Archive for June, 2013

Bollywood’s delicious Khana tribute to Rajesh Khanna

Posted in Uncategorized on June 27, 2013 by manoharv2009

 

Bollywood’s delicious Khana tribute to Rajesh Khanna

S T Beuria , Sep 15, 2012 :

Rajesh Khanna mesmerised and won hearts of lakhs of Indians with his extraordinary acting skills in late 1960s and 70s.

The superstar of Bollywood, who passed away in August after a prolonged illness, was also a food lover, if one would go by numerous articles written on him after his demise.

No wonder. A hotel in Odisha capital Bhubaneswar recently decided to pay
tribute to the late actor in a unique way by holding a food festival in his name and the fans of the first superstar of the Hindi movie industry participated in a big way.

“The festival was definitely a great hit,” said Subho Biswas, deputy general
manager of The Crown, the hotel that organised the month-long interesting food festival. The event was christened as “Khanna Khana”.

 

In soup, the guests were served Gajar Tamatar Ka Shorba, Garam Masala
Shorba, Gosht Keema Shorba, Harayali Murgh Shorba. And for dessert, they had Nawabi Halwa, ice-cream with chips and fudge and caramel custard.

Many of these dishes were hot favourites of the late superstar who had set the Bollywood on fire in 60s and 70s by giving as many as 15 hits in a row, a record no other star of the Hindi movies has been able to surpass so far.

During the festival, Khanna’s fans not only had a taste of the food liked by the late actor but also were entertained with his hit movies like Aradhana, Anand and Hathi Mere Saathi on a wall screen near their dining tables.

The melodious music of the superstar’s movies of 60s and 70s were played in the background. “We showed the movies and played the music as per the choice of the guests,” said Biswas, adding that on the dining tables the guests were also provided with napkins in which hit songs of Khanna’s movies were printed.

The walls of the hotel’s restaurant  were also decor­ated with Khanna’s photographs from his hit movies.

The brain behind organising such an unique food festival was Debashis Patnaik, one of the directors of the hotel who himself is an ardent Rajesh Khanna fan.

“The fans of the late superstar have been paying their tributes to him by
organising musical nights across the state. We thought of doing something different. As we are in the business of hospitality, we decided to pay our tribute by organising the food festival in his name. Moreover, the late superstar was a foodie too”, stressed Patnaik.

On the dishes and delicacies liked by the late Bollywood actor, Patnaik said that he came to know about them from one of his friends who had an opportunity to dine with the superstar a few years back. “One of my friends had an opportunity to dine with him where he (Khanna) had spelled out the dishes he liked. Besides, we had also gathered some information about his food interests on the internet,” Patnaik said.

The success of “Khanna Khana” has prompted the management of the Bhubaneswar-based hotel to organise similar month-long food festival in the name of other Bollywood actors and stars. “We have decided to hold a Bollywood star food festival every month”, said Biswas.

In fact, another food festival has already begun in the hotel for Khanna’s son- in-law and mega star Akshay Kumar who is not only a foodie like his late father-in-law but also worked as a chef before his foray into Hindi film industry. He had hosted a cookery show on television recently.

The food carnival on Kumar’s name has been christened as “Khiladi Khana” — keeping in mind his Khiladi series of successful films like “Khiladi”, “Main Khiladi to Anadi”, “Khiladi no 1” and “Khatron Ka Khiladi”.

The hotel management, however, clarified that the food festival with Akshay
Kumar theme was organised immediately after Rajesh Khanna festival not because the Khiladi star is related to the late actor. “Akshay Kumar’s birthday is in September.

Therefore, we decided to select him as our theme for the new festival”, said Biswas.
Interestingly, “Bollywood” is the name of the hotel’s restaurant where these unique food festivals are being held.

“The name of our restaurant was Bollywood 70 when the hotel was set up more than a decade ago. Now it has been changed to only Bollywood after renovation,” said Patnaik, adding the name was incorporated because like cricket, the word Bollywood evokes a lot of interests among the common people.

Image

Copy (3) of tinakakkan

 

Published in :

http://www.deccanherald.com/content/278974/F

Advertisements

Aur kuchh der thahar aur kuchh der na jaa – Mohd Rafi

Posted in Super Star Rajesh Khanna on June 23, 2013 by manoharv2009

http://youtu.be/DK9MSv_ZbT8

Aur kuchh der thahar aur kuchh der na jaa on Super Star Rajesh Khanna

Super Star Rajesh Khanna made his debut in “Aakhri Khat” (1966). This was a black and white movie, and this movie could well be described as a classic. This must be one of the few movies that could be called a movie with an original and different plot and not inspired by some other movie.

The song is sung by Mohd.Rafi and it is picturised on Super Star Rajesh Khanna and Indrani Mukherji.
Kaifi Azmi is the Lyricist and Khayyam composed the music.

Song Title : Aur kuchh der thahar aur kuchh der na jaa (Aakhri Khat) (1966)
Singer : Mohd.Rafi,
Lyricist : Kaifi Azmi
Music Director : Khayyam
Star cast : Super Star Rajesh Khanna & Indirani Mukerjee

Lyrics :

aur kuchh der thahar aur kuchh der na jaa
aur kuchh der thahar aur kuchh der na jaa
aur kuchh der thahar

raat baaqi hai abhi raat mein ras baaqi hai
paake tujhko tujhe paane ki hawas baaqi hai
aur kuchh der thahar aur kuchh der na jaa
aur kuchh der thahar aur kuchh der na jaa

jism kaa rang fazaa mein jo bikhar jaayegaa
meharbaan husn teraa aur nikhar jaayegaa
laakh zaalim hai zamaanaa magar itnaa bhi nahin
tu jo baahon mein rahe waqt thahar jaayegaa
aur kuchh der thahar aur kuchh der na jaa
aur kuchh der thahar aur kuchh der na jaa
aur kuchh der thahar

zindagi ab inhin kadmon pe lutaa doon to sahi
zindagi ab inhin kadmon pe lutaa doon to sahi
ai haseen but main Khudaa tujhko banaa doon to sahi
aur kuchh der thahar aur kuchh der na jaa
aur kuchh der thahar aur kuchh der na jaa
aur kuchh der thahar aur kuchh der na jaa
aur kuchh der thahar Copy of 265398,xcitefun-andaz-19710.jpgdd

Zindagi ek safar hai suhaana – Kishore Kumar

Posted in Super Star Rajesh Khanna on June 23, 2013 by manoharv2009

http://youtu.be/CIj7GoMZP0k

Binaca Geetmala finals on 29th december 1971 was a wednesday. Wednesday was the most important day for a Hindi movies music lover those days, because it was the day of Binaca geetmala. And this was no ordinary wednesday. It was the last wednesday of the year. Which meant that the most popular songs of the year would be played in the one hour long programme.

Bincca Geeta Mala started at 8.00 p.m with
Tumko bhi to aisa hi kuchh (Aap aaye bahaar aayi) at the 16th position, we had Maine tere liye hi saat rang ke sapne chune (Anand) in the 15th position, Jeewan ki bagiya mahkegi(Tere Mere Sapne) at number 14, He re Kanhaiyya kisko kahega tu maiyya(Chhoti Bahu) at number 13, Chhupke se dil de de nahin to shor mach jaayegaa (Maryaada) at number 12, Twinkle twinkle little star (Purab Aur Paschhim) at number 11, Piya tu ab to aaja(Caravan) at number 10, Mujhe thand lag rahi hai mujhse door tu na jaa (Main Sundar Hoon) at number 9, Hai na bolo bolo (Andaaz) at number 8, Zindagi kaisi hai paheli haay(Anand) at number 7, Chal chal chal mere saathi (Hathi Mere Saathi) at number 6, Rama Rama ghazab huyi gawaa re (Naya Zamaana) at number 5, Guni jano bhakt jano(Aansoo aur muskaan) at number 4, Ye jo muhabbat hai ye unka hai kaam (Kati Patang) at number 3, and Accha to hum chalte hain(Aan milo sajna) at number 2.

What a bouquet of fantastic songs. The programme culminated by playing the bugle that was reserved to be played for the most popular song of the year. And which was the most popular song of the year. Unsurprisingly, it was the song which was picturised on a motorbike riding Rajesh Khanna, with a admiring Hema Malini as the pillion rider, driving as recklessly as one can drive, singing in the magical voice of Kishore Kumar.

Here is this song from “Andaaz”(1971) which was crowned the most popular song of Binaca geetmala on this day in 1971. This song is sung by Kishore Kumar, (with some words by Asha Bhonsle), lyrics are by Hasrat Jaipuri and music is composed by Shankar Jaikishan. Today, most artists forming the musical team of this song are no longer with us, but this song lives on. Indeed, what a fantastic song it is.

Did one notice that the first three songs had the voices of Kishore Kumar in them and that they were all picturised on Super StarRajesh Khanna. It was no coincidence, of course. Kishore Kumar and Rajesh Khanna were the lords of all they surveyed in 1971.

On 29th December 1971 happened to be Rajesh Khanna’s birthday. So Rajesh Khanna, the then reigning superstar, was celebrating his 29th birthday on that wednesday while Binaca geetmala annual programme was toasting his success by playing his songs as the most popular songs of the year.

Super Star Rajesh Khanna was celebrating his 29th birthday then.

Song Title : Zindagi ek safar hai suhaana (Andaaz) (1971) Singers : Kishore Kumar & Asha Bhonsle,
Lyrics : Hasrat Jaipuri,
Music Director : Shankar Jaikishan
Star cast : Super Star Rajesh Khanna, Hema Malini, Shammi Kapoor and Simi Grewal.

Lyrics :

Zindagi ek safar hai suhaana
yahaan kal kyaa ho kisne jaana
zindagi ek safar hai suhaana
yahaan kal kyaa ho kisne jaana
haan
zindagi ek safar hai suhaana
yahaan kal kyaa ho kisne jaana
arre odlai odlai oou
odlai odlai oou
odlai odlai oou
odlai odlai oou
odlai odlai oou
odlai odlai oou
odlai odlai oou
odlai odlai oou

chaand taaron se chalna hai aage
aasmaanon se badhna hai aage
arre chaand taaron se chalna hai aage
aasmaanon se badhna hai aage
peechhe reh jaayegaa ye zamaana
yahaan kal kyaa ho kisne jaana
haan zindagi ek safar hai suhaana
yahaan kal kyaa ho kisne jaana
odlai odlai oou
odlai odlai oou
odlai odlai oou
odlai odlai oou
odlai odlai oou
hahahaha
haha
odlai odlai oou
haha
ohoho

hanste gaate jahaan se guzar
duniya ki tu parwaah na kar
hanste gaate jahaan se guzar
duniya ki tu parwaah na kar
muskuraate huye din bitaana
yahaan kal kyaa ho kisne jaana
haan zindagi ek safar hai suhaana
yahaan kal kyaa ho kisne jaana
diddididdi dou
odlai odlai oou
diddididdi dou
odlai odlai oou
odlai odlai oou
hahaha
odlai odlai oou
hahahaha

maut aani hai aayegi ek din
jaan jaani hai jaayegi ek din
arre maut aani hai aayegi ek din
jaan jaani hai jaayegi ek din
aisi baaton se kyaa ghabraana
yahaan kal kyaa ho kisne jaana
haan zindagi ek safar hai suhaana
yahaan kal kyaa ho kisne jaana
diddididdi dou
hahahah
dodo do do
dou
odlai odlai oou
hahaha
odlai odlai oou
giggle giggle
odlai odlai oou
hahaha
odlai odlai oou
odlai odlai oou
hahahahaCopy of 265398,xcitefun-andaz-19712cf2hbd2mcvc5d12616_390924394315672_1783963232_nandaz_zindagi2andaz_zindagi3andaz_zindagieksafarvlcsnap-00387251801_470501826297274_1940065713_n7065966_f52075835_4565316944v01003_695022106_n

Roop tera mastaana – Kishore Kumar

Posted in Super Star Rajesh Khanna on June 23, 2013 by manoharv2009

Roop tera mastaana on Super Star Rajesh Khann and Sharmila Tagore

In : Feelings of heart | Background song |

Millions of Hindi movie and music fans who were swept off their feet by Super Star Rajesh Khanna tsunami that hit the moviewathers with big force in late 1960/70/80s.

Notwithstanding the fact that Super Star Rajesh Khanna movies it is impossible to miss listening to the music of Super Star Rajesh Khanna movies and songs even today.

This is an “important” song of the movie that helps take the story of the movie forward for reasons that are self explanatory for those who have watched the picturisation of this movie.

The song is sung by Kishore Kumar. It is picturised as a sensuous background song while we find Super Star Rajesh Khanna and Sharmila Tagore .

Anand Bakshi is the Lyricist. Music is composed by S D Burman (officially) but the popular impression is that the music of this song was actually composed by R D Burman who was deputing for his ailing father in this movie.

Song Title : Roop tera mastaana (Aradhana) (1969)
Singer : Kishore Kumar,
Lyrics : Anand Bakshi,
Music Director : S D Burman
Star cast : Super Star Rajesh Khanna, Sharmila Tagore & Farida Jalal

Lyrics :

roop tera mastaanaa
pyaar mera deewaana
roop tera mastaanaa
pyaar mera deewaana
bhool koi humse na ho jaaye
roop tera mastaanaa
pyaar mera deewaana
bhool koi humse na ho jaaye

raat nasheelee
mast samaa hai
aaj nashe mein
saara jahaan hai
raat nasheelee
mast sama hai
aaj nashe mein
saara jahaan hai
haay sharaabi mausam behkaaye
ae ae ae ae
roop tera mastaanaa
pyaar mera deewaana
bhool koi humse na ho jaaye

aankhon se aankhen
miltee hain aise
bechain hoke
toofaan mein jaise ae ae
aankhon se aankh
miltee hain aise
bechain hoke
toofaan mein jaise
mauj koi saahil se takraaye
ae ae ae ae
roop tera mastaanaa
pyaar mera deewaana
bhool koi humse na hojaye

rok raha hai
humko zamaana
door hi rehna
paas na aana
rok raha hai
humko zamaana
door he rehna
paas na aana
kaise magar koi dilko samjaaye
ae ae ae ae
roop tera mastaanaa
pyaar mera deewaana
bhool koi hum se na ho jaaye

——————————–
Hindi script lyrics

Aradhana - 1969

Aradhana – 1969

3 -roop teraa-7192012182129110264_279520822166261_1372028616_n63149_279518732166470_2108600884_n74227_296386090479734_513795154_n61278_296386063813070_1342722310_n385130_279519052166438_57121812_n420805_279519015499775_838464828_n550536_279519078833102_449262554_n561667_296386193813057_1335685256_nrajesh-sharmila-6_071912084110 B_Id_302031_Roop_tera_mastana
——————————–
रूप तेरा मस्ताना

प्यार मेरा दीवाना

रूप तेरा मस्ताना

प्यार मेरा दीवाना

भूल कोई हमसे न हो जाये

रूप तेरा मस्ताना

प्यार मेरा दीवाना

भूल कोई हमसे न हो जाये

रात नशीली

मस्त समां है

आज नशे में

सारा जहां है

रात नशीली

मस्त समां है

आज नशे में

सारा जहां है

हाय शराबी मौसम बहकाए ए ए ए ए

रूप तेरा मस्ताना

प्यार मेरा दीवाना

भूल कोई हमसे न हो जाये

आँखों से आँखें

मिलती हैं जैसे

बेचैन हो के

तूफान में जैसे

आँखों से आँखें

मिलती हैं जैसे

बेचैन हो के

तूफान में जैसे

मौज कोई साहिल से टकराए ए ए ए ए

रूप तेरा मस्ताना

प्यार मेरा दीवाना

भूल कोई हमसे न हो जाये

रोक रहा है

हम को ज़माना

दूर ही रहना

पास न आना

रोक रहा है

हम को ज़माना

दूर ही रहना

पास न आना

कैसे मगर कोई दिल को समझाये ए ए ए ए

रूप तेरा मस्ताना

प्यार मेरा दीवाना

भूल कोई हमसे न हो जाये

Dushman – 1971

Posted in Super Star Rajesh Khanna on June 23, 2013 by manoharv2009

Image

Dushman (1971)

APS MALHOTRA


BLAST FROM THE PAST Starring Rajesh Khanna, Mumtaz, Meena Kumari, Rehman

Most of last week, the untimely demise of Rajesh Khanna led television channels to feature panel discussions on the superstar’s life and times, particularly his fall from the position he occupied from 1969 to ’72.

Several reasons were cited, including his restricted acting style, wherein he could enact only soft, romantic roles and his inability to sustain the onslaught of the angry young man, which is what the audiences desired in the mid-’70s. This premise falls flat on watching Khanna in director Dulal Guha’s 1971 film, “Dushman”. Essaying the role of Surjit Singh, a reckless, macho truck driver, with a penchant for consuming desi liquor and visiting brothels, the actor can be described in only one word — superb. Wearing fatigues for most of the film and donning a moustache, Khanna looks every bit the truck driver he portrays. He adapts to the role, discarding his trademark mannerism and style of dialogue delivery for a sprightly walk and body language that smacks of arrogance.

Watching him dance to “Vaada tera vadda” — sung breezily by Kishore Kumar — with Chamelibai (Bindu) is sheer magic. Many critics who swear by similar numbers filmed on Amitabh Bachan-Rekha in films like “Muqqadar-Ka-Sikandar” will have to rethink after watching “Dushman”.

Even in action sequences, Khanna looks credible. Surely, the actor’s downfall was more due to other reasons cited — unprofessionalism and arrogance among them — rather than his capacity to adapt to action-oriented roles. It is a testimony to the tragedy of Khanna that at an age (30) when most male actors in Hindi films barely get a toehold in the industry, Khanna was to go into an irrevocable slide. Perhaps it was his failure to handle superstardom and the consequent adulation which led to this sorry state of affairs.

Another reason that comes forth is his lack of business acumen (most actors had become business savvy PROs by then) and his utter failure to look after his dapper looks. The camera, which never lies, caught the perceptible and sudden change in his looks — receding hairline, paunch, puffy face — truthfully.

The film, produced by Premji, is loosely based on V. Shantaram’s iconic “Do Ankhen Barah Haath” which deals with an alternative system of punishing convicts, by integrating them in the social structure and giving them a chance to atone for their sins.

Thus, Surjit Singh, on a misty morning, when visibility is low, accidentally crushes a farmer, Ram Din, under the wheels of his truck. Although he has the opportunity to escape, he gives himself up for trial in the court of a judge (Rehman, an epitome of competence, restraint and grace) who wants to pioneer a new system of dispensing punishment. After acquiring permission for his experiment from the higher judiciary, the learned judge decrees that Surjit Singh will serve his sentence by ensuring the survival of deceased Ram Din’s family, which includes his widow, Malti (Meena Kumari in one of her last films is adequately placed to play the role of the beleaguered widow, with her perfect timing for tragedy, and some melodrama), sister Kamla (Naaz, passable, with her limited talent), two sons, a crippled father, Ganga Din (veteran actor Nana Palsikar is able to evoke sympathy) and Ganga Din’s blind wife (Leela Mishra, yet to become an accomplished character actor, which she did in later years).

After making a futile attempt to escape, Surjit is confronted by unbridled scorn and animosity by Ram Din’s family and other villagers, who label him a dushman. The rest of the story is based on Surjit’s drive to realise the dreams of his victim: getting a bumper harvest in the fields, marrying off his sister, and preventing Ganga Din’s limited assets from falling into the hands of the avaricious landlord (Anwar Hussain). His integration in the victim’s family is complete when he saves Malti’s honour from the landlord’s evil grasp (who had earlier entrapped Surjit in a false murder charge). In all these endeavours, Surjit is helped by Durga Prasad, a larger hearted farmer (veteran Kannaiyalal in a rare positive outing).

In the midst of all this, love blooms between him and Phoolmati (Mumtaz), a gypsy who shows a bioscope in the village to earn a living. The two share a screen chemistry that is one of the abiding milestones in the 100 years of cinema. Mumtaz, with her sensuous pout and body hugging dresses, is remarkable in the role. She is indeed worth watching in songs that include “Dekho Dekho Dekho Bioscope Dekho” (Lata Mangeshkar) and “Maine Dekha Tune Dekha’ (duet by Lata Mangeshkar and Kishore Kumar).

The music, composed by Laxmikant-Pyarelal to lyrics by Anand Bakshi, adds to its lure, as does the crisp editing. Other character actors, including Abhi Bhattacharya (soft-hearted inspector), Sajjan (landlord’s stooge), Asit Sen (Head Constable Harishankar Chaurasiya) are competent.Image

Published by :

http://www.thehindu.com/features/cinema/dushman-1971/article3687406.ece

Super Star Rajesh Khanna – His films evoked protests too

Posted in Super Star Rajesh Khanna on June 2, 2013 by manoharv2009

Rajesh Khanna played it safe when it came to choosing his subjects. Only on a handful of occasions did he step out of his comfort zone to dabble in films with political shades. Later to be an MP himself, he once starred in Dasari Narayana Rao’s “Aaj ka MLA Ram Avtar.” A remake of “MLA Yedukondalu”, a ban was sought on the film by many political leaders. Following constant protests and threats, distributors-exhibitors decided to underplay the first part of the name in the film’s posters. So the layman mistook it for Ram Avtar!

Shakti Samanta’s “Awaaz” was another film with a political shade. At that time the protests were muted.

Yet another film of Rajesh Khanna to court trouble was K. Raghavendra Rao’s “Masterji.” This time the problem arose because of alleged vulgarity in the film, which was promoted as Sridevi’s ‘bare-all’ act.

Published in :

http://www.thehindu.com/features/cinema/his-films-evoked-protests-too/article3654663.ece

India’s cute and complex superstar

Posted in Super Star Rajesh Khanna with tags on June 2, 2013 by manoharv2009

Srijana Mitra Das Jul 20, 2012, 12.00AM IST

 

Rajesh Khanna mapped modern India — with bhadralok brains and burning passion

For those still trying to figure out how a man who wasn’t very tall, didn’t have a deep baritone but  often had pimples could be India’s first female heart-throb, here’s the answer – Rajesh Khanna was cute. In fact, he was the first Hindi film hero, foreshadowing the Khans, to embody ‘cute’ – Kaka’s cute was a pleasant quality escaping finite definition. Kaka was everyman, boy-next-door, college-kid cute – with an added plus.

 That was the way he related to women. Contrary to stereotypes of an ego-centric male star, Khanna seemed to have few issues sharing screen space affably with women. Coming from theatre, he understood cinema benefitted from a superstar but originality couldn’t run on one persona alone. His films thus presented a universe of characters with poetry and music almost like protagonists too. Heroines were vital to this world and most of Khanna’s super-hits, Aradhana, Kati Patang, Amar Prem et al, featured female co-stars prominently alongside him.

Khanna thus seemed unbothered by how ‘Mere sapnon ki rani’ showcased as much of Sharmila Tagore giggling coyly in a train window as it depicted him singing outside it. Similarly, ‘Chingari koi bhadke’ showed Khanna in his cups of glory, singing the hauntingly maudlin number upon a bajra swaying over the mighty Hooghly – but punctuated by Tagore’s eyes agleam with sadness in the lamp-light. The romantic equality he shared with his heroines affected his female viewership too. Women consistently gave him the sympathy vote as he played unconventional men, drunks, down-and-outs, even a cuckold. Interestingly, the same man apparently had tense equations with women in his personal life but on-screen, skillfully portrayed a gentle, modern male to whom convention didn’t matter. What mattered was love – and passion.

For Khanna embodied sex. Importantly, he ruled as a sex-symbol during a time of censorship, monitoring depictions of sexuality. Even a kiss on the cheek had to be camouflaged – two birds apparently necking meant foreplay while lightning strikes in stormy skies indicated going the whole hog. In this scenario, Khanna had millions holding their breath as he delicately, intensely, sexily romanced heroines, often getting drenched on screen, seeing the other in sensual silhouette, singing till the tension could no longer be borne, songs ending in gasps muffled by shocked censors.

In depicting passion thus, he was different from older stars whose trajectory he seemed to follow. Both Dev Anand and Shammi Kapoor had walked the ground of the romantic hero, all silky scarves and cheeky flair, but remained chaste figures of a certain avuncular charm. It was Rajesh Khanna who really took adolescent India to bedroom adulthood, showing full-blown tales of passion that often led to tragedy – but were so worth it.

Yet, he managed to stay a ‘clean’ middle-class hero. Again, unlike predecessors, Khanna rarely played a rich brat or a young punter assuming fake names. Instead, he played roles typifying emerging middle-class India taking on professional employment and preferring urban addresses – pilots, engineers, artists and the like, educated young men mapping the nation, minus hubris or heaviness. He rarely played a rural hero, his films showcasing a world between a mature mofussil and a young metropolis. Dak bungalows and night clubs rubbed shoulders here, diamond heists were pulled off by drugging fizzy drinks, heroines eloped with tricksters and faithful dogs or elephants saved the day. This was a wondrous look at a world whose roots were slowly ripping, whose branches were growing but kept being pruned.

This was an India that needed to be drawn, measured and mapped. Interestingly, unlike stars before or after, Khanna didn’t shoot abroad. His films were located in Indian hill stations, tea gardens, lake resorts, cities and towns. In this world, Khanna didn’t play a CID spy or a rock-drummer. He stood somewhere in the middle, rather like his viewers, enchanted and intrigued, loving it but not blown away, always conveying there was something else – pathos, pettiness, class conflict, death even – to be considered.

For this complexity, he had his directors to thank. Primarily a director’s actor, Khanna worked with the best, foreshadowing modern multiplex strategies, playing lover-boy in one film, deranged madman in the next. Khanna’s acting was overshadowed by his star appeal but in fact, he was pure artistic performance, swinging from nautanki to noir apparently effortlessly. Most interestingly, his career captures the moment of flux when cinema direction changed significantly.

Hrishikesh Mukherjee and Shakti Samanta’s gentler, cosmopolitan, literary-inspired cinema gave way to the harder, darker, sweatier lanes of life captured by Prakash Mehra, Ramesh Sippy et al. Khanna’s characters were often famously soft, crying, quoting poetry, producing lilting laughter, wearing kurtas, cracking philosophical jokes with drawing room ease. This was in step with his genteel, bhadralok or ‘decent folk’ directors, often Bengalis figuring out Bollywood’s jigsaw, drawing deep from folk culture while trying to locate where Hindi cinema, all qawwalis and quartets, could fit within a wider world. Khanna was an integral part of this scene as it sank into sunset, waking up displaced by angry young men, directed by violently energetic Punjabi filmmakers. Khanna and his ‘bhadra’ characters, humming engineers, jealous husbands, scholarly cooks, softly declined. But he was so much fun while he lasted – and cute as hell too.

Published by :12928_371103892964389_210232055_n

http://articles.timesofindia.indiatimes.com/2012-07-20/edit-page/32748366_1_rajesh-khanna-mere-sapnon-ki-rani-kati-patang