With 1942: A Love Story returning to theatres this week, its music also got a new audience. As lyricist Javed Akhtar, who wrote songs such as Ek Ladki Ko Dekha and Kuchh Na Kaho, relives those melodies, he also contrasts it with the current state of music in Indian films and the influence of West in it. He says the influence has created an “embarrassment” around the traditional role of songs in Indian storytelling. “Ab jo log Western cinema se expose hue hain, unke andar ek embarrassment hai. Nayi generation sawal karti hai ki ye gaane ka kya chakkar hai?” he says.

Akhtar, however, argues that songs should not be dismissed simply because they are unrealistic. “Film mein gaane hero ga raha hai, party mein khade ho kar gaa raha hai, toh badi fake baat hai. Fake toh kya hai? Art ne theka liya real hone ka?” he says.

For him, a song’s worth lies in what it adds to the experience. “Wo interesting ho, seductive ho, aur koi achhi value aapko de raha ho, sense of beauty de raha hai, that is also a good value,” he says.

The 81-year-old also sees contemporary film music as increasingly divided between two extremes. “Ek toh jin mein double meaning ho, aur doosre jin mein koi meaning nahin. Toh beech mein ek meaning ka gaana nahin bachta,” he says.

Akhtar believes the problem is not the presence of songs in films, but their weakening connection with the narrative and characters. He also believes the current state of film music cannot simply be blamed on writers or composers. “Ab unhone jo kiya hai, woh ek bahut hi bada compromise hai. Ab ke gaane background mein hote hain, jinka aam taur se foreground se koi vaasta bhi nahin hota hai. Gaane toh achhe tab honge, jab unn mein koi narrative ka participation ho, character ka representation ho,” he says.

There is also an ongoing debate around the lyrics and visual treatment of contemporary songs. Recently, Guru Randhawa’s Fine Shyt faced criticism over its portrayal of women and alleged misogynistic undertones, while Badshah’s Tateeree drew backlash over its explicit lyrics and visuals. Akhtar’s comments come amid this wider conversation around the responsibility of artists and the place of meaning and context in popular music.

“Don’t blame the writer or the music director; they are very talented people. What they have done is a huge compromise.”

Five days before she reached Jantar Mantar, Shabana Azmi and Javed Akhtar had written to PM Modi as concerned citizens and former nominated members of the Rajya Sabha, urging him to begin a dialogue with Sonam Wangchuk and the students. The letter was emailed, faxed and personally delivered, and an acknowledgement promised a response within two days.

When no reply came, Azmi decided to join the protest herself. “We waited two days, then three, then four. On the fifth day, I decided I would come here,” she said at Jantar Mantar on Monday.

Azmi maintained that her presence was never about herself. Standing in solidarity with the students, she said her presence was meant to draw attention to the young people who had shown the courage to raise their voices.

She also rejected claims that the students were being used for political ends. Speaking to a news channel, she said, “It was a sea of young people. I have never seen such a scene in my life… I have never been involved with any political party. I have never been a member of any political party. On record, I’m telling you, nor do I intend to be. I have never been a member of any political party because I have always believed that joining a political party means the party’s truth becomes your truth, which could be a one-sided truth. When I was in Parliament, we (she and Javed Akhtar) were Presidential nominees. We were with no party.”

About the protesters, Shabana Azmi told reporters at Jantar Mantar, “They are saying violence kiya, jo bilkul sachh nahi hai. Ek tarfa jo sach bata rahe hain woh nainsaafi ho rahi hai yahan.”

When asked how she responds to being repeatedly labelled anti-national, she said, “Iss baat ko dil se nahi lagana chahiye. Mujhe kitni baar anti-national kaha gaya hai.”

At 75, Azmi said she sees speaking out not as activism but as a moral compulsion. “Main hamesha nahi bolti hoon. Jab paani hadd se guzar jata hai, jab mujhe koi cheez andar se jhinjhorti hai tab bolti hoon... ab meri 75 saal umar ho gayi hai, main bahut kuch dekh chhuki hoon.”

She added that she understands the resolve required for a hunger strike because she has experienced it herself. In May 1986, she joined filmmaker Anand Patwardhan and activist Gurubai Bhaskar Hamza in a five-day hunger strike demanding rehabilitation for slum dwellers displaced from Colaba in Mumbai. The protest was successful.

Throughout the protest, Azmi posted several videos from Jantar Mantar and recited a verse by her father, Kaifi Azmi: “Koi toh sood chukaye, koi toh zimma le, uss inqalab ka jo aaj tak udhaar sa hai.”

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This is that time in Jamie Lever’s comedy calendar when she’s revising her act, tweaking jokes, adding something and subtracting what doesn’t work. The last-minute changes are on, as the comedienne gears up for The Jamie Lever Show in the city in less than a week. Giving her company in her pursuit is her uncle and mentor, Jimmy Moses. “I spent three months working on the script. My uncle has been with me throughout. As they say, comedy is a serious business,” she begins.

Lever shares she consciously approaches even a dancing reel on Instagram with the same sincerity. “A lot of young girls are looking up to me. I get messages like, ‘Didi, I’m inspired by you. We want to be multifaceted like you.’ So, I want to ace every performance, whether I am with Salman Khan on Bigg Boss or I am making a small reel,” she explains.

Naturally, there are consequences, or compromises as Lever, one of the busiest comediennes in the country, puts it. “I compromise a lot in my personal life. I’ve reached an age where one should have kids. There are these thoughts like ‘I’ve come so far, but I don’t have a lot of things that my friends have.’ But I give priority to comedy,” she says. “The only way I have come this far is because I have the luxury of time and the freedom because I’m single.”

If today her goal is to inspire younger women, the 20-something Lever had a far more personal one. “When I began, my fight was just to prove myself, to prove that I deserve to be here. My dad also said, ‘Tu thodi na paise ke liye kaam kar rahi hai. But if you want to be in this field, you have to prove yourself.’”

She recalls how protective he had been as a father, and how it surprised her that when the time came, he took a step back and let her take the stage. “He was shocked when I shared my wish to be a comedienne. I remember I was in the UK, doing a Masters in Marketing. I had a job. So, he had no idea. I also used to think that I might not get the permission to do it, and that I didn’t have what it takes to be a comic.”

“Since childhood, he has been very protective. He had a lot of rules: no sleepovers or trips, no coming home late. From there, to letting me be in this field and lending me his support the way he did was a big shift. When I decided that I was going to work in this field, my mother was surprised by how my dad’s heart just changed. He let me go out of his protective arms. My mother says that he changed as a human. He told me, ‘I could see some talent in you and I don’t want to be the one to stop that.’” 

Today, of course, the father-daughter duo performs on stage, another anomaly in a society where despite several female star kids, the expectation remains that the male child will continue his father’s legacy. “Growing up I didn’t even have any examples of a comedian’s daughter making it in comedy,” she says. It was around 2012 that Lever began her career, performing at The Comedy Store, Mumbai. She made her television debut on the 2013 season of Comedy Circus, titled Comedy Circus Ke Mahabali.

While her father let her out from under his wings, his surname went with her, and Lever confesses it has brought immense privilege. “When I started my journey, I automatically had a fan following, which I did not have to work for. And that happens with star kids,” she says.

Being her father’s daughter also means easy acceptance from within the industry. Over the last few years, Lever has risen to popularity mimicking several Bollywood celebrities like Farah Khan, Kareena Kapoor Khan, Sonam Kapoor and the late Asha Bhosle. 

“I get a lot of support from the industry because everybody feels ‘Yeh toh apne Johnny bhai ki beti hai’. In fact, so many people tell me to mimic them. Once, Usha Uthup ji called me, saying, ‘You have mimicked Asha [Bhosle], do me too.’ Javed Akhtar called me to his house and asked me to perform for him and Shabana ji,” she shares. But the comedienne is mindful that impersonations don’t turn into insults. 

“I have always been clear that I can’t disrespect my father’s colleagues or his fans. Just imagine if I were to do below-the-belt comedy, it would be so disturbing for his fans,” she says, adding, “My dad always told me, ‘Don’t take advantage of this privilege’.”

During the 2020 lockdown, actor and director Boman Irani began Spiral Bound, an initiative that trained aspiring screenwriters. Six years on, it has grown into a nurturing hub for writers. The actor, who had announced a writing competition after conducting 870 sessions, is set to felicitate the winners at a special gala in Bandra on April 30.

Irani told mid-day that the idea of the competition was to instill confidence in the writers. He explained, “Many of them are afraid to share their work. They are unsure whether the writing is good or bad. So, I told them to just write, send it ahead, and come for the gala.”

Noted writer and lyricist Javed Akhtar will felicitate the winners. Other attendees include Aamir Khan, Anil Kapoor, Karan Johar, Sooraj Barjatya, and Anupam Kher.

Irani added, “I told the students that so many people are turning up to support writers. If we don’t support writers, we can’t complain that we are not getting [good] stories.” We got to support the writers, pay them well and give them a place on that stage. They set the ball rolling, and if you don't respect and encourage that, we have no right to complain,” he said

Top 10 among the applicants will be announced at the event, while the best three will be rewarded with a trip to Moscow.

Irani shared. “The Russian Film Confederation is sponsoring them a trip to Moscow. The trip will take place in June. And it’s not just about the trip, what matters is that they can turn around and say that their writing got them there, something that everyone say has no money and gratification. But there is a prize, a victory and gratification. And that’s what I'm proud of, because what it's doing is waking up people. Finally you get messages from people, saying, ‘I'm so glad you did this. Finally I'm not afraid to put pen on paper’,” he said, adding that Spiral Bound precisely aims to make writers more confident about their skills. 

“No one is ever scolded or reprimanded in the class, even if they ask stupid questions. Ask the questions. Clarify your doubts. There's so much of learning. It's not just a community. It's not a support group. It's where serious, hardcore, high-level learning happens. I've been trained by Oscar-winning writer Alexander Dinelaris Jr, whose next is with Tom Cruise. He teaches me, I share. It’s as simple as that,” Irani said.

Apart from teaching, Irani also makes sure he helps students earn opportunities by recommending them to the right people in the industry.

“It has to be done, right? Otherwise what’s the point of all of this? We had a girl in our class in 2020. I have her a prompt to write a scene. She wrote the scene and it had four-five lines in it. But I told her to apply what we teach. Today, she is writing multiple web series. I'm not trying to be ‘Mr Nice Guy’. I have a great love for cinema and I'm looking forward to good movies. So, this is out of a very selfish reason.”

For Shabana Azmi, the voice of late Asha Bhosle has always been more than music — it is a feeling, a memory and a lifelong companion. Her tribute reflects not just admiration for an extraordinary artiste, but deep affection for someone who became family over the years.

For Azmi, Asha Bhosle is far more than a celebrated playback singer - she is an irreplaceable artistic force. “Asha ji has been my most favourite singer of all times. Unki aawaz mein jo ras hai jo shararat hai — it’s unmatched,” she says, capturing the essence of a voice that brought emotion, playfulness, and depth to every song.

Over the years, the legendary singer lent her voice to several songs picturised on Azmi, elevating her performances on screen. Memorable collaborations include Phir Se Aaiyo Badra Bidesi from Namkeen and Ambar Ki Ek Paak Surahi from Kadambari, where Asha’s evocative singing perfectly complemented Azmi’s nuanced acting. In Sameera (1981), Bhosle sang multiple tracks, including Zindagi Hum Tere Haal Par and Jaane Na Doongi, further strengthening their artistic association.

While their professional collaborations were significant, it is the personal moments that Azmi cherishes most. “During Covid we became very close because we were stuck in Khandala and she with family were in Lonavala,” she recalls. “She would cook the most delicious meals for us and between Javed and her we would be regaled with hilarious anecdotes from the industry and cheeky humour,” she says.

These shared experiences reveal another side of the legendary singer — one marked by warmth, wit, and generosity. “Her memory is phenomenal and she could be very candid,” Azmi adds, evoking evenings filled with laughter, storytelling, and companionship.

What stands out most for Azmi is not just Bhosle’s voice, but her fearless approach to life and music. “What I admire most is her gumption, her fearlessness and her desire to take risks and push her own parameters,” she says.

This spirit of constant reinvention has defined Bhosle’s remarkable career, allowing her to experiment across genres and remain relevant across decades — qualities that Azmi deeply admires. “Her voice will remain immortal but what I will cherish are the memories she has left behind for us,” she says.

They say that a small tree can never grow under the shade of a big one, but if anyone proved it wrong, it was Asha ji. Lata ji [Mangeshkar] was a goddess [in Hindi playback singing]; no singer could hold their own in front of her. Many singers tried to sing like her. But Asha ji developed her own style of singing and created her own identity. The Mangeshkar sisters ruled the Indian film music industry for over 55 years.

Life experiences create depth, and that was present in both of them. She sang her first song when she was only 10 years old. That means an 83-year career and what an impact she has left!

I will always remember what Ashaji told me once. She said, ‘When you look for happiness in life and relationships, you may be hurt. True happiness lies only in your work. If you think you have done your work well, that will give you true satisfaction.’

Among my favourite songs that I had written for her is Radha Kaise Na Jale from Lagaan [2001]. There is also Kanha Jo Aaye Palat Ke from Sardari Begum [1996]. When I would write the lyrics, I would know that only Ashaji could sing it.

In Rahul Rawail’s film [Aur Pyaar Ho Gaya, 1997], she was to sing a song with Nusrat Fateh Ali Khan. It was a challenging tune, and Asha ji realized it was her agni pariksha. She heard it twice with rapt attention before going behind the mic. When she sang it, Nusrat Fateh Ali couldn’t stop saying, ‘Waah, waah!’

Javed Akhtar recalled how he interviewed Lata Mangeshkar for a TV channel, where she reflected on her sister Asha Bhosle’s versatility. He said, “Lata ji told me, ‘Asha can sing the songs that I have. Lekin Asha ne jo saare gaane gaye hai, woh saare gaane main nahin gaa sakti’.”

The Urdu Academy in Lucknow was housefull as writers, professors, theatre practitioners, historians, veterans and cultural figures gathered to welcome literary stalwart Javed Akhtar on the occasion commemorating theatre doyen Shankar Dayal Tewari’s 105th birth anniversary. At the event, the free-wheeling conversation on art, literature, society and cinema naturally opened with Lucknow, as Javed Akhtar spoke about the pride he feels in having spent his early formative years in the city.

Lucknow’s influence, he said, has never faded. “From etiquette to morality, everything I am, comes from here, and even today, that influence remains. Main jab Lucknow aata hoon, toh ehsaas hota hai logon ke manners, taur-tareeqa, baat-cheet mein ki aaj bhi kitna Awadh baaki hai. You see people who left Lucknow 25 years ago, settled elsewhere, still hold pride that they are from this city. They know that if you’re from Lucknow, you have to carry yourself in a certain language and demeanour.”

Drawing a vivid metaphor, he compared his relationship with the city to a fish and water. “It’s like a fish living in water. As long as it’s there, it doesn’t realise the value of water. But when the fish goes out and then comes back, only then does it truly understand what water means. That’s Lucknow for me,” he said.

Lucknow’s distinctive Language, too, became part of the discussion. “It is interesting that people of Lucknow traditionally do not use main; they use hum. People who are not from Lucknow find it a symbol of arrogance. The reason was never pride. Hum speaks of promoting a neutral gender. It is almost vulgar to say, “main jaa rahi hoon or main jaa raha hoon that’s a crude way to talk.”

An alumnus of Colvin Taluqdars College, Akhtar credited the school with shaping his ambition and taste. Recalling an anecdote when he got taunted for asking for expensive shoes, “Children today are born and brought up with sensitivity; it was not the case during our childhood,” he said.

“Today’s parents talk about childcare and understand sensitivity, abhi toh sheeshe ke bachche hain. Hamare zamaane mein jab chaaha peet diya, jab chaaha kuch keh diya. Ya toh mujhe meri aukaat ke hisaab ka school milta, par mujhe Colvin bhej diya. I was around eight years old and wanted the expensive shoes my classmates wore. Rona dhona macha kar, mujhe vo joote dila diye gaye the. Later, I was taunted so much for it that it is still etched fresh in my mind, ‘Bhai, inke toh ameer shauq hain. 19 rupaye ka joota pehente hain, jo ki school fees se zyada ke hain. 17 rupaye school fees aur 15 rupaye inki tuition fee hai’. So altogether I was an expensive child of the family,’’ he laughs.

Javed, who spent days struggling on the roads of Mumbai before finding his footing, reflected on his journey from Jaadu to Javed Akhtar. Asked whether he inherited literature or struggle from his father, the veteran lyricist-poet Jaanisar Akhtar, he expressed, “A child, while growing up, never receives lectures on upbringing. However, the environment involuntarily affects him. Through the osmosis process, he somehow absorbs the air of the atmosphere he lives in.”

That atmosphere, he said, was steeped in literature. “The kind of home I grew up in, there used to be detailed discussions of poets and literature on a day-to-day basis. Poets were discussed like important people. Ghar mein kitaabon ki baat hoti thi. Kaafi literary magazines toh free mein aa jaati thi because of Majaaz Lakhnawi, the famous poet and writer. He was my maternal uncle. ”

Reflecting on his personal life, Javed Akhtar spoke with usual candour about his marriage to ex-wife Honey Irani and his relationship with actress Shabana Azmi. “I have been fortunate in these matters. Honey is an exceptionally good person. It’s okay if our thoughts, value system, thinking and aesthetic had big gaps. However, fundamentally, a person who might share a different personality from you can also be an amazing person. The fact that I share such a cordial bond with Honey goes to her more than me. Both of us have been very civilized right from the beginning,’’ he said.

Their priority, he said, was always the children. “We made sure nothing touched them, that the father isn’t saying one thing and the mother another. Both of us were sensitive that things should not go sour. There is no parting which is not painful, but it’s the job of civilized people to minimize that. If you ask me who my three best friends are today, Honey would definitely be one of them. In this whole scenario, there was also a great deal of grace, large-heartedness and maturity from Shabana too. She never resented these matters. In fact, she was always helping and cooperating with Honey, which resulted in no collateral damage to the kids. Now they are very good friends. I think all the parties have behaved extremely maturely and civilized, which is rare.”

Asked about growing up in the city of Nawabs, the legendary lyricist-screenwriter held forth on his Awadhi roots, expressing, “Once I was having a debate with someone on language, and he said but weren’t you born in Gwalior? Yes, I was, but I stayed there for only a few months. I came to Lucknow as a child and left when I was 12. Psychologists say that by the age of eight, your personality is already shaped. So if there’s anything good or bad in my personality, Lucknow is responsible for it,” said Akhtar.

Shifting to contemporary cinema, when asked how present-day storytelling can reflect the anger of today’s youth, Javed Akhtar said that while aggression continues to exist, society has grown increasingly uncomfortable acknowledging emotional vulnerability. “We all have a lot of aggression. However, society has developed a morality where people do not want to accept that they are hurt.”

Drawing a comparison with Hindi cinema of earlier decades, Akhtar pointed out how emotional expression has significantly changed. “In an average Hindi film of the 1950s and 1960s, you would find at least two sad songs. Today, you hardly see that. We are no longer ready to accept our hurt and our defeat. For us, everything appears hunky-dory. In such a pretentious world, if a middle-class individual grows up, how will he express his anger? He develops a complex about showing sadness,” he said.

The year couldn’t have begun on a more celebratory note for Mithoon. January reverberated with the sounds of his songs from Border 2. People around him might have a different opinion on recreations, but as the composer-singer sits for a chat with mid-day, he is only filled with love and pride about revisiting the classic tracks of Border (1997) for the sequel. Excerpts from the interview.

Bhushan Kumar [producer], Anurag Singh, and Nidhi Dutta [writer and producer] said they were planning a sequel to Border. Some things are non-negotiable. For example, everybody in the room knew that Border 2 would be incomplete without a couple of elements — one is Sunny [Deol] sir. The second is its iconic songs like Sandese Aate Hain and Toh Chaloon. Everyone felt I should be given the task of recreating them. But I was clear from day one that I wanted Anu Malik ji’s approval because those two songs are owned by him, and Javed [Akhtar] saab, who has written them. Anu ji agreed. That set the ball rolling.

I don’t relate to pressure. Whether it’s an original song or a recreation, I don’t feel pressure because if you let it get to you, the battle is lost there itself. These are songs that people still relate to. In fact, there could be a Border 3, 4 or more [instalments], these songs will always be a part of its ethos.

Javed saab is entitled to his opinion. But there are new characters in this movie, and they needed a fresh perspective. That is where the director and all of us felt the necessity to add a couple of new antras to the track. Again, it was in sync with the song.

 

I do. I recreated Udd Jaa Kaale Kaava and Main Nikla in Gadar 2 [2023]. It’s what the story demands, and certain songs are etched into certain stories forever.

Oscar winner A R Rahman is considered one of the best Indian musicians. His work has garnered global acclaim. So when he says he lost out on work in India due to communal bias, people are bound to notice.

In a recent BBC interview, when asked if he faced any prejudice in the Indian industry when he started out in the 1990s, Rahman indicated that he has felt communal undercurrents lately. However, his industry colleagues have rejected Rahman’s doubts. HTC

Javed Akhtar told IANS, “I have never felt this way. I meet people here in Mumbai. They have great respect for him. Rahman is such a big man. Even a small producer is afraid to go to him. But I don’t there is any communal element in this. Why don’t you see him? He will definitely come.”

Singer Anup Jalota has also dismissed Rahman’s remarks that the latter is getting less work because of communal bias against him. “This is absolutely not true,” Jalota said adding that the amount of work that Rahman has done in 5 years is what others do in 25 years. “What more can be said… He has done a lot of work and delivered excellent projects,” said Jalota.

Shaan told IANS, “I have been singing for many years and am not getting much work, but I don’t dwell on it. I don’t think there’s any communal angle. In music, what matters is doing good work and making good music, not worrying about such things.”

“Maybe I never knew, or it was concealed by God, but I didn’t feel it. In the past eight years, maybe, because the power shift has happened… People who are not creative have the power now to decide things, and this might have been a communal thing also, but not in my face. It comes to me as Chinese whispers that they booked you, but the music company went ahead and hired their five composers. I said, ‘Oh, that’s great, rest for me, I can chill out with my family.”

Forty-one years into their marriage, Shabana Azmi and Javed Akhtar continue to do new things together. The duo recently shot a commercial for a jewellery brand, their first together. It was the campaign’s theme of soulmates that did the trick for Azmi. “I have a soft corner for the word. I truly believe Javed is my soulmate,” she smiles.

For decades, we’ve seen the actor light up the screen with her presence and talent. But seeing the veteran screenwriter share the frame with her and hold his own was a delight.

Mention this to Azmi, and she says, “We’ve had an overwhelming response, [with many] saying it’s so natural. That’s because we made up our own lines despite being given the content! Javed is getting many acting offers now because he is so effortless in front of the camera.”

In a world that tries to find romance in the maze of dating apps and situationships, breadcrumbing and benching, Azmi and Akhtar’s enduring love story is one for the books. What’s the secret?

Similarities and differences are the key, notes the actor. “Javed and I are each other’s best friend. We come from identical backgrounds and share a common worldview. Our interests are similar, except for sports, about which I don’t have a clue,” she laughs.

Their dissimilarities are plenty as well. Azmi shares, “He doesn’t move from his seat, which drives me mad. He complains that I am always moving around the house and incapable of sitting still! I joke that we have a good marriage because we meet so rarely. Both of us are busy travelling in opposite directions. The fact is Javed is wise and reliable. I trust him implicitly, and I hope he feels the same way about me.”

- Have a life outside your marriage. Independence is the glue that binds husbands and wives.

- Javed and I have a magic wand, which are the words ‘Drop it!’ When we are in the middle of an argument that threatens to become nasty, we use it. We raise [the subject] again weeks later when we are calm.

Days after calling him “ugly as f**k”, singer-songwriter Lucky Ali ‘apologized’ to veteran lyricist Javed Akhtar. Ali (67) wrote in an X post that his words were not meant to offend. He wrote on Wednesday, “what I meant was that arrogance is ugly... it was a mistaken communique’ on my part... monsters may have feelings too and I apologize if I hurt anyone's monstrosity... (sic)”

This comes after his post on October 20, “Don’t become like Javed Akhtar, never original and ugly as f***,” over Akhtar’s (80) interview with India Film Project from last year that resurfaced online. Citing a scene from Sholay (1975), which he co-wrote with Salim Khan, Akhtar had said, “There was a scene where Dharmendra hides behind Shiv ji’s idol, and he speaks from that place. Hema Malini thinks Shiv ji is talking to her. Is it possible to have a scene like that today? No.”

Akhtar also remarked, “(Filmmaker) Raju Hirani and I were in Pune, and I said that don’t become like Muslims. Make them like yourselves. You are becoming like Muslims. It’s a tragedy.”

Akhtar did not publicly respond to Ali’s comments till the time of going to press.

Mumbai: Even as his most iconic film ‘Sholay’ was playing as a Diwali highlight on television, legendary comedian and character actor Asrani passed away at the age of 84 Monday, reports Bella Jaisinghani. His familiar face and nasal twang brought smiles to generations of film audiences through 300 films over a career spanning 50 years.

“He was feeling weak for the past 15 days and had respiratory difficulty four days ago. He was hospitalized in Juhu. The final rites were performed in Santacruz crematorium with wife Manju (Bansal) and friends in attendance,” said secretary Babubhai Thiba. Manju was an actress who featured as Asrani’s wife in his famous Champak Bhoomiya avatar in ‘Aaj Ki Taaza Khabar’.

The death of the actor known for his iconic line, ‘Angrezon ke zamane ke jailor’, evoked a wave of sorrow nationwide. Born Govardhan Asrani to a carpet dealer in Jaipur in Jan 1941, he completed his school and college education in his native state before heading to FTII Pune to make a career in cinema.

After being advised to try his luck in cinema by Kishore Sahu and Hrishikesh Mukherjee, Asrani was first noticed in ‘Satyakam’ then ‘Mere Apne’ (1971) followed by Abhimaan. He accompanied Rajesh Khanna in nearly 25 films from 1972 onwards, including ‘Namak Haram’ and ‘Bawarchi’. He lent able support to Amitabh Bachchan especially as his Sindhi secretary in ‘Abhimaan’ and P K Shrivastav in ‘Chupke Chupke’.

Asrani’s memorable roles include Roti, Prem Nagar, Chhoti Si Baat, Rafoo Chakkar, Sholay, Balika Badhu, Fakira and Anurodh. He got to express more nuanced performances in Koshish and shades of grey in Nikaah and Ab Kya Hoga.

The multifaceted artist also experimented with singing as a horse cart driver in Alaap. Asrani later wrote and directed ‘Chala Murari Hero Banne’ which along with ‘Salaam Memsaab’ cast him as hero.

A diverse range of directors from Hrishikesh Mukherjee to Basu Chatterji, onward to David Dhawan and Priyadarshan, exploited his talent well. Asrani also enacted scores of Gujarati films as hero, and directed a few.

He won the Filmfare Award for Best Comedian for Aaj Ki Taaza Khabar and Balika Badhu. The audience of the 2000s became familiar with him through Hera Pheri, Chup Chup Ke, Hulchul, Deewane Huye Paagal, Garam Masala, Dhamaal, Malamaal Weekly, Bhagam Bhag and Bhool Bhulaiyaa.

Akshay Kumar mourned his loss saying, “Speechless with grief at the passing of Asrani ji. We had just shared the warmest of hugs just a week back at the shoot of Haiwaan. Bahot pyare insaan the. He had the most legendary comic timing. From all my cult films Hera Pheri to Bhagam Bhag to De Dana Dan, Welcome and now our unreleased Bhoot Bangla and Haiwaan.. I had learned so much from him.. thank you for giving us a million reasons to laugh.”

NCP (SP) MP Supriya Sule to his alma mater FTII, people and institutions mourned Asrani’s death. One fan wrote a beautiful epitaph on social media. Quoting his dialogue from Sholay, he said, “Aadhe idhar jao, aadhe udhar jao. Baaqi mere peechhe aao! Truly no one can follow your footsteps, Asrani Sahab.”

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After an event in Kolkata was cancelled over lyricist-poet Javed Akhtar being invited, writer Taslima Nasreen wrote on X about how he had once helped organize her book launch in Mumbai in 2000 despite religious groups threatening violence. “Today, however, there is no Javed Akhtar to bring Javed Akhtar to Kolkata and defeat the fundamentalists,” she wrote in the post.

Akhtar was to speak on the contribution of Urdu literature to Hindi cinema at the event organized by the Urdu Academy, before two Islamic organizations raised objections. Both organizations opposed his attendance because he had publicly spoken about being an atheist and promoted atheism.

While the Jamiat Ulema-e-Hind threatened protests and claimed Akhtar could make statements that upset communal harmony, the Wahyahin Foundation said they had invited Akhtar to a debate.

Speaking to TOI Plus, Akhtar said he had no intention of participating in any debate on his views of God orreligion. He also spoke about why a religious community can’t stake a claim to a language and why the Muslim groups have misunderstood Urdu literature entirely. Edited excerpts :

It is a great source of satisfaction to me. As long as the Hindu extremists and the Muslim extremists abuse me, I’m fine. If one of them stops, then I’ll be worried. I’d wonder what has gone wrong? Have I lost my balance? As long as both sides are equally upset with me, it means I’m doing fine.

It (religious censorship) has always been a threat to freedom of expression. In the West, there are certain societies with a higher level of tolerance than what we have in India and South Asia. But religious intolerance is everywhere in the world.

Whenever I criticize religion, I don’t know why, but one particular community gets upset. For me, all religions are the same and I don’t differentiate between them. I don’t like any of them.

This religious intolerance is understandable because whatever they (religions) believe in cannot be justified by reason or argument. Faith doesn’t need any argument, any logic, any reason, any witness, or any evidence. But you conclude, or you accept one, without the support of all these rungs of the ladder. Then, they have no choice but to bring in their sentiments. They say ‘our emotions are hurt’ or ‘our sentiments are hurt’. Have you ever heard anyone say our religious arguments or logic have been hurt?

You know, I’ve been invited by a mufti from Kolkata to have a debate about whether God exists or not. I am willing to debate with anybody, anywhere, but first of all, they need to tell me what is the audience will be that will be there? Will they be your people who will not listen to reason and may get violent? If you were reasonable people, you would have said to me that since I was coming to Kolkata, why don’t I have a debate? You wouldn’t have stopped me from coming to Kolkata. You wouldn’t have asked Urdu Academy not to invite me.

Maybe stupidity. But somebody should speak, somebody has to push the envelope. But you can only push the envelope up to a point and wait. In the next generation, somebody will come and push the envelope further. You cannot be a revolutionary because that is counterproductive. You will be helping the fundamentalists, because a common man will not be able to digest everything.

That’s for others to decide. I am very careful, and I don’t always speak my mind. You may say that it is cowardice, but it is to try to make people more reasonable. You can only take one step at a time.

These are people who have no idea what Urdu literature is. All the important poets, except for the exception of Iqbal, were Leftists. This isn’t in the 20th century, but even hundreds of years ago. The kind of poetry Meer, Ghalib, Khayyam, Majaz, Faiz and other poets after them have written, show all of them are totally irreligious people. All of them were free thinkers and mentioned their religious beliefs tongue in cheek.

Like Meer wrote 200 years ago: Jaae hai ji najat ke gham mein aisi jannat gayi jahannam mein (When one loses tranquillity to the yearning of salvation, then may a heaven like that be banished to hell)

Or Ghalib says: Hum ko maaloom hai jannat ki haqeeqat lekin dil ke khush rakhne ko ‘ghalib’ ye khayal achha hai (We know the truth about Paradise, But to keep the heart happy, O Ghalib, this thought is good.

These were the most popular poets of their time. You know, the Quran was translated into Urdu for the first time in 1798 by Islamic scholar Shah Abdul Kadir in Delhi. All the muftis at the time issued a fatwa against him, questioning how he could translate a holy book in this heathen language, this dirty language which talks of lovers and wine?

They may say they are believers, but rational. How is it possible? They are just less irrational than others. But if you believe in anything which is beyond logic and reason, then you are irrational.

The Roman Empire was very advanced for its time, and the Romans worshipped Jupiter, who was a very important God for them. Today, if you hear that I worship Jupiter every morning, how would you react? What is wrong with worshipping Jupiter? And yet, I would seem mentally challenged today, though it was fine at that time. But if 10 crore people start worshipping Jupiter, you would say it’s a faith. It is the number of idiots that gives dignity to a stupid idea.

The Urdu Academy’s four-day festival in Kolkata was meant to be a celebration of cinema, Urdu, and poetry. Instead, it may now become a symbol of the suppression of free speech. Hours ahead of the inaugural session, the state-run body called off the event after two Islamic organizations objected to the presence of poet-lyricist Javed Akhtar, citing his outspoken atheism.

The cancellation has sparked a debate on whether political caution and religious sensitivities are shrinking the cultural space for Urdu in Bengal.

The four-day literary-cum-cultural festival organized by the West Bengal Urdu Academy to celebrate Urdu’s contribution to Hindi cinema was scheduled to run from August 31 to September 3.

The Hindu reported that, according to sources in the Urdu Academy, the state government intervened to avoid any unrest ahead of the 2026 Assembly elections. Officials were concerned that protests or even an ink attack on Akhtar could mar the event, the Hindu added.

“Due to unavoidable circumstances, the four-day programme, Urdu in Hindi cinema, scheduled from August 31–September 3, is being postponed,” said Nuzhat Zainab, Secretary of the Academy. When asked for specifics, she reiterated, “As I said, due to unavoidable circumstances.”

The opposition to Akhtar’s participation came from two groups — the Jamiat Ulema-e-Hind and the Wahyahin Foundation. Both wrote to the Urdu Academy demanding that his invitation be withdrawn, framing their objections in terms of faith and cultural propriety.

In a letter dated August 25, reproduced by India Today, the Jamiat had warned of “democratic protests” if the invitation was not withdrawn, drawing parallels to their earlier campaign against Bangladeshi author Taslima Nasreen in 2007. “If our people’s requests are not heeded, we will be forced to adopt another method prevalent in democracy,” the group said.

The controversy inevitably evoked the memories of 2007, when sustained protests by religious groups forced Bangladeshi writer Taslima Nasreen to leave Bengal after she was accused of blasphemy.

The Wahyahin Foundation said it was “surprised” at the Academy’s decision to choose Akhtar as chief guest and warned that his views could negatively influence young people. The group emphasised that his presence was not in line withthe spirit of an Urdu festival.

For the protesting groups, Akhtar’s identity as an outspoken critic of religious practices across faiths made his invitation to an Urdu event unacceptable.

Akhtar has long described himself as a rationalist. “I am an atheist and I say it publicly. I want people to be reasonable and rational,” he had tweeted back in 2019.

He has compared religion to alcohol, suggesting that while moderation may not be harmful, most people tend to overindulge, leading to intolerance and conflict. In another instance, he remarked that “all the religions without exception, belong to the dark ages.”

Despite his criticism of organized faith, Akhtar also identifies as a “cultural Muslim,” acknowledging his heritage while firmly rejecting religious dogma. Over the years, he has been equally critical of both Hindu and Muslim fundamentalists, once remarking, “As long as both – the communal Muslims and communal Hindus – are targeting me, I am doing the right thing.”

The postponement of the Urdu Academy festival has sparked wider concern about shrinking cultural spaces in Bengal.

Human rights activist Shabnam Hashmi reminded that “India is neither a Hindu Rashtra nor an Islamic country” and stressed that atheists have the right to live and speak freely. For now, the Academy insists that the festival will be rescheduled. Whether Javed Akhtar will still be part of it — and whether such a space can be secured for rationalist voices — remains an

JUNE 2025: Liberal Muslim activists penned an open letter accusing Akhtar of legitimising discrimination against Muslims after he linked anti-Muslim housing bias to Partition trauma; demanded unconditional apology. Its authors, led by activist journalist Asad Ashraf, accused him of using the “warped reasoning that Hindu supremacists use to justify... systemic discrimination” against Muslims and “fanning the flames of communal logic in the guise of being balanced”.

MARCH 2025: Backed cricketer Mohammed Shami for not fasting during Ramzan; told him not to “give a damn” to “reactionary bigoted idiots.” Taking to social media, Akhtar wrote, “Shami saheb, don’t give a damn to those reactionary bigoted idiots who have any problem with your drinking water on a burning afternoon at a cricket field in Dubai. It is none of their business. You are one of the great Indian teams that is making us all proud. My best wishes to you and our whole team.”

MAY 2020: Sparked an Azaan loudspeaker row with a tweet calling it a discomfort; AIMIM accused him of echoing an RSS-style rhetoric. He’d written, “In India for almost 50 yrs Azaan on the loudspeaker was haraam. Then it became halaal and so halaal that there is no end to it but there should be an end to it. Azaan is fine but loudspeakers do cause discomfort for others. I hope that at least this time they will do it themselves.”

OCTOBER 2019: Supported TMC MP and Bengali actress Nusrat Jahan after clerics attack her for celebrating Durga Puja; challenged them to also condemn lynch mobs. He wrote, “I support Nusrat unconditionally and whole heartedly. Now may I ask you if you have enough conscience and guts to oppose and condemn the lynch mobs and stand up for the poor victims.”

MAY 2010: Received death threats after calling a cleric “insane” during a TV debate on fatwas against working women.

Grand birthday celebrations are admittedly not Shabana Azmi’s style. But when it’s your milestone birthday, your family and friends will certainly make it an affair to remember.

mid-day has learnt that producer and close family friend Boney Kapoor is hosting a big bash to mark Azmi’s 75th birthday on September 18. On the guest list are the veteran actor’s family — Javed Akhtar, Zoya and Farhan Akhtar, Baba and Tanvi Azmi — as well as her friends Vidya Balan, Urmila Matondkar, Richa Chadha, Tannishtha Chatterjee, Anil Kapoor, Karan Johar, and more.

Many don’t know that Boney and Azmi go back a long way. The two collaborated on his first production, Hum Paanch (1980).

A source shares, “They struck up a friendship then, and over the years, have become almost family. So, when the discussion about celebrating Shabana’s birthday came up, Boney said he would host it. The bash will be held at his Pali Hill address on September 18, and will see Azmi’s friends from films and theatre in attendance.”

Before that, her group of friends — which calls itself Dher Saara Pyaar and comprises Tanvi, Balan, Matondkar, Chatterjee, Chadha, Divya Dutta, Dia Mirza, and Konkona Sen Sharma — has a girls’ day chalked out.

The source says, “On September 17, they will have a spa day, pampering themselves. Their celebration already started over the weekend as Sandhya Mridul launched her book of poems, Untamed. That was followed by dinner.”

The group is excited to meet Azmi’s other girl gang, Carpe Diem — with whom the actor recently took a trip to Iceland — at the birthday bash (Zindagi na milegi dobara, Shabana style, Aug 21).

What’s the best way to celebrate a milestone birthday? Take a trip with your girl gang à la Shabana Azmi. The veteran actor returned from a trip to Iceland with her close friends, ahead of her 75th birthday on September 18. “We wanted to see the Northern Lights in Iceland for years,” she says. 

This year, the group — which comprises Azmi’s school and college friends, and calls itself Carpe Diem — decided to tick it off their bucket list. The trip doubled up as the actor’s advance birthday celebration. 

“We walked 50 minutes through the largest glacier in the world and climbed to the windiest place where it’s a miracle we didn’t get blown away in search of puffins! The best part of such trips is that we bond in different ways. Everybody talks and nobody listens,” she laughs.

The actor has another group, which calls itself Dher Saara Pyaar, in the Hindi film industry — this one includes Tanvi Azmi, Vidya Balan, Urmila Matondkar, Dia Mirza, Konkona Sensharma, Richa Chadha, and many more. Tell Azmi that contrary to her intimidating image, she has a way of bringing women together and she says, “That image dissipates in less than a day of knowing each other. I can be daft, curious, and wilful, and both groups love to make fun of me. We are an irreverent lot that rally together in fun and critical situations. Javed [Akhtar, husband] keeps saying that he has never seen me happier than when I’m with my girlfriends.”

Next month, Akhtar will host a grand celebration to mark her big day. “I’d rather not have a big event, but Javed has a thing about celebrating my birthday. I’ll also do a seven-city tour of Broken Images in September and October.”

As Sholay celebrates 50 glorious years, Hema Malini, who played the iconic Basanti, looks back at the film that not only became a landmark in Indian cinema, but also changed her life forever. “We never thought that Sholay would become an iconic film. We never expected it at all. We thought it’s going to run for 25 weeks or 75 weeks. Those days, a film’s success was based on how many weeks it ran. But Sholay went beyond all that,” says Hema Malini, in a conversation with us.

Calling the film directed by Ramesh Sippy and written by the legendary duo Salim-Javed, a rare piece of cinema, Hema Malini adds, “So many films are made in a year. But nothing is like Sholay. It was a film made with full conviction. It had such beautiful dialogues and performances by every artiste. Even an actor with one dialogue made an impact – that speaks volumes about the screenplay. It touched the entire nation’s heart.”

Sholay, often regarded as one of the most influential Indian films of all time starred Amitabh Bachchan, Dharmendra, Hema Malini, Jaya Bachchan, Amjad Khan and Sanjeev Kumar in pivotal roles. Five decades later, her association with Sholay remains fresh across the globe. “Even today, when I travel to places like Georgia or Russia, people remember me as Basanti. A time came when my name almost became Basanti. People recognised me as Basanti,” she laughs.

On working with Dharmendra, she says, “We were already doing many films together. I must say, Dharamji’s role was definitely designed by the writers and director, but he added so much to it. He would say, ‘I’ll do this, I’ll do it like that.’ He made Veeru his own.”

Recalling memorable moments from the shoot, she recalls, “The railway station sequence was difficult to shoot. Basanti is taking Jai and Veeru from the station to the village, and she keeps talking. That was a sweet and interesting scene.”

Talking about what drew her to the part, she says, “I did not think Basanti would become so iconic, however, I did think it was very different as the character provides comic relief, but also had a strong sense of loyalty and love, especially in her relationship with Veeru. I was doing Seeta Aur Geeta then, which was a big hit. When I was offered this role in Sholay, I thought it was very small. But I agreed to do it because of the association with the director and producer.”

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Legendary lyricist-screenwriter Javed Akhtar believes that artificial intelligence will never surpass the emotional depth that artistes possess. He says, “When it comes to creativity, AI will always go for data and will take out from whatever so-called creative things that are already existing. Most of the data that is readily available is below average or substandard, so AI will take stuff from that.”

The writer emphasised that art requires individual perception, which machines lack. He adds, “Real art, real creativity, is rare. Most of the art is emulative, copied and unoriginal. AI depends on previous data, but real art does not. It depends on life and very personal experiences.”

He further explained, “Creativity is a process. Can AI fall in love with someone? Can it get upset unnecessarily, can it be depressed for a while, can it be excited for no reason at all, can AI dislike somebody? It can’t! You have to be equally unreasonable (to be creative) also because all creativity is a combination of reason and being unreasonable. It is a combination of a conscious mind and a subconscious mind. Is it possible or will it be possible in the near future for artificial intelligence to do that? For a machine all this is not possible, but our human mind does it.”

Akhtar feels that while AI may competently imitate styles and create serviceable works, it cannot create masterpieces like a Monalisa or a Shakespearean play. Urging balance, he signed off, “Let’s not get frightened of AI, because it can also be of great help, as long as there is logic and it is dealing with facts and reality.”