Kuch Toh Log Kahenge, Logon Ka Kaam Hai Kehna… More than 50 years later, the iconic song from legendary filmmaker Shakti Samanta’s Amar Prem (1972) continues to resonate. January 13 marked the beginning of a month-long celebration for his 100th birth anniversary. The subscription-based platform Ultra Play OTT will stream 32 of his digitally restored Hindi films to honour the yesteryear filmmaker who gave us gems like Howrah Bridge (1958), Kashmir Ki Kali (1964), Kati Patang (1971), among others.

“I consider Amar Prem to be my best Hindi performance,” begins Sharmila Tagore. She laughs that she “looked very good” in it

“His movies have a repeat value, and his [film’s] songs have lived on forever. Music was his forte, but his films also had social relevance and his women were strong with a lot to say. Shakti da was a man of few words. He was always well-prepared and very efficient with his time. He shot the entire song Roop Tera Mastana [from Aradhana, 1969] as a background song, without rehearsals and lip syncing, in one shot, because we were pressed for time.”

Asha Parekh, his leading lady in Kati Patang and other films, says Samanta’s movies cracked the code for perfectly packaged entertainers. “He was one of the leading producer-directors of our film industry. It was a delight working with him because he was a fine person and an intense director,” shares Parekh, adding that Samanta often coaxed his actors to deliver multiple takes until he felt visually satisfied. His sincerity, she says, “impacted and influenced me”.

“Shakti da handed me Gulshan Nanda’s book Kati Patang and asked me if I’ll work with him. The film was a big hit.”

Rajat Agarwal of Ultra Media says Samanta’s films remain relevant even today. “They represent a perfect blend of emotion, music, and human connection. [The themes in his movies are] universal and ageless.”

For the song ‘Mere Sapno Ki Rani’ from ‘Aradhana’, Sharmila Tagore was not in Darjeeling during the shoot. She was busy filming another project. Shakti Samanta shot all of Rajesh Khanna’s portions on location in the hills, and later filmed Tagore’s train-window reactions in a Mumbai studio.