My 25-Year-Long Journey : From Kareena Kapoor to Alia Bhatt


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MUMBAI – MAHARASHTRA – INDIA           AUGUST 08, 2014           08.50 P.M.

 

My fascination with Hindi film heroines started in mid 60s. In the dark environs of Amar Jyoti Talkies, Deoria, my rendezvous with Hindi cinema took place with Rajendra Kumar and B. Saroja Devi starrer Silver Jubilee hit  ” Sasural ” [ 1961 ] . B. Saroja Devi, though not well-known to Hindi cine-goers, was almost alien to me. But after watching the film, I was unable to forget her. Her elegant persona, her well-kept figure, her chiselled face enticed me for weeks and months. She was the first icon of my childhood fancy.

Few years later in 1967, after appearing in High School exams, I watched Dilip Kumar and  Vyjayanthimala, starrer golden jubilee film ” Ganga Jumna “. B. Saroja Devi and  Vyjayanthimala, to my utter surprise, looked almost similar. I was hooked to Vyjayanthimala and my fascination for the film heroines got fortified.

After passing High School, I went to Allahabad for further studies. My true rendezvous with Hindi cinema started in all earnest in Allahabad. I started watching films regularly. I got acquainted with the heroines of early Hindi cinema. I was particularly enamoured by Devika Rani and Kanan Devi. [ Who can forget Devika Rani’s ………. MAIN BAN KI CHIDIA BAN KE BAN-BAN DOLOON RE ……….( ” Achhut Kanya ” – 1936 ) and Kanan Devi’s ………….. YE DUNIYA ,YE DUNIYA TOOFAN MAIL ……… ( Jawaab ” – 1942 ) ? Few years later I watched two earlier films of Kanan Devi; P. C. Barua starrer ” Mukti ” [ 1937 ] and K. L. Sehgal starrer ” Street Singer ” [ 1938 ]. Though they were the heroines of my father’s generation but their etherial beauty, their sweet voice enthralled me and fascinated me during my adolescent and growing up years in Allahabad.

Later on I got acquainted with the works of other highly successful actresses of the bygone era. The list included Nargis, Suraiya, Nalini Jayawant,  Meena Kumari, Madhubala, Nimmi and Geeta Bali. These heroines ruled the golden era of Hindi films. But even they belonged to the earlier era.

My era included highly successful and enchanting heroines like;  Nutan, Vyjayanthimala, Waheeda Rehman , Nanda and Mala Sinha .

I became a die-hard fan of Waheeda Rehman after watching her films Pyaasa (1957) and Kaagaz Ke Phool (1959) . After watching Raj Kapoor‘s Awaara (1951) and of Mehboob Khan‘s Mother India (1957), Nargis, also became one of my all time favourites. Vijay Bhatt‘s Baiju Bawra (1952), made me a fan of  Meena Kumari.  K. Asif‘s Mughal-e-Azam (1960) made Madhubala my eternal favourite.

Then times changed. My journey with cinema matured. In the late 1960s and early 1970s, actresses like Sadhna, Saira Banu, Sharmila Tagore, Mumtaz and Asha Parekh ruled the Hindi film world.

In the early 70s  Amitabh Bachchan, era started in the Hindi film industry. Actresses from this era included Hema Malini, Jaya BachchanRekha,  Zeenat Aman and Dimple Kapadia. I adored these heroines but frankly, I was neither enchanted or enamoured by them. Mysterious quality of the earlier heroines was missing. Or may be I became mature and the mystique slowly evaporated.

In 1975, I completed my studies in Allahabad and returned to my native place, Deoria. A 14-year-long second phase of my life started in Deoria.

In the late 1980s and early 1990s, the pendulum swung back towards family centric romantic musicals with the success of Qayamat Se Qayamat Tak (1988) . Incidentally this was the last film, which I watched in Deoria.

I moved to Bombay [ now Mumbai ] in 1989. This was the year when Maine Pyar Kiya (1989) got released and changed the film-watching experience forever.

Maine Pyar Kiya (1989), Dil (1990), Hum Aapke Hain Kaun (1994) and Dilwale Dulhania Le Jayenge (1995), making stars out of a new generation and actresses such as Sridevi, Madhuri Dixit, Juhi Chawla and Kajol . In that point of time actresses such as Rani Mukerji, Preity Zinta, Aishwarya Rai also arrived on the scene.  Raveena Tandon and Karisma Kapoor too appearing in popular comedy films .

Furthermore, this decade marked the entry of new performers in art house and independent films like Satya (1998), directed by Ram Gopal Varma and written by Anurag Kashyap. Manisha Koirala, Tabu and Urmila Matondkar were the heroines of this generation.

So it was a long association with the silver screen heroines. From Kanan Devi to Kajol and Karisma Kapoor , I watched everyone, got fascinated by them and silently admired their etherial beauty. But never in my wildest dream did I imagine that one day I would train few of the present day ruling Divas of Hindi cinema. After 25 year stay in Mumbai, when I look back, I reminisce my by-gone days with astonishment. I am bewildered with my accomplishment.

In 1994 two heroines trained by me made their debut in Hindi films. They are Sonali Bendre in ” Aag ” [ 1994 ] and Divya Dutta in ” Ishq Mein Jeena Ishq Mein Marna ” [ 1994 ] . It uncanny that 1994 was the year when Devika Rani died. Kanan Devi bid us adieu two years earlier in 1992.

My childhood icons left this world in 1994 and present day icons, trained by me , made their entry in 1994. It is strange. It is quirky. It is really uncanny. After debut of Sonali Bendre and Divya Dutta in 1994, flood-gate of the newcomers got opened and it has now submerged the Hindi film industry. I present a list of some of the epoch-making new era Hindi film Divas, who got trained by me :

Kareena Kapoor : ” Refugee ” [ 2000 ] = DEBUT

Priyanka Chopra : ” The Hero ” [ 2002 ] = DEBUT

SONAM KAPOOR : ” Saawariya ” [ 2007 ] = DEBUT

Anushka Sharma : ” Rab Ne Bana Di Jodi ” [ 2008 ] = DEBUT

Katrina Kaif :  ” Raajneeti ” [ 2010]

ALIA BHATT : ” Student Of The Year ” [ 2012 ] = DEBUT

KALKI KOECHLIN : ” Ye Jawaani Hai Deewani ” [ 2013 ]

URVASHI RAUTELA : ” Singh Saab The Great ” [ 2013 ] = DEBUT

 

In the end I would like to submit that the above mentioned list is almost endless. I have mentioned very famous names only. As I watch Alia Bhatt making rapid strides,and other newcomers trained by me making their entry in the tinsel town, my heart beats fast with pride.

Some of the biggest star sons / daughters are currently being trained by me and they are going to make their debut in 2015.

So the SAGA CONTINUES !! Dust settles down. Sun shines brilliantly. And the World { excluding few egoistic nay-sayers } watches with awe, admiration and amazement.

 

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God bless them for making me proud !!

 

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Sunset Boulevard ( 8 ) : ” Lakshmi Talkies : अपना सिनेमा हाल था ये “


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MUMBAI – MAHARASHTRA – INDIA           MARCH 17 , 2014           11.40 P.M.

Today when the Hindus , all over the world , are celebrating Holi and rejoicing in festivity , I am sitting in my study in Mumbai and writing this blog about Lakshmi Talkies , Allahabad with tearful eyes . I am struggling for words . I am unable to form sentences . I am full of emotions . Lakshmi Talkies will not ring a familiar bell for several anonymous people or the lovers of cinema . May be some will be familiar of some Lakshmi Talkies of their own cities . But here I am talking about Lakshmi Talkies of Allahabad , Uttar Pradesh .

Few days back I saw the following post on the facebook time line of Shri Neeraj Sri :

अपना सिनेमा हाल था ये …
Lakshmi Talkies - Katara - Allahabad

Lakshmi Talkies – Katara – Allahabad

When I read the post and saw the photograph , I became numb . I was stunned . I was shaken . I was saddened beyond words . I was emotionally disturbed . I spent a sleepless night .

Even now as I am writing the blog , my heart refuses to believe that this is a reality . I was a regular patron of Lakshmi Talkies during my Ganga Nath Jha hostel days . Lakshmi Talkies of Allahabad was a part of my life . Lakshmi Talkies holds a special place for me because Lakshmi Talkies was an integral part of my Allahabad University days . It’s magnificent structure is still fresh in my memory . So when I saw the above picture of a desolate Lakshmi Talkies with moth – eaten walls , broken window panes and barbed wire fencing , I wanted to cry . I wanted to mourn .

I , after passing High School , left my birth place Deoria in 1967 and went to Allahabad for higher studies . Deoria had two cinema halls at that time but being in a small city like Deoria , they were not grand or magnificent , like cinema halls of bigger cities . Allahabad was much bigger city compared to Deoria , so the cinema halls were also huge and opulent . I landed in Allahabad in July 1967 with glitter in my eyes , hope and dreams in my heart for my better future . I , as a 15-year-old small town boy , was fascinated by Allahabad , the city and its atmosphere . Slowly I started getting acquainted with the city of Allahabad . Being a movie buff , I started looking about cinema halls and thus came to know about Lakshmi Talkies at Katara . Lakshmi Talkies management had this strategy of re – releasing old Hindi films . So for me this was a boon because I could now watch all the old classics which I had missed in Deoria .

” Door Ki Awaaz ”  [ 1964 ] , a film directed and produced by Devendra Goel was the first ever film which I watched in Lakshmi Talkies . The Joy Mukherjee , Saira Banu , Pran , Johny Walker and Om Prakash starrer film has some popular Mohammad Rafi gems like , “Ek Musafir Ko Duniya Men Kya Chahiye ……………………….” , ” Husn Se Chand Bhi Sharmaya Hai , Teri Soorat Ne Ghazab Dhaya Hai ……………..” , ” Muqaddar Aazmana Chahta Hoon , Tujhe Apna Banan Chahta Hoon ……………………………. “ , and a lovely duet of Mohammad Rafi with Asha Bhosle ” Haathon Men Haath Hothon Pe Afsane Pyar Ke ……………………” , and the last but not the least , a song sung by Mohammad Rafi , Manna Dey and Asha Bhosle ” Hum Bhi Agar Bachche Hote Nam Hamara Hota Gabloo , Babloo , Khane Ko Milte Laddoo , Aur Duniya Kehti …………….. Happy Birthday To You …………………” . All these lovely songs were tuned by music director Ravi .

The film , the songs and the whole movie going experience is still fresh in my memory even after 47 long , strife – torn and eventful years of my life .

The last film I watched in Lakshmi Talkies was in 1971 . It was a Hemant Kumar produced and Asit Sen directed ” Khamoshi ” [ 1969 ] . During the same year they also opened a skating ring in the western side of the compound . It was a new experience .

I completed graduation in 1971 and left Allahabad and came to Bombay [ now Mumbai ] . One year after I left Mumbai again and came to Allahabad to complete my post graduation . So I was in Allahabad and staying in the same Ganga Nath Jha Hostel again from 1972 to 1974 before finally bidding adieu to Allahabad in 1975 . During this period I did watch couple of films in Lakshmi talkies but I don’t remember them .

But I do remember a concert of Pandit Ravi Shankar with Alla Rakha Khan , which I was fortunate enough to attend . One evening my friend Pramod Vajpayee came running and informed me about the concert . It was in aid of some NGO . So the ticket rates were low . We went , bought the tickets and took our seat in the packed hall . That evening is still fresh in my memory . It was a life – time experience .

And now 40 years later in March 2014 , I read this posting about the closure of Lakshmi Talkies on the facebook time line of Shri Neeraj Sri and the world of my emotional memory crumbled at one go . A part of my life is gone forever . A silent witness of my many lonely evenings is going to be silent very soon .

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On behalf of all the students and staff of VIDUR Acting Institute , I condole the demise of Lakshmi Talkies .

VIDUR Editing Studio , VIDUR Club and VIDUR Theatre would also like to express grief and pain .

Farewell Lakshmi Talkies !

Neeraj Sri has rightly said , ” अपना सिनेमा हाल था ये … ”

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Farewell Hangal Sahab : Itna Sannata Kyon Hai Bhai ?


MUMBAI – MAHARASHTRA – INDIA           AUGUST 28, 2012           01.00 A.M.

Death of  Shri A. K. Hangal on August 26, 2012 at the age of 97 was almost expected . He was aged , frail and was suffering from multiple diseases . On August 13 , 2012 he fell in the bathroom of his flat and fractured his right femur bone . On August 16 he was admitted in Asha Parekh Hospital , Santacruz and after 10 days finally succumbed to his injury and other age related complications .

I wrote a blog about him when Hangal Sahab was alive . He hit the headlines for his poor health and penury . Industry people rushed to his succour . But his communist comrades , who are now shedding copious tears after his demise , kept distance and maintained stoic silence .

My Other Blog About Hangal Sahab : A. K. Hangal & His Communist Comrades wp.me/ptyXI-Rn via @VidurChaturvedi

Avtaar Veenit Kishan Hangal a.k.a. A. K. Hangal was an iconic father figure of Hindi cinema . He was first noticed in films like ; Shagird ” [ 1966 ] and ” Teesari Kasam ” [ 1966 ] . I first saw him in ” Shagird “ , a Joy Mukherjee and Saira Banu starrer .

Shagird

Cover of Shagird (Photo credit: Wikipedia)

Born in Sialkot , Pakistan , Hangal Sahab spent his childhood in Peshawar . He moved to Karachi before partition of India and was a tailor by profession . He joined theatre very early in his life . In 1949 he moved to India after spending 3 years in jail in Pakistan . In Mumbai he , along with Balraj Sahni and Kaifi Azmi , joined IPTA [ Indian People’s Theatre Association ] and then in 1966 joined Hindi films at the age of 50 .

As stated earlier he started his film journey with ” Shagird ” [ 1966 ] and ” Teesari Kasam ” [ 1966 ] . Later on he worked in films like ;Saat Hindustani ” [ 1969 ] , ” Guddi ” [ 1971 ] , ” Bawarchi ” [ 1972 ] , ” Abhimaan ” [ 1973 ] , ” Namak Haraam ” [ 1973 ] , ” Kora Kagaz ” [ 1974 ] , ” Sholay ” [ 1975 ] , ” Balika Badhu ” [ 1976 ] , ” Aina ” [ 1977 ] , ” Satyam Shivam Sundaram ” [ 1978 ] , ” Basera ‘ [ 1981 ] , ” Kalyug ” [ 1981 ] , ” Kudrat ” [ 1981 ] , ” Naram Garam ” [ 1981 ] , ” Shaukeen ” [ 1982 ] , ” Avtaar ” [ 1983 ] , ” Sharaabi ” [ 1984 ] , ” Arjun ” [ 1985 ] , ” Bewafai ” [ 1985 ] , ” Meri Jung ” [ 1985 ] , ” Ram Teri Ganga Maili ” [ 1985 ] , ” Khoon Bhari Maang ” [ 1988 ] , ” Khalnayak ” [ 1993 ] and  ” Lagaan ” [ 2001 ] .

Rahim Chacha of Sholay

Rahim Chacha of Sholay

In Shaukeen with Ashok Kumar & Utpal Dutt

In Shaukeen with Ashok Kumar & Utpal Dutt

Lagaan - His Last Film

Lagaan – His Last Film

So from 1966 to his last film in 2001 , it was a 35 year-long and very successful film journey . He acted in almost 200 films .

During his last years , on February 08 , 2011 , he graced the ramp on a wheelchair for fashion designer Riyaz Ganji for his summer line .

Show Stopper for Riyaz Ganji

Show Stopper for Riyaz Ganji

His last appearance was a TV serial ” Madhubala – Ek Ishq Ek Junoon ” [ 2012 ] . He gave his voice for Maharaja Ugrasen in animation film ” Krishna Aur Kans ” [ 2012 ] . So in a way his career span is 46 years .

The government of India awarded him the Padma Bhushan in 2006 .

He lived an eventful life and must have left this world with a sense of satisfaction and fulfillment .

Al-vidaah Rahim Chacha ! Your voice will always reverberate in my ears , ” Itna sannata kyon hai bhai ? ”

 

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100 Years of Sa’adat Hasan Manto


 

 

MUMBAI – MAHARASHTRA – INDIA           August 02 , 2012           00.40 A.M.

This year is the Anniversary Year of so many historical and literary figures and luminaries of our generation . Anniversaries of various historical events are also being celebrated this year . These anniversary celebrations , as I remember , took momentum from 2010 . Or may be , since I was not into blogging , I never realized or became aware of their existence .

In 2010 we celebrated 2 anniversaries . They were ; 100 YEARS OF HISTORIC JUMP OF VEER SAVARKAR , and 150 YEARS OF TAGORE .

In 2011 there were 6 anniversaries . They were as varied as ; 40 YEARS OF VIJAY DIWAS & BIRTH OF BANGLADESH , 50 YEARS OF THE LIBERATION OF GOA , DAMAN & DIU , 100 YEARS OF OUR NATIONAL ANTHEM , 100 YEARS OF NEW DELHI , 150 YEARS OF MAHAMANA MALVIYA and 250YEARS OF THE 3RD BATTLE OF PANIPAT .

This year only half of 2012 is over and we have already celebrated 4 anniversaries . They are ; 60 YEARS OF CORONATION OF QUEEN ELIZABETH II , 150 YEARS OF THE 1ST CHRISTIAN SAINT OF INDIA , 150 YEARS OF SWAMI VIVEKANANDA and 200 YEARS OF CHARLES DICKENS .

Now I am writing about the 5th , 100 YEARS OF SA’ADAT HASAN MANTO .

8 more anniversaries are tempting me to write a blog on them . It comes to total 13 anniversaries in 2012 .

Quite early in my life , I was slowly introduced to Indian literature , then English literature and finally Russian and world literature . In Indian literature my first brush was with Bengali literature . Hindi literature came later and then came Urdu literature . Other Indian literature , translated in Hindi , came much later in my life .

Indian Books 3

Indian Books (Photo credit: Celeste33)

When I talk about Urdu literature , I must make a note that my first introduction was through the poetry . Shairi , as Urdu poetry is known , was my early fascination . HIND POCKET BOOKS came out with Hindi transliteration [ not translation ] of various works of Shairs or poets of Urdu . I bought them and became familiar with Urdu poetry and grew into a life long fan . I still remember many Urdu couplets or Sher by heart .

The phrase Zaban-e Urdu-e Mualla (

The phrase Zaban-e Urdu-e Mualla (“The language of the exalted camp”) written in Nasta’liq script. (Photo credit: Wikipedia)

Urdu prose came much later in my life . Kishan Chandar was the first Urdu novelist , whose works I read and admired . I have heard about Sa’adat Hasan Manto and his works during those days but I didn’t read him as he was despised by large number of people including my teachers and was vehemently criticized by the critics and intelligentsia .

English: manto in his middle age.

Sa’adat Hasan Manto in his middle age. (Photo credit: Wikipedia)

So naturally I avoided reading him . In my mind he was akin to novelists like Kushwaha Kant and Ibn – e – Shafi B.A. Though hugely popular , these two authors are not considered as men of letters . Now I am very much ashamed that once upon a time I thought so low of Manto and degraded him .

My impression about him changed when I read his memoirs about the famous personalities of Hindi film industry . I was impressed with his style of prose writing and lucidity of  language .

Sa’adat Hassan Manto (May 11, 1912 – January 18, 1955)  is best known for his short stories, “Bu” , “Khol Do” , “Thanda Gosht” , and his magnum opus, “Toba Tek Singh“.

Manto was also a film and radio scriptwriter and a journalist . In his short life , he published twenty-two collections of short stories , one novel , five collections of radio plays , three collections of essays , and two collections of personal sketches.

Manto was tried for obscenity six times, thrice before 1947 and thrice after 1947 in Pakistan , but never convicted . Some of his works have been translated in other languages .

Saadat Hasan Manto is often compared with D. H. Lawrence , and like Lawrence he also wrote about the topics considered social taboos in Indo-Pakistani Society . His concerns on the sociopolitical issues , from local to global level are revealed in his series , Letters to Uncle Sam , and those to Pandit Nehru . On his writing he often commented , “If you find my stories dirty , the society you are living in is dirty . With my stories, I only expose the truth .”

After 1936 , he moved to Bombay  [ now Mumbai ] where he stayed for the next 5 years editing Musawwir , a monthly film magazine . He also started writing scripts and dialogues for Hindi films , including ” Kishan Kanhaiya ” [ 1936 ]  and ” Apni Nagariya ” [ 1939 ] . He continued writing for films until he left for Delhi in January 1941 .

Manto accepted the job of writing for Urdu Service of All India Radio in 1941. This proved to be his most productive period as in the next eighteen months he published over four collections of radio plays , Aao , Manto ke Drame , Janaze , and Teen Auraten . He continued to write short stories and his next short story collection Dhuan was soon out followed by Manto ke Afsane and his first collection of topical essays , Manto ke Mazamin . This period culminated with the publication of his mixed collection Afsane aur Drame in 1943 . Meanwhile , due to a quarrel with then director of the All India Radio , poet N. M. Rashid , he left his job and returned to Bombay in July 1942 and again started working with film industry . He entered his best phase in screenwriting giving films like ” Aatth Din ” , ” Chal Chal Re Naujawanand ” Mirza Ghalib ” , which was finally released in 1954 .

Some of his best short stories also came from this phase including  “Kaali Shalwar” ,  “Dhuan”  (1943) and “Bu”, which was published in Qaumi Jang (Bombay) in February 1945 . Another highlight of his second phase in Bombay was the publication of an important collection of his stories , Chugad . He stayed in Bombay until he moved to Pakistan in January 1948 after the partition of India in 1947.

During those days in Pakistan , Manto tried his hand at newspaper column writing . He started off with writing under the title Chashm-e-Rozan for daily Maghribi Pakistan on the insistence of his friends of Bombay days , Ehsan Ba and Murtaza Jillani, who were editing that paper . After a few columns, the space appeared blank under the column saying that due to his indisposition Manto couldn’t write the column. Actually, the owner was not favourably disposed to some of the content .

The only paper that published Manto’s articles regularly for quite some time was Daily Afaq , for which he wrote some of his well-known sketches . These sketches were later collected in his book Ganjay Farishtay . The sketches include those of famous actors and actresses like Ashok Kumar, Shyam, Nargis, Noor Jehan and Naseem (mother of Saira Banu) . He also wrote about some literary figures like Meera Ji , Hashar Kashmiri and Ismat Chughtai . Manto’s sketch of Muhammad Ali Jinnah was also first published in Afaq under the title Mera Sahib.

He , during his later years in Pakistan , embarked on a journey of self-destruction . The substandard alcohol that he consumed destroyed his liver and in the winter of 1955 he fell victim to liver cirrhosis . He was 42 years old at the time of his death. He was survived by his wife Safiyah and three daughters . Born in 1912 in Samrala , Ludhiana district of Indian Punjab , he died in 1955 in Lahore , Pakistani Punjab .

This year in 2012 India and Pakistan , both the countries , are celebrating his anniversary .

Manto collection (Books)

  • Atishparay (Nuggets Of Fire) – 1936
  • Chugaad
  • Manto Ke Afsanay (Stories of Manto) – 1940
  • Dhuan (Smoke) – 1941
  • Afsane Aur Dramay (Fiction and Drama) – 1943
  • Lazzat-e-Sang-1948 (The Taste Of Rock)
  • Siyah Hashiye-1948 (Black Borders)
  • Badshahat Ka Khatimah (The End of Kingship) – 1950
  • Khali Botlein (Empty Bottles) – 1950
  • Loud Speaker
  • Nimrud Ki Khudai (Nimrod The God) – 1950
  • Thanda Gosht (Cold Meat) – 1950
  • Yazid – 1951
  • Pardey Ke Peechhey (Behind The Curtains) – 1953
  • Sarak Ke Kinarey (By the Roadside) – 1953
  • Baghair Unwan Ke (Without a Title) – 1954
  • Baghair Ijazit (Without Permission) – 1955
  • Burquey – 1955
  • Phunduney (Tassles) – 1955
  • Sarkandon Ke Peechhey (Behind The Reeds) -1955
  • Shaiytan (Satan) – 1955
  • Shikari Auratein (Women Of Prey) – 1955
  • Ratti, Masha, Tolah-1956
  • Kaali Shalwar (Black Pants) – 1961
  • Manto Ki Behtareen Kahanian (Best Stories of Manto) – 1963
  • Tahira Se Tahir (From Tahira to Tahir) – 1971

I was re – introduced to him and his literary world , when I started training Dino Morea recently . We read several stories written by Manto and discussed them and thus a new vision about Manto was opened in front of my eyes . I deeply regret that once upon a time I degraded him in my mind and didn’t read his books earlier .

[ List of the works of Manto and some dates and facts of his life is taken from Wikipedia . I express my gratitude . ]

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Farewell Sachin Bhowmick !


MUMBAI – MAHARASHTRA – INDIA              APRIL 16, 2011                    11.55 P.M.

Life is cruel. Sometimes it is very cruel. It was illustrated once more this time. Hindi film industry’s most prolific and one of the most successful and versatile writer, Sachin Bhowmick breathed his last in Mumbai on April 12, 2011 at the age of 80.

In this film world , where it is difficult to survive even for few years, Sachin da , as he was fondly called , survived for more than 50 years and that too successfully. From Nargis , Asha Parekh and Saira Banu to Aishwarya Rai Bachchan , Kajol and Priyanka Chopra and from Balraj Sahni , Shammi Kapoor and Rishi Kapoor to Shah Rukh Khan ,  Hritik Roshan ,and Akshay Kumar ,  he had written story and screenplay for almost everyone. He was virtually a writer of three generations.

He began as a travel writer in 1959 and slowly and gradually stablished himself as a successful story and screenplay writer in Hindi films. He started with Nargis and Balraj Sahni starrer ” Lajwanti ” [ 1958 ]. Who can forget the immortal Asha Bhosle gem ; ……. koi aaya dhadkan kahti hai………..

Balraj Sahni

Balraj Sahni

After this he wrote another memorable hit like ; ” Anuradha ” [ 1961 ] . This Hrishikesh Mukherjee directed film won President’s Gold Medal.

After this it was literally an avalanche of hits and super hit films. ” Ziddi ” [ 1964 ] , ” Ayee Milan Ki Bela ” [ 1964 ] , ” Majboor ” [ 1964 ] , ” Jaanwar ” [ 1965 ] , ” Love In Tokyo ” [ 1966 ] , ” Aaye Din Bahar Ke ” [ 1966 ] , ” An Evening In Paris ” [ 1967 ]  , ” Brahmchari ” [ 1968 ] , ” Aaya Sawan Jhoom Ke ” [ 1969 ] , ” Aradhana ” [ 1969 ] , ” Aan Milo Sajna ” [ 1970 ] , ” Carvan ” [ 1971 ] , ” Dost ” [ 1974 ] , ” Khel Khel Men ” [ 1975 ] , ” Hum Kisi Se Kam Nahin ” [ 1977 ] , ” Golmaal ” [ 1979 ] , ” Karz ” [ 1980 ] , ” Do Aur Do Paanch ” [ 1980 ] , ” Bemisal ” [ 1982 ] , ” Nastik ” [ 1983 ] , ” Sahab ” [ 1985 ] , ” Karma ” [ 1986 ] , ” Khalnaayak ” [ 1993 ] , ” Main Khiladi Tu Anari ” [ 1994 ] , ” Yeh Dillagi ” [ 1994 ] , ” Karan Arjun ” [ 1995 ] , ” Koyla ” [ 1997 ] , ” Dushman ” [ 1998 ] , ” Soldier ” [ 1998 ] , ” Aa Ab Laut Chalen ” [ 1999 ] , ” Taal ” [ 1999 ] , ” Koi….. Mil Gaya ” [ 2003 ] , ” Kisna ” [ 2006 ] and ” Krrish ” [  2006 ] .

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Image via Wikipedia

Aa Ab Laut Chalen

Image via Wikipedia

Main Khiladi Tu Anari

Image via Wikipedia

He directed, apart from scripting , Rajesh Khanna and Sharmila Tagore starrer ” Raja Rani ” [ 1973 ]. In total he wrote story and screenplay of moer than 100 films.

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He worked with Hrishikesh Mukherjee , Shakti Samanta , Pramod Chakraborty , Bhappi Soni , J . Om Prakash , Nasir Hussain , Subhash Ghai and Rakesh Roshan. Such was his calibre that he was repeated by all the above mentioned film makers several times.

Life is ephemeral. One , however high and mighty, has to go. So Sachin da can’t be an exception. He left us for his final journey. Pen has stopped. Ink has been dry. Nib is broken by the cruel fate. But saga continues. The mortal body of Sachin Bhowmick is gone forever but the immortal films and scripts live on.

Farewell Sachin da ! I was fortunate that I could see you several times when I was training Hritik Roshan and you visited his apartment for story sessions.

VIDUR

MUMBAI – MAHARASHTRA – INDIA

www.vidur.co.in

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