(From left) Prem Chopra and Manoj Kumar in Upkar and Shaheed

I came from Shimla to become an actor. But I took up a job in a newspaper to gain a foothold in the film industry. Manoj [Kumar] was always there to help me; he has contributed a lot to my career. I was there in almost all his films. We were the best of friends, and we did many films together, including Dr Vidya [1962], Shaheed [1965], Upkar [1967], Yaadgaar [1970], Purab Aur Paschim [1970], Kranti [1981], Sanyasi [1975] and Be-Imaan [1972]. The films he made, glorifying India, are remembered even today. [That is why] he is also known as Bharat Kumar. He was a filmmaker, writer, and producer. Some of the current generation of filmmakers are even copying his patriotic style of making movies. In every film, he conveyed a message to his country. Manoj also generated employment for so many people through his films. He was instrumental in changing the images of many actors who have sustained in the film industry because of him.

My first film with Manoj was Woh Kaun Thi? [1964]. After that, he offered me the role of Sukhdev [Thapar] in Shaheed, based on Bhagat Singh, Sukhdev, and [Shivaram] Rajguru. That was my big break.

Set against the backdrop of the Indo-Pakistani war of 1965, Upkar [1967] celebrated the contributions of farmers and soldiers to India. The film also marked Manoj’s directorial debut. Initially, Rajesh Khanna was set to do the role, as Manoj wanted a young actor, but he had to opt out due to other commitments. So, he immediately cast me, as the set was ready, and we had to start shooting.

People have often compared him to some of the best directors of India, including K Asif and Raj Kapoor, among others. Manoj was ahead of his time; he would sketch out his characters and give them to his actors. It was so easy to work with him because he was clear about what he wanted. Manoj would tell you everything you were going to do [in the scene] and then back off so as not to disturb the actors in front of the camera. When he was directing, his mind was completely focused on the film 24/7. Manoj had directed himself in so many movies; he also wrote his own dialogues, which were challenging. He knew everything about cinema, including cinematography and music.

I will miss him; he was a dear friend. I feel sad that he has left us. Manoj’s name will be written in gold in film history.

At 86, Prem Chopra is in no rush when it comes to work. The veteran actor doesn’t want to step on a set amid the pandemic, just for the sake of being busy. Chopra, who turns a year older today, shares that the pandemic has muted his birthday celebrations, too.

“I’ll celebrate it with my family. There’ll be a havan in the morning. We’ll get together for lunch and dinner,” Chopra tells us. Recalling how different things were before the pandemic, he adds, “I used to have a big birthday bash, where all my friends used to come. Now, we just accept wishes and hope everyone lives a blessed life.”

In a career spanning six decades, the actor earned the position of Bollywood’s most despised antagonist. However, he feels a lot has changed when it comes to the villain’s image “thanks to TV and OTT”. 

“Earlier, people couldn’t digest that a villain can play a positive role... Now, the audience is ready to see the bad guy play a positive part as well,” says Chopra, who will be seen in Nautanki and Bunty Aur Babli 2. “I’m ready to step out for work, but only for something tempting,” he shares, adding, “I’m taking it easy, cherishing life, doing yoga and watching news.”

Senior actors question the Maharashtra Government’s guidelines that bar those above 65 on the sets. The final hearing on IMPPA’s petition against the age-limit curb will reportedly take place tomorrow
Onkar Kulkarni (BOMBAY TIMES; July 28, 2020)

The Indian Motion Pictures Producers Association (IMPPA) and actor Pramod Pandey had recently approached the Bombay High Court against the Maharashtra Government’s new guidelines barring people over 65 years from taking part in any kind of work on the sets, given the ongoing Coronavirus crisis. In response, the court, after going through all the facts of the case, asked the state government’s counsel advocate Purnima Kanthariya that when there are no restrictions on 70-year-old shopkeepers to work, how can they stop people in showbiz from working and earning their livelihood. The final hearing on the petition will reportedly be held tomorrow.

The topic has been raging ever since the state government allowed the resumption of film shooting with a 16-page roster of guidelines. Member of Parliament and actress-danseuse Hema Malini, too, had stepped in to resolve the issue. She wrote a letter to Home Secretary Ajay Kumar Bhalla, requesting an amendment in the Government Resolution (GR) regarding this. Talking to BT, Hema had said, “Why make it a compulsion for them to stay at home? Actors can’t sit at home and do nothing. There are so many TV shows that have roles that are essayed by senior actors. So, they should be allowed on the sets.”

Interestingly, her husband, actor Dharmendra, while talking to BT, summed it up with the one line that the entertainment industry lives by — no matter what, the show must go on!

DHARMENDRA, 84: ‘Work is worship and actors should be allowed to work’
I feel like I have just started working at the age of 65 (laughs!). Personally, I would like to shoot, however, right now, I am enjoying my time at our farmhouse. Having said that, there are several senior actors from my fraternity, who are willing to work and make money. I believe work is worship and so, it must go on. Bas safety and precaution ka khayal rakhna chahiye and actors should be allowed to shoot.


NASEERUDDIN SHAH, 70: ‘If you are not 65, but 64, are you at less risk?’
Actors over 65 are too many and too essential to not be accommodated, sooner or later. My worry is about the others in the unit — assistants, make-up artists, camera attendants, light boys etc. Are they also to be banned because they’re 65? And if you are not 65, but 64, are you at any less risk?


PREM CHOPRA, 84: ‘It’s a matter of a month or two, we need to be patient’
I think they are absolutely right in barring people over 65 on the set. It is for the safety of senior actors. If someone gets infected, it will spread to the entire crew. I do realise their problem of being unemployed and not being able to make money, but I feel it is a matter of a month or two. We need to be patient.


KABIR BEDI, 74: ‘It’s not a matter of legislation, but a matter of personal choice’
It should be an individual’s choice. Adults can make adult decisions and senior adults can make wise decisions. It should be left upon the seniors to make their own decisions. And they are sensible enough to take the necessary precautions that are required in a time like this. I don’t see this as a matter of legislation, but a matter of personal choice.

ROHINI HATTANGADI, 65: ‘If shopkeepers above 65 are working, then why bar the actors?’
Everybody has a right to earn their living. If I am hale and hearty, why should I not be allowed to work and have a dignified living? There are actors who are on their own, how do you expect them to survive? Also, there aren’t any restrictions on shopkeepers, bhajiwalas or others. So, why bar actors? The producers should also be considerate. Once an actor’s work is done, he/she should be allowed to leave. This way, you can control the crowd on the set.

Roshmila Bhattacharya (MUMBAI MIRROR; July 23, 2020)

August 15, 1947, is a red-letter day for us as it marks the birth of independent India. Almost a decade earlier, on July 24, 1937, another Bharat was born, in Abbottabad, a small town in the North-Western Frontier Province, then, a part of this country, now in neighbouring Pakistan. The boy who entered the world with a lusty cry was christened Harikrishna Goswami by his aunt, the name chosen because it carried a little of both parents, Harbans Lal and Krishna Kumari. Today, however, it’s Manoj Kumar rather than Harikrishna Goswami that rings a bell. In fact, thanks to his blockbuster patriotic dramas, the actor-writer-filmmaker has come to be known as Mr Bharat.

Prem Chopra, who worked with him in 13 films, including Shaheed, Upkar, Purab Aur Pachhim and Kranti, remembers Manoj Kumar saab as an all-rounder, who not only played the hero to perfection but also wrote, produced and directed his own films. “He could even operate the camera and edit, with the result that his films have become textbooks for aspiring actors and filmmakers for the innovations he introduced, like one-scene-one-shot at a time when there were no visual effects, and technical gimmickry was limited to trolley and zoom shots. Over the years, he’s become an institution in himself,” he asserts.

While Manoj Kumar saab officially made his debut as a director with Upkar, Prem Chopra saab reveals that even though S Ram Sharma is credited as the director of Shaheed, it was their Bhagat Singh who was taking all the calls, including insisting that none of the ‘prisoners’ could shave. “So, all through the making of the film, 75 per cent of which was filmed at the Ludhiana Central Jail, I sported a beard,” narrates the actor, who played Sukhdev in the desh bhakti film and admits he actually felt like one of the nationalists when marching towards the gallows.

The film premiered in 1965 and Prem Chopra saab remembers that the then Prime Minister Lal Bahadur Shastri, who was the special guest, had warned that he wouldn’t stay longer than 10 minutes. “But he was so mesmerised and moved, he sat right through the film, without even an interval break. Upkar was made on his slogan ‘Jai Jawan, Jai Kisan,’” recounts the actor who played Manoj Kumar saab’s younger brother, Puran, a role with grey shades, which, after the success of the film, brought along a flood of offers. As a result, he could finally give up his job in the circulation department of The Times Of India and become a full-time actor. More than half a century later, he’s still going strong.

Shatrughan Sinha, who played a fiery freedom fighter, Kareem Khan, in another of Manoj Kumar saab’s patriotic drama, Kranti, agrees with Prem Chopra saab that he is a “genius” and not just as an actor, producer, writer and director, he also has a terrific ear for music. “He is a complete artiste, and as a person, always serene. I have never heard him raise his voice at anyone on the set, not even on me even though I was notorious for coming late,” Shatru ji reminisces with a laugh.

Irrespective of when he arrived, Manoj saab would smile amicably at his Bihari Babu and tell him to let him know when he was ready to shoot before going back to his corner to work on his lines and those of others too. Instantly, you are reminded of Shatru ji’s evergreen dialogue from the film, “Apni laashon se hum tarikh ko aabad rakhen, woh ladaai ho ki angrez jise yaad rakhe” that still resonates.

So does Prem Chopra saab’s equally popular line, “Shambhu ka dimaag do dhaari talwar hai.” The actor remembers that back then filmmaking was a group activity and the whole team would sit together to discuss and design. “A character like Shambhu Singh was conceived by Manoj saab, but he gave me complete creative liberty to flesh him out,” he recounts.

Shatru ji remembers the actor-filmmaker, who turns 83 on Friday, approaching him for the role of Kareem Khan and telling him that it wasn’t much in terms of footage, but promising that it would make an impact. And sure enough, he reveals, when late producer-director Manmohan Desai saw Kranti, he called Shatru ji to tell him that he was the best. “It taught me a lesson I will remember all my life, that it’s not the length of the role, but the strength of the role that matters,” he signs off with his signature flourish.


Shaheed team with the then PM; Prem Chopra & Manoj Kumar in Upkar; Shatrughan Sinha in Kranti

Rishi and Neetu Kapoor in Dhan Daulat; Shatrughan Sinha in Zalzala

Hiren Kotwani (MUMBAI MIRROR; July 8, 2020)

Harish Shah, who directed films like Zalzala (1988) with Dharmendra, Shatrughan Sinha and Rajiv Kapoor, and last produced Jaal: The Trap, featuring Sunny Deol, Tabu and Reema Sen, passed away at on Tuesday at 76. He’d been battling throat cancer for 10 years. The last rites were performed at a Vile Parle crematorium later in the day.

The filmmaker’s brother Vinod Shah, with whom he produced nine films, informed, “He’d been on saline for 10 days. Initially, we didn’t want to take him to the hospital due to Coronavirus.” Shah’s last venture was the short film Why Me, which released in 2018. In 2019, it was selected for the President’s Award, which he had received in January this year.

Remembering his Zalzala maker as a “wonderful person” who was “very cultured and softspoken”, Shatrughan Sinha says, “He was non-filmi in the true sense. He wouldn’t attend parties and didn’t get into controversies.” The actor-politician says that Shah doled out even backhanded compliments politely. “I had a habit of being late, but Harish ji never said anything or let anyone say anything about it. He would reason, ‘Bhale Sinha saab late aate hain, kaam toh time par khatam karte hain. He has never delayed a shoot and is always the first one to complete his work’.”

Guddu Dhanoa, who directed Jaal, recalls Shah as “one of the best producers”. “Harish ji was extremely understanding of his directors and very involved in his productions. For Jaal, we had to go to New Zealand twice. During the first spell of five-six days, we did an extensive action sequence with six helicopters. Due to an issue, we couldn’t complete the portion in one go and he said, ‘If going there again for a longer spell is better for the film, then so be it’,” Dhanoa reminisced.

Veteran actor Prem Chopra, who worked in the Shah-directed Dhan Daulat (1980) and productions like Kaala Sona (1975) and Ram Tere Kitne Naam (1985), added, “Harish was very particular about his timings. Rishi (Kapoor, lead) and I’d call him ‘Captain’. If we suggested something, he joked, ‘You listen to me, I’m the Captain of the show’,” recalls Chopra, adding that during the Kaala Sona shoot in Chambal Valley, the filmmaker and the crew called him Poppy Singh, after his character in the film. 

Juhi Chakraborty (HINDUSTAN TIMES; April 6, 2020)

The Covid-19 situation is quite grim around the world, and people over the age of 60 are more vulnerable to its severity. Like many, for celebrities, too, making sure that they are safe is therefore, of paramount importance.

Be it older actors or celebs with elder parents, everyone is taking strict precautions.

Actor Aruna Irani, 75, isn’t taking any health supplements but is being extra careful. “I’m fine par thodi boriyat ho jaati hai ghar baithe. But, what can we do? I don’t step out at all, I don’t even go down to take my dog for a walk. We can’t act over smart,” she warns.

Veteran actor, Prem Chopra, 84, echoes similar sentiment. “I’m following everything that the government has said during this lockdown. That’s the key,” he says.

Actor Huma Qureshi, whose parents are in Delhi, shares she has strictly instructed them to not venture out of their home.

She says, “They’re being extremely careful and social distancing. There’s only so much I can do from here, but I keep telling them to be indoors and keep washing hands.”

Actor Hunar Hale, whose aged in-laws are also in Delhi, sounds worried even more after Nizamuddin West area in the capital emerged as a hotspot of coronavirus following a religious gathering.

“Me and Mayank (Gandhi; husband and actor) do video calls to check on them. We’ve told them not to go out for groceries much often, and carry sanitisers at all times. We so wish we could be there but we are here in Mumbai,” she shares.

Actor Ronit Roy says there aren’t any special precautions that he and his brother, Rohit, are taking for their mother but, “yes, we’ve have stopped her morning walks in the garden. We are all in a proper lockdown”.

Manoj Kumar and Shashi Kapoor at Purab Aur Pashchim premiere

Roshmila Bhattacharya (MUMBAI MIRROR; March 20, 2020)

Their friendship dated back to their struggling days. Even though Shashi Kapoor was the son of Prithviraj Kapoor and the younger brother of Raj and Shammi, he was determined to make it on his own. He found kindred souls in Manoj Kumar and Dharmendra, who were also chasing the celluloid dream. The trio would often land up at auditions together, hoping one of them would go home smiling. Such was the camaraderie that once, when Manoj saab ran into Shashi saab at cousin Lekhraj Bhakri’s office in Ranjit Studio, where he had dropped by on the invitation of top filmmakers Kuldeep Sehgal and Lekhraj ji, Shashi saab assured him that he wasn’t there to take away his work.

Such generosity of spirit might seem implausible today, but those were simpler times and the actor-filmmaker has fond memories of them sitting on a road roller outside Tardeo’s Central Studio where they were both shooting, weaving rainbows. “I told Shashi that if I ever made a film, I’d take him as the actor and he promised me the same,” reminisces Manoj saab.

He kept his word and approached his friend for his 1967 directorial, Upkar. “I met Shashi at Kalyanji’s (one-half of music director-duo Kalyanji-Anandji) to offer him the role of my younger brother Puran in the film. He accepted without even asking about the story or his character. He never did, such was his trust in me,” Manoj saab recounts.

However, in retrospect, Manoj saab realised that he might be betraying his friend’s trust, as Puran goes against his war-veteran brother Bharat and even his own country and the actor-filmmaker feared these shades of grey might tarnish his friend’s image of a romantic hero. “So, we met at Kalyanji’s place again where I told Shashi this role was not for him as it could cause damage. Again, without questions, he nodded, ‘As you say.’ I took it to Prem Chopra with whom I’d done Shaheed earlier and it was a turning point in his career. Shashi attended the film’s premiere. He and Jennifer (Kendal) were also there for the premiere of Purab Aur Paschim,” he narrates.

A few years later, Manoj saab went back to his friend with the 1974 social, Roti Kapda Aur Makaan. Once again, Shashi saab unquestioningly accepted the role of Mohan Babu, a rich businessman whose act of sacrifice in the end makes him a bigger hero than any quintessential lover boy. “When I tried to discuss money with him, knowing I was on a tight budget, Shashi told me, 'Jo mujhe chahiye woh tum nahin de sakte, so why don’t you just keep paying me in instalments. When you stop paying me, I’ll know that’s it'. That was Shashi Kapoor!” exults Mr Bharat, remembering fondly how during a two-month schedule in Titwala, every morning, he would leave his bungalow in Juhu, pick up Amitabh Bachchan on the way, and head for the location. Around the same time, Shashi saab would drive from his home in SoBo. “Every day, his car would overtake mine on Thane bridge, and he’d reach the set before us. Shashi was a stickler for punctuality and this quickly became a friendly race between us.”

He goes on to relate that his friend even cut short his Christmas and New Year vacation in Goa with Jennifer and his kids, to shoot for the film’s climax. “That was an annual ritual with him. It was the one time in the year when he was strictly off duty. But that one year, Shashi returned from Goa and brought in the new year working with me,” Manoj saab shares.

After he completed the film, as was a ritual with him, he wanted to take the cans of film to Haji Malang’s shrine for Baba’s blessings. But having injured his back, he knew it would be impossible to trek three miles up the hill. “When I told Shashi this, he offered to take the cans to the shrine for me. What’s more, he even hauled up the cans of Kranti. Both films were superhits, Shashi was a true friend,” says the gratified actor-producer.

During Roti Kapda Aur Makaan, Manoj saab had gone to meet his friend at Filmalaya Studio, and as he drove through the gates, he was surprised to find the usually gentlemanly Shashi Kapoor speaking in a loud, irritable voice. On enquiring, he learnt that the actor who was filming N N Sippy’s 1974 caper, Chor Machaye Shor, there was not happy with the song they were to shoot. “Bogus hai yeh gaana,” he groused, and insisted Manoj saab listen to it. Reluctant and embarrassed, Manoj saab had them rewind the Ravindra Jain’s composition for him. “As soon as the last notes died away, I told Shashi, ‘Yaar, gaana superhit hai!’ Immediately, he turned to the director (Ashok Roy) and said, ‘Since my friend likes it, let’s shoot.’”

“Le Jayenge, Le Jayenge Dilwale Dulhaniya Le Jayenge’ was one of Shashi Kapoor’s biggest chartbusters and the film was the second biggest grosser of the year. The title of Shah Rukh and Kajol’s evergreen love story, Dilwale Dulhania Le Jayenge, also has its genesis in this song.

In later years, the two dosts would meet at the hospital, when Shashi saab came for dialysis and Manoj saab for physiotherapy for his ailing back. “Then, one late evening, around 10.30 pm, I got a call. ‘O Bhagat Singh, tune maar dala.’ It was Shashi and he was watching Shaheed,” he flashbacks. “That was our last conversation. He is gone today… But his talent and his memories live on,” he says. Shashi saab would have turned 82 on March 18.

Hiren Kotwani (MUMBAI MIRROR; November 27, 2019)

The closing ceremony of the ongoing 50th edition of International Film Festival of India (IFFI) in Goa tomorrow (November 28) will be a star-studded affair. Apart from Prakash Javadekar, Minister of Information & Broadcasting, Amit Khare, Secretary I & B, and several dignitaries will rub shoulders with filmmakers like Rohit Shetty, Madhur Bhandarkar and Aanand L Rai and actors like Akshaye Khanna, Rakul Preet Singh, Nithya Menen, Vijay Deverakonda, Rashmika Mandanna and Ravi Kishan.

Roja actor Arvind Swami, Bollywood baddie Prem Chopra, Kathak maestro Pandit Birju Maharaj, music maestro Ilaiyaraaja and Assamese filmmaker Manju Borah will be felicitated for their contributions to cinema with their body of work. Ilaiyaraaja will host a masterclass today. He will also be performing with his team.

“The theme of the closing ceremony is ‘Ek Bharat, Shresth Bharat’. It will be a blend of music and dance,” says IFFI director Chaitanya Prasad. Hariharan will be performing, with some special compositions created specifically for the festival. He will also join Leslie Lewis to croon their Colonial Cousins’ hits. Tanushree Shankar, Sangeet Natak Akademi awardee, and her troupe will perform seveneight dance forms from different parts of India.

After the hour-and-half long musical extravaganza, awards for the Competition sections will be given in the presence of the international jury, comprising French filmmaker Robin Campillo, Chinese filmmaker Zhang Yang, Lynne Ramsay, one of the leading lights of young British cinema and veteran Bollywood filmmaker Ramesh Sippy.

Roshmila Bhattacharya (MUMBAI MIRROR; October 19, 2019)

For the millennials, Dostana is Karan Johar’s romcom which got John Abraham and Abhishek Bachchan, playing roomies pretending to be gay so they can live in an apartment of their choice with Priyanka Chopra, the best jodi of 2008. But for those who date back by a few decades, Dostana is Karan’s father, Yash Johar’s action-drama, featuring Amitabh Bachchan, Shatrughan Sinha and Zeenat Aman, which opened in the theatres on October 17, 1980. “Thank you for reminding me of the fiilm,” Shatru ji’s distinctive baritone booms across the wire. He’s in the midst of hectic campaigning for the state elections,but happy to recall that despite much skepticism, director Raj Khosla had expressed confidence in him, asserting that the role of the lawyer, Ravi Kapoor, could only be played by Shatrughan Sinha. “Amitabh, my friend from my struggling days and the favourite of the nation then, played my bestie (police officer Vijay Varma) with Zeenat, a common friend, as the lady we’re both in love with,” he informs.

He flashbacks to a three-day shoot at Mumbai’s Mehboob Studio, for which an expensive set had been erected. Following the sudden demise of his make-up man Prasad, a devastated Shatru ji, busy with the funeral arrangements, had not turned up for the shoot for the first couple of days. His producer was very understanding, but on the last day, there were urgent summons for him to film one important scene with Bachchan as the set had to be dismantled. He was also informed that since his co-star had another commitment, he would be there only till 2 pm.

Shatru ji assured everyone that the show would go on and drove in through the gates at 1.30 pm. “My director was sure I would pull off the intricate trolley shot despite several pages of dialogue within the deadline. But as I walked into the set, I could see from the worried faces around me that others weren’t so sure,” he reminisces, informing that while the make-up man touched up his face, an assistant director read out his lines to him, following which his moves and the camera field was explained to him. “At 1.40 pm, I stood up and said, ‘Okay, let’s go for a take.’ Raj Khosla had so much faith in me that he didn’t argue.”

As the camera rolled, the faces around him grew more tense as they were going into the shot blind, without even one rehearsal. It was a difficult shot, with a drunk Ravi confronting Vijay with several allegations, and slapping him. “I don’t know what I said or did that day, I was in a trance, but as soon as the director called ‘Cut’, there was a roar of applause, followed by Raj Khosla’s ‘Bravo.’ Then, as Amitabh hugged me, others milled around, congratulating me on a perfect shot. The time was 1.50 pm.”

Everyone was satisfied, except Shatru ji himself. There was still 10 minutes left and he pushed for another take. “The camera started rolling at 1.55 pm, but halfway through that shot, while he was still in the frame, Amitabh walked up to me and hugged me, saying, ‘Lalla, let’s not do this anymore, usse better nahin hoga.’ And it was from this healthy competition, mutual admiration and warm camaraderie that Dostana was born. It remains an object lesson to young actors almost 40 years later; to not just think of themselves, but work with co-stars to create magic on camera,” says Shatru ji.

Interestingly, the film also reunited, Prem Chopra and Amrish Puri, who knew each other from their theatre days in Shimla. “He was around five years my senior, a jolly good fellow and a stickler for details. We both performed at Shimla’s Gaiety Theatre, did a couple of plays together, for which I won some awards and the desire to be an actor was born,” says Chopra, all praise for the late actor, his generous producer and versatile director.

Prod him on the two leading men and he recounts a scene when he holds Ravi and Vijay captive, and whips the latter for details. “After every shot and every lashing, I’d ask Amitabh solicitously, “I hope I didn’t hurt you too much?” Finally, when he wondered why I kept saying that and I pointed out that it was my turn to get beaten up next. ‘I want you to be gentle with me when the time comes,’’’ he concludes with a laugh.

THE TIMES OF INDIA (April 30, 2019)

Mumbai: The blue election ink parted some of Mumbai’s most well-manicured index fingers on Monday as popular Hindi film personalities lined up at polling stations.

Early risers who headed to the polling stations included actors Priyanka Chopra, Rekha and Madhuri Dixit. “This is the moment that matters....Every vote is a voice that counts,” tweeted Chopra.

Deepika Padukone, who was born in Denmark, flashed her inked finger on social media and alluded to speculations around her citizenship by tweeting: “Never has there been any doubt in my mind about who I am or where I’m from. So for those of you confused on my behalf...please don’t be!Jai Hind! #proudtobeanindian #govote."

It was to clear a small yet significant confusion that Shah Rukh Khan brought his son AbRam, shrouded in a brown hoodie, along to the booth. “Little one was a bit confused between ‘Boating’ and Voting, so took him along to experience the difference,” tweeted SRK.

Aamir Khan, who arrived with wife Kiran Rao, managed to crack up the crowd outside St Anne’s High School in Bandra with a joke that went thus: “So the American president went on a walk and met a man who failed to recognize him. ‘What do you do?’ asked the stranger. ‘I’m the president of America. What do you do?’ said the leader in response. ‘Oh, I’m the one who gets to choose the president of America!’ said the man.”

Shortly after, Sanjay Dutt entered the polling station in Mumbai North Central with wife Manyata. When quizzed about his sister Priya Dutt’s chances, he said, “Woh pata nahi par bhai ka asar zaroor hoga (I don’t know but I think her brother’s appeal will surely play a role),”

Actor Kangana Ranaut took an apparent dig at Congress on emerging from the polling booth. “Now India is attaining freedom in the right sense, because before this we were slaves to the British, the Mughals and Italian governments,” said Ranaut.

Among the celebrities who flew down from overseas specially to vote were actor Bhagyashree of the ‘Maine Pyaar Kiya’ fame and cricketer Sunil Gavaskar. Others who inspired the public to vote was actor Sonali Bendre who was diagnosed with cancer last year. “Democracy is a gift. I have voted for progress and development,” said Bendre.

Actor Emraan Hashmi wished for “honesty” and “all-rounded sensibility” to prevail as foremost aspects of governance. Gulzar, who walked into his polling station in Bandra around noon, said, “I hope that the secular values of our country don’t break. I want to see equal opportunities for everyone with no caste or religion to separate one Indian from another,” he said.

And for those who didn’t vote, Hindi film industry’s original bad man Prem Chopra had a message: “If you don’t exercise your right to vote then you don’t have the right to later complain about the government.”

BOMBAY TIMES (January 2, 2018)

“Zinda hain woh log, jo maut se takrate hai... murdon se battar hain woh log, joh maut se ghabrate hain”

This iconic line from the 1978 hit Muqaddar Ka Sikandar was one of the many popular dialogues written by the late Kader Khan, who proved his wizardry with words in films through the 70s, 80s and 90s. His impeccable comic timing as an actor also made him one of the most sought-after comedians of that era. The veteran actor-writer passed away at the age of 81 in Canada, during the wee hours of Tuesday, after a prolonged illness. According to reports, Khan had been suffering from supranuclear palsy, a degenerative disease.

Born in Afghanistan to a Pashtun family, Khan made his acting debut with Rajesh Khanna’s Daag (1973) and featured in over 300 films. He wrote dialogues for more than 250 movies. As a screenwriter, he frequently collaborated with directors like Manmohan Desai and Prakash Mehra, and has penned (as a screenwriter) hits including Amar Akbar Anthony (1977), Suhaag (1979), Lawaaris (1981), Coolie (1983) and Sharaabi (1984), among others. He was also known for writing dialogues for memorable films including Do Aur Do Paanch (1980), Satte Pe Satta (1982) and Agneepath (1990). In the 90s, he forged a blockbuster partnership with filmmaker David Dhawan and actor Govinda, on films like Aankhen (1993), Raja Babu (1994), Coolie No. 1 (1995), Saajan Chale Sasural (1996), Hero No. 1 (1997) and Dulhe Raja (1998).


‘Though his work was celebrated by film lovers and the industry alike, he was never awarded. He never received a National Award or a Dadasaheb Phalke honour’: Shakti Kapoor

He was the messiah for me in this industry, who taught me so much throughout my life. He was a professor and preaching had become second nature to him. He often asked me, ‘Shakti, why do people show disregard towards elders? Why do people celebrate when someone fails? Why are people forgotten so easily?’ He always had pertinent questions to ask. It’s a fact that his work, although celebrated by film lovers and the industry alike, he was never awarded.

He never received a National Award or a Dadasaheb Phalke honour. Do you know why? He was not a social guy, who could hang out with everyone who mattered. He only focussed on delivering the work he was entrusted with. He never worked for an award and never regretted not winning one. I’m talking about the person who taught ‘Bombaiyya’ bhasha to Amitabh Bachchan. He taught a convent school pass-out like me to talk with the right leheza. If I have command over Hindi and I speak it with right diction, it’s his gift to me. Meri zubaan ko sanwara tha unhone. The last time we met was at the staging of a play. He told me, “Shakti, I want to come back and give something to this society. People have lost their command over language. I want to bring that back.” On other occasions when I would call him, he would tell me, “Shakti, main akela ho gaya hoon.” This, when he had a family around him and his kids were well-off. Perhaps, it was his sense of being left out by an industry that he gave his all to.


‘I used to call him bhai. Not only did I learn the ropes of commercial cinema and comedy from him, I also learnt many life lessons’: David Dhawan

I got the news from his son Sarfaraz at 5 am and am truly heartbroken. I know he was ailing for a long time and had relocated to Canada to deal with his health, but his death has left me in a state of shock. We started with Bol Radha Bol (1992) and worked together right till Mujhse Shaadi Karogi (2004). We worked together in so many films and he had such a strong impact on my life. I used to call him bhai and he was truly my elder brother.

In many ways, he was my hero. He had a unique personality on-screen but in real life, he didn’t socialise too much and didn’t open up to a lot of people. In that respect, I consider myself very lucky that he was so close to me. Not only did I learn the ropes of commercial cinema and comedy from him, I also learnt many life lessons. I will miss him a lot and am sure the film industry will, too. He was one of the most talented artistes that I have ever worked with and his place in my life and heart is truly irreplaceable.”


FILMMAKERS USED TO WAIT FOR HIM TO WRITE THE DIALOGUES OF THEIR FILMS: JOHNY LEVER

The first time I worked with him was in the film Kasam in 1988. After that, we worked in many films together. Kader bhai itney busy hua karte thay us zamaaney mein. He would dedicate 15 days for shooting and 15 days for writing. Filmmakers used to wait for him to write the dialogues of their films. Humaari acchi dosti hui thhi, mujhsey bohot pyaar kartey thhey kyunki mera stand-up act hota tha, aur woh usko bahut pasand karte thhey. Bahut bade fankaar thay, bahut bade artiste thay. Unka apna hi style tha. He was very versatile. He was an original. His chemistry with Shakti Kapoor and Asrani bhai was magical.


HE WAS A DEEP-THINKING MAN, BUT ALSO SOMEONE WHO HAD A GREAT SENSE OF HUMOUR: PREM CHOPRA

I’ve known Kader saab for many, many years. Umar (2006) was our last professional collaboration. He was an efficient actor and a very gifted writer. He was the king of remakes. In the 1980s, I remember everyone, who wanted to remake a South film, would take it to him because he was a master of interpreting them for the Hindi-speaking audience. He was a deep-thinking man, but also someone who had a great sense of humour, which was evident in his performances and his writing. There were times when he was just an actor in a film, but he would voluntarily help a filmmaker when he would be stuck with a scene. He’s someone who brought a lot of life into some really dry-sounding subjects.


HE WAS THE MASTER OF IMPROVISATION AND HIS LINES, NO MATTER WHAT THE FILM OR THE SCENE WAS, WERE BRILLIANT: ANUPAM KHER

He was a very popular actor around the time I entered the industry. He was a great writer and someone who could easily slip into any role on screen. It was a privilege to share screen space with him. People often confuse an actor with the roles he plays. He was a deep thinker and a well-meaning person. People remember him for the conversations he could strike; he was a scholar and his knowledge on many subjects spoke of the fact that he was well-read. He spoke with authority on an array of subjects. Apart from being an actor, it was also a privilege to mouth some of the dialogues he wrote. I got to know him well when we did an outdoor of Hum (1991). I found Kader saab to be a fascinating person. He was at ease playing any character. He put in a lot of hard work, but it wasn’t visible to anyone. He was a master of improvisation and his lines, no matter what the film or the scene was, were brilliant. It’s rare that someone’s work in two distinct spaces resonates with the common man and the intelligentsia alike.


I CONSIDER HIM TO BE THE MOST PROLIFIC FILM WRITER, EVER: ANEES BAZMEE

It was an honour that I got to write the dialogues and screenplay in so many films where Kader Khan was an actor. He was one of the best dialogue writers that the film industry ever saw and to have him compliment my work in films like Bol Radha Bol (1992), Raja Babu (1994) right up to Mujhse Shaadi Karogi (2004) was phenomenal. The first film that I wrote and directed Hulchul (1995) featured him in a prominent role, too. I consider him to be the most prolific film writer, ever. Such was his dedication to writing that he would travel to Pune, just to write a film. He would wake up early in the morning, get ready by 9 am with perfectly groomed hair, wearing crisply ironed clothes and then sit down to write. He would work till 1 pm, then have lunch and resume writing at 3 pm to wind up by 8 pm. He’d do this for 10-15 days straight and finish off the entire dialogues of a film in record speed. He was truly gifted and one of the finest professionals in the business.

— Inputs by Rachana Dubey, Lasyapriya Sundaram, Rachit Gupta and Ismat Tahseen

Rachana Dubey (BOMBAY TIMES; October 25, 2018)

With the #MeToo movement gaining prominence in India, many of our filmmakers and actors have woken up to the need for a safer working environment. Recently, actor Dalip Tahil took a written and visual consent from his female co-star before shooting a rape scene for a web show. Reportedly, Emraan Hashmi, too, has insisted on including a sexual harassment clause in his contracts, as well as that of his film’s crew.

The heightened sense of awareness around women’s safety on film sets has also sparked new conversations in Bollywood. Filmmakers have decided to modify the way Hindi films are made and how women are treated on the sets. Directors like Konkona Sen Sharma, Alankrita Shrivastava, Gauri Shinde, Kiran Rao, Zoya Akhtar, Reema Kagti, Meghna Gulzar, Shonali Bose, Nitya Mehra, Nandita Das and Ruchi Narain recently formed a collective to take a stand against sexual harassment. Their male counterparts have also pledged support to the cause. As the #MeToo storm rages on, BT reached out to filmmakers and actors to gauge the measures they want to take while shooting scenes (especially ones that are intimate), and understand, whether a recorded consent by people involved in the shoot is the need of the hour. Here’s what they had to say:

We have to find ways and means of building a safe and secure environment. Over the years, we have been conditioned to work in a patriarchal set-up. The change in mindset will come with some sort of regulatory mechanism in place. So, it is important to have checks and controls. We shouldn’t be flippant about it and have a knee-jerk reaction. We need to have a clearly documented way forward. First, we need to understand what constitutes harassment, violation and how to escalate any instance or address a grievance.


It is a process of education, because for too many years, men have had it easy. We have to build a framework in the next few months. Hollywood does that, because they shoot scenes that are explicit in nature. Workshops are held to train actors to shoot a scene in the nude. I think we need to understand from other industries as to how they address these issues. Also, it does not apply only to the world of cinema, but it is about ensuring that all working environments are safe. – Hansal Mehta, filmmaker (directed films like Omerta)


I have shot such scenes before. It is done like a job and with a lot of mutual respect. I am anyway very sensitive about these things. My actors talk to me about it the moment they experience any discomfort, as that’s the kind of equation we share. My actors generally know everything regarding their role in the film and how things are going to be depicted. But if actors want a recorded consent for themselves, I wouldn’t mind it. We must respect the personal boundaries that we all have. – Leena Yadav, filmmaker (directed films like Parched…)


I feel that a central code of conduct must be put into place with regards to certain representation of women in films and their involvement in films, especially in case of scripts with such sensitive scenes. Collectively, it helps when a centrally accepted rule is put into place instead of sporadic selfthought actions, as that creates a sense of disorganisation, which only beats the purpose. – Yami Gautam, actress


From Satyameva Jayate, I have chosen a path where I will not have such scenes in my films. Having said that, it’s very important that everyone acts professionally and responsibly about these things. Everyone should know what they are signing up for. There should be no confusion. Even in the past, when I have shot intimate scenes, it has been with the artiste’s consent, and were shot aesthetically. I have stuck to what everyone was comfortable with. It’s better to make it clear in the script and if someone wants it written in black and white in their contracts too, it’s fine. It’s better if they know and agree to abide by what they are consenting to. – Milap Milan Zaveri, filmmaker (directed films like Satyameva Jayate)


I can understand the fear that Dalip Tahil must have felt and hence, he did what he did, but I will not do that with an actor. In fact, I would not even do such a scene if I don’t trust my co-actor. I don’t believe in written and video proofs, because I have a great rapport with my co-actors — male and female. For me, acting is a process of understanding life and it’s sacred. So, I wouldn’t do anything to make it look or feel incorrect to me or to anyone else. I will perform all my scenes as an artistic representation of what has been written in the script, and not for any other purpose, whatsoever. – Adil Hussain, actor


Personally, I will take legal counselling and follow guidelines set by the studio and the production house in this regard. Eventually, what has come out of this is that, like there are guidelines in corporate structures, there will be some in films, too. The #MeToo campaign has made everyone aware and more sensitive. I am sure everyone was in sync with what Dalip Tahil did. Everyone needs to be aware of what is being done and we must follow all the necessary steps to ensure work goes on smoothly with everyone’s consent. – Suresh Triveni, filmmaker (directed Tumhari Sulu)

I have never felt the need to shoot anyone’s consent so far. I mean, I started out in the movies with a film like Dushman that had some really challenging scenes. With the #MeToo campaign, you need to be careful. If someone feels the need to take some precaution like Dalip has taken, I don’t see any harm in that. He’s only taking precaution. Shooting any scene requires mutual trust. Every actor knows every scene they have to shoot in absolute details. We go as per the script and the demand of our characters. Sahejta barkarar rakhna zaroori hai and for that, to make yourself feel secure, it’s perfectly alright to seek your co-star’s consent in writing or on camera. – Ashutosh Rana, actor

The thought of shooting a consent before and after a rape scene or an intimate one, never occurred to actors of my generation. We were more worried about giving the right shots and the right expressions. Rape scenes are played up on expressions and camera angles. It’s unnecessary to ask a co-star for her feedback and her consent, because when we are narrated scripts, everything is mentioned in it. If it’s required and actors are comfortable, they will do it. There are so many people around on a set; how can anyone go beyond a set parameter for shooting a scene? I just think that in today’s scenario in particular, an actor, male or female, should complain immediately if he/she is feeling uneasy about doing a scene. It’s more important to have a safe environment in the work space, which includes film sets. No scene is shot without an actor’s consent anyway. – Prem Chopra, actor

Kaabil had a scene featuring Yami Gautam and Shootout At Wadala had a scene featuring Kangana Ranaut and John Abraham. There are a few points filmmakers should ensure. To begin with, while reading a script, every actor is made aware of the details of the scenes. On the set, respect and dignity should be maintained. The scenes should be shot aesthetically, without making any actor uncomfortable. Usually, there are CCTV cameras and a crew shooting behind-the-scenes moments on the set. So, if any actor is uncomfortable, it will be noticed. They can also voice their concerns during readings, prior to the shoot. These days, even contracts mention everything clearly. So, there is no need as such to record someone’s consent separately on camera. – Sanjay Gupta, filmmaker (directed films like Kaabil, Shootout At Wadala)

What Dalip Tahil did only goes on to show that everyone is wary of what is happening today. It stems from the fact that some people are using the #MeToo campaign for wrong reasons. There’s a reason why so many influencers have come forth and said that the campaign should be used in the right direction and should not involve any personal agendas. We should not let the campaign lose steam. At the same time, there is a lot of speculation among the actors and they’re just trying to be safe than being sorry later. The industry is at the cusp of change — it will go through corrections, changes and dents. Eventually, policies that will come out of these will be in everyone’s interest. No actor will then feel scared about any situation or filming any scene. Social campaigns are for social change and that takes a while. Instances like Dalip Tahil’s throw us off a bit, but this is part of the push and pull that happens in the process of a social change. – Abhinay Deo, filmmaker (directed films like Blackmail, Delhi Belly)

What Dalip is doing makes sense, but all these areas are covered contractually. And why not? Maybe this is a way to go about it. Whenever we shoot an intimate scene, first and foremost we ensure that the actors are comfortable. It’s also done in a closed environment where there are fewer number of unit hands, except for the DOP, the director and maybe the sound person. I discuss all my scenes threadbare with my actors and go ahead with the shoot only when they are comfortable. – Sriram Raghavan, filmmaker (directed films like AndhaDhun)

– With inputs by Lasyapriya Sundaram and Renuka Vyavahare

Shaheen Parkar (MID-DAY; December 14, 2017)

One of Bollywood’s most iconic villains, Prem Chopra completes 60 years in the industry, today. The veteran will mark the milestone with a celebration at ISKCON auditorium in Juhu this evening, which will see Amitabh Bachchan, Jeetendra, Dharmendra and several other actors, including son-in-law Sharman Joshi, in attendance.

At 82, Chopra says he still gets offers — his next, Udanchhoo, is slated to release next month. The senior actor describes his journey as “full of twists and turns laced with failures, setbacks and rewards.”

What kept him going, he reflects, was his determination. “I always wanted to be an actor even though my family had no connection with the film industry. My father was an IAS officer. When I decided to leave Shimla [his hometown] and move to Bombay in the late ’50s, my father warned me that I was opting for the most insecure profession.”

It wasn’t a red carpet welcome into the world of movies. Chopra began by balancing his Punjabi film assignments with a day job in the circulation department of a leading newspaper in Bombay. “I must have juggled at least 10-12 films with the job till it became impossible.”

After the initial struggle, it was the National Award-winning Punjabi film Chaudhary Karnail Singh (1960) that trained the spotlight on him. This was followed by the Hindi film, Hum Hindustani the same year, which had Sunil Dutt and Joy Mukherjee as co-actors. Initially eyeing positive roles, including that in Manoj Kumar's award-winning Shaheed (1965), he later switched to negative roles when he realised that playing the baddie could keep him going for long. Chopra broke into the big league of baddies after the wild success of Teesri Manzil (1966).

When Raj Kapoor approached Chopra for Bobby (1971; pictured below), he was already an established actor. Kapoor's wife Krishna and Chopra's wife Uma are sisters. "Initially, I had reservations about doing the film as it was not a big role, but Rajji insisted I do it. I later relented. This was the film that gave me my most iconic dialogue, 'Prem naam hai mera, Prem Chopra.' I would have regretted had I not done the film," says Chopra of the role.

What set the veteran actor apart from his contemporaries was that he didn’t resort to theatrics to drive home the evil. “It was always pure acting,” he says. Chopra has seen several of his peers quit years ago. “But then, it was my goal to keep going. I worked hard, avoided politics and steered clear of controversies. This has been my success mantra.”