, Rajesh himself says four). He seems keenly aware of the repercussions.

His film Daag is releasing the next day, and his hopes are pinned on it. Pizzey talks to Dimple as she has her hair done for the premiere.

Shashi Kapoor (billed by Pizzey as Rajesh’s “main rival” with his own period of flops behind him) is interviewed on what makes a film successful.

He’s much more talkative than Rajesh!

Daag is taken to the rural villages (where it’s shown in a tent put up specially for the occasion, with loudspeakers providing the audio). Consensus there is that the film is good, but not worth repeated viewings: a hint that it may not be the hit that Rajesh needs so desperately.

The fascination of this documentary for me was that it’s very rare to see such footage of industry players from that era. There may have been too much time given to Devi, in that she seemed to have a bit of her own agenda; but she was very entertaining, and that’s what it’s all about. It’s evident that the BBC crew didn’t do a lot of research into Rajesh Khanna’s life or the Hindi film industry in general; the tone is occasionally patronizing and the questions pretty basic, but there’s gold in there anyway.

Rajesh himself was going through a lot at that point in his life (although I believe Daag went on to be a pretty good hit for him—in any case, I like it!). It’s fascinating to get a glimpse into what that level of fame and success brings. The last shot of the documentary shows him looking out the window at the crowd of adoring fans thronged in front of his house, before he returns to his lonely seat to contemplate his uncertain future. Pizzey’s voiceover says: “The Superstar may not be quite so super anymore.”

I wonder what he would have to say about the program today, with the perspective of time.

I hope this post has given some of the flavor of the entire thing. I also hope that maybe one day the BBC will release it on DVD! Hindi film history is rarely documented like this, and for that reason alone it’s a treasure.

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Reviewed by :  Memsaabstory. 

http://memsaabstory.wordpress.com/2008/10/08/bombay-superstar/

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Wafaa – 2008

Posted in Super Star Rajesh Khanna on December 8, 2009 by manoharv2009

Wafaa – 2008

 

Love, Passion, Deception, Murder : ‘Wafaa’ the new movie which stars Bollywood Super Star Rajesh Khanna and  Sara Khan.

The movie will sure have sexual tone in the dialogues which can be seen from the videos, Super Star Rajesh khanna’s decision to choose this movie to make a comeback. The Pakistani actress in the movie is dressed too much, too shoddy in certain scenes and too less and too provocative in many scenes. The movie is directed by Rajesh Sawant. Rakesh Sawant, has in the past made skin flicks like ‘Hot Money’. Even the Censor board has cleared ‘Wafaa’ with an ‘A’ certificate. Sudesh Berry as Harry: A senior Officer in Thailand. He is a dynamic and honest man. He is respected by police force and most trusted man in CBI agent – Mike. He Love’s Guns and Women’s. He is given the task to solve a murder involving Mrs. Beena Chopra. A murder so unusual and mysterious, Will he be truthful , Do you know the one who love WAFAA. Tinu Anand as Mike: A CBI agent at Thailand. He is an honest and righteous Man. He is a man of principals. He is always been true to his to his duty. He loves challenges. Challenges of solving mysterious of murder. Together with his most trusted senior officer – Harry – he is about to face a usual murder and mystery of his career and do you know the one who love WAFAA. Introducing pakistani actress Saara Khan as Beena: A 25 year old young women. She is an airhostess, beautiful, sensual and sexy. Her dreams are big. She always wanted name – fame – wealth – and status. She is a dreamer, an achiever. An achiever to achieve she can go to any extent. Even extent to marry a man twice her age – Amit Chopra .. but … do you know the one who love WAFAA. Plot summery : Alcoholic womanizer Shyam meets with Shanti and gets married to her. On their wedding night, a friend of Shyam’s lures Shanti away on the pretext that Shyam is hospitalized due to an accident, and takes her to a brothel, and attempts to force himself upon her. The police raid the place, and Shanti is arrested for prostitution. Shyam comes to the jail, tells her that he is ashamed of her, disowns her and leaves. Shanti is released from jail, as there is no evidence to hold her, and starts her search for Shyam. She soon finds out that Shyam has married again, and is living with his mom and dad. She goes to see a lawyer, Saraswati, who agrees to represent her, and get Shyam to admit that he is married to her. When confronted with a legal notice, Shyam denies ever knowing, leave alone marrying a woman named Shanti. Saraswati gets herself involved in obtaining proof of this marriage, and the matter is taken to court. It is there that Shanti finds out who Shyam’s second wife is. Super Star Rajesh Khanna gets cozy with young Saara: He will be seen doing lovemaking scenes with a young actress in this movie. In this movie the sexagenarian actor playing a role of a millionaire who gets married to a sex-starved airhostess. The girl, however, marries him not for love but for his money. Soon she is sleeping around with another man of her age. The role is played by Pakistani siren Saara Khan. Though other senior actors might squirm at the thought of romancing a girl that’s just 20 years old, Super Star Rajesh Khanna had no such compunction. According to him, the lovemaking scenes with the young actress are justified because they are demanded by the film’s script. Super Star Rajesh Khanna says ‘Wafaa’ is not a sex flick but a “mature love story with strange twists”. Meanwhile, Super Star Rajesh Khanna is taking more and more acting assignments. He is learnt to have signed as many as eight movies. Super Star Rajesh Khanna as usual his acting very very superb.

MEDIA HAS MISLEAD THE PUBLIC :

After going through the long interview of Kaka on 20.12.2008, it seems that media is highlighting some bold scenes of Wafa in an exaggarated manner. There are other factors as well in this film,such as performance of Kaka, his most dynamic and perfect characterization as Multimillionaire of Thailand and he looks really most handsome and glamorous in the role, especially in the song of Tere Bagair… . But strange the media only creating nonsense about some bed scenes and kissing scenes. First of all we should look after that upto what extent these scenes are present in the main film. As per Kaka versions it has given a U certificate and there is no question of controversial scenes.

Eternal “Amar Prem” of Super Star Rajesh Khanna

Posted in Super Star Rajesh Khanna on December 8, 2009 by manoharv2009

Super Star Rajesh Khanna

Super Star Rajesh Khanna

Sharmila Tagore
Sharmila Tagore

 

Super Star Rajesh Khanna & Sharmila Tagore

Super Star Rajesh Khanna & Sharmila Tagore

 

 

AMAR PREM

(

Amar Prem - 1971

Amar Prem - 1971

this one from the archives.. written in the very late 90s)

 

(this one from the archives.. written in the very late 90s) Amar Prem Whatever one´s tastes and preferences in Hindi cinema there should be no doubt that Amar Prem is an enduring achievement. While it is possible to maintain (as I certainly do) that Aradhana or Kati Patang or even the earlier Howrah Bridge are the director´s more complete films yet Amar Prem is surely the more ambitious attempt, and despite the relative flaws the more extraordinary film. Amar Prem hearkens to an era when scripts could often be thought provoking, dialogues often literary, music often profound and consonant with the mood of the lyrics. It is fair to suggest that such an age is for Hindi cinema very much part of the past and hence it is even more essential that a film like Amar Prem be revisited and reappraised. Pushpa (Sharmila Tagore) is turned out of her house by an abusive husband who in addition to indulging in the most atrocious behavior imaginable also remarries. Pushpa is forced to return to her village where she quickly becomes the target of the cruelest gossip. Looking for a source of income to support her mother, she falls prey to the very slimy and nefarious Nepal Babu (Madan Puri), a village acquaintance, who on the pretext of getting her work takes her to Calcutta and sets her up in a brothel. Here Pushpa meets the very wealthy Anand Babu (Rajesh Khanna) who is himself the victim of a loveless marriage. He falls in love with her and correctly realizes her ´worth´. The other pivotal relationship in the film connects Pushpa to Nandu, who is Mahesh Babu´s (Sujit Kumar) son. Mahesh himself hails from Pushpa´s village and has in fact known her briefly prior to this. Nandu has a stepmother (Bindu) who ill-treats him and Pushpa thus becomes a surrogate mother for him. Eventually Nandu´s family moves away, and Pushpa owing to pressures for Anand Babu´s in-laws asks Anand Babu to stop visiting her. Years pass, Nandu grows up and returns to Calcutta and the stage is set for a grand reunion involving him, Pushpa, and Anand Babu. Amar Prem is not a very plot-oriented movie. The strength of the subject is translated onto the screen chiefly by way of very moving scenes. Even though there is a great deal of sentimentality to the proceedings there are few Hindi films that touch one more than Amar Prem. The scenes between Pushpa and Nandu are simply marvelous in this regard and those between Pushpa and Anand Babu are no less so. Shakti Samantha masterfully and incisively portrays the cruelties of bourgeois sociality. Whether it is the treatment meted out to Pushpa at the hands of her village acquaintances or that which the denizens of her urban neighborhood subject her to, the violence of the system is brought home very effectively. But Samantha goes through the proceedings with a great deal of irony. The families in this film, both rural and urban, are very oppressive structures that serve to suffocate human freedom and potentiality more than anything else. On the other hand the analogous family establishment involving the brothel workers and their clients is more of an approximation of this ideal in terms of the safety nets that it allows. Similarly there is just the pretence of religious and cultural values in a family like Mahesh Babu´s whereas it is Pushpa who is more un hypocritically religious and ethical in all her dealings. But these families do intersect and this is the chief irony of the film. For the supposed proprietors of values end up quite frequently in the inversely mirrored world of the brothel families. It is here that they give the lie to their belief systems not just by being plainly hypocritical but also by establishing more meaningful relationships. A couplet from one of the songs could very easily serve as the theme of the film –hum ko jo taane dete hain, hum khoye hain in rang raliyon mein/ hum ne bhi unko chup chup ke, aate dekha in galiyon mein. The brothel emerges out of human sociality and follows very much the logic of these systems; it is in no way part of a vacuum. Structurally however, there are some weaknesses in the film. Shakti Samantha tends to cover, twice within his subject, significant timelines without really providing the proper narrative backup for such changes. In the first instance, after Anand Babu is introduced to Pushpa and the child Nandu has also been introduced, a period of four or five years suddenly elapses. Similarly after Nandu´s family moves away an even larger time period passes and Nandu is seen in the next frame as an adult. In a work as controlled in its effects as this one these sequences suggest a strong degree of directorial intrusion. One is left with the sense that the director simply needed to move the story forward and did not have an effective enough plot devices to do so. The second problem with the story is that Pushpa´s exact status at the brothel is left ambiguous as are the details of her relationship with Anand Babu. While it is obvious that the women working at this establishment have clients, often permanent ones who employ their services solely, it is never entirely clear if Pushpa shares a sexual relationship with Anand Babu. They are only shown talking to each other. It can be fairly assumed though that he is her first client as he does run into her rather soon after Pushpa has been initiated into the setup. Why this detail matters is because the director on a commercial level is left with the task of preserving the image of Pushpa as a symbol of purity in the mind of his audience and as such he has to forgo some of the more authentic and sordid aspects of this world. What he does represent is essentially a very deep and emotional relationship between the lovers but one, which is shorn of any sexuality. In a film that is otherwise rather realistic this set of gaps is rather difficult to ignore. And in any case the logic of the story begs for this kind of overt contrast. The woman who is most lacking in character from a societal perspective, the one loosest in terms of her sexual mores, is still the most moral person in the play. The same could be stated in a different sense for Anand Babu. Conversely Anand Babu´s wife (never shown) and Mahesh Babu´s wife, even though they belong to ´respectable´ setups are found to be very lacking in morality and ethics. It would have made for an even better film if the director had been a bit more courageous in this respect. The film belongs to Sharmila Tagore as far as performances go. She preserves fully the dignity of the character even as she skillfully walks the audience through all the traumatic moments of the character´s life. The viewer empathizes with the character but at the same time respects her at each stage of her life. Rajesh Khanna was never a great actor but he was always a very effective star during this remarkable period of his career. As Anand Babu he does a fair job of capturing what is the absurdity perspective of his character. It is more posturing than performance but in the world of the Calcutta bourgeoisie it works! The rest of the cast also lends competent support for the most part. There can be no mention of Amar Prem without also bringing into focus R D Burman´s soundtrack which is one of Hindi cinema´s summits. As a combination of pure lyricism, melodious music, and philosophical mood there are few albums in cinematic history that have hit such notes and as such are comparable to this one. The music of Amar Prem is one of the touchstones for sublimity in the medium. The astonishing numbers range from the meditative Chingari koi bhadke, Yeh kya hua and Kuch to log kahenge to the charming folklore quality of Bada Natkhat hai to the rustic rhythms of Doli mein bithaike. R D Burman never produced better work though it is a tribute to his genius that he does have comparable soundtracks. And this soundtrack is certainly also among Kishore Kumar´s peaks. It is a film like Amar Prem that provides the standards by which good cinema may be distinguished from bad cinema. It is this kind of film that establishes the norms whereby every department of filmmaking can be sanely appraised. Much can be learnt about the glories of Hindi cinema from this film. Until this sort of exercise takes place the medium will for the most part keep producing the abominations we have been subjected to over the last decade or so.

 

Reviewed in :

http://satyamshot.wordpress.com/2009/03/03/eternal-amar-prem/#comment-31139

ORIGINAL BOOKLET OF ‘GUDDI’ – 1971

Posted in Super Star Rajesh Khanna on December 7, 2009 by manoharv2009

This is a original booklet of the great classic film, Guddi. The film starred Jaya Bahaduri, Dharmendra.

The booklet has beautiful black and white stills of the film with synopsis !

An extremely rare item to find!

Own a piece of Indian history…or gift it to someone special!

ORIGINAL BOOKLET OF 'GUDDI' - 1971

ORIGINAL BOOKLET OF 'GUDDI' - 1971

ORIGINAL BOOKLET OF ‘ANAND’ – 1970

Posted in Uncategorized on December 7, 2009 by manoharv2009

ORIGINAL BOOKLET OF ‘ANAND’! This is a original booklet of the great classic film, Anand. The film starred Amitabh bachchan, Rajesh Khanna. The booklet has beautiful black and white stills of the film with synopsis also lyrics of the beutifuk songs!! An extremely rare item to find! Own a piece of Indian history…or gift it to someone special.

Reviewed in :http://www.cafedreams.com/asp/celebrity.asp?id=220

Original Booklet of Anand - 1970

Original Booklet of Anand - 1970

Biography of Super Star Rajesh Khanna – 2

Posted in Super Star Rajesh Khanna on December 7, 2009 by manoharv2009

Rajesh Khanna

From Wikipedia, the free encyclopedia

Rajesh Khanna
Born Jatin Khanna
December 29, 1942 (1942-12-29) (age 66)
Amritsar, Punjab, India
Spouse(s) Dimple Kapadia (1973-1984)

Rajesh Khanna (Hindi: राजेश खन्ना; Punjabi: ਰਾਜੇਸ਼ ਖੰਨਾ) (born Jatin Khanna on 29 December 1942 in Amritsar) is an Indian Bollywood thespian and laureate of the Dada Saheb Phalke Legend Golden Actor Award and the IIFA 2009 Life Time Achievement Award. He also served a five year tenure as an MP in the Indian parliament (1991–1996). He is also known as Kaka or affectionately called RK by his fans.

 

//

Early Life :

Khanna was born in Amritsar on 29 December 1942.

Adult life :

In the late 1960s, Khanna dated Anju Mahendru. The couple eventually drifted apart, and split in the early-1970s. He married Dimple Kapadia, a Gujarati, in 1973 and has two daughters from the marriage.[1] Khanna and Dimple Kapadia separated in 1984, as his schedule kept him away much of the time and she became interested in pursuing an acting career. After the separation, he was romantically involved with Tina Munim for a period of time. Following a few years of separation, the relationship between Kapadia and Khanna blossomed once again, and remained that of close friends. Their elder daughter Twinkle Khanna, an interior decorator and also a former Hindi film actress, is married to actor Akshay Kumar and younger daughter Rinke Khanna, also an Indian actress is married to an entrepreneur Sameer Saran.[2]

Early success (1966–1974) :

Rajesh Khanna joined the film industry after winning an All India Talent Contest through a nation-wide selection procedure. He made his film debut in the 1966 film Aakhri khat, followed by Raaz opposite heroine Babita, but neither was a major success. He was noticed for his performance in his next film Baharon Ke Sapne which was followed by box office successes like Aurat (1967), Khamoshi, and Aradhana (1969). Established as a popular protagonist, he appeared in many romantic, melodramatic and social films, often appearing with the same actresses – such as Sharmila Tagore, Mumtaz, Hema Malini and Asha Parekh.

During the peak of his career he would be mobbed during public appearances. Fans kissed his car, which would be covered with lipstick marks, and lined the road, cheering and chanting his name. Female fans sent him letters written in their own blood.[1]

Several songs sung by Kishore Kumar in the 1970s were based on Rajesh Khanna.

Rajesh Khanna had 15 consecutive hits between 1969 to 1972, which is still an unbreakable record in Indian film. His success began to diminish in terms of box office results of his films in the mid 1970s (1976-78) owing to various factors, including his sudden marriage, emerging heroes like Rishi Kapoor, and the introduction of video in India and its resulting decrease in number of family audiences.[citation needed]

Later career (1976–present) :

Post-1976, Khanna had a string of box office flops, including Aaina and Mehbooba. Media reports in the late seventies suggested that success had perhaps caused Khanna to be complacent, often turning up late for shoots and throwing tantrums, as well as having a whole entourage of sycophants accompany him for his shoots. This behaviour coupled with the changing trend from romantic and social movies to action oriented multi-star films in the late-1970s and early-1980s caused the decline of Khanna’s career in terms of box office ratings to some extent. However, he continued basically in solo hero social sober household meaningful films during multistar masala films’ era.[1]

Khanna met with more success in challenging roles with critically acclaimed box office hits such as ,Amardeep,Thodi Si Bewafai, Dard, ‘Dhanwaan’ ‘Avtaar‘ ‘Agar Tum Na Hote, Souten[Red Rose]etc. (1979 onwards to end of 80s). He also performed in few multistar films with central characters such as Kudrat, Rajpoot, Dharam Aur Kanoon, and Ashanti. He shared a very close relationship with R.D.Burman and Kishore Kumar. The trio were very close friends and have worked together in more than thirty films. Several actors who were part of the cast of most of his films included Sujith Kumar, Prem Chopra, Madan Puri, Asrani, Bindu, Vijay Arora and A K Hangal, who remained part of his “team” until the late eighties.

From the early nineties onwards he stopped acting and served as an M.P. of New Delhi Constituency from 1991 to 1996. During that period, he returned to acting, appearing in Khudai (1994). He made a come back as a NRI in Aa Ab Laut Chalen (1999), and Kyaa Dil Ne Kahaa (2002). In September 2007, he officially announced his planned return to the big screen, signing a contract for several new films, including some TV serials. His successful TV serial Raghukul Reet Sada Chali Aayi began in November 2008 and ended in September 2009.[3] Presently he has been offered a huge amount (Rs.3.00 Crore) to enter in Big Boss 3 season in Colour Channel due to heavy demand in term of TRP.

Television :

He is a life member of the International Film And Television Research Centre, the International Film And Television Club and the Asian Academy of Film & Television. In 2001 and 2002, Rajesh played major roles in two television serials: Aapne Parai (B4U & DD Metro) and Ittefaq (Zee TV). He performed in a video album based on Tagore’s songs (Rabindra Sangeet) without payment[citation needed], and is currently in the process of creating his own music channel “R.K. Music Channel”[citation needed]. He also endorsed “Star se Superstar tak” – a talent hunt programme in 2007[citation needed] and donated a Gold Trophy of Rs.1 Crore with Ms. Priyanka Chopra.”[citation needed] In its Silver Jubilee Episode on 14-15 March 2008, K for Kishore aired a Rajesh Khanna Special. , He signed a TV serial with Creative Eye Banner (Dhiraj Kumar) in 2007.[citation needed], and in 2008 he is going to perform in a T.V. serial Bhabhima, with Leena Ganguly as his co-star. His one more T.V. Serial ‘Raghukul Reet Sada Chali Aai’ has just winded-up in DD National Channel which was started since November, 2008. {{Citation needed|date=October 2008}. Presently he has been reportedly offered a huge amount to enter in Big Boss 3 season in Colour Channel due to heavy demand in term of TRP growth predicted after his entry.

Rajesh Khanna is a life member of International Film And Television Club and International Film & Television Research Center of Asian Academy Of Film & Television.

Political career :

Between 1991 and 1996, Rajesh Khanna was a member of Parliament for the Congress Party, from the New Delhi constituency. He has since been a political activist for the Congress Party.

Awards

 Filmfare Award :s

 Won
 Nominated
  • 1969 – Filmfare Best Actor Award for Aradhana
  • 1969 – Filmfare Best Actor Award for Ittefaq
  • 1971 – Filmfare Best Actor Award for Kati Patang
  • 1972 – Filmfare Best Actor Award for Dushman
  • 1972 – Filmfare Best Actor Award for Amar Prem
  • 1973 – Filmfare Best Actor Award for Daag
  • 1974 – Filmfare Best Actor Award for Prem Nagar
  • 1979 – Filmfare Best Actor Award for Amar Deep
  • 1980 – Filmfare Best Actor Award for Thodi Si Bewafai
  • 1981 – Filmfare Best Actor Award for Dard
  • 1983 – Filmfare Best Actor Award for Avtaar

Dada Saheb Phalke Academy Award

  • 2008 Lifetime Achievement Golden Actor Award at Mumbai on the occasion of Dada Saheb Phalke Birth day celebration.

IIFA Award

  • 2009 Life Time Achievement Award (Golden Decade function at Macau,China)

Bengal Film Journalists’ Association Awards

Tamil Cinema Award

  • 2009 Life Time Achievement Award at Chennai (IX All India Cine Employee Federation Conference) by Tamil Superstar Kamal Hasan.

Filmography

Life Time Achievement Award for Super Star Rajesh Khann at iffa – 2009

Posted in Super Star Rajesh Khanna on December 7, 2009 by manoharv2009

New Delhi: Yesteryear’s superstar Rajesh Khanna will be given the lifetime achievement award at the 10th International Indian Film Academy (IIFA) awards in Macau on June 13. Rajesh khanna, who gave super hits like Aradhana, Kati Patang, Anand and Amar Prem, will be felicitated at the award ceremony of the big event, an IIFA press statement said. “Over the years, we have paid tribute to the greats of the Indian film industry, recognising their contribution to cinema. In our 10th year at the IIFA Awards in Macau, we will honour Rajesh Khanna who has undoubtedly defined romance in our films,” Director of Wizcraft International Entertainment, Sabbas Joseph said. “He (Rajesh) is considered as the first superstar of Indian cinema who has influenced an entire genre of romantic movies, creating a legendary persona that strikes a chord with the youth, even today.”Joseph added. In the past, IIFA has awarded Bollywood stalwarts like Waheeda Raham, Asha Parekh, Yash Chopra, Dharmendra, Mumtaz and others for their contribution to Indian cinema. Over 500 luminaries from the Indian film industry are expected to watch Rajesh Khanna receive the award. The 10th IIFA Weekend will be held at The Venetian Macau Resort on June 11 to June 13. The three-day event will see a host of Indian celebrities as well as international film personalities including brand ambassador megastar Amitabh Bachchan and his family, actors Hrithik Roshan, Shahid Kapur, Neil Nitin Mukesh, Kangana Ranaut, Priyanka Chopra and Lara Dutta. Aishwarya Rai, Sonam Kapoor and Kareena Kapoor will be among the star performers at the event.

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http://www.bollywoodhungama.com/stills/partiesnevents/IIFA_Awards_2009/still72572.html

Lifetime Achievement Award for Super Star Rajesh Khanna at iffa 2009

Lifetime Achievement Award for Super Star Rajesh Khanna at iffa 2009