As told to Roshmila Bhattacharya (MUMBAI MIRROR; July 4, 2020)

My association with Saroj ji started in the late ’80s, on the sets of Karma. Subhash ji (producer-director Subhash Ghai) and she shared a great tuning, which was evident when she choreographed songs like “De Daru”. We were simultaneously working on the Mr India songs, like “Karte Hain Hum Pyaar Mr India Se”, “Zindagi Ki Yahi Reet Hai” and the unforgettable “Kaate Nahin Kat Te”. In the ’70s and the ’80s, our songs were overshadowed by the action; Saroj ji, a fan of yesteryear actresses like Vyjayanthimala ji and Madhubala ji, brought old-world charm and grace back into filmi naach-gaana. In “Kaate Nahin Kat Te”, we tried to recreate Kishore Kumar and Madhubala’s chemistry.

A year after Mr India, Tezaab released. Madhuri (Dixit) was still a relative newcomer when we handed her over to Saroj ji. After two weeks of rehearsal, she called Chandra (director N Chandra) and me to Satyam Hall and Madhuri performed to “Ek Do Teen” for us. I was blown over by the moves and the energy. We shot the song in Mehboob Studio and watching it, I was like, “Oh God, what do I do!” I got them to shoot a male version with me which was not there in the script in front of where Shah Rukh’s (Khan) bungalow stands today.

Subsequently, Saroj ji directed me in several other chartbusters, including Ram Lakhan’s “My Name is Lakhan” and “O Ramji”, “Dhak Dhak Karne Laga” in Beta and Taal’s “Ramta Jogi” to name a few. They were all a team effort, with huge contributions from the directors, the composers, the lyricists, and of course, the cinematographers. Ashok Mehta and Baba Azmi lit up the screen beautifully in the close-ups and framed the long shots beautifully, thereby enhancing Saroj ji’s choreography.

My leading ladies, including Sridevi, Madhuri, or Aishwarya (Rai) were fabulous dancers while I’m technically not a dancer-dancer. So, I’m grateful to Saroj ji that on screen I did not come across as any less. She was aware that my style came from within and knew what I was capable of. She played to my strengths and presented me in a way that I looked both romantic and macho.

When I was in acting school, I’d learned that in Bollywood choreography, we have pure dance and playback choreography. She excelled in both, her mastery over the latter helping me tremendously. Thank God for Saroj ji, who made me look like a dancer on screen. Her contribution to my career was immense. She was a genius and couldn’t work with anyone mediocre. She had great leadership qualities, evident in the way she dealt with the dancers, filmmakers, and artistes. I will always remember her beautiful smile.
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Despite having two left feet, Anil Kapoor says Saroj Khan made him feel like a dancer
As told to Upala KBR (MID-DAY; July 4, 2020)

Saroj ji [Khan] was meant to give several more years to Bollywood. Her contribution to cinema is something no choreographer can match in one lifetime. She changed the craft by bringing back the old-world charm.

Subhash Ghai and Saroj ji were magical and often chose to work together. We were introduced during the filming of Mr India with Sri [Sridevi] and Tezaab [with Madhuri Dixit-Nene]. Madhuri was just starting her career when she recorded the song Ek do teen by Laxmikant-Pyarelal. Saroj ji had choreographed [the number]; N Chandra [director-producer] and I had gone to Satyanarayan hall to catch a glimpse of it. Like a proud guru, Saroj ji asked Madhuri to perform the entire song in front of us. Considering Madhuri had rehearsed extensively, she aced the entire number in one shot. I gained tremendously from her as these songs [have now] become iconic, which invariably lead to the success of the film. [There were times], when I'd be on set to watch, admire and appreciate them even if I was not required for the shoot.

Cinematographer Baba Azmi and Saroj ji were a lethal combination. Once they took over, the directors had to take a backseat. Kaate nahin kat te from Mr India and Dhak dhak from Beta were the fruits of their effort. While shooting for [the song] Dhak dhak, our aim was to make it as appealing and passionate as the song Kaate nahin kat te, which is one of my favourite numbers.

Saroj ji always maintained a beautiful element in her choreography; she would ensure to produce sensual numbers with dignity and aesthetics. [There was a notion] that make male actors required a male choreographer, but she gave me some iconic numbers like Ae ji o ji [Ram Lakhan], Ramta jogi [Taal], Karte hum pyar Mr India se [Mr India], which was originally inspired from Kishore Kumar and Madhubala's film [Chalti Ka Naam Gaadi, 1958]. After Kaate nahin kat te, my favourite choreography includes Hawa hawai, Ek do teen, Ae ji O ji, Humko aaj kal hai [Sailaab]. During a song shoot, when the original choreographer couldn't make it, Saroj ji promptly responded, came on set, choreographed the number by morning and we were ready to shoot by afternoon.

I remember shooting a song for Jamai Raja [1990] on the train in Ooty and Sunita [wife] had accompanied us. When I expressed my desire to give Saroj ji gurudakshina, Sunita explored all the vintage shops and bought a beautiful necklace for her. It was such a simple gesture, but Saroj ji was so emotional and moved by it. That was her innocence. She would translate her beautiful smile and twinkle in the eyes through us on screen.

I never felt short-changed when I was paired opposite Madhuri or Aishwarya [Rai Bachchan]. Saroj ji brought out the masculinity with the gait and dance. She knew me and where my capabilities lay. She was aware that I was not a dancer, but brought out the best in me despite my two left feet. I am eternally grateful to her.

Madhuri Dixit opens up on the Kalank debacle, dismisses talks about a biopic on her, says focus on inspiring real life success stories
Natasha Coutinho (MUMBAI MIRROR; May 29, 2019)

This year has been a mixed bag for Madhuri Dixit. While Indra Kumar’s madcap comedy, Total Dhamaal, opened in February to an overwhelming response, Karan Johar’s period drama, Kalank, which followed soon after was a crashing disappointment. But the actress remains blissfully unfazed, reasoning that after over three decades in showbiz, such things don’t matter. “I’ve been around for far too long to be either disappointed or elated by the box-office result of a film. We gave it our best, but sometimes things don’t work, and you just move on,” she shrugs nonchalantly.

Madhuri hasn’t announced new films but buzz is, she features in Tahira Kashyap’s debut directorial. “Not just this film, there are also rumours that someone is making a biopic on me. I think it’s too early for a biopic, I have a lot more to achieve,” she laughs.

She also clears speculations about teaming up with her Tezaab director, N Chandra. “He hasn’t approached me yet but maybe there is something on his mind,” she muses. While speaking to Mirror, the filmmaker had revealed that he had bumped into Madhuri on the set of Total Dhamaal and was working on a script with her in mind.

Meanwhile, the actress is entering the music space and is scheduled to shoot a video for her debut album. “I do have an album in English that I plan to drop soon. We’re working towards releasing it this year but still planning the shoot. Let’s see how that works out,” she smiles.

The smile broadens when quizzed about her boys, 16-year-old Arin and 14-year-old Raayan, and whether they are showing any interest in acting or dance. “Not in acting yet, no, but the older one has begun to show interest in dance. They have learnt the piano and the tabla, so they do have music in their lives,” she says.

The actress cherishes her life beyond the movies and whenever free, makes it a point to spend time with her kids. “They need me now and I want to impart the values my parents passed on. When we were growing up, we didn’t have things, so were more motivated to achieve. But how do you inspire those who have everything and don’t want more? It’s important to keep encouraging them to be achievers,” she avers.

The actress is gearing up to make her comeback on TV with the second season of her reality show Dance Deewane. She avers that the USP of the show are the ‘third generation’ contestants who are 35 and above. “The success of the first season has inspired many to compete. We have some interesting backstories of the contestants and would like to discover another Madhuri Dixit and Prabhudheva,” she says.

Does she watch TV? “I enjoy singing shows like Sa Re Ga Ma Pa and Rising Star. Recently we had an Indian team (Kings United India) win World of Dance. These are kids from Nalasopara. Such stories inspire us to give a platform to real talent,” she signs off.

Roshmila Bhattacharya (MUMBAI MIRROR; May 18, 2019)

On May 15, as Madhuri Dixit turned a year older, my thoughts flew back 31 years ago to N Chandra (left)’s Tezaab which had put her on the road to stardom. The director recalled that he was editing Boney Kapoor’s fantasy-adventure Mr India when he saw the actress for the first time. She’d dropped by with her mother to meet director Shekhar Kapur who had stepped out. “I told them they could wait, if they wished. They did, for a while, then left. That evening, when Shekhar returned, I told him a girl called Madhuri Dixit had stopped by. ‘How did you find her?’ he asked. ‘She’s a star,’ I replied,” Chandra saab reminisced. When prodded on what had made him say so, he laughed, “She is a very beautiful girl, no doubts about that, but what I said was an instinctive reaction, there can be no explanation for that.”

He saw her again when he visited the set of Bajrang, which he was editing. Anil Kapoor and Madhuri were shooting a rain song for the Bapu directorial which eventually didn’t shape up as they’d envisaged and was scrapped. “She stayed on in my memory and when I was planning Tezaab, Madhuri was the first actress who came to my mind,” Chandra saab admitted, pointing out that it was convenient to discuss dates with Rakeshnath who managed both Anil and Madhuri’s work.

The 1988 film today has become synonymous with Anil’s Munna, Madhuri’s Mohini and “Ek Do Teen”. The filmmaker informed that the song was an integral part of the narrative. “But the best part was that everyone who heard Javed saab’s (Akhtar) lyrics, set to music by Laxmikant-Pyarelal, instantly agreed it was a superhit song, and from Baba Azmi (cinematographer) and Bijon Dasgupta (art director) to Saroj ji (Saroj Khan, choreographer) and the actors, everyone gave it their best shot,” Chandra saab asserted, recalling how Madhuri rehearsed for a month, perfecting not just her hip-swinging hook step but also her expressions, a different one for every day of the month, as demonstrated by Saroj ji.

The film and the song catapulted Madhuri into the A-list and her director was quick to rave about not just her dancing skills but also her histrionics. He recalled shooting a dramatic scene in Hyderabad when Mohini is shattered after being told that Munna is dead. When he comes to her at night, unable to see him in the dark, she breaks down, hysterically hitting out who she believes was responsible for his death. “It was an intense scene and Madhuri, having had a secure upbringing, couldn’t quite understand its pitch. So, I acted it out for her. She watched carefully, then, sat silently for 15 minutes before telling me she was ready. We canned it in one take and she did a thousand times better,” he said.

The film was unveiled to a full house, which included the industry’s Who’s Who at Metro theatre. The unanimous opinion was that the film was a blockbuster and a star had been reborn (Madhuri had made her debut four years ago in Abodh, going on to do a handful of unmemorable films). “Tezaab celebrated 75 weeks in three shows at Dreamland cinema,” Chandra saab said proudly.

He reunited with Madhuri a decade later in Wajood (right), with Nana Patekar playing a man obsessed with her. This film too had a poem penned by Javed saab, “Kaise Bataoon Main Tumhe Mere Liye Tum Kaun Ho”, which describes what the girl means to him. “I wanted Nana to recite it like a lyrical 30-line monologue and shoot it without cuts. It seemed near impossible when I sketched it to Nana and Madhuri but she was ready for the challenge,” Chandra saab recounted, reeling back to when his gorgeous heroine, in a sunny yellow chiffon sari, tantalised Nana with seductive smiles and playful laughs to bring his romantic fantasy to life. “We did it, in one shot.”

He met Madhuri recently during the Total Dhamaal shoot and along with some fond memories came the yearning to make another film with her. “I’m working on a script, once it’s ready, I’ll take it to her…” His words trail off, the echoes of “Ek Do Teen” remain.

Roshni Olivera (BOMBAY TIMES; February 20, 2019)

It seems almost impossible that an on-screen pair can weave the same magic like they did 20 years ago. But Anil Kapoor and Madhuri Dixit-Nene have actually managed to pull that off with ease. The duo, who is seen on TV shows these days promoting their new film Total Dhamaal, have made viewers sit up and gape at their striking chemistry, even as they sway to Dhak Dhak Karne Laga and their other hit songs from the 90s. In a fun chat with Bombay Times, the two talk about reuniting on the big screen after almost two decades, how they have maintained their friendship over the years and what’s common between them. Excerpts...

Anil, was it total dhamaal working with Madhuri after 18 years?
Anil: Actually, it’s a little more than that; I think we last faced the camera together 19 years ago. Yes, it was total dhamaal with Indra Kumar (director) being there and the three of us coming together after Beta. It was a lot of fun with the entire star cast. Madhuri has worked before with most of the actors, be it Ajay (Devgn), Arshad (Warsi) or Jaaved (Jaaferi). The whole vibe was very good. It didn’t feel like we were shooting after such a long gap. Also, Madhuri and I have kept in touch over the years.
Madhuri: I remember he had come to Denver. He visited me when my kids were small. We had so much fun shopping...
Anil: Your husband (Dr Sriram Nene) bought me a pair of boots.
Madhuri: Yes, Denver is known for boots — the cowboy kind of boots.

Madhuri, when you learnt that Anil is paired with you in this film, did that make you more comfortable and sure about taking on this project?
Madhuri: Absolutely! When Indu ji (Indra Kumar) came to me with the script, I loved it. I asked him who would play my husband and he said he would be approaching Anil ji. I said it would be great to have all of us in this kind of a mileu.
Anil: I will let out a secret today. Before we signed on the dotted line, Madhuri and I were in touch over this and we kept asking each other, ‘What do you think about this? It’s sounding great’. And then, we both decided that we should do it. Yes, Madhuri and I are coming together after a long time, but this is an ensemble film, where there are 12 people and all have equal roles. That’s the beauty of this film.
Madhuri: We also felt that it would be perfect if the two of us did this film. It would not make sense for anybody else to pair with either of us.

According to you, what’s the one thing that hasn’t changed about the other?
Anil: The most important thing is, she is humane. She has been the same since the time I first met her. From within, she has not changed as a person at all. She looks so beautiful because from the inside, she is calm, happy and relaxed. Her smile has not changed at all, likewise, her dancing remains unchanged after all these years. When I see her dance, I feel the same magic. The only thing that is different now is that she has two beautiful children and a great husband.
Madhuri: I don’t think Anil has changed either. Of course, with everything that’s happening on social media, he has turned quite savvy. I was surprised because he is usually reticent, but now, he is out there and ready to experiment on that level. Otherwise, I can see he has the same drive to work hard and succeed. He has the same energy and manages to get everyone going. We were on a TV show sometime back, where he just took the reins in his hands and said, ‘Come on everyone, let’s make this more enjoyable’. With Anil, what you see is what you get. There are never any layers; he is honest and straightforward. What he says is what he means, always. What he said about me just now is exactly what I would say about him. It’s all about keeping the child within you alive. I feel the same as I did years ago. I can’t believe I have kids who are that big. I look at them and say, ‘Really?’
Anil: God has been kind. When you look at your journey in terms of your personal or professional life, you know that you are blessed. These things make a lot of difference because kabhi kabhi journey mein utaar-chadhaav zyaada ho jate hain and that can take a toll on a person. What’s common between the two of us, I think, is that we have always had our priorities right. Sometimes, you have to make a sacrifice in your professional life if you feel that priority has to be given to your personal life. I would do that. She is also like that. The way she got married, decided to move to the US, it’s remarkable. Around that time, she did Pukar (2000), which was appreciated, then Devdas (2002) — one of the biggest hits. It’s not easy leaving behind all the glamour and the hustle-bustle.

What was it like when you visited her in Denver?
Anil: It was not just a house, it was a home. It was quiet, peaceful and pure. They were leading a beautiful life away from everything. To be honest, I could do it for a week or 10 or 20 days maximum. After that mujhe lagega ki ab Mumbai ka crowd chahiye.
Madhuri: But I was very happy and loved it. I enjoyed that phase of my life.

Anil, when you first heard that Madhuri was getting married and shifting base, how did you react?
Anil: It didn’t come as a surprise to me because it was just a matter of time. I think that she tied the knot at the right time.
Madhuri: I remember when I met him (Dr Nene), I felt, ‘This is it’. Anil and I were promoting Pukar in those days.
Anil: And most questions asked to both of us were about her marriage. Maine kaha thoda Pukar ki bhi baat kar lo yaar.
Madhuri: Yeah, I remember that!

Both of you have acted in 17 films together. What was the rapport like?
Anil: There was mutual respect for each other. At least I respected her. Did you, Madhuri?
Madhuri: (Laughs!) Of course. That was mutual.
Anil: I got along with her parents and had been to their home many times. We have had meals together and also, I specifically remember the poha I had at her place. Madhuri and her family would also visit my home. There was a certain connect between all of us. Ghar mein aana jaana tha.
Madhuri: It’s a friendship that lasted even after I left from here.
Anil: Talking about 17 films, I remember while we were doing those films, we were very competitive as well.
Madhuri: Koi bhi scene mein koi bhi shot chodne ka nahi! I would be like Anil ji ne mere se accha kiya, now I have to do this better than him.
Anil: All the directors were in love with her, so I had to put in double the effort. I would try to charm my directors, but that wouldn’t work. They would take more time to light up her close-ups.
Madhuri: That’s the case with any heroine...
Anil: Aapka kucch zyaada tha! On a serious note, Madhuri really helped me with my dancing.
Madhuri: He is being very modest; he has his own style of dancing.
Anil: My dance is very Chembur...
Madhuri: Yes, that charming Chembur flavour (laughs!)
Anil: For me, dance is all about having fun and going with the feel of the music. I would go with the rhythm rather than focus on the choreography.
Madhuri: Some of the dances were sensuous. But the innocence with which Anil did it gave the whole sequence a beautiful effect.

Unlike all those films, which were about love and romance, Total Dhamaal is an out-and-out comedy where both of you play a couple that’s constantly fighting. What kind of prep went into this?
Madhuri: I had to be myself, get my absurdity right. The scenes here are very different because nobody talks like that and you have to make it look convincing. I love these kind of comedies.
Anil: In these kind of films, you have to be spontaneous and instinctive because it’s all about timing. For the first time, I am playing a Gujarati character. So, my prep was to get the dialect right, match up to Madhuri and look as fresh as her.
Madhuri: He would tell me, ‘I’m going to be there in the next schedule, you better come prepared’.
Anil: We play a couple, who has a 14-year-old child. In real life, I have a daughter (Sonam K Ahuja) who is 33. So, I had to work out everyday for this film. The idea was to look convincing.
Madhuri: Luckily, I have a son who’s 13. But I agree that the physicality has to look right.
Anil: Otherwise, people can make fun of you. Trailer mein logon ko pata chal jaata hai.

After this outing, are the two of you looking forward to doing more films together?
Anil: We are both available, writers and directors please make a note. We can come as a package deal!
Madhuri: Two for the price of one...
Anil: No, no aisa nahin hoga and I’m sure you won’t agree, too. Jokes apart, we would love to work together. It’s up to the filmmakers. We would be more than happy even if they are first-time directors, who have something interesting for us.
Madhuri: Yes, anyone who can present us differently.

Is there any film of another on-screen couple that you think the two of you would have done really well?
Anil: All of them!
Madhuri: (Laughs!) I have never really thought of it like that. When I watch a movie, I just watch it like an audience.
Anil: Actually, there are films that Madhuri has done with Salman, Aamir and Shah Rukh, where I think that they were the best choice. Whether it’s Hum Aapke Hain Koun (1994), Dil (1990) or Dil To Pagal Hai (1997); they are irreplaceable. They look so convincing. I can’t imagine myself there.

Madhuri, according to you, which are Anil’s best performances?
Madhuri: There are many. I loved his performances in 1942: A Love Story (1994), Kishen Kanhaiya (1990) and Eeshwar (1989). Even Woh Saat Din (1983), I couldn’t believe that an actor could perform like that in his first film. Among our films, I would say Beta (1992) and Pukar.

Anil, which ones would you choose from her repertoire?
Anil: She was brilliant in Pukar. There are many, but I was mesmerized by her performance in Hum Aapke Hain Koun as well. That, according to me, made her one of the finest leading ladies on celluloid. That film is for posterity and even after 100 years, you can pull out any close-up and it will be timeless.

Given that yours turned out to be one of the biggest hit pairings on screen in Bollywood, it’s interesting to note that your first film together actually didn’t take off....
Anil: We did one song for the film titled Bajrangi, but it didn’t take off. We then did Hifazat (1987), which did average business, though one song, Batata Vada, became very popular.
Madhuri: N Chandra was editing the song from Bajrangi, and at that time he was also planning to make Tezaab (1988). He saw me in the song and decided to cast me in Tezaab. Sometimes, things happen for the best.

Anil says that this is the best phase of his life in terms of the way he feels and the work he is doing. How would you describe this phase of your life?
Madhuri: I have enjoyed every phase of my life. This is new and there are some good roles out there. I have my family, it’s wonderful to watch my kids growing up and I am enjoying time with my husband.

Is Dr Nene looking forward to watching Total Dhamaal? Has he watched the funny trailer showing Anil and you fighting?
Madhuri: Yes and after watching the trailer, he said, ‘'Thank God, you are not like that in real life.’

Charting the rise and rise of the actress who ruled hearts for close to three decades, dazzling with her beauty on screen and off it
Subhash K Jha (DNA; May 15, 2017)

It’s hard to imagine Dixit as being 50. But then you see how beautifully she has aged, and how fabulously she has managed her life, and you know 50 is just a number that the ageless beauty has encountered in her beautiful journey of life.

Madhuri’s beginnings as an actress could never have indicated how far she would go. Her rise was not meteoric, but slow and steady. She started her career modestly in a Rajshri film Abodh in 1984.

Then came Tezaab (1988) and the hit song Ek Do Teen, that turned Madhuri into a superstar. Director N Chandra recalls, “When we were shooting the song, we knew something extraordinary was happening. Madhuri was electric on camera. Saroj Khan, who is a hard taskmaster couldn’t stop praising her. We knew Madhuri was going to be a superstar beyond any.”

Showman Subhash Ghai and the subsequent Ram Lakhan (1989) turned the tides of Madhuri’s career. The number Bada Dukh Dee Na was the first time that Lata Mangeshkar sang for Madhuri. “I felt I was finally a full-fledged heroine only after Latabai sang for me,” Madhuri had told this reporter once. The nightingale would go on to sing 16 songs for Madhuri in her most iconic film Hum Aaapke Hain Koun..!

Her journey after Tezaab and Ram Lakhan (1989) was rapid, swift and sure-footed. People like Subhash Ghai (Ram Lakhan, Khalnaayak) Boney and Anil Kapoor (Pukar), Rahul Rawail (Anjaam), Indra Kumar (Beta, Dil), Rakesh Roshan (Khel, Koyla) cast Madhuri in roles that gave her immense commercial clout and a reputation for delivering measured, graceful deep performances.

Sooraj Barjatya’s Hum Aapke Hain Koun..! is to Madhuri’s career what Mother India was to Nargis or Mughal-e-Azam is to Madhubala. It iconised the dancer-actress beyond all definitions of celluloid fame. Among those who were lifelong fans of Madhuri and the historic film was artiste and painter M F Husain who saw the film 67 times and directed a whole film Gaja Gamini dedicated to her beauty.

Sanjay Leela Bhansali confesses he’s an ardent Dixit fan. “Madhuri is magic on screen. I couldn’t think of casting anyone else as Chandramukhi in my Devdas. She was my first and only choice. Devdas couldn’t have been made without her. I wanted her for my first film Khamoshi: The Musical. But things didn’t work out at that time. As a filmmaker, it was very important for me to work with Madhuri. She is a complete actress. A skilled dancer and superlative actress,” says Sanjay Leela Bhansali.

In 1999, Madhuri married the US-based doctor Sriram Nene and migrated to Denver. Their marriage was a success because as she jokingly once mentioned, he had not seen any of her films and was not besotted by her. Madhuri decided to return to India in 2011.

At 50, her beauty and grace craves for a Bridges Of Madison County. Instead, she gets a Gulab Gang. Here’s hoping that some enterprising filmmaker would write a role that does justice to her beauty.