Showing posts with label Deedar. Show all posts
Showing posts with label Deedar. Show all posts

‘Phool Khile Hain Gulshan Gulshan’ host Tabassum passes away

Tata Tabassum

Bella Jaisinghani (THE TIMES OF INDIA; November 20, 2022)

Mumbai: Veteran film actress and one of India’s earliest and best loved talk show hosts, Tabassum, died after suffering two successive cardiac arrests on Friday. The artiste, whose career spanned almost 75 of her 78-year lifespan, anchored Bombay Doordarshan’s most popular talk show ‘Phool Khile Hain Gulshan Gulshan’ from 1972 to 1993.

Born Kiran Bala Sachdev in Bombay in 1944, she made her debut as Baby Tabassum in 1947. She was married to Vijay Govil, brother of actor Arun Govil. Her son Hoshang reportedly said she passed away at 8:40 pm in hospital where she was admitted for a gastrointestinal ailment. Tabassum had tested positive for Covid earlier in April.

Audiences caught an early glimpse of the voluble child artiste in two Dilip Kumar-Nargis classics. The first was ‘Jogan’, followed by ‘Deedar’ featuring the evergreen horseback song ‘Bachpan ke din bhula na dena’ with another child artiste Parikshit Sahni. In both films, her large emotive eyes and clear speech marked her as an actor of promise.

Sahni said, “Her death is such sad news. I was a novice during ‘Deedar’, she was a child star by then though she was younger than me. But what a nice person! She had a strong command over Hindi and Urdu even at that early age.”

Her other films are ‘Mera Suhaag’ (1947), ‘Manjhdhar’ (1947) and ‘Badi Behen’ (1949). Her last film appearance was ‘Swarg’ (1990). Her noteworthy songs ‘Rekha O Rekha’ (‘Adhikar’) as well as ‘Dekho bijli dole bin baadal ke’ from ‘Phir Wohi Dil Laya Hoon’, where she played Asha Parekh’s impish friend, are still popular. ‘Pyar Ka Mausam’ and ‘Heer Ranjha’ are also memorable.

Tabassum passed away even as Bombay Doordarshan is celebrating its golden jubilee. Former DD colleagues mourned the end of an era. Manmohan Singh Rawat, who was assistant director in ‘Phool Khile. . . ’ from 1984 recalled Tabassum as a “fine human being, cheerful with an impeccable command over Hindi and Urdu”.

He said, “She had her own performance troupe ‘Tabassum Hit Parade’ which launched the careers of Johny Lever and Sunidhi Chauhan. She even wrote a joke book.”

Former programme executive Anita Rai of ‘Chhayageet’ fame said, “We had a long beautiful relationship. We used to produce ‘Phool Khile...’ where she interviewed famous film personalities with ease and confidence. She was a kind-hearted and jovial person. Tabassum ji respected every person and had an amazing memory. She used to call everyone in the unit by name even if she met them after a gap. Kids used to enjoy her company in a programme titled ‘Story Time’.”
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Co-stars Anil Kapoor, Sudha Chandran and Indraneil Sengupta remember the veteran actor-host’s zest for life and child-like laughter
Upala KBR , Priyanka Sharma, Letty Mariam Abraham (MID-DAY; November 20, 2022)

Hindi cinema has lost its smile. Veteran actor-television host Tabassum, whose association with the screen was as long as India’s Independence, has passed away. Tabassum died on Friday following a cardiac arrest. She was 78.

“She was admitted to a hospital due to gastro problems. She suffered from two cardiac arrests in an interval of two minutes and passed away around 8.40 pm,” her son Hoshang Govil said, adding that the funeral took place on Saturday. Her family has organized a prayer service scheduled for Monday to “celebrate her legacy and beautiful smile”.

At a young age, Tabassum entered the industry with the screen name ‘Baby Tabassum’ in the film Nargis (1947). Her screen presence ensured that she soon became the first choice for younger versions of then prominent actors like Nargis (Deedar, 1951) and Meena Kumari (Baiju Bawra, 1952). Tabassum took a gap from the screen and then returned in the ’60s as an adult actor.

But her relationship with the big screen wasn’t the same anymore. That’s when Tabassum took to television, which was at its nascent stage in the country. She loved movies, not the medium. So, in 1972, Tabassum began hosting Indian TV’s first talk show, Phool Khile Hain Gulshan Gulshan, which featured her interviewing film stars.

Anil Kapoor, who featured alongside Tabassum in the 1986 comedy Chameli Ki Shaadi, which was also among her last film appearances, shares he and his family were big fans of her talk show that they named their 1978 production starring Rishi Kapoor and Moushumi Chatterjee after the show. “That was the impact of her show. She was a lovely lady, always cheerful and positive, smiling and laughing, vibrant, and full of energy. She was one of the pioneers of hosting shows,” Kapoor says.

It was a moment of honour for dancer-actor Sudha Chandran to feature alongside the yesteryear actor in her film, Nache Mayuri (1986). Chandran claims she grew up watching Tabassum’s Phool Khile Hain Gulshan Gulshan. The actor shot for Tabassum Talkies (her YouTube channel) a few days before the veteran actor’s sudden death. “Age was just a number for her. She had so many anecdotes to share and was always full of life and cheer. For me, it was like a dream come true to sit and talk to someone with [such an illustrious] career. Although it was 35 years ago that we worked on Nache Mayuri, but I remember being so young and star struck at that time. I couldn’t take my eyes off her. You could listen to her endlessly because she had a great command over language and an unexpected innocence.”

Popular television actor Indraneil Sengupta, who played her grandson in the show Pyaar Ke Do Naam: Ek Raadha Ek Shyaam (2006), remembers her as his grandmother even after the director said cut. While it is common for senior actors to wear a sense of seriousness in their demeanour, Tabassum always carried a child-like glee, says Sengupta. “She was fond of me and Barkha [Sengupta, his wife and co-star]. She never had the aura of a senior [actor] and was always like a grandmother showering you with love. There are many good people, but rarely do you find someone, who exudes positivity 24/7. Tabassum ji was that person,” he says.

Unlike most actors of yore, Tabassum always moved with the times and sought relevance. She was also a connoisseur of cinema, which made her seek a new audience in both old and young. In 2015, she launched her YouTube channel Tabassum Talkies, where she shared untold stories of iconic film artistes.

Journey in showbiz
- Nargis (1947)
- Deedar (1951)
- Baiju Bawra (1952)
- Phool Khile Hain Gulshan Gulshan (1972)
- Mughal-e-Azam (1960)
- Tum Par Hum Qurban (1985)
- Naache Mayuri (1986)
- Pyaar Ke Do Naam: Ek Raadha, Ek Shyaam (2006)
- Ladies Special (2009)
- Tabassum Talkies

29 years of Phool Aur Kaante: When Ajay Devgn straddled two bikes to a blockbuster


Roshmila Bhattacharya (MUMBAI MIRROR; November 20, 2020)

After assisting producer-director-actor Raj Kapoor for 11 years and working as second unit director to Rahul Rawail, his senior in the RK camp, on films like Betaab and Arjun, Kuku Kohli (below; left) finally landed a break as an independent director when Dinesh Patel agreed to invest in an action-packed love story and a pair of fresh faces. Akshay Kumar had been penciled in as the lead when he landed a big break in Pramod Chakravorty’s Deedar. “Since Pramod da was an established maker while I was a debutant, Akshay understandably gave priority to his film over mine. I was all charged up and my budget was tight, so, I wanted bulk dates. But he could only accommodate me for 2-3 days between Deedar’s shoot. Since, that did not work for me, I started looking around for another new boy,” reminisces Kuku ji.

Action director Veeru Devgan was a friend and he would drop by his office often. One day, a photograph of his son caught his eye and he told Veeru ji that he wanted to audition Ajay. The screen-test went off well, with the boy delivering his dialogue with aplomb and performing the scenes with impressive intensity. “I saw an emotional depth in his eyes that I wanted to bring to the screen and immediately signed him on,” recounts Kuku ji, who subsequently spent hours with a delighted Veeru ji discussing and planning the many fight sequences.

Twenty-nine years later, one still remembers Ajay Devgn’s explosive entry straddling two bikes and Kuku ji applauds the tireless, fearless actor who pulled off not just the most daredevil stunts without duplicates, cables or VFX, but also faced a seasoned performer like Amrish Puri, who played his father, an ageing don, in the film, in the emotionally dramatic scenes without missing a beat. “I knew then itself that he was destined for glory,” asserts the director.

However, since Ajay was still a newcomer then, finding a leading lady proved to be difficult. Undeterred by the many excuses and no-nos, Kuku ji put out an advertisement announcing Phool Aur Kaante with Ajay holding a girl whose face was not visible. “Soon after, Hema ji’s (Malini) niece, Madhoo, sent her photographs across to the office. She looked good and we signed her opposite Ajay. She turned out to be a good actress too,” he smiles.

While they were shooting Ajay’s entry on the bikes, a couple of big producers, friends of Dinesh Patel, had dropped by for a dekko. They would watch Kuku ji run, from left to right, and back, and wonder aloud what he was doing. But despite their misgivings, the film shaped up to everyone’s satisfaction and the response from the aam janta to the trailer also was phenomenal. Encouraged, a confident Kuku ji took another gamble, announcing that they would be releasing it on November 22, 1991, coming up against Yash Chopra’s Lamhe which featured Sridevi in a double role and Anil Kapoor, whom Kuku ji knew from his RK days. “Yash ji was a big filmmaker, Anil and Sridevi were superstars and Lamhe was an eagerly awaited film. Our film had only debutants and everyone laughed at our audacity, calling us mad,” narrates Kuku ji.

He admits that they were equally sure that Lamhe would run to full houses and were only hoping that the audience overflow would come to them. “No one had ever imagined that the reverse would happen. Phool Aur Kaante packed in the crowds for 74 straight weeks and would have easily celebrated a platinum jubilee had it not been pulled out to save on doling out bonuses. However, in its 76th week, it returned to the theatres and continued its triumphant run till the 81st week,” Kuku ji guffaws.

What’s more, despite all the maar-dhaad and rona-dhona, Nadeem-Shravan’s music was a rage, with romantic songs like “Tumse Milne Ko Dil Karta Hai”, “Dheere Dheere Pyaar Ko Badhana Hai” and “Maine Pyaar Tumhi Se Kiya Hai,” continuing to resonate even after almost three decades. So, is a sequel on the way? “I have a beautiful script ready with me. I have still to narrate it to him but if Ajay is interested and has the dates, I would love to return to Phool Aur Kaante,” Kuku ji signs off on an ebullient note.

If a film like Good Newwz had come my way 15 years ago, I would have done it-Akshay Kumar


Rachana Dubey (BOMBAY TIMES; December 23, 2019)

As actors, it’s taken them a few years to reunite on the big screen. As friends, they’ve stuck it out all these years. He’s a part of her inner circle, and they have both seen each other grow from strength to strength. Akshay Kumar and Kareena Kapoor Khan share a cool connection that dates back to the time when they were both not the movie stars they are today, which is evident in the way they play the urban chic Batras in Raj Mehta’s Good Newwz. Ahead of the film’s release, they spoke to BT about their deep connect, taking risky choices, and why it was essential to make a film on a subject like IVF (In Vitro Fertilisation). Excerpts...

Good Newwz is your 10th film together as lead actors in the last 20 years. Do you remember the first time you two met?
Kareena: I was there when he gave his first shot. Lolo (Karisma Kapoor) was the heroine of Deedar (1992), which they were shooting together. That day, I had come from school to Poonawala Bungalow at Madh Island, where they were filming. It was almost 30 years ago, and I was all of nine. I’ve known him since then.
Akshay: Actually, we’ve met even before that. We were doing a photo-shoot in her building, Excellency, in Lokhandwala. I was trying my best to come into the industry at that time, and was not even an actor. It’s like literally saying, ‘Once upon a time when I met Kareena Kapoor…’

Akshay, how would you assess Kareena’s rise as an actor from the time she started out two decades ago, to now, when she’s making daring choices, and pushing the envelope like never before?
Akshay: Kareena is like wine that gets better with every passing year.
Kareena: Cuts in… Says the man who has never tasted wine! I know what wine tastes like because I have it. He doesn’t have all this (laughs!).
Akshay: Main aisa bhi doodh ka dhula nahi hoon! (laughs!) I have tasted wine.
Kareena: If you insist! But I only see you having doodh, nuts and sprouts all the time. That’s all he eats.
Akshay: On a serious note, I remember the first song that I shot with her for Ajnabee (2001) at Ramoji Rao Studios (Hyderabad). At that time, she didn’t know what camera angles were and how things worked. She was supposed to seduce me in the song in a tiny nightie. I was protective of her as she was very naïve. And now, she knows camera angles so well that the camera romances her. She will do everything to get a shot right. The kind of face she has and the way it attracts the camera is amazing. But yeh iski wajah se nahi hai. It’s because of her parents (laughs!). Sometimes, when I’m watching my own films that feature her, main isko dekhna chahta hoon. From the way she looks, I think she can never play a hero’s mother or the typical maa ke roles. I also like the fact that she has defied the belief that married actresses don’t get work in this industry. She did that with the to-hell-with-you-guys attitude.
Kareena: I don’t have to worry about anything as long as I have a career like Akshay Kumar’s.
Akshay: Bebo has played roles on her own terms. She has always been a risk-taker. Some of them have paid dividends and some haven’t. Like Ajnabee, our first film together, was about wife-swapping, which was a novel concept in Bollywood. Our next is about sperm swapping, also a new idea. Ab aur kya kya swap hoga pata nahi!

Kareena, if you had to analyse Akshay’s journey from the time when he was your sister Karisma’s colleague to now, when he’s paired with you, what would you say?
Kareena: I’ve known him from the time when all of us lived in Lokhandwala. Having seen him from the time when he gave his first shot for a film, to now, it’s been an amazing journey. My mother (Babita) took to him from the time she first got to know him. Even now, each time there is an Akshay Kumar film in theatres, she watches it with her bunch of friends. Although she has a take on other films, she’s biased towards his movies. For her, he is a son, and family to all of us. Akshay’s path has been his own and he can credit that to no one, but himself. He made all the choices with the belief that he will become the star that he is today, and he did it with dedication. He proved everyone wrong and today, along with stardom he’s regarded as a fine actor. Saif (Ali Khan), Lolo, mom — we all love him. We have a relationship that goes beyond the meets-and-greets and photo-ops. It’s unexplained, unwritten and beautiful.
Akshay: There’s a little story that I want to tell. So, we were shooting Talaash: The Hunt Begins (2003) at Ras al Khaimah many years ago. My wife Tina (Twinkle Khanna) was two months pregnant at that time. We had to go across a water body and while getting on to a boat, I carried Babita aunty in my arms. Aaj tak meri biwi sunati hai, ‘You carried Babita aunty and you didn’t carry me at that time!’ (Laughs!)



Five-seven years ago, would you both have imagined that you would headline a film like Good Newwz that explores the subject of IVF?
Akshay: If a film like Good Newwz had come my way even 15 years ago, I would have done it. The thing is, in those days, neither was I a producer nor were people writing such strong and socially relevant stories with a funny vein. I was just an actor then, and I didn’t have the money to back films. Agar mere paas itne paise tab hote, to maine aisi picturein bahut pehle banana shuru kar diya hota. I would have loved to back a film like Ajnabee or Aitraaz as a producer. These films were made 15 years ago, and they offered a unique spin on man-woman relationships, infidelity, and wife-swapping. I would jump at these scripts and so would Kareena. People didn’t have the guts to do something new. When I became a producer, I made it my one-point agenda to look for relevant subjects that people don’t want to speak about.
Kareena: I just feel that choices make a very big difference. After Taimur was born, I was reading scripts and Veere Di Wedding (2018) came back to my table. While offering the film, Rhea (Kapoor, producer) had told me, ‘I know you won’t do it because there are three other girls in the film, but hear it at least.’ When I was at the interval point in the narration, I was clear that I would do it and I told her so. You need to change your mindset and move with the times. We’ve seen dynamics being discussed with the bro-code in Dil Chahta Hai (2001) and other such films, but no one had ever spoken of sisterhood among women. It was cool for a mainstream, commercial actress to back the film.

When a film revolves around a sensitive subject like IVF, words like sperm, eggs and ovulation find their way into a script. Is it true that when the Good Newwz trailer was played out on a show, the makers beeped out the word, ‘sperm’?
Akshay: Yes, it happened and it’s sad. We recently went on a show to promote Good Newwz where the trailer was played, and the word ‘sperm’ was beeped out. They didn’t beep out egg, which the girls (Kareena and Kiara Advani) use frequently in the trailer. I was forced to ask, ‘Kaun bewakoof hai jisne yeh kiya hai? Maine koi gaali nahi di hai. Maine wahi shabd bola hai jiski paidaish woh khud hai.’ People should stop beeping out words and asking us to tone down things unless necessary. Beep kyun kar rahe ho? Sperm, menstruation, pad, egg, orgasm are all real things that happen in our lives. When people sit with friends, they talk about the same things that filmmakers are asked to beep out. That’s not fair!
Kareena: It’s such a brave thing to broach this important subject through a film and it’s been dealt with in a light way. Of course, the story gets its due in the second half and the emotions come to the fore. It comes to a point where women, who are key drivers of this story, take charge. They are the ones carrying the babies and what they think and feel makes a very big difference, in the film, and also in real life.
Akshay: I have seen the entire film and I can say that it entertains and educates. You can take your kids to watch it, too. It’s a film that underlines the technology that has made so many families so happy. So many women, who thought their clock is ticking away and that their careers might have to take a backseat because they ought to have a baby at a certain time, feel relieved. It’s important for everyone to watch this film as it will open your eyes and minds to a great technology.