Showing posts with label Saroj Khan. Show all posts
Showing posts with label Saroj Khan. Show all posts
Jaaved Jaaferi left Naved to spend whole day hanging around n his vest, pants, spare footwear-Ravi Behl
2:51 PM
Appearing on India’s Best Dancer 5, Jaaved Jaaferi recalls how Bol Baby Bol was among the first instances of a Bollywood villain’s entry with a dance number
Upala KBR (MID-DAY; July 11, 2026)
Jaaved Jaaferi’s chartbuster Bol Baby Bol Rock-N-Roll from Subhash Ghai’s Meri Jung (1985) is remembered even today. Appearing in an upcoming episode of the fifth season of India’s Best Dancer, the actor recalled how late choreographer Saroj Khan gave Hindi cinema a dancing villain, a rarity at the time, through the song.
Talking about how the choreographer broke Bollywood’s standard cinematic tropes, Jaaved recalled, “The kind of character that Anil Kapoor had in the film, it didn’t have scope for dancing. As a result, the flavour of high-energy dance was introduced through the villain. I think it marked the first entry of a ‘dancing villain’ in Indian cinema.”
Jaaved was joined by Ravi Behl and Naved Jafri on Sony TV’s reality show. As they walked down memory lane, Behl reminded Jaaved that he had borrowed his brother’s red shoes and trousers for the shoot. “Jaaved had actually borrowed Naved’s red shoes and pants, leaving him to spend the entire day hanging around the set in his vest, pants, and spare footwear,” laughed Behl as Jaaved added that the dance number was filmed in four days on the streets of Nariman Point and a set.
Rangeela shifted the pay scale for actresses majorly-Urmila Matondkar
10:05 AM
Onkar Kulkarni (BOMBAY TIMES; December 1, 2025)
Rangeela has just hit the screens once again, 30 years after its release, in a restored version. In a candid conversation with us, Urmila Matondkar looks back at the film that has become a cult classic. “Rangeela represents, in the biggest and best ways, a flight of fantasy that takes you to an alternate reality — a world that is glamorous, beautiful, yet so very real. Characters like Mili (Urmila) and Munna (Aamir Khan) are so real, you feel you could literally see them walking down the street. It’s also a story of an underdog making it big. That’s why it remains timeless and iconic,” says Urmila.
‘Rangeela changed things overnight for me’
The film’s release marked a turning point in Urmila’s career. “Rangeela changed things overnight for me — becoming a star and receiving tremendous public adulation. I always say the film showcases the navarasas that are at the core of Indian performing arts. It’s a huge gamut of emotions that people and the audience witness through the characters. The beauty of the film is that it was shot on a pretty minimalistic budget, with no foreign locales, just Mumbai and a bit of Goa. It encapsulates the beauty of life itself magnificently. Playing the character came easily to me because it resonated with me.”
‘I used Rangeela to seek films that were waiting to be made’
The actress says that besides its impact on pop culture, the movie also influenced the remuneration offered to actresses. “After the release of the film, not just mine, overall actresses’ remuneration shifted majorly. But I cannot compare — I don’t know what Aamir was paid, but both Aamir (Khan) and Jackie (Shroff) were huge stars when I did the movie. I was a huge fan of them myself.”
It also brought along opportunities that helped Urmila step into characters that weren’t stereotypical. She further adds, “What I am extremely proud of is that I didn’t use that stardom to throw my weight around or to hike my price unnecessarily. I used it to seek films that were waiting to be made. I took risks with different kinds of characters and became part of movies like Pinjar, Pyaar Tune Kya Kiya and Judaai. Rangeela gave me the chance to do those kinds of projects.”
‘I haven’t seen Rangeela as many times as people might think’
Despite the film’s impact, she has watched it far less than people might imagine. “I really haven’t seen Rangeela as many times as people might think. I am not megalomaniacal (laughs), and I don’t get happy seeing myself on screen. The name of the movie – Rangeela – brings a smile to my face, and I hope it has the same effect on others who remember it after so many years.”
‘Saroj Khan told me I should get credit as a choreographer for Rangeela’
The dance sequences in Rangeela were among the talking points of the film. Urmila remembers, “Choreography in Rangeela was path-breaking, with the great Saroj Khan doing Tanha Tanha and Hai Rama, and then Ahmed Khan, a newcomer, doing brilliant work as well. In fact, Saroj Khan told me I should get credit as a choreographer as there were quite a few sequences where there wasn’t any choreographer really. There is a white saree sequence in the song Pyaar Ye Jaane Kaisa Hai, and other such pieces with no choreographer, where I was asked to do whatever comes to my mind.”
Saroj Khan told me that I should have also been credited as Rangeela's choreographer-Urmila Matondkar
10:05 AM
As ‘Rangeela’ re-releases today after 30 years, Urmila Matondkar reflects on the movie’s timeless quality and how she choreographed some portions of its iconic songs
Upala KBR (MID-DAY; November 28, 2025)
Urmila Matondkar running on the beach in an oversized white ganji. Or dancing on the streets of Mumbai with abandon, as others join in. Some images of Rangeela (1995) remain iconic even today, 30 years after its release. “It’s thrilling because it shows that people never forget such timeless movies,” says Matondkar of the film that has been restored by Ultra Media and is re-releasing today.
Centred on Matondkar’s Mili, the Aamir Khan and Jackie Shroff-starrer told the story of a girl-next-door pursuing her acting ambitions and love. In a way, Mili redefined the Bollywood heroine — while the styling influenced fashion trends across the country, Ram Gopal Varma’s directorial venture gave us a heroine who celebrated her sensuality.
“I certainly didn’t think of it from that perspective when I did Rangeela,” reflects the actor. “There was a lot of relatability as she was from a middle-class family. Manish Malhotra and Ram Gopal Varma created Mili’s look. The entire team contributes to a film’s success, and it’s one of the career-best works of these people.”
Another element that made waves was the unusual choreography to AR Rahman’s chartbusters — be it dancing by the beach in Tanha Tanha, or Mumbai streets becoming Matondkar’s stage in Rangeela Re. Legend has it that the leading lady stepped in for choreographer Saroj Khan on more than one occasion and designed some steps herself.
Mention this to the actor, and she shares, “When I met Saroj ji after Rangeela’s release, she told me that I should have also been credited as a choreographer. I was so embarrassed. [Such a compliment] coming from a master like her was something to be proud of. There were some pieces like the opening of Hai Rama and Pyaar Yeh Jaane Kaisa Hai, and a few steps here and there that I had done. I have done that in other movies as well.”
Rangeela marked the beginning of a successful collaboration between Matondkar and Varma. Why haven’t we seen them team up after Varma’s production Ek Hasina Thi (2004)? She says, “There is really no reason. He had great collaborations with most of his actors like Amitabh Bachchan ji or Manoj Bajpayee. He worked more with them. I was [cast], depending on whether the movie required me or not.”
On Jackie Shroff
“If my character is the epitome of femininity on celluloid, then Jackie’s is the ultimate male portrayal in cinema. He was such a phenomenal co-star to someone like me, who was still trying to find her way at that time.”
On Aamir Khan aka Munna
“I was crushing on Aamir after ‘Qayamat Se Qayamat Tak’ [1988]. He was playing a tapori for the first time here, and was a true perfectionist. His beauty is that even after 15 takes, he makes the last shot look spontaneous.”
Bipasha Basu, John Abraham broke up couple of days ahead of Billo Rani shoot-Vivek Agnihotri
9:19 AM
HINDUSTAN TIMES (February 16, 2025)
The electrifying chemistry between Bipasha Basu and John Abraham in Billo Rani from Dhan Dhana Dhan Goal (2007) still sets hearts racing. But behind the scenes, sparks of a different kind were flying.
Director Vivek Ranjan Agnihotri recently spilled the beans, revealing that the song was filmed in the midst of intense personal turmoil — the duo had broken up just days before the shoot. Taking to X, Vivek shared that their on-screen passion was a masterful illusion, crafted despite real-life heartbreak.
Reposting a clip of the song, he wrote, “This song has a history. Producers didn’t want it. Javed Saab was against the hook ‘Billo Rani,’ Pritam wasn’t sure about the qawwali style. John and Bipasha had broken up just days before, so there were a lot of issues.”
However, it was the late choreographer Saroj Khan’s unwavering belief that turned things around. “Only Saroj ji believed in me. She said this will become the biggest hit — and it did. Big salute to Pritam, Javed Saab and Saroj ji,” he added.
The song, from the film, also features Arshad Warsi and Boman Irani. Sung by Anand Raaj Anand and Richa Sharma, Billo Rani became an instant chartbuster. Bipasha and John’s love story, which began on the sets of Jism (2003), spanned nearly a decade. And while their real-life romance may have ended, Billo Rani remains a timeless onscreen memory of their sizzling magic.
Mausam and Deewana nailed my image as a pop star-Sonu Nigam
8:24 AM
As Sonu Nigam’s cult albums turn 25, he shares why they continue to be special and how they helped him evolve
Soumya Vajpayee (HINDUSTAN TIMES; September 2, 2024)
Who can forget the iconic songs Ab Mujhe Raat Din, Deewana Tera or Bijuriya? These cult classics from Deewana and Mausam, rendered by Sonu Nigam, continue to resonate with music lovers even today. As both the albums turned 25 recently, the singer feels “grateful and overwhelmed”.
Sharing how the songs from the two records “are ageing like fine wine”, he says, “Although Kismet (his 1998 album) brought me in the pop scene, dynamically changing my image from a boy-next-door to a singing-dancing pop star, Mausam and Deewana in 1999 just nailed it for me. It’s been 25 years and I don’t remember doing a concert and not performing songs from these albums.”
The tracks in both the albums were quite diverse — from uptempo numbers to soulful, romantic ballads. Sharing how they gave him a chance to showcase his versatility as an artiste, Nigam says, “Back in 1999, I was a restless kid, wanting to experiment, try newer and unattempted genres, showcase my vocal skills, challenge the dancer in me and just have fun. The interesting part was that both the albums released around the same time and had the same artiste, but both went on to become chartbusters, as the genres of songs were poles apart. Mausam had songs ranging from Indian and western classical to ballads, to folk to pop, to dance, etc.”
As he goes on to talk about his favourite numbers from the two albums, the singer says if he were to revisit them now, “everything will change, as that Sonu doesn’t exist today”.
He shares, “I love all the songs. People have their favourites, mainly from Deewana. From Kuchh Tum Socho to Iss Kadar Pyaar Hai, besides the popular ones such as Ab Mujhe Raat Din and Deewana Tera. There was a special song in Mausam called Yesterday Was Tomorrow. It had no words, just sargam in different ragas, composed amazingly by Ravi Pawar. It was really special to me, as I had no formal training in classical music.”
Looking back at learning his signature steps for Bijuriya from late dance legend Saroj Khan, Nigam recalls, “I requested her to choreograph the songs keeping (actor) Govinda in mind. So, Saroj ji said, ‘Chaliye, kamar kas lijiye’. And I slogged to learn the steps, which, till today, are synonymous to me. I feel so grateful to see everyone dance along when I perform the song at my shows.”
A R Rahman’s presence gave me the confidence to call the film Taal-Subhash Ghai
8:29 AM
Niharika Lal (BOMBAY TIMES; August 24, 2024)
In 1992, when Subhash Ghai was shooting for Khalnayak in Bangalore, his driver was playing the music of Roja. The songs struck a chord with Ghai, and he asked the driver, “Who is the music director of this film?” It was A R Rahman. And from that moment on, Taal’s journey was set in motion, leading to its release seven years later. 25 years on, we take a look at what keeps the film’s enduring appeal alive.
The making of Taal se Taal Mila…
Percussionist Sivamani recalled in an interview, “We were talking about how the title song was going to start in the mixer room. I said, ‘A R, why don’t we start with a snap of the fingers?’ So A R recorded that, and then, one by one, we added vessels and water.”
Talking about the film’s music, Subhash Ghai had said in 1999, “This is not the kind of music you heard in the ’70s and ’80s. Rahman said he didn’t want to adopt traditional (styles). As a director, it is my work to develop the music of Hindi cinema and Indian cinema.”
My favourite memories of Taal involve discovering my music: A R Rahman
Looking back on 25 years of the film, Rahman says that even now, people think Taal is one of his best works. He told us, “Taal is one of the most important tracks from north India that I have composed. Working on music for an icon like Mr Ghai, who had been at the peak of his career for almost two decades, with his guidance and vision, has helped my music travel to the north and the world over. My favourite memories of Taal involve discovering my music and seeing how it transformed with the different people I worked with.”
‘Rahman’s presence gave me the confidence to call the film Taal’
At the press conference for the launch of Taal’s music, Subhash Ghai had said, “I credit the name of the movie to composer A R Rahman. This film is a romance, and I could have called it anything Dil, Pyaar, Hum Bhaag Gaye - but it was Rahman’s presence in the movie that gave me the confidence to call it Taal. Taal means music, and music means Taal. The whole credit goes to A R Rahman and Anand Bakshi. Rahman kept me awake many nights, but after listening to the songs, I felt it was worth all the trouble.”
Ramta Jogi is one of my favourite songs from Taal: Anil
“Ramta Jogi is one of my favourite songs from the film, but what makes it truly special is the incredible story behind it. Farah Khan was originally supposed to choreograph the song, but she opted out at the last minute! Saroj Khan, the legendary choreographer, stepped in just a night before the shoot at Filmistan. And I, being the enthusiastic actor I am, did the song with no rehearsals at all! Working alongside the phenomenal dancer, Aishwarya Rai Bachchan, was a thrill in itself,” wrote Anil Kapoor in a post marking 25 years of Taal.
The making of Nahi Saamne Tu
For film songs, Rahman composes the tunes first and then asks lyricists to write the lyrics. However, for Nahi Saamne Tu..., Anand Bakshi had already written the lyrics, and Subhash Ghai wanted to use them. Ghai recalled in an interview, “Next day I told Anand Bakshi, ‘Anand ji, aapki lines toh bahut ordinary thi, lekin jo gaana bana hai, aapki lines kahan se kahan uth ke chali gayi hain’
DID YOU KNOW?
- Taal became the first Indian film to reach the Top 20 on Variety’s box-office list
- The song Ishq Bina Kya Jeena Yaaron was originally recorded for a film called Shikhar that Subhash Ghai was making. He had approached Rahman for Shikhar
- The film’s singers, Kavita Krishnamurthy and Alka Yagnik, mentioned in multiple interviews that they sang the same lines in different variations for Rahman. And he used what he felt suited for the situation
- Like all his films, Subhash Ghai also made a cameo in Taal
I asked Saroj Khan, ‘Who is the best dancer among all the heroines’ and she responded with Aishwarya’s name-Subhash Ghai
8:22 AM
When director Subhash Ghai’s Taal was released in 1999, it revolutionised the musical genre in Bollywood. As Taal, starring Aishwarya Rai, Akshaye Khanna and Anil Kapoor, marks its 25th anniversary today, Ghai reflects on his creative process that he considers to be the pinnacle of his career
Yashika Mathur (HINDUSTAN TIMES; August 13, 2024)
RAHMAN WAS THE REAL HERO
For Ghai, composer A R Rahman was central to the film’s vision. “I told him (Rahman) that ‘my title is Taal and you are the hero’ and he was very happy,” Ghai reveals, adding “Once you name a film ‘Taal’ you have to live up to the title. For this, Rahman, who has international sensibilities, worked with lyricist Anand Bakshi and singer Sukhwinder Singh. Subsequently, the songs were recorded, and we spent some 80 days together. After that, I redrafted my script as per the music.”
DANCE MAESTROS BEHIND TAAL
The film’s choreography was a collaboration between three renowned choreographers. “Because the journey was from rural areas and cities to the cosmetic world, there was a growth in story, even in terms of costumes and presentation. So Shiamak Davar, Ahmad Khan, and (late) Saroj Khan came together for the film and helped me a lot,” Ghai says while adding that their combined efforts contributed to the film’s exemplary dance sequences.
THE NEW SUBHASH GHAI
Reflecting on the challenge of reinventing his style and creating a film that was distinct from his earlier works, Ghai shares, “I was inventing a new Subhash Ghai. I changed myself as the director [everyone knew] and went for a different trip,” adding, “The film was a very big shift from my own sensibility of commercial cinema. Since it was a pure musical, I decided to do away with villains, fights, violence as well as mirch masala.”
SAROJ KHAN VOUCHED FOR AISHWARYA
Although there were rumours that actor Mahima Chaudhry was first considered for the role of Mansi, Ghai reveals that (late) choreographer Saroj Khan was instrumental in casting Aishwarya Rai.
“One day I asked Saroj, ‘Who is the best dancer among all the heroines on my wishlist’ and she responded with Aishwarya’s name. So I called up Ash, narrated her the story and brought her on board,” Ghai shares.
People call me Rupali’s mum and that’s enough for me-Rajani Ganguly
8:16 AM
Akash Bhatnagar (HINDUSTAN TIMES; May 10, 2024)
Actor Rupali Ganguly saw the superwoman in her mother, Rajani Ganguly, for the first time after passing the 10th standard.
“Mumma said she wanted to complete her studies. Since she didn’t come from a well-off background, she had to give up her studies. So, she completed her graduation when I was studying too. That made me see my mum in a completely different light and I felt so proud of her,” says Rupali.
Mention it to her mum and Rajani quips, “People would tease me that I didn’t have any college degree. So I got a BA degree to shut everyone’s mouth.” Interestingly, Rajani also had a connect with showbiz, as she worked with the late choreographer Saroj Khan.
“Saroj used to work with Sohanlal (choreographer) master, and I, too, was there. I would just watch her dance and she’d often ask me to join. I was working in the group with them, and Saroj would take me along with her for choreographies. I worked on the (actor) Aruna Irani song Ae Phansa from Bobby (1973). I also did a lot of stage shows as a Lavani dancer with composer Vasan Desai. In director Hrishikesh Mukherjee’s Aashirwad (1968), I did a solo Lavani act with (actor) Leela Gandhi as well,” she shares.
However, after marriage, Rajani decided to become a homemaker. “I had a dream to reach a point in my life, but I couldn’t fulfil that. But both my kids (daughter Rupali and son, choreographer Vijay Ganguly) fulfilled that for me,” she gushes.
The proud mother credits her daughter for not letting the difficulties in the journey faze her. “Rupali never let us feel her struggles. I used to feel bad that she did such amazing work in shows like Sanjivani, Parvarish and Sarabhai vs Sarabhai, still she never got an award. But today, every award is hers to take. People call me Rupali’s mum and that is enough for me. I have got everything I could have asked for,” Rajani says.
My mum, my inspiration
Rupali says, “My mom is a brilliant orator. She can give speeches effortlessly. She’d give speeches on women’s empowerment and a lot of it I imbibed for my character in Anupamaa.”
Rajani on a quality Rupali’s got from her...
“Main bak-bak bahut karti hoon, aur Rupali bhi. I even asked my son-in-law once if there is someone writing all these great things she says, but he told me it’s all her.”
People go crazy about my signature step even now, says Sonu Nigam on 25 years of Bijuriya
10:35 PM
Soumya Vajpayee (HINDUSTAN TIMES; February 8, 2024)
The 1990s was considered the best phase for independent music in India. And one song that continues to rule the playlists of pop music lovers even now is singer Sonu Nigam’s Bijuriya that was released 25 years ago. Composed by Ravi Pawar and penned by Ajay Jhingran, the dance number from the album Mausam gets people on the dance floor even today.
“Bijuriya is among my most favourite songs. It has been a part of my life since 1999 and I perform it at 99.9% of my shows. In fact, I performed it in Phuket (Thailand) two days ago and the attendees went crazy,” says Nigam.
The song came close on the heals of the singer’s another chart-topping dance hit Tu Kab Ye Janegi from the album Kismat (1998). Sharing how it was ideated, Nigam adds, “One of the songs that was written for Mausam was Tera Kaisa Hai Ye Jalwa. Ajay ji and I were at Ravi Pawar ji’s home and I thought we should have something without the word jalwa, as the song Har Taraf Tera Jalwa (from the album Tunak Tunak Tun; 1998) had just released. So, I suggested words like bijuriya, dagariya, gujariya, sawariya, etc. Then Ajay ji wrote the lyrics for Bijuriya. Musicians like Sivamani (percussionist), Rupert Fernandes and Shyam Raj ji (saxophonist) were onboarded for the song.”
Speaking of his signature step, the Padma Shri recipient adds, “Saroj Khan ji (late choreographer) had choreographed Tu Kab Ye Janegi. So, she knew I was a keen learner and a singer who wanted to dance. I told her that while choreographing Bijuriya, she should think that she’s doing it for Govinda (actor). I’m glad that people still look forward to my Bijuriya signature step when I perform on stage.”
I would like Madhuri Dixit to be part of Saroj Khan biopic, says daughter Sukaina
8:40 AM
Syeda Eba Fatima (HINDUSTAN TIMES; September 17, 2023)
Producer Bhushan Kumar recently confirmed in an interview that preparations for choreographer Saroj Khan’s biopic are in full swing. “Saroj ji’s biopic will be directed and created by Hansal Mehta. It is in the writing stage [now],” he said.
Details about how the story will unfold and who will play the role of the ace choreographer, who was fondly called Masterji by actors, aren’t finalized yet, but sources tell us that actor Madhuri Dixit Nene’s name is being considered for the same.
“The makers are trying to have a series of actors play Saroj ji in different phases of her life. For example, one girl will play Saroj ji in her younger days, while the other will play her older version. And Madhuri is being considered for one of these roles,” reveals a source.
Another source added that earlier Nene’s name was being considered for the “central character” of the film. “She is an ideal choice because Madhuri ka career define karne mein Saroj Khan ka bahut bada haath raha hai. Most of her popular songs — from Ek Do Teen (Tezaab, 1988) to Dhak Dhak Karne Laga (Beta, 1992) — were hits, courtesy Saroj ji. And they shared a close bond, too,” says the source.
Happy that mum’s story is being told: Sukaina
Khan’s daughter Sukaina tells us that the team will “have a word with the family” as soon as actors are shortlisted. She agrees that more than one actor should be cast to show different phases of her mother’s story.
“You can’t have one person showing all that she has gone through. We need at least three people,” she says, adding, “I would like Madhuri ma’am to be part of it, but she can probably show the latter stages of mum’s life.”
Having said that, she adds that the final call will be of the makers.
30 Years of Hum Hain Rahi Pyar Ke: Only assistants worked on Ghoonghat Ki Aad Se-Juhi Chawla
8:55 AM
Kavita Awaasthi (HINDUSTAN TIMES; July 23, 2023)
One of the biggest highlights of Hum Hain Rahi Pyar Ke (1993), which completes 30 years of its release today, was the song Ghoonghat Ki Aad Se, composed by Nadeem-Shravan. Actor Juhi Chawla recalls that she and co-actor Aamir Khan memorably joined forces with just assistants for the filming of the song in Udaipur, Rajasthan.
“We had shot the film and just this song was left. I don’t know why but only the assistants turned up on shoot. Mahesh Bhatt (director), Tahir saab (Hussain, producer), Pravin Bhatt (cinematographer), Saroj Khan (choreographer) — everyone sent theirs. The kids were so talented. Sometimes, you can’t explain how magic happens,” the actor recalls, adding that Khan was “very hands-on while shooting” with his suggestions, as it was his father’s production.
“In one of the scenes, he told me to jump before I started running, to give the scene a comic feel. He kept a poker face in certain scenes, knowing if he did that, the situation and all of us acting would look funnier,” she signs off.
World Music Day: "It's not film music vs independent music anymore," say Sonu Nigam, Salim-Sulaiman, Sameer
8:30 AM
Sonu Nigam, Salim-Sulaiman and Sameer on the blurring lines between film and indie music
Soumya Vajpayee (HINDUSTAN TIMES; June 21, 2023)
What do singer Sonu Nigam, composer duo Salim-Sulaiman and lyricist Sameer Anjaan have in common? They have all been releasing independent music frequently for the last three years. But did they put their Bollywood projects on the backburner to satisfy their creative indie side? No! In an exclusive chat with us on World Music Day today, the musicians echo a common sentiment, “It’s not Bollywood vs independent music anymore”.
The last three years have seen a sudden rise in the number of indie songs thriving. Ask why and Sulaiman Merchant says, “During the lockdown, there was no film music releasing. So, all indie artistes were sitting at home and releasing music. When film music started releasing again, both forms of music started coexisting and now there’s a beautiful ecosystem.”
Salim Merchant adds, “Today, the treatment of songs is such that you cannot make out the difference between film and non-film projects. When you go on any music streaming platform, you search for a singer or composer or song; you don’t search for an actor. So, that’s been a blessing for indie artistes.”
However, he feels there’s a “downside” to the rising popularity of indie music too: “Independent music has also started sounding like film music. The makers are trying to be safer and more commercial.”
Sonu feels that the “lines between film and non-film music have blurred, given the top-notch production quality”. He adds that while film songs are synonymous to actors, a single becomes a singer’s identity.
He explains: “When we were working on my ’90s single Bijuria, I requested Saroj (Khan; late choreographer) ji to make me dance like Govinda (actor). Now, when I perform the song at gigs, people look forward to my iconic step and not something an actor performed.”
While he’s done a lot of indie songs in the past, Sameer, too, has started penning more singles of late: “Unlike earlier, when there would be at least 5-6 musical hits in a year, now there are barely one or two. Today, makers don’t even narrate the story to lyricists. So, people like us had to take to independent music to satisfy our creative souls.”
But, Salim stresses that “cinema is in our blood, so the charm of films will always be there”. Sharing how, as composers, their music-making process is similar for film and indie projects, he says, “For a single, Ruk Ja, which we did with Sonu, I created a cinematic situation in my mind while making it, something that’s done for film songs.”
Whenever I picturised a dance number, I always remembered what Pandit Birju Maharaj taught us-Subhash Ghai
8:28 AM
Filmmaker Subhash Ghai on how the legend influenced classical dance numbers, including Madhuri’s Bada dukh dina, in his movies
Upala KBR (MID-DAY; January 18, 2022)
Over 30 years since the release of Ram-Lakhan (1989), people remember Madhuri Dixit dancing to Bada Dukh Dina — a song immortalised by Lata Mangeshkar’s beautiful rendition, choreographer Saroj Khan’s steps and the leading lady’s grace. But little do people know that the inspiration behind the dance was Pandit Birju Maharaj, the doyen of the Lucknow gharana of Kathak.
Subhash Ghai, who directed Ram-Lakhan and is known for his keen ear for music, recounts, “It was initially difficult for Madhuri to pick up the steps. She said, ‘Sir, I am not able to get Saroj’s form of dance and expression.’ I advised her to watch Saroj’s eyes and face to understand the emotions she is trying to convey, rather than [following] her body movements. After that, Madhuri learnt the steps quickly. I had learnt this [trick] from Birju Maharaj. The maestro has been a major influence in the dances in my movies.”
Ghai counts himself among the fortunate to have interacted closely with the Kathak legend over the years. While he never got the opportunity to collaborate with Maharaj, chance meetings with him were enough to shape the filmmaker’s ideas about the art form. “My first learning was during a college festival when he performed a romantic conversation between Lord Krishna and Radha. We had all gathered at night in a hall — actors, directors, dancers and students. He came, chatted with us, and then spontaneously performed for us. Birju ji showed us, expressing entirely through his eyes, how Radha is upset with Lord Krishna, and he pacifies her. We couldn’t stop clapping at the end of the performance. He told us then, ‘Dance is expressed through the eyes. Our body has a limited language of bhavnayen [feelings] and mudras.’ Since then, whenever I picturised a dance number, I always remembered what he taught us.”
We wanted to retain Chura Ke Dil Mera's original signature step-Brinda Parameshwar
8:13 AM
As Shilpa gives a spin to ’90s chartbuster Chura Ke Dil Mera for Hungama 2, choreographer on paying tribute to late Saroj Khan with reprised version
Mohar Basu (MID-DAY; July 6, 2021)
In 1994, Shilpa Shetty Kundra, with her animal print outfits and graceful moves, immortalised Chura Ke Dil Mera on screen. Almost 26 years later, little has changed about Shetty’s grace as she revisits the chartbuster for Hungama 2. “She still looks 16. She hasn’t put on any weight,” laughs choreographer Brinda Parameshwar, who reunited with the actor for the reprised version.
The original song from Main Khiladi Tu Anari (1994), featuring Akshay Kumar and Shetty, was choreographed by the late Saroj Khan. Parameshwar says that her version for Priyadarshan’s upcoming comedy is a tribute to the master choreographer. “She was a guru to all of us. My master Raghu ji and Saroj ji used to be close friends. She has often visited me in Chennai, and I was a great fan of her work,” says the choreographer, pointing out that she left the iconic step untouched. “We wanted to retain the signature step from the original. That was a fantastic [move]. I can never replace her style.”
If Khan had brought the romantic number alive by highlighting the chemistry between the leads, and peppering it with her ingenuous dance moves, Parameshwar has reimagined it as a dance number. “In our version, we have added more dance elements and brought in background dancers. The song fits the situation beautifully, and Shilpa’s presence adds a nostalgic value. Her energy levels have remained unchanged. Dance is about expressions, and her expressions are spot-on. A choreographer feeds off the energy of her actors. While Shilpa has always been fantastic, it was Meezaan who surprised me. I am a fan of Jaaved Jaaferi [Meezaan’s father]. Meezaan practiced only for a day and cracked the steps.”
The number was shot at a Mumbai studio over two-and-a-half days.
Saroj Khan ji thought a film on her would be too scandalous-Terence Lewis
8:17 AM
Saroj Khan and Madhuri Dixit during one of their many collaborations
Choreographer Terence Lewis is contemplating a biopic on the late dance director; now has scripted another journey for the screen
Akash Bhatnagar (MUMBAI MIRROR; July 28, 2020)
Sony TV’s talent hunt show, India’s Best Dancer, has got back into action after a forced break. Choreographer Terence Lewis was the first to agree to resume work in the midst of the ongoing Coronavirus pandemic, even convincing fellow judges, choreographer Geeta Kapur and actress Malaika Arora, to join him. “I have to admit that we have all become more efficient in the present scenario; we’re working in the Akshay Kumar-style,” he chuckles.In a recent episode, which paid a tribute to Bollywood legends, Terence followed the tradition of the late dance director Saroj Khan, rewarding Rs 101 to contestant Rutuja Junnarkar and retraced his association with the dance legend. “In 2007, I did a show called Dance Dance which had Saroj ji, Vaibhavi Merchant and me as the judges and Geeta as a backstage choreographer. It wasn’t appreciated much, but we forged a connection and I went on to appear on her show, Nachle Ve,” he informs.
One day, after she was done with her work, Saroj ji saw Terence dancing and stopped to observe. She didn’t know much about contemporary dance styles and was impressed. After the act, she showered him with compliments. They went on to speak about her journey and how she became the woman everyone was intimidated by. “She was motherly to me, but I was still terrified because Saroj Khan was an institution in herself,” he admits. Unknown to her, Terence had also watched Sarojji during Lagaan and was amazed by the dignity and grace she brought to charttoppers like “Dhak Dhak Karne Laga” and “Choli Ke Peechhe Kya Hai”. “She could even make actors like Sunny Deol, Ajay Devgn and Anil Kapoor dance and it’s thanks to her that choreographers came to be noticed in the film industry and their work appreciated by the audience,” he applauds.
Terence recalls that when he told Saroj ji that he didn’t want to do films and had found his calling in TV, she quipped tongue-in-cheek, “Tu bach gaya.” For him, she was the Broadway legend, Bob Fosse, of Bollywood. “I wished to make a film on her journey, but she was not excited. She told me it would be too scandalous,” he recounts, revealing that at 14, pregnant with her son, Raju, Saroj ji was made to teach Vyjayanthimala some dance steps for a film song. “The same day, she delivered. She lost her daughter and went through so much, but it’s a tribute to her grit that a child artiste Nirmala Devi went on to become Saroj Khan, an alpha figure in a male-dominated industry, thanks to whom award shows began to honour choreographers. I hope someone makes the film someday.”
On his part, Terence has written another script in the last three years. It is the journey of a fictional choreographer and he hopes to make it in the next two years.
Saroj Khan trusted me to make her biopic-Remo DSouza
8:57 AM
Choreographer-director Remo D'Souza reveals he was in talks with Saroj Khan to bring her industry journey to the screen
Uma Ramasubramanian (MID-DAY; July 7, 2020)
With the passing of Saroj Khan, Bollywood lost a doyenne who had steered the Hindi film dance in a new direction and enriched it by weaving in elements of classical dance forms. While we have witnessed her magic on screen, little is known of the woman who — with grit and grace — carved her own identity in the male-dominated industry of the '70s and went on to reign supreme in her field.Talking to mid-day, her daughter Sukaina Khan reveals that choreographer-director Remo D'Souza had approached the veteran for a biopic. "A few people were in talks with my mother to make her biopic. But, she used to dismiss the idea, saying, 'Mere baare mein kya jaanna hai logon ko?' However, during her last days, she had said Remo D'Souza was keen on telling her story. She thought Remo, being a dancer himself, would understand her journey, and hence, was the perfect person to helm the project," she says.
Having started out as a child actor, Khan served as an assistant choreographer to B Sohanlal before developing her unique style as a dance director. She dominated Bollywood through the '80s and '90s, collaborating with actor-muse Madhuri Dixit-Nene to give Hindi cinema some of its most spectacular songs. "The idea is to go beyond her choreography. I want people to know her journey as a fighter," adds Sukaina.
D'Souza reveals that he had broached the subject of a biopic while collaborating with Khan on her swansong, Tabah ho gaye (Kalank, 2019). "In response, she had said, 'You should make it.' I promised her that I would visit her to gather information about her childhood and early days. But, I didn't pursue it then as I was busy with my film."
With his Masterji gone, the Street Dancer 3D maker says he is keen to develop it as a tribute to her. "I should be the one making the film as she trusted me with it. I will take the discussion ahead with her daughter."
I am more aware of how I look and I am careful about what I say and do-Saiee Manjrekar
8:15 AM
Saiee Manjrekar on life six months after Dabangg 3 and three months since the lockdown
Akash Bhatnagar (MUMBAI MIRROR; July 6, 2020)
After launching Sonakshi Sinha as Rajjo in Dabangg 10 years ago, Salman Khan introduced another fresh face, Saiee Manjrekar, in the third instalment of his cop franchise last year, as his lost love, Khushi. It has been six months since the film’s release and the actress admits that life has changed completely. “I am more aware of how I look and I am careful about what I say and do,” she admits, adding that she loves being recognised and taking selfies with fans. “Once, before the lockdown, someone spotted me in my car and followed me all the way to a restaurant just to get a picture clicked with me. I felt so special.”
But despite her newfound stardom, Saiee remains grounded even though she’s only 18. “Dabangg 3 released six months ago in December, people have moved on. Now, only my work can ensure that I sustain, and that will be my true achievement,” she asserts, adding that she finds her inspiration in contemporaries like Ananya Panday, Sara Ali Khan and Janhvi Kapoor. “I watch not only their films but their interviews as well. They are all so relatable, so real. I would really like to imbibe the confidence they exude, but I know it takes a lot of inner work to make it possible.”
However, the actress believes her youth gives her an advantage in that she has the time to experience all the ups and downs in her profession. “Then, by the time I am more mature, I will know my strengths,” she reasons.
Having made her debut as the Dabangg girl, does she feel any pressure? “I am too young to feel any pressure,” she says airily. “This is my time to discover myself, make mistakes, fall and get back up. Right now, I am just looking to do something out of the box that challenges me and seems beyond my reach. With each day I am learning something new about myself and it is an amazing journey. People can expect a lot of surprises from me, as I am surprising even myself every day.”
And how does she plan to carry forward papa Mahesh Manjrekar’s legacy? Sounding very down-to-earth, the actress points out that he is an amazing actor and director and she would need a lot more experience to carry his legacy forward. “But I do plan on making him proud,” she asserts, pointing out that there are other aspiring actors in the family, including her sister Gauri, who has just done a Marathi film and her brother Satya, who has just wrapped up a web series. Her elder sister Ashwami is a chef and hasn’t given any thought to Bollywood yet.
Flashbacking to her debut, Saiee reveals that it was an overwhelming moment for her family to see her on screen. “For the first 10 minutes we were all silent because we were just crying. Getting to work with my parents in my first film was a blessing,” she says.
And what about her costar Salman? “He has always been my mentor; someone I can go to for even the smallest things. My parents and he are the first people I run to whenever I get any kind of work.” So, any new collaboration with Salman on the cards? “I speak to him often, but there hasn’t been any work-related discussion,” she informs, adding that she was gearing up to start her second film when the lockdown was announced. Prod her for details, and she stays mum.
Speaking of Coronavirus lockdown, Saiee reveals that it took some time to adjust, but now, she feels settled with a routine in place. “I’ve also become more aware of what I am putting into my mouth. The only downside is my inconsistent sleep timing. But irrespective of what time I wake up, I cycle around my building every day,” she asserts.
Saiee trained with the late Saroj Khan to brush up on her dancing skills before Dabangg 3. Mention the choreographer and she gets emotional. “I started training with Masterji in August 2019. We’d train rigorously for an hour every day and then have chai; that was our ritual. It was amazing working with her, but unfortunately, I couldn’t get her famous Rs 101 reward,” she rues, adding that she spoke to Sarojji when she was hospitalised and hopes that she’s in a better place now.
Saroj Khan was a game changer in the industry-Madhuri Dixit
8:12 AM
BOMBAY TIMES (July 6, 2020)
Yesterday, on Guru Purnima, Madhuri Dixit Nene penned a beautiful tribute for her Masterji. In the long post, which she shared on social media, she wrote, “It’s still hard to believe that masterji is no more. Losing a friend, philosopher, and guide like her is devastating. It was difficult for me to put down my grief in words. I have spent some of the best moments of my career with her. The gurushishya bond that we shared, the assurance that she would be my mother on the sets, I will miss everything! On the occasion of Guru Purnima, I pay my tribute to her.”
Elaborating on how the veteran choreographer carved a niche for herself in the industry, Madhuri said, “Saroj Khan was a game changer in the industry. She was the rebel in the male-dominated profession. There were rough edges to her personality and I feel that’s because life has been pretty uneven and harsh to her. She has seen poverty and had to fend for her family early on. Life’s experiences had steeled her but it couldn’t dent her talent. I will miss that determined and headstrong woman!”
The actress added, “I was smitten by her dancing style. The nazakat, the aadayein, the elegance of every move, I have been besotted by that. When we started working together, we made a pact. I knew we would do a lot of songs together and so, we decided not to repeat any of the movements. She agreed that we will create hook steps that people will identify with every song. She was a genius! It’s such a loss. I will miss the other half of this pact!”
Madhuri further shared, “There’s no one like her and there won’t be another like her. She had told me once, ‘Not only your body but you should emote through your face and eyes as well. Jo dil mei hai woh aankhon mei dikhna chahiye.’ My eyes are moist for a while now. Saroj ji, I will miss everything about you. I will miss your banter on the sets. I will miss your ‘Perrfect!’”
Saroj Khan took Ole Ole to another level-Saif Ali Khan
8:52 AM
“We were never allowed to change the step to make it easier. That was not her work ethic.” Saif pays tribute to the legendary choreographer in a heartfelt note
Saif Ali Khan (BOMBAY TIMES; July 5, 2020)
Saroj ji was the greatest and most artistic choreographer in the film industry I joined in 1990. Her name involved with a project was always a huge advantage to producers, and her style of choreography had the top talents of the film industry make music come alive with grace and sensuality.I did my first film and first song ever with her in Parampara, which was soon followed by Aashiq Awaara, the title song of which was a big hit and stabilised my floundering career. She had me doing some trademark moves on my knees on a sweaty, incredibly hot and crowded set with no air conditioners and lots of chemical ‘smoke’. I think only my colleagues from the ’90s and before will understand the conditions I mean. I finished the step and realised I had torn the knees of my trousers, and blood was trickling down my leg. I told Saroj ji, or Masterji as I called her, and she said, “Oh, don’t worry about blood. See where this blood takes you in life.”
She taught me to work hard. I would turn off the set’s lights, wrap a malmal cloth around my head and rehearse her steps for hours, often without lunch, to get it right; but we were never allowed to change the step to make it easier — that was not her work ethic. She knew what ‘style’ suited each of us actors best, and would create that for us. She made me rehearse for a week for a song I was to do with her, and when I reached the set, she made me perform it in one go in front of the unit.
When I finished panting, she said, “Okay, now forget all that, now that you’re at ease with the song let’s try something better!” That song was Ole Ole from Yeh Dillagi, and she took a hit song to another level. I must have performed this song a few hundred times on stage on international tours, often three times in a row, to ‘encores’! I will always owe her (and Jojo and Ahmed Khan who at the time were her young assistants, and later became big names in their own right) for this song and turning me into a dancing star — an incredible feat as I have two left feet!
I was shooting a lovely romantic song late at night in Hyderabad and the heroine was having some trouble with the expressions. Saroj ji yelled on the microphone – “Sex! It’s sex! Have you never had sex?” She could shame us into performing! A song with her often became real art, with every beat and step requiring an emotion and expression. Like she told Kareena once — “If you can’t move your feet, move your face at least!”
That era is gone and that music is over, but for all of us who have had the privilege of being instructed on set by that great lady, we will never be able to hear a Hindi film song without thinking of how she has made the greatest names in Bollywood, from Amitabh Bachchan and Sridevi to Shah Rukh Khan and Madhuri Dixit Nene, dance to her tunes.
Rest in peace Masterji, and thank you for everything you gave us.
Saroj Khan was the only choreographer who employed mukha abhinaya-Uma Dogra
8:43 AM
Danseuse Uma Dogra remembers Saroj Khan, the legend who introduced Bollywood to Kathak
As told to Uma Ramasubramanian (MID-DAY; July 5, 2020)
I remember meeting Saroj Khan at filmmaker Satish Kaushik's sangeet party. The image of her dancing on the occasion is alive in my mind. Believe me, she had everyone's attention as she danced away. From the way her eyes lit up, to her graceful moves, it showed that she was a passionate dancer. A key point to remember is that unless you love yourself and the way your body moves, your dance will not come alive. Saroj ji knew that—she always appreciated her hand movements and the way her body reacted to music. It's difficult to mention Saroj ji in the past tense.The current breed of choreographers owes her so much; she paved the way for them. [Until 1989], Filmfare Awards did not have a category for Best Choreographer, but she brought about the change with her outstanding body of work. It was because of her that the film industry started recognising choreographers.
Saroj ji changed the definition of dance in Bollywood. She had assisted B Sohanlal ji for several years, including on the song Hothon Mein Aisi Baat [Jewel Thief, 1967], and had learnt the nuances of Kathak from him. So, the influence of Kathak often reflected in her work. She was the only choreographer who brought the kanak and adaa of Kathak to Bollywood.
I have never seen any other choreographer employ the mukha abhinaya. It is a classical word that denotes facial expression. Whenever she worked with Madhuri Dixit or Sridevi, one could see her employing this technique and saying a story purely through the use of expressions, smile and eyes.
[In 2007], Saroj ji was roped in to choreograph songs for the Tamil film Sringaram, which was centred around Bharatanatyam. They have such accomplished choreographers down South, but the makers offered the film to Saroj ji because she was armed with sound knowledge of the dance form. She did a wonderful job with the movie.
Only she could marry the sensibilities of the Hindi film dance with taal and andaaz of classical dance. With her passing on, I will miss the Indian flavour, folk element and classical tadka that she brought to her songs. It's truly the end of an era.
In the years preceding her Bollywood debut, Sonam Kapoor learnt Kathak under my guidance. Saroj ji was choreographing a song for Sonam in her debut film, Saawariya [2007]. Before she began working on the song with Sonam, she asked me if she could see her dancing skills. She joined us during one of our sessions at Sonam's home, and said to me, "Dikhao kya sikhaya hai tumne." When Sonam [performed a set], she was quite impressed. Then, true to her purist style, she said, "Abhi koi abhinay bhi karke dikhao [show some expressions too]". It showed that the steps aside, she was more interested in knowing ki chehra bolta hai ki nahin.
Saroj ji was a brave and powerful woman who was ahead of her times. She captured the sensuousness of a woman so wonderfully in Dhak Dhak Karne Laga [Beta, 1992]. The Sailaab [1990] song, Humko Aaj Kal Hai, is etched in my mind. With her smooth movements and graceful body language, Madhuri [Dixit] beautifully depicted the passion and longing of a woman. One can see Saroj ji's genius in that song. She knew how to convey passion on screen with subtle and beautiful gestures.
Her choreography of Barso re Megha in Mani Ratnam's Guru [2007] is another splendid example. Aishwarya [Rai Bachchan] looked so graceful as she married free style with folk dance for the song. Saroj ji also beautifully wove in folk elements within Bollywood dance steps in Chane Ke Khet Mein [Anjaam, 1994]. As a woman, Saroj ji knew how to depict female sexuality aesthetically and gracefully.
Madhuri Dixit with Saroj Khan during dance rehearsals
Still from Chane Ke Khet Mein, Anjaam (1994)
Still from Barso Re, Guru (2007)
Subscribe to:
Posts (Atom)