Showing posts with label Tezaab. Show all posts
Showing posts with label Tezaab. Show all posts
Anil Kapoor told me, ‘Tell me about today and tomorrow. Don’t tell me about yesterday. And I’m not kidding’-Suresh Triveni
3:14 PM
Priyanka Sharma (MID-DAY; February 23, 2026)
It’s not every day in the industry that a one line idea gets a star to commit to a film. But filmmaker Suresh Triveni tells us that rarity happened when he narrated the idea of Subedaar to Anil Kapoor. “Our man said yes and then asked, ‘Kab banana hai?’” the director recounts the phone call he had with Kapoor.
The Prime Video film, also starring Radhika Madan, tells the story of a former army man (Kapoor) coming to terms with the civilian life. For his protagonist, Triveni drew inspiration from Kapoor’s iconic characters of the ‘80s.
“He is one actor, who has over the period of time, adapted himself beautifully in different roles. But we can never forget Munna from Tezaab (1988) or Mr India (1987). He has a presence, which is cinematic. So that inspired me. And I wanted to write a story of a man of the soil. That’s where it started,” he shares.
And it’s only been a joy ride for him to direct the star, not only for his dedication towards his craft but his hunger as a performer, despite his four-decade long experience in the industry.
“Anil sir does not like to be reminded about his past work. He says, ‘Tell me about today and tomorrow. Don’t tell me about yesterday. And I’m not kidding’,” the director says, adding that he has his lead star’s professionalism to thank for being able to wrap up the film in just over 40 days.
“He is so particular about the details [of the character]. Like, he’s got a book of records where he has actually noted down that what’s his hair growth and moustache growth like. He maintains a diary. His team knows that. That’s the amount of professionalism he brings to a film. Otherwise, I won’t be able to shoot a film in 44 days. It’s impossible. He is not complacent at all.”
Then, Anupam Kher won award for Vijay; this time, he believes I'll win for Vijay 69-Chunky Panday
9:53 AM
Chunky Panday reveals how Vijay 69 co-star Anupam Kher made him trade his over-the-top performances for a toned-down act
Priyanka Sharma (MID-DAY; October 31, 2024)
The first time Chunky Panday shared screen space with Anupam Kher was in Tezaab (1988). He won his maiden acting nomination, but eventually lost the trophy to Kher. For their upcoming collaboration, Vijay 69, Kher has assured Panday that the latter will win an award. “That time, Kher saab had won for Vijay [1988], and this time, he believes I will win for Vijay 69,” smiles Panday.
The actor, who plays a Parsi character in the Netflix dramedy, credits Kher for guiding his performance. “When I play a character, I make it over the top and a caricature. He told me to control my performance as it’s not that kind of film.”
In the last few years, Panday has extensively worked in digital entertainment and he confesses that the varied stories on OTT have made him look at himself as a performer in a new light.
“When I entered the industry, I wanted to be a star; acting happened later. The hero, in our time, always had to be the good guy. Kher saab and others got to [play different characters]—good, bad and ugly. Now, I am enjoying playing all these characters.”
Going by his instinct, the senior actor also wanted his daughter Ananya Panday to focus on achieving stardom. But today as she receives acclaim for her performances, be it in CTRL or Call Me Bae, daddy dearest is happy to be proven wrong.
He says, “I used to have fights with her because I felt she should do [mainstream] cinema and she’d say, ‘Dad, I want to be an actor.’ I’d respond saying, ‘You be an actor later, first you become a star.’ Now, I’m realizing that perhaps she was right.”
I didn’t know that Tezaab was being remade-Madhuri Dixit
9:34 AM
Hoping for another season of The Fame Game, Madhuri Dixit recalls how the 1988 film was a turning point in her career
Uma Ramasubramanian (MID-DAY; May 22, 2022)
You cannot call yourself a Bollywood fan, if you have not watched N Chandra’s 1988 film Tezaab. For those probably wondering, why is there a sudden hullabaloo over a film that was released almost 34 years ago? News is that producer Murad Khetani, who recently backed the Kartik Aaryan-starrer Bhool Bhulaiyaa 2, has acquired the rights to remake Tezaab. Who can forget Madhuri Dixit-Nene sashaying in a pink skirt, dancing to the hit number, Ek, do, teen in the cult film that also stars Anil Kapoor? The film put the dhak, dhak girl on the map.
“Tezaab was my first big hit. It was the turning point of my career,” says Dixit, adding that the film not only propelled her “career as an actor, but also [as a dancer]” when her song became an iconic rage. While Khetani hopes to adapt the 1988 script to modern times, Dixit remains unaware of the development. “I didn’t know that Tezaab was being remade. [The success of the film] depends on how they are retelling the story,” says the actor, who is currently gearing up for the second instalment of her debut Netflix series, The Fame Game.
“The story was left at a cliffhanger, so there are talks about season two. [We are still] in discussion with Netflix,” says Dixit, adding that the first edition “was well-received as it spoke about mental health, sexuality, and sexism in the industry”. “I think people liked that we discussed it in a sensible way rather than making it caricaturish.” Not scared to put herself out there, she says that challenges have helped her grow as an actor. The courageous move comes with the boom of digital content, which the actor believes has given female actors a new lease of life.
“OTT has brought in a new sensibility. Scripts are now being written with challenging roles for women, who are flawed and not being treated as mere victims. They are being portrayed as unapologetic ambitious women,” adds Dixit.
I don’t think I had seen a girl expose herself with so much confidence as Madhuri Dixit did in Ek Do Teen-Divya Unny
8:53 AM
It’s possibly the only Hindi film song to have a movie of its own. Madhuri’s Ek Do Teen inspires a young female director to delve into the track’s power of emancipation
Aastha Atray Banan (MID-DAY; March 13, 2022)
The lyrics of one of Bollywood’s most famous item numbers, Ek Do Teen, started off as “dummy text”. N Chandra, who directed and produced the super-hit Tezaab in 1988, shared an old Koli folk ditty with the film’s music composers Laxmikant Pyarelal which went, “Ding dong ding”. The legendary duo created a melody with dummy lyrics that went, “Ek Do Teen chaar paanch chhe saat aath nau...”, and lyricist Javid Akhtar took over, to make it a song that spoke about a young woman tired of waiting for her lover. It was Dixit’s first mega hit, and possibly the beginning of the item number trend as we know it. Dixit, as Mohini, danced on stage, choreographed by late Saroj Khan, in a glittery pink, one-shoulder crop top, matching mini skirt. And history was made.
Mumbai-based journalist-turned filmmaker Divya Unny has drawn inspiration from the song 34 years later with her 12-minute short film, Dancing Queen. The film’s protagonist Madhu echoes Unny’s love for the song, which she first heard when she was nine, in 1995. She was a kid growing up in the suburb of Mulund, and attended a convent school where Bollywood music wasn’t encouraged.
She now sits at her Lokhandwala home with her cat Tara, and husband Somesh Saha, remembering the time. “I was very proper, except on Annual Day when we’d let go. Every Annual Day, I have danced only to Madhuri’s songs, especially Ek Do Teen. It became such a powerful image—I don’t think I had seen a girl expose herself with so much confidence as she did in that picturisation. It created a distinct live audience vibe... you know, how the crowd roars, ‘Mohini, Mohini!’ We replicated that at school. Even the nuns couldn’t eventually help dance.”
It was her mother, Bhamini, who would dress Unny, put on a bit of glitter make-up and gently nudge her on to the stage from the wings. “My mother came to Mumbai when she was 17, and gave up being the Bharatnatyam dancer she was back in Kerala. But she encouraged both of us [daughters] to do what we liked. She wanted this for me, and told me to go fly with my feet. It was like I was carrying her dream forward.”
In 2018, Unny released her first film titled, Her First Time, about a girl’s first menstrual period, and her relationship with her mother. Her latest short also hinges on the mother-daughter bond, and a young girl’s fascination with Dixit and the song.
“When Madhuri was on stage or screen, she was fearless with her body, and expressions. Her dance became a common language of communication among those who loved her. We would imitate her moves, feel like we had achieved something! Ek Do Teen was the beginning of my fan girl time, and the reason I chose it as the focus of this film,” she says.
The track journeys through the film as Madhu transforms from the kid and teen dancing with abandon at home to the TV set, pressured into marriage at 17 and breaking down on her wedding day when the speakers blare the track, to once again finding happiness in it as she and her daughter in turn enjoy it years later. “The song has meant different things to me as I’ve grown older, as it does to Madhu. I had a different idea of romance when I first heard it.”
Saha, who has produced, edited and composed for films, says that when Unny first discussed the idea with him, he discouraged her because of copyright claim challenges. “The movie is now available on YouTube for free, and can’t be monetised, as T-series holds the copyright to the song, and the price for it would exceed the entire film’s budget,” says Saha, who composed an original score for the movie. “I studied in Shillong, so Bollywood wasn’t big for me, but the song grew on me as I heard it. When Divya broke down the lyrics for me, I sort of saw how she would build her movie around it.”
Aayushi Lahiri, who plays Madhu discusses the crux of the short—girls abandoning their dreams when under societal pressures. “When I danced on the song, I felt like I was the character, I could see Madhu in every girl. It’s such a bright song, it urges to you to dance, fly.”
Madhu lip syncs in a cluttered bedroom to Alka Yagnik’s voice. The playback singer, who has a habit of writing the lyrics down before singing, admits she was initially perplexed. Yagnik tells mid-day, “I thought, this is just counting.”
It was then that composer Laxmikant Kudalkar stepped in, and gave Yagnik a half smile. “He urged me to continue. When I wrote all the lines down, I began to get excited. It was a one-of-a-kind song. Never before was a item song so poetic, and light. Ek Do Teen is part of every film-loving Indian’s life because it’s so catchy. Of course, because it was a dance number, little girls also easily caught on to it.”
Despite a hugely successful career, she admits the song is the biggest landmark in her professional life, and there isn’t a concert that can wrap up without the audience asking for it. “The lyrics that progress from the first day of the month to the end was a brilliant idea by Javed saab, as was the orchestration by Pyarelal ji. Madhuri’s performance added the emotion to every little nuance of the singing. In the end, it was team work,” says Yagnik, who watched Dancing Queen and dropped Unny a line about how much “I loved it”.
The director hopes more women will watch it and feel inspired. “It’s an ode to mothers and daughters, and of course, it’s meant to inspire young girls today, who have so many more platforms than we did to do whatever they want.”
Ayushi Lahiri, who plays Madhu in Dancing Queen, believes her character represents almost every young, urban Indian girl at the time
Tezaab was offered to Govinda first-Chunky Panday
7:35 PM
Chunky Panday adds he too had to turn down Khudgarz because of date problems; clarifies he hasn’t signed a film with daughter Ananya yet
Roshmila Bhattacharya (MUMBAI MIRROR; August 10, 2020)
“Would you believe, I was banned even before my first film released,” asks Chunky Panday, going on to inform that while they were filming Aag Hi Aag, there was a film industry strike and those who continued shooting were blacklisted. “Since we were in Bangalore, stopping work would have led to huge financial losses. My seniors, Dharmendra and Shatrughan Sinha, had too many films on the floors, so the axe fell on this 22-year-old newcomer. But thanks to my producer Pahlaj Nihalani’s intervention, the ban was lifted in a week.” The film opened slowly, had picked up by Tuesday and by the end of the first week, was a hit.
Chunky has more surprises up his sleeve. “Tezaab was offered to Govinda first,” he reveals, adding that since the actor had got very busy after Ilzaam and writer-director N Chandra wanted a chunk of dates, the role of Babban came to him on the rebound. “I’d auditioned for a film called Roshni before Aag Hi Aag and though I didn’t land that role, Chandra promised to return with a big film. I’m lucky he saw me in Babban and so, shot some extra scenes with me, even giving me the evergreen ‘So Gaya Yeh Jahaan’ before the heavy climax,” shares Chunky, recalling how, while filming the song, Anil Kapoor and he had gone to a five-star hotel coffee shop at 3 am to grab a bite. “The shocked manager looked us up and down and asked if he should call the doctor. That’s when we realised we were still wearing our blood-splattered costumes.”
“So Gaya Yeh Jahaan” is one of the film’s highlights, along with “Ek Do Teen”. The latter, according to Chunky, was an afterthought. Laxmikant-Pyarelal were all set to record “Tu Mera Tota Main Teri Maina”, inspired by the Marathi song “Java Naveen Popat Ha”. It was only after Pahlaj and Chunky informed them that they had already shot it for Paap Ki Duniya. That’s when they zeroed in on “Ek Do Teen,” which was such a hit that when the advance booking counters opened at Gaiety-Galaxy theatres on Monday, the queue was a mile long. “Suddenly, someone noticed a shoot going on at the nearby Bandra station. It came as a shock to those waiting to buy tickets to learn that the man sitting atop a train was Anil Kapoor and he was shooting for Tezaab,” Chunky guffaws, pointing out that since the title didn’t need to be censored, they could take that shot five days before his film opened on November 11, 1988, to a rapturous response.
Paap Ki Duniya and Mitti Aur Sona, which opened in the same year, made Chunky a star, and soon he was so busy, that Khudgarz went to Govinda on the rebound, because this time, he didn’t have the dates. The two actors came together for the blockbuster, Aankhen. According to Chunky, during a Sunday meeting in ’92 with director David Dhawan, writer Anees Bazmee, Govinda and him, Pahlaj announced that he wanted to make a film in six months on the lines of the in-progress Andaz Apna Apna and release it before Rajkumar Santoshi’s laugh riot. “We started shooting in Hyderabad in October-November and the film opened on April 9, ’93 to full houses,” Chunky flashbacks.
Cut to 2009 and Kambakkht Ishq. Chunky was in Los Angeles while the film was being shot there and producer Sajid Nadiadwala approached him for a two-scene appearance. “I got a designer suit too, but then learnt that since I didn’t have a work visa, I couldn’t shoot in the US. When I went to return the suit, Sajid told me to keep it as a signing amount, confident we’d do another film together,” he reminisces.
Soon after, he ran into actor-director Sajid Khan, who told him about a role in his next, that everyone wanted him to play. But Sajid suggested he sign up to play the Italian hotelier, Aakhri Pasta, in Housefull (HF). “He’d been modelled on Sujit Kumar’s character, a flamboyant Italian agent, Marconi, in The Great Gambler. Everyone loved him and he’s been a part of the franchise since,” says a delighted Chunky.
Meanwhile, on the first Sunday after Housefull 3’s release, he auditioned for Srijit Mukherji’s post-Partition drama, Begum Jaan, with HF jokes being cracked all around him. Kabir was a vicious killer, a character Chunky had always wanted to play. Sujeeth, who saw the film in Hyderabad, was impressed that Aankhen’s happy-go-lucky Munnu could pull off such a dark and disturbing role and signed him as the villain of his ambitious Saaho. “I’m not a method actor, but while shooting for this film at Ramoji Rao Studios, I kept to myself and was unusually short-tempered even away from the camera,” he says, proudly pointing out that one got to see two sides to him last year.
This year too, he’s balancing between a dark and a comic character in two big films that have been thrown off gear by the pandemic. He refuses to divulge details but insists neither is Fighter, featuring Vijay Deverakonda and his daughter Ananya. “I’d love to play Ananya’s father, but right now, what you’re hearing are just rumours. I’d wanted my daughter to be a doctor like my parents, but she chose to follow me into the movies and I was so proud and thrilled when she bagged a Filmfare Award which has eluded me. I’ve told her every film is a kundali and it’s for her to chart her own destiny,” he avers, sounding like a real-life papa.
And will younger daughter Rysa also follow in their footsteps? “She’s a good singer. She’ll be a rockstar,” he promises.
Saroj Khan made me look like a dancer on screen-Anil Kapoor
8:48 AM
As told to Roshmila Bhattacharya (MUMBAI MIRROR; July 4, 2020)
My association with Saroj ji started in the late ’80s, on the sets of Karma. Subhash ji (producer-director Subhash Ghai) and she shared a great tuning, which was evident when she choreographed songs like “De Daru”. We were simultaneously working on the Mr India songs, like “Karte Hain Hum Pyaar Mr India Se”, “Zindagi Ki Yahi Reet Hai” and the unforgettable “Kaate Nahin Kat Te”. In the ’70s and the ’80s, our songs were overshadowed by the action; Saroj ji, a fan of yesteryear actresses like Vyjayanthimala ji and Madhubala ji, brought old-world charm and grace back into filmi naach-gaana. In “Kaate Nahin Kat Te”, we tried to recreate Kishore Kumar and Madhubala’s chemistry.
A year after Mr India, Tezaab released. Madhuri (Dixit) was still a relative newcomer when we handed her over to Saroj ji. After two weeks of rehearsal, she called Chandra (director N Chandra) and me to Satyam Hall and Madhuri performed to “Ek Do Teen” for us. I was blown over by the moves and the energy. We shot the song in Mehboob Studio and watching it, I was like, “Oh God, what do I do!” I got them to shoot a male version with me which was not there in the script in front of where Shah Rukh’s (Khan) bungalow stands today.
Subsequently, Saroj ji directed me in several other chartbusters, including Ram Lakhan’s “My Name is Lakhan” and “O Ramji”, “Dhak Dhak Karne Laga” in Beta and Taal’s “Ramta Jogi” to name a few. They were all a team effort, with huge contributions from the directors, the composers, the lyricists, and of course, the cinematographers. Ashok Mehta and Baba Azmi lit up the screen beautifully in the close-ups and framed the long shots beautifully, thereby enhancing Saroj ji’s choreography.
My leading ladies, including Sridevi, Madhuri, or Aishwarya (Rai) were fabulous dancers while I’m technically not a dancer-dancer. So, I’m grateful to Saroj ji that on screen I did not come across as any less. She was aware that my style came from within and knew what I was capable of. She played to my strengths and presented me in a way that I looked both romantic and macho.
When I was in acting school, I’d learned that in Bollywood choreography, we have pure dance and playback choreography. She excelled in both, her mastery over the latter helping me tremendously. Thank God for Saroj ji, who made me look like a dancer on screen. Her contribution to my career was immense. She was a genius and couldn’t work with anyone mediocre. She had great leadership qualities, evident in the way she dealt with the dancers, filmmakers, and artistes. I will always remember her beautiful smile.
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Despite having two left feet, Anil Kapoor says Saroj Khan made him feel like a dancer
As told to Upala KBR (MID-DAY; July 4, 2020)
Saroj ji [Khan] was meant to give several more years to Bollywood. Her contribution to cinema is something no choreographer can match in one lifetime. She changed the craft by bringing back the old-world charm.
Subhash Ghai and Saroj ji were magical and often chose to work together. We were introduced during the filming of Mr India with Sri [Sridevi] and Tezaab [with Madhuri Dixit-Nene]. Madhuri was just starting her career when she recorded the song Ek do teen by Laxmikant-Pyarelal. Saroj ji had choreographed [the number]; N Chandra [director-producer] and I had gone to Satyanarayan hall to catch a glimpse of it. Like a proud guru, Saroj ji asked Madhuri to perform the entire song in front of us. Considering Madhuri had rehearsed extensively, she aced the entire number in one shot. I gained tremendously from her as these songs [have now] become iconic, which invariably lead to the success of the film. [There were times], when I'd be on set to watch, admire and appreciate them even if I was not required for the shoot.
Cinematographer Baba Azmi and Saroj ji were a lethal combination. Once they took over, the directors had to take a backseat. Kaate nahin kat te from Mr India and Dhak dhak from Beta were the fruits of their effort. While shooting for [the song] Dhak dhak, our aim was to make it as appealing and passionate as the song Kaate nahin kat te, which is one of my favourite numbers.
Saroj ji always maintained a beautiful element in her choreography; she would ensure to produce sensual numbers with dignity and aesthetics. [There was a notion] that make male actors required a male choreographer, but she gave me some iconic numbers like Ae ji o ji [Ram Lakhan], Ramta jogi [Taal], Karte hum pyar Mr India se [Mr India], which was originally inspired from Kishore Kumar and Madhubala's film [Chalti Ka Naam Gaadi, 1958]. After Kaate nahin kat te, my favourite choreography includes Hawa hawai, Ek do teen, Ae ji O ji, Humko aaj kal hai [Sailaab]. During a song shoot, when the original choreographer couldn't make it, Saroj ji promptly responded, came on set, choreographed the number by morning and we were ready to shoot by afternoon.
I remember shooting a song for Jamai Raja [1990] on the train in Ooty and Sunita [wife] had accompanied us. When I expressed my desire to give Saroj ji gurudakshina, Sunita explored all the vintage shops and bought a beautiful necklace for her. It was such a simple gesture, but Saroj ji was so emotional and moved by it. That was her innocence. She would translate her beautiful smile and twinkle in the eyes through us on screen.
I never felt short-changed when I was paired opposite Madhuri or Aishwarya [Rai Bachchan]. Saroj ji brought out the masculinity with the gait and dance. She knew me and where my capabilities lay. She was aware that I was not a dancer, but brought out the best in me despite my two left feet. I am eternally grateful to her.
After Tezaab, actresses started fighting over me-Saroj Khan
8:41 AM
The stunning life of the prima donna of Bollywood choreography in her own words as told to Patcy N/Rediff.com
MID-DAY (July 4, 2020)
I was born in 1948. My father was a rich, educated man in Pakistan. When they left, they lost everything. I come from an orthodox family but I turned out to be a freak! I used to see my shadow and dance. My mother thought I was a retard and took me to a doctor who told her 'she just wants to dance, so let her dance.'
The doctor suggested that she put me in the film industry since my family needed money. I had to take care of everyone in the house.
In my first film, I did not get to dance. I played the young Shama in the film Nazrana. I had to sit in a moon and sing. I started getting more offers and became very popular as a child artist, but soon reached an age where I would not get more roles.
At 10, I joined a dancing troupe and danced for one-and-a-half years. [Choreographer] Sohanlal saw me dancing and made me his assistant. I was just 13. I choreographed my first song Nigahein milane ko jee chahta hai from Dil Hi Toh Hai when I was 14. It was picturised on Nutan. P L Santoshi [filmmaker Raj Kumar Santoshi's father] taught me how to join movements and make them dance steps.
At 14, I had a relationship with Sohanlal, who was 43 then. I had two children with him, Raju Khan, who is a choreographer, and Cuckoo Khan, who died of liver complications. Since Lal was not ready to give my kids his name, I married a Pathan and had one child by him.
In between, I went to Kolhapur and became a Marathi dance director. Sadhna gave me a break. She took me as her own choreographer; I was the choreographer for the first film that she directed, Geeta Mera Naam starring Sunil Dutt and Feroz Khan. I have also assisted P L Raj in Inteqam because Sadhna was the heroine. After that, I started getting movies. I did big movies like Dost and I did the song Jat yamla pagla deewana in Pratigya.
In 1977, I left the film industry. I went to Dubai. I was 29. I stayed there for three years. I was looking after my brother and sisters and also my husband's first wife's son. I placed them all in good jobs and then returned. None of them were in the film industry because when my father was dying, he made me promise that I would not let my brother and sisters join the industry.
In 1980, when I came back. Zarina Wahab had heard about me, so, she called me for her film Jazbaat. It was Raj Babbar's first film. I told Zarina, I will do the song for free, but if Rajshri Production likes it, they have to pay me the price I quote.
They liked the song — it was Ho goriya re — and I started getting work. I had been in the industry for a long time, but I was not famous. Subhash Ghai called me twice for songs for Vidhaata, but I had other commitments. Finally, I choreographed Pyaar ka imtihaan for him, on Sarika. He gave me my first big film Hero, where I did all the songs and everybody came to know that I can choreograph songs. There was this notion in the industry that a woman cannot be a master. Tezaab changed my career completely and there was no looking back. I became so popular that actresses started fighting over me.
Now, the time has come when they don't want me. I have very sharp movements in my dancing which actresses nowadays find it hard to do. I feel actresses now don't like to work with me; they have never said it. I started getting less work.
Madhuri Dixit is one actress who gets all the moves right, she moves right, she smiles at the right time.
Dance choreographers nowadays don't have the power to tell the actors to give the right kind of expression that is required during the dance, but I see to it that my actors dance well and with expression. All actors need to rehearse at least two days before the shoot.
If a song is extraordinary, then I myself dance as soon as the song plays, and whatever I do, my assistants follow. Within 20 to 25 minutes, a song is choreographed. But if the song is dull, and we have to pep up the dance movements, then it takes me from three hours to one day.
I composed Ek do teen in 25 minutes but Madhuri rehearsed for 17 days because she was not famous at that time; it was that song that made her famous.
Govinda is the best dancer, according to me. He can carry off anything, from serious to comic dance steps. Sanjay Dutt does know dancing.
Why Did It Take Kareena Kapoor 22 Hours To Do The Mujra In Dil Mera Muft Ka In Agent Vinod?
Because she did not come for rehearsals. I taught her all the steps on the sets. She had no time, as she was on some outdoor shoot. On the sets, any song takes time. Actually, it's not 22 hours... You can't count like that. We shot for six days. The nazakat (softness) and adahs gone completely out of the industry; this generation has not seen it.
Farah Khan, Vaibhavi Merchant, Ahmed Khan, Remo D'Souza remember Saroj Khan's contribution
8:39 AM
Upala KBR, Shaheen Parkar (MID-DAY; July 4, 2020)
The bustling set fell silent as she hollered "Sound". The beats of Choli ke peechhe filled the air, as Masterji — as she was fondly addressed — with her dupatta tied firmly around her waist, showed the next set of steps to Madhuri Dixit. Choreographer Vaibhavi Merchant says her first memory of Saroj Khan never quite left her. To the then 13-year-old Merchant, Khan was the woman who was entrusted with the most vibrant facet of a film — the song and dance."Though my grandfather B Hiralal ji and his brother B Sohanlal ji [Khan's guru] were famous choreographers, my understanding of choreography came about with Ek do teen [Tezaab, 1988]. It was only after the song that there was so much media attention on the choreographer. Saroj ji was a legend who brought the art to the forefront," says Merchant, who finally got the opportunity to work with her idol on Jhalak Dikhhla Jaa 3.
Merchant believes Khan's gumption and glorious success story encouraged women to set foot in the film world. "She was a path-breaker in an industry, which was male-dominated at the time. She is the first woman choreographer who left her competitors way behind," she says of the artiste who dominated the Bollywood dance scene in the '80s and '90s.
Khan unwittingly played a key role in paving the way for another Bollywood choreographer. It is well-known that the then-assistant choreographer Farah Khan stepped in to give shape to Aamir Khan's Pehla nasha (Jo Jeeta Wohi Sikandar, 1992) when the legendary choreographer was unavailable. "When I entered the industry, I did not face gender discrimination because the reigning choreographer was a woman. She was a woman of formidable tenacity," says Farah.But Khan's story is much more than that of a woman earning her rightful place in a man's world. The veteran changed the landscape of Bollywood, infusing the Hindi film dance with grace and discipline. With numbers like Hawa hawai (Mr India, 1987) and Dhak dhak (Beta, 1992), she showed that Bollywood heroines could be spirited, sensuous and every shade in between. "She had a knack for extracting the required expressions from actors," explains Farah.
Merchant echoes her sentiment, stating that Khan could recognise every actor's strength. "Since dance was not Sanjay's [Dutt] forte, she rehearsed with him for a month on Tamma tamma [Thanedaar, 1990]. Usually, the credit for a finely crafted dance number goes to the actor, but it is the technician who has designed the steps to make the song look effortless and magical. Saroj ji could extract the finest acts from Madhuri, Sridevi, Meenakshi [Seshadri], Rekha ji and Hema Malini ji."
Choreographer-turned-director Ahmed Khan credits his career to the veteran. He remembers meeting her on the set of Mr India (1987), in which he was a child actor."After Mr India, I told her I want to be a choreographer, and joined her troupe at 16. She would take me to sets of the films she was working on, and I learnt on the job. She always said that a choreographer must not pay attention to anything except his steps and expressions. We need the support of camera angles and locations, but she could pull off a song purely on her expressions."
Remo D'Souza, who began his career under Khan's wing, considers himself fortunate that he collaborated on her swan song, Tabaah ho gaye (Kalank, 2019). D'Souza recounts, "Madhuri ma'am asked if we could have Saroj ji on board for the song. I was lucky to serve as the assistant choreographer. On days, she couldn't walk properly on the set as her knees hurt. But as soon the music came on, she was better than Madhuri ma'am."
Saroj Khan revolutionized the song-and-dance culture in Bollywood
8:33 AM
BOMBAY TIMES (July 4, 2020)
Saroj Khan, one of India’s most illustrious choreographers, passed away at the age of 71 on Friday morning after suffering a cardiac arrest. The three-time National Awardwinning choreographer was laid to rest in a cemetery in Malad. With the passing of Saroj Khan, Bollywood has lost its iconic ‘Masterji’.Born Nirmala Nagpal, she entered the industry as a child artiste at the age of three. Soon after, she became a background dancer and by the time she was in her teens, she was an assistant choreographer. Saroj Khan got married to film choreographer B Sohanlal at the age of 13 and had her first child at the age of 14. However, she continued to work. She went on to train legendary actresses like Vyjanthimala, Nutan and Helen, among others.
Saroj Khan got her first break as an independent choreographer in 1974 with Sadhana’s Geeta Mera Naam. She went on to choreograph for several movies, but most importantly, she went on to carve a niche for herself as a choreographer in a profession largely dominated by men in that era. The choreographer, who worked on the principle that ‘dance chehre pe dikhna chahiye’, came into prominence with two actresses, Sridevi and Madhuri Dixit, in the late 80s and 90s.In fact, the Filmfare Award initiated a category for Best Choreography in 1989, where she walked away with the award for her stunning work in the song, Ek Do Teen (Tezaab, 1988). She created some unforgettable dance sequences like Main Teri Dushman (Nagina, 1986), Hawa Hawaii, Kaante Nahi Kat Te (Mr India, 1987), Mere Haathon Main Nau Nau (Chandni, 1989) and Na Jaane Kahan Se Aayi (Chaalbaaz,1989) with Sridevi. She also continued her Tezaab magic with Madhuri in Humko Aajkal Hai (Sailaab, 1990), Tamma Tamma (Thaanedar, 1990), Dhak Dhak Karne Laga (Beta, 1992), Choli Ke Peeche Kya Hai (Khalnayak, 1993), Dola Re Dola and Maar Daala (Devdas, 2000). Interestingly, her swan-song, too, is the dance sequence she choreographed for Madhuri in Tabaah Ho Gaye (Kalank, 2019).
In an interview with Bombay Times recently, Madhuri had said, “Saroj ji and I made sure that each song looked different. It could have been easy for us to stick to a hook step because that looked good in the previous song. But, we tried new choreography and created new movements each time that people enjoyed. She is a genius and I love her.”
— With inputs from Onkar Kulkarni and Tanvi Trivedi
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SHE WAS PURE TALENT AND GIFTED: HELEN
MY EXISTENCE IN BOLLYWOOD IS BECAUSE OF HER: AHMED KHANMy existence in Bollywood is only because of Saroj Khan. She was impressed with my dancing skills as a child actor in Mr India. I was just 11 years old then. When I turned 16, I told my mother that I wanted to try my hand at movies, and she introduced me to her friend Saroj ji. I worked with her as an assistant, and four years later, I got Rangeela. We shared a mother-son equation. We would fight a lot. Whenever I would visit her, she would scold me for something, or I would scold her for not taking care of her health. I wanted her to rest a bit, but she wasn’t someone who wanted to do that. She always wanted to be on a film set or at a rehearsal hall. Even at this age, she was choreographing songs.
NO ONE CAN TAKE HER PLACE: REMO D’SOUZA
Bollywood’s dance queen Saroj Khan takes last bow
8:29 AM
Avijit Ghosh (THE TIMES OF INDIA; July 4, 2020)
Saroj Khan (71), who composed the signature moves that paved way for Madhuri Dixit’s rise to stardom, died of cardiac arrest in a Mumbai hospital on Friday. She bagged eight Filmfare awards, a record for a choreographer, reports Avijit Ghosh. Saroj’s shimmies were not confined to Madhuri’s ‘Ek Do Teen’ (Tezaab) and ‘Choli Ke Peechhe’ (Khalnayak), but added another layer to Sridevi’s iconic ‘Hawa Hawaai’ (Mr India), or even the breathtaking steps of Aishwarya Rai-Madhuri duo in ‘Dola Re Dola’ (Devdas). “I’m devastated by the loss of my friend and guru... I will miss you…” Madhuri tweeted.
Saroj Khan, who tossed aside gender barriers in the male-dominated world of choreographers in Hindi cinema and composed the signature moves that paved Madhuri Dixit’s rise to stardom in the 1980s, passed away on Friday. She was 71. She died of cardiac arrest at Mumbai’s Guru Nanak Hospital, where she was admitted in June after developing breathing problems, news agency ANI reported.
Tracks choreographed by Saroj for Madhuri such as Ek Do Teen (Tezaab), Choli Ke Peechhe Kya Hai (Khalnayak), Dhak Dhak Karne Laga (Beta) and Humko Aaj Kal Hai (Sailaab) blended sensuality with rhythm; the jhatkas and mudras are aped at dance parties and ‘ladies’ sangeet ceremonies even today.
No choreographer, male or female, has won as many Filmfare awards: eight.
“I'm devastated by the loss of my friend and guru, Saroj Khan. Will always be grateful for her work in helping me reach my full potential in danc…” Dixit tweeted.
It wasn’t just Madhuri. Saroj’s shimmies and shakes made Sridevi’s Hawa hawaai and the snake dances of Nagina iconic. But it was the symphonic sway of Dola Re Dola (Devdas), where Aishwarya Rai and Madhuri breathtakingly match steps and smiles that fetched Saroj a National Award for best choreography. “Nobody would have dreamt of doing what she did in Dola Re Dola,” said fellow choreographer Chinni Prakash.
The award was worthy recognition for decades of hard work in a life that defeated extreme poverty. Born Nirmala, her Punjabi-Sindhi parents left Karachi for Bombay during the Partition. The family lived in a one-room tenement in Mahim. A neighbour who ran a food stall offered them the unsold leftovers. “I was raised on pyaaj ki bhajiya (onion fritters) and bread,” she said in the 2014 documentary, The Saroj Khan Story.
Saroj worked as a child actor (Nazrana, Aagosh), a group dancer (Aaiyye meherbaan, Howrah Bridge), even trained as a nurse, before becoming assistant to noted dance director B Sohanlal.
“She trained under my uncle Sohanlal-ji, learnt Indian folk, classical gestures and Indo-Western style movements,” said Prakash. In Nidhi Tuli’s documentary, Saroj also recalls falling in love with Sohanlal, bearing a child and then parting. She later married businessman Sardar Roshan Khan.
Choreography was a male preserve in Bombay cinema -- P L Raj, Gopi Krishna, Badri Prasad, Kamal, Herman Benjamin, to name a few. “She was the first female choreographer in north India and had a tough time entering the field. Girls were only assistants then,” says Chinni Prakash.
She got her break in actress Sadhana’s production Geeta Mera Naam (1974). Among those who backed her was film-maker Subhash Ghai. “However, it was not until Ghai’s Hero (1983) that Khan became a name to be reckoned with,” says Encyclopaedia of Hindi Cinema.
Prakash recalled how she acted out expressions for Madhuri or Sridevi. “Her adayaein (facial expressions), her hand movements were her specialty,” he said. In a post, film sociologist Susmita Dasgupta too said the choreographer made the song reside in the body of the dancer. “Saroj Khan used the conventional formula to let the body carry the song,” she wrote.
Her success opened the doors for other women choreographers. Director-choreographer Farah Khan posted, “…U were an inspiration to many, myself included. Thank you for the songs.”
-----------------------------
‘She gave lyrics meaning in dance’
Actor Amitabh Bachchan reminisced about Saroj Khan in his blog. 'Masterji' to every actor worth their dancing shoes, Bachchan with his trademark moves had caught her attention and received “shagun” — a one rupee coin that she was known to gift dancers who stood out. He also recalled the time she was pregnant during a shoot. “At one point I saw her, quite alarmingly, finding the foetus had shifted in her stomach and she simply unabashedly pushed it into place, and carried on dancing.” The actor said she gave the industry “the art of converting the lyrics in a song to a meaning in dance”.
World dance day special: Madhuri Dixit and Saroj Khan discuss the benefits of dance
7:47 AM
Sonia Lulla (MID-DAY; April 17, 2019)
Before we introduce ourselves during this conference call, Madhuri Dixit-Nene and Saroj Khan slip in at least a minute-long exchange of assorted greetings. Khan heaps praise on the way Dixit's dance track from Kalank, Tabah Ho Gaye - choreographed by Khan - has turned out. She then goes on to express gratitude for speaking well of her in subsequent interviews.
Ever so often, the duo punctuates the conversation that edges on memories of their time spent together, to express love for one another. "Madhuri is like my shadow," Khan says at one point when talking about how closely the actor would study her, before taking to the camera. "What I love about Saroj ji is that she knows which movement will look good on an actor," Dixit responds.
Easily among the lot of stars who've defined the way the world perceives Bollywood dance, Dixit gives the art a prominence that goes beyond cinematic endeavours. Her recently launched app, Dance With Madhuri, aims to also promote a healthy lifestyle.
"People still ask me how I stay fit, and look good. I always say, dance is the best thing one can do for yourself," says Dixit, who has trained in Kathak since childhood. "You feel good about yourself while burning calories. Happiness plays a big role in [determining] how you look, and feel. Also, when you dance to new songs, you don't get bored. It's not like running on a treadmill for 45 minutes. Finally, one can work the entire body with this cardiovascular form."
Well aware that a cardiovascular component isn't sufficient to meet the physical requirements of women, Dixit says incorporating conditioning classes like pilates, and strengthening sessions of weight training, are crucial to restore muscle mass. "But the cardio component can be met through dance. On our app, we have a vertical called dancercise, which includes the hook steps of my songs put together to create an exercise routine. We also discuss Tabata [HIIT format], and different workouts here. When strapped with a heart-rate monitor, I've been able to burn 300 calories in 20 minutes with it."
While an additional fitness routine is almost an essential for aspiring dancers today, Khan reveals that the long hours of practice put into ensuring that every artiste was in sync with the other, went a long way in keeping her dancers in shape. "They would rehearse for eight hours a day. That's more than [the hours dedicated to] exercise, usually. But, to reap physical benefits, one should do it regularly. You must devote at least an hour to dance."
Tracing their association to several years ago, Dixit reveals that Khan enabled her, a stage performer, understand how to adjust to cameras. "She had no idea how to dance before the camera. In Kathak, we don't shake our hips, like we do in Bollywood. So, she had to learn hip movements. She was like a baby, learning the [ropes]," Khan says.
It was Tezaab's (1988) Ek Do Teen, that made Dixit understand what a Bollywood track should look like. "It was the first time we saw such a crowd," Khan recalls, as Dixit narrates, "They had filled up Mehboob studios with [fans who were stationed outside]. That was the first time that the crowd participated in a dance like that. I recall, in one of the shots, one person got excited, removed his shirt and flung it. And the director [N Chandra] noticed it and said, 'Let's do it'."
Blast From The Past
The dance that wasn't?
Reuniting after 18 years for Abhishek Varman's Kalank, Khan recalls that the director was insistent on not making Dixit "dance too much" on the song. "But the song demanded a dance. So I was divided." Well aware that viewers would expect her to dance, Dixit says that the challenge for Khan and her lay in finding the balance between too much and too little movement. "My character is a recluse. So, we had to hold back, a lot."
Doing justice to raunchy lyrics
Khan reveals that Dixit-starrer Beta's track, Dhak Dhak Karne Laga was nearly stuck at the censors owing to its choreography. "But, I can't [make her] shake the hips and say Dhak Dhak. I have to show movements of the bust, right? A song will not look vulgar if the artiste, who performs the movement, [is careful]. Madhuri always made her dances look sexy, not [vulgar]. Also, for a song like Choli Ke Peeche Kya Hai, I didn't use hand movements to prevent it from [looking inappropriate]. We used dupattas instead." Dixit reveals that the camera angle too plays a vital role in defining how apt a song looks.
On their most memorable number
Dhak Dhak Karne Laga emerges a unanimous choice for Khan and Dixit when recounting their most memorable (and toughest) song. "We had not rehearsed for it; it is among the most spontaneous songs we've done. Initially, the set was too colourful. Our cinematographer Baba Azmi didn't like it. He said, 'Sab hata do'. Finally, they kept only earthy tones. He played with the lighting, the jaalis. We had to make it look sensual, but couldn't go overboard while doing so, given the character I played," Dixit recalls.
Me and Madhuri Dixit both are available for more films. We can come as a package deal-Anil Kapoor
8:23 AM
Roshni Olivera (BOMBAY TIMES; February 20, 2019)
It seems almost impossible that an on-screen pair can weave the same magic like they did 20 years ago. But Anil Kapoor and Madhuri Dixit-Nene have actually managed to pull that off with ease. The duo, who is seen on TV shows these days promoting their new film Total Dhamaal, have made viewers sit up and gape at their striking chemistry, even as they sway to Dhak Dhak Karne Laga and their other hit songs from the 90s. In a fun chat with Bombay Times, the two talk about reuniting on the big screen after almost two decades, how they have maintained their friendship over the years and what’s common between them. Excerpts...
Anil, was it total dhamaal working with Madhuri after 18 years?
Anil: Actually, it’s a little more than that; I think we last faced the camera together 19 years ago. Yes, it was total dhamaal with Indra Kumar (director) being there and the three of us coming together after Beta. It was a lot of fun with the entire star cast. Madhuri has worked before with most of the actors, be it Ajay (Devgn), Arshad (Warsi) or Jaaved (Jaaferi). The whole vibe was very good. It didn’t feel like we were shooting after such a long gap. Also, Madhuri and I have kept in touch over the years.
Madhuri: I remember he had come to Denver. He visited me when my kids were small. We had so much fun shopping...
Anil: Your husband (Dr Sriram Nene) bought me a pair of boots.
Madhuri: Yes, Denver is known for boots — the cowboy kind of boots.
Madhuri, when you learnt that Anil is paired with you in this film, did that make you more comfortable and sure about taking on this project?
Madhuri: Absolutely! When Indu ji (Indra Kumar) came to me with the script, I loved it. I asked him who would play my husband and he said he would be approaching Anil ji. I said it would be great to have all of us in this kind of a mileu.
Anil: I will let out a secret today. Before we signed on the dotted line, Madhuri and I were in touch over this and we kept asking each other, ‘What do you think about this? It’s sounding great’. And then, we both decided that we should do it. Yes, Madhuri and I are coming together after a long time, but this is an ensemble film, where there are 12 people and all have equal roles. That’s the beauty of this film.
Madhuri: We also felt that it would be perfect if the two of us did this film. It would not make sense for anybody else to pair with either of us.
According to you, what’s the one thing that hasn’t changed about the other?
Anil: The most important thing is, she is humane. She has been the same since the time I first met her. From within, she has not changed as a person at all. She looks so beautiful because from the inside, she is calm, happy and relaxed. Her smile has not changed at all, likewise, her dancing remains unchanged after all these years. When I see her dance, I feel the same magic. The only thing that is different now is that she has two beautiful children and a great husband.
Madhuri: I don’t think Anil has changed either. Of course, with everything that’s happening on social media, he has turned quite savvy. I was surprised because he is usually reticent, but now, he is out there and ready to experiment on that level. Otherwise, I can see he has the same drive to work hard and succeed. He has the same energy and manages to get everyone going. We were on a TV show sometime back, where he just took the reins in his hands and said, ‘Come on everyone, let’s make this more enjoyable’. With Anil, what you see is what you get. There are never any layers; he is honest and straightforward. What he says is what he means, always. What he said about me just now is exactly what I would say about him. It’s all about keeping the child within you alive. I feel the same as I did years ago. I can’t believe I have kids who are that big. I look at them and say, ‘Really?’
Anil: God has been kind. When you look at your journey in terms of your personal or professional life, you know that you are blessed. These things make a lot of difference because kabhi kabhi journey mein utaar-chadhaav zyaada ho jate hain and that can take a toll on a person. What’s common between the two of us, I think, is that we have always had our priorities right. Sometimes, you have to make a sacrifice in your professional life if you feel that priority has to be given to your personal life. I would do that. She is also like that. The way she got married, decided to move to the US, it’s remarkable. Around that time, she did Pukar (2000), which was appreciated, then Devdas (2002) — one of the biggest hits. It’s not easy leaving behind all the glamour and the hustle-bustle.
What was it like when you visited her in Denver?
Anil: It was not just a house, it was a home. It was quiet, peaceful and pure. They were leading a beautiful life away from everything. To be honest, I could do it for a week or 10 or 20 days maximum. After that mujhe lagega ki ab Mumbai ka crowd chahiye.
Madhuri: But I was very happy and loved it. I enjoyed that phase of my life.
Anil, when you first heard that Madhuri was getting married and shifting base, how did you react?
Anil: It didn’t come as a surprise to me because it was just a matter of time. I think that she tied the knot at the right time.
Madhuri: I remember when I met him (Dr Nene), I felt, ‘This is it’. Anil and I were promoting Pukar in those days.
Anil: And most questions asked to both of us were about her marriage. Maine kaha thoda Pukar ki bhi baat kar lo yaar.
Madhuri: Yeah, I remember that!
Both of you have acted in 17 films together. What was the rapport like?
Anil: There was mutual respect for each other. At least I respected her. Did you, Madhuri?
Madhuri: (Laughs!) Of course. That was mutual.
Anil: I got along with her parents and had been to their home many times. We have had meals together and also, I specifically remember the poha I had at her place. Madhuri and her family would also visit my home. There was a certain connect between all of us. Ghar mein aana jaana tha.
Madhuri: It’s a friendship that lasted even after I left from here.
Anil: Talking about 17 films, I remember while we were doing those films, we were very competitive as well.
Madhuri: Koi bhi scene mein koi bhi shot chodne ka nahi! I would be like Anil ji ne mere se accha kiya, now I have to do this better than him.
Anil: All the directors were in love with her, so I had to put in double the effort. I would try to charm my directors, but that wouldn’t work. They would take more time to light up her close-ups.
Madhuri: That’s the case with any heroine...
Anil: Aapka kucch zyaada tha! On a serious note, Madhuri really helped me with my dancing.
Madhuri: He is being very modest; he has his own style of dancing.
Anil: My dance is very Chembur...
Madhuri: Yes, that charming Chembur flavour (laughs!)
Anil: For me, dance is all about having fun and going with the feel of the music. I would go with the rhythm rather than focus on the choreography.
Madhuri: Some of the dances were sensuous. But the innocence with which Anil did it gave the whole sequence a beautiful effect.
Unlike all those films, which were about love and romance, Total Dhamaal is an out-and-out comedy where both of you play a couple that’s constantly fighting. What kind of prep went into this?
Madhuri: I had to be myself, get my absurdity right. The scenes here are very different because nobody talks like that and you have to make it look convincing. I love these kind of comedies.
Anil: In these kind of films, you have to be spontaneous and instinctive because it’s all about timing. For the first time, I am playing a Gujarati character. So, my prep was to get the dialect right, match up to Madhuri and look as fresh as her.
Madhuri: He would tell me, ‘I’m going to be there in the next schedule, you better come prepared’.
Anil: We play a couple, who has a 14-year-old child. In real life, I have a daughter (Sonam K Ahuja) who is 33. So, I had to work out everyday for this film. The idea was to look convincing.
Madhuri: Luckily, I have a son who’s 13. But I agree that the physicality has to look right.
Anil: Otherwise, people can make fun of you. Trailer mein logon ko pata chal jaata hai.
After this outing, are the two of you looking forward to doing more films together?
Anil: We are both available, writers and directors please make a note. We can come as a package deal!
Madhuri: Two for the price of one...
Anil: No, no aisa nahin hoga and I’m sure you won’t agree, too. Jokes apart, we would love to work together. It’s up to the filmmakers. We would be more than happy even if they are first-time directors, who have something interesting for us.
Madhuri: Yes, anyone who can present us differently.
Is there any film of another on-screen couple that you think the two of you would have done really well?
Anil: All of them!
Madhuri: (Laughs!) I have never really thought of it like that. When I watch a movie, I just watch it like an audience.
Anil: Actually, there are films that Madhuri has done with Salman, Aamir and Shah Rukh, where I think that they were the best choice. Whether it’s Hum Aapke Hain Koun (1994), Dil (1990) or Dil To Pagal Hai (1997); they are irreplaceable. They look so convincing. I can’t imagine myself there.
Madhuri, according to you, which are Anil’s best performances?
Madhuri: There are many. I loved his performances in 1942: A Love Story (1994), Kishen Kanhaiya (1990) and Eeshwar (1989). Even Woh Saat Din (1983), I couldn’t believe that an actor could perform like that in his first film. Among our films, I would say Beta (1992) and Pukar.
Anil, which ones would you choose from her repertoire?
Anil: She was brilliant in Pukar. There are many, but I was mesmerized by her performance in Hum Aapke Hain Koun as well. That, according to me, made her one of the finest leading ladies on celluloid. That film is for posterity and even after 100 years, you can pull out any close-up and it will be timeless.
Given that yours turned out to be one of the biggest hit pairings on screen in Bollywood, it’s interesting to note that your first film together actually didn’t take off....
Anil: We did one song for the film titled Bajrangi, but it didn’t take off. We then did Hifazat (1987), which did average business, though one song, Batata Vada, became very popular.
Madhuri: N Chandra was editing the song from Bajrangi, and at that time he was also planning to make Tezaab (1988). He saw me in the song and decided to cast me in Tezaab. Sometimes, things happen for the best.
Anil says that this is the best phase of his life in terms of the way he feels and the work he is doing. How would you describe this phase of your life?
Madhuri: I have enjoyed every phase of my life. This is new and there are some good roles out there. I have my family, it’s wonderful to watch my kids growing up and I am enjoying time with my husband.
Is Dr Nene looking forward to watching Total Dhamaal? Has he watched the funny trailer showing Anil and you fighting?
Madhuri: Yes and after watching the trailer, he said, ‘'Thank God, you are not like that in real life.’
I feel artistes should not get married-Alka Yagnik
9:10 AM
Alka Yagnik tells the story behind the yesteryear hit to interviewer Neeti Mohan
Soumya Vajpayee Tiwari (MID-DAY; July 9, 2018)
While Neeti Mohan is in awe of her senior, Alka Yagnik, the veteran is all praise for the young star and how newer singers are confident about their skills. As they settle for an interview peppered with music at a Juhu five-star, they walk each other through their musical journeys. Edited excerpts from the tete-a-tete:
Neeti to Alka
You redefined how singers carry themselves. Before you, few female singers would pay attention to dressing.
I am fond of good clothes and accessories, and I like to dress up. Earlier, for almost 15 years, my life was limited to home and studio. I would record five songs daily, and do stage shows occasionally. Later, when I started getting a little more time for myself, main apne shauk poore karne lagi.
At stage shows earlier, singers were only expected to perform well, with little attention paid to their dressing. But today, the spotlight is also on your appearance when you perform live.
Earlier, media was not so active and you wouldn't be clicked wherever you went. I did several shows with Kalyanji-Anandji and Laxmikant-Pyarelal. They taught me how to conduct myself on stage. Gradually, I started speaking to the audience. Back then, so much importance was not given to outfits, background dancers and presentation. I was a shy person. I could let go of my inhibitions only when I was in front of the mic. Now, I am a changed person on stage. I make the audience laugh.
(Mohan adds)
I experience something similar when I perform live — mere andar ki diva unleash ho jaati hai.
Do you feel singers are also actors?
Absolutely! Performing arts are always connected. You have to be an actor to be a good singer. When I sing a song, the actor in me comes out as I emote for the track. Actors also have a singer in them. Unless they have an idea of rhythm and sur,how will they dance to a song?
You said you would record five songs daily. How did you take care of your voice?
I had tonsillitis since childhood. My doctor suggested not to get it operated as my tonal quality would change. So, I had to live with tonsillitis attacks. The good thing was that the more I would sing, meri awaz utni hi khulti thi. Some artistes get tired after singing a couple of songs, but my voice used to blossom.
Do you remember recording a song with a bad voice?
When I had to record Ek Do Teen [Tezaab, 1988], I could barely talk. The song required strong throw, and we didn't have technical help those days. Mehboob Studio was filled with musicians that day — there was a 45-member chorus and around 100 instrumentalists. I told Laxmiji [of Laxmikant-Pyarelal] that I was not in a state to sing. He said, “Aap socho hi mat uske baare mein, aur bas gaao.” Though we had to finish recording before 12 am, we hadn't had a single take till 11.30 pm because balancing all the instruments was taking long. Finally, when it was all set up, Laxmiji said, “Alkaji, sing a rough version today. We will dub your voice again.” I belted out the number in one go. But that dubbing never happened. He was so happy with the song that he said, “Agar aapko lagta hai is gaane mein aapka gala kharab hai, to aap mera har gaana kharab gale se gaao.”
I read that when Osama Bin Laden's Abbottabad house was raided in 2011, hundreds of your song recordings were found.
Somebody had told me when this was reported. I felt weird. I think maybe he too had an artiste inside him (laughs).
Have you ever thought of teaching music?
Music cannot be taught. Either you are a singer or you're not. I always guide singers who need help. Over the years, I've done so many reality shows, and the participants often send me their works or come over to my home for suggestions.
Alka to Neeti
Do you plan to get married?
It has been on my mind of late. I hope to get into a relationship now.
(Yagnik adds)
I feel artistes should not get married. An artiste's life is erratic and most of them are moody. In such cases, the partner has a tough time adjusting to his/her moods and schedules. Even Ashaji [Bhosle] often says kalakaaron ko shaadi nahin karni chahiye.
(Mohan)
I have been in a relationship with my music and career. I am so busy that I don't have time for a guy in my life.
(Yagnik)
I got married early and my daughter [Syesha Kapoor] was born within a year. It was around the same time that Ek Do Teen and Qayamat Se Qayamat Tak (1988) released, and my career took off. I used to feel guilty that I wasn't able to devote time to my husband and her.
What kind of songs are your forte?
I don't know my forte yet. As a kid, I used to sing a lot of Hindustani classical songs and bhajans. When I went to a boarding school in Pilani, Rajasthan, I learnt folk music. I was there for seven years and would hear local women sing Marwari songs.
Did you always want to become a singer?
As a kid, I loved being on stage - be it acting, singing or dancing. I could never pick one, so I would often be in a fix. We used to have an hour-long extracurricular class daily. My dramatics, music and dance teachers would fight over me for their respective sessions. I struggled to figure out what I enjoyed the most. Eventually, I realised that when I sing, I get to do all three things - sing, dance and act - together. That's when I decided to participate in a singing reality show. I recently performed with A R Rahman sir in Kochi. I sang Jiya Jale Jaan Jale live and put up a Bharatanatyam act for it. It was fulfilling.
Money is power. It gives you the strength to take right decisions-Vidya Balan
10:40 AM
Vidya Balan is never afraid to display her vulnerable side – a reason why she’s a top notch actor
Anuradha Choudhary (TIMES LIFE; December 10, 2017)
From a one BHK in Chembur to a sprawling sea-facing apartment in Juhu. Does it seem surreal?
We recently sold our Chembur house and that was heartbreaking. I went there and cried. For the longest time we had kept that house. But the redevelopment seems to be taking forever. Unfortunately, the building is falling apart. I used to take a bus from Chembur to come to Prithvi theatre in Juhu for my summer workshop. I was 15 then. Looking back it seems symbolic. I’d get off at the bus stop, which is right outside my present house because the Prithvi workshops were conducted in a school in Juhu Koliwada, where Asha Parekh lives. Not once did it occur to me then that I should be living here. I was happy. I know people wish for bigger houses and better cars. I’m not one of those. Which is why until seven years ago, we lived in Chembur.
When was the first time you realised you wanted to act?
I keep saying it was Madhuri Dixit’s Ek do teen (Tezaab) but I guess it started before that. Those days, while I was still in school, they used to show regional language films on Doordarshan on Sunday afternoons. I remember watching Laxmi in a Tamil film, where she plays a lawyer. There was a huge scam in the South those days where because of the reservation policy, many Brahmins claimed to belong to the scheduled caste. Laxmi claims to belong to a scheduled caste in the film and gets caught. Then I remember seeing the Malayalam movie Elli Pattayam. The movie seemed slow with nothing happening. My sister Priya painstakingly explained to me the difference between art and commercial movies then. She also explained what acting was. How it’s about your ability to express feelings and how your eyes are the most important tools while acting. I soaked in all this at the age of 11. And then there was no looking back.
When was the first time you realized you were beautiful?
Thank you for saying that but while growing up a lot of people would tell me, ‘You’ve got such a pretty face, why don’t you lose weight? It always came with the caveat of ‘why don’t you lose weight?’ I was a plump child. During my teens I was fat. But at home there were no restrictions on food. My father only wanted us to eat well. But I guess, my mother was a bit worried. As a kid she would take me for walks. She’d trick me and take me to Chembur station for grocery shopping. She’d say we’ll take a rickshaw back home. But she’d make me walk both ways. And I’d sit on the road crying, refusing to walk.
But while acting and thank God for that, I realised that beauty is as beauty does. There I wouldn’t bother about profiles. But if I had to pose for a picture or if I had to do a photo shoot or an ad film, I’d tell them to shoot me from the left.
People do call you beautiful…
Now I believe it. There was this phase when things went wrong with Heyy Babyy and Kismat Konnection… I’ll always be grateful to all those movies because they brought that clarity. Otherwise, I’d have failed miserably. After those movies, I ended up doing Ishqiya, Paa and No One Killed Jessica. I simply responded to my instinct. The past few years have not been great professionally because my films have not worked. But I’m in a happy space. I won’t have it any other way. I feel grateful.
Go on…
I’m not saying that I didn’t go through the angst and analysis about why they didn’t work. What was I doing differently? I kept wondering about all the things that were told to me about marriage… that it hampers your professional life... I wondered, maybe, I had made a professional mistake by getting married. However, through it all, I always knew I wanted to be with this man (Siddharth Roy Kapur).
Did you share these thoughts with Siddharth?
Yeah, of course I told him. Not that marriage was a mistake but maybe it was true that married actresses don’t do well. And he’d keep telling me it’s not whether you’re married or not married; it’s about how the films turn out. I’d tell him but I’d made the right choices. Over time, I arrived at the understanding on my own that it’s not about the right choices. Sometimes you like the idea but the script doesn’t turn out as well and sometimes even a good script does not translate into a good film. So many variables go into making a film. So when it doesn’t work you can’t look just for one reason. Around that time Kareena’s (Kapoor Khan) Singham Returns released and it was a blockbuster. So I realised it was not about being married at all. Sometimes you just look for things to blame to make sense of your disappointments. But I was meant to go through this so that I don’t ever question my decision to marry or my choices again.
Historically, married actresses have always worked. There was Shobhna Samarth, Sharmila Tagore, Raakhee, Hema Malini, Kajol, Sridevi...
Yeah true. There was a time when actresses were women. So it was okay to be married. Then the heroine became a girl. When I joined I was already a woman. People kept telling me ‘your shelf life will be short; you have to do girly roles’. Which is why I attempted a movie like Kismat Konnection. But it flopped for me. Because I was never a girl. I was born a woman. But all that is behind me now. I’m just happy being an actor.
So are you a better wife or actress?
(Laughs) Better actress.
Would you recommend marriage to everyone?
No. It’s all about the person actually. You must find a person with whom you want to spend the rest of your life. It’s a big decision. If you find the person, great. But if you don’t, it’s not the end of the world. I’m not the kind who will say you must try marriage.
Does being financially dependent make a difference in the marriage?
It definitely does. I keep telling this to the girl who works for me that whatever you earn, you have to keep aside something for yourself. That security is something else. I tell her do things for others but even if it’s just Rs 500, save it for yourself. Money is power. It gives you the strength to take right decisions.
Happy Birthday Madhuri Dixit: Here's what made dhak-dhak girl rule the hearts of her fans
8:34 AM
Charting the rise and rise of the actress who ruled hearts for close to three decades, dazzling with her beauty on screen and off it
Subhash K Jha (DNA; May 15, 2017)
It’s hard to imagine Dixit as being 50. But then you see how beautifully she has aged, and how fabulously she has managed her life, and you know 50 is just a number that the ageless beauty has encountered in her beautiful journey of life.
Madhuri’s beginnings as an actress could never have indicated how far she would go. Her rise was not meteoric, but slow and steady. She started her career modestly in a Rajshri film Abodh in 1984.
Then came Tezaab (1988) and the hit song Ek Do Teen, that turned Madhuri into a superstar. Director N Chandra recalls, “When we were shooting the song, we knew something extraordinary was happening. Madhuri was electric on camera. Saroj Khan, who is a hard taskmaster couldn’t stop praising her. We knew Madhuri was going to be a superstar beyond any.”
Showman Subhash Ghai and the subsequent Ram Lakhan (1989) turned the tides of Madhuri’s career. The number Bada Dukh Dee Na was the first time that Lata Mangeshkar sang for Madhuri. “I felt I was finally a full-fledged heroine only after Latabai sang for me,” Madhuri had told this reporter once. The nightingale would go on to sing 16 songs for Madhuri in her most iconic film Hum Aaapke Hain Koun..!
Her journey after Tezaab and Ram Lakhan (1989) was rapid, swift and sure-footed. People like Subhash Ghai (Ram Lakhan, Khalnaayak) Boney and Anil Kapoor (Pukar), Rahul Rawail (Anjaam), Indra Kumar (Beta, Dil), Rakesh Roshan (Khel, Koyla) cast Madhuri in roles that gave her immense commercial clout and a reputation for delivering measured, graceful deep performances.
Sooraj Barjatya’s Hum Aapke Hain Koun..! is to Madhuri’s career what Mother India was to Nargis or Mughal-e-Azam is to Madhubala. It iconised the dancer-actress beyond all definitions of celluloid fame. Among those who were lifelong fans of Madhuri and the historic film was artiste and painter M F Husain who saw the film 67 times and directed a whole film Gaja Gamini dedicated to her beauty.
Sanjay Leela Bhansali confesses he’s an ardent Dixit fan. “Madhuri is magic on screen. I couldn’t think of casting anyone else as Chandramukhi in my Devdas. She was my first and only choice. Devdas couldn’t have been made without her. I wanted her for my first film Khamoshi: The Musical. But things didn’t work out at that time. As a filmmaker, it was very important for me to work with Madhuri. She is a complete actress. A skilled dancer and superlative actress,” says Sanjay Leela Bhansali.
In 1999, Madhuri married the US-based doctor Sriram Nene and migrated to Denver. Their marriage was a success because as she jokingly once mentioned, he had not seen any of her films and was not besotted by her. Madhuri decided to return to India in 2011.
At 50, her beauty and grace craves for a Bridges Of Madison County. Instead, she gets a Gulab Gang. Here’s hoping that some enterprising filmmaker would write a role that does justice to her beauty.
Shabana Azmi gifts Anil Kapoor a collage of 29 memories and write-ups of friends & family
5:35 AM
Shabana Azmi's gift to her friend was a collage of 29 memories that made him emotional. Here's why...
Roshmila Bhattacharya (MUMBAI MIRROR; January 11, 2017)
For his 60th birthday, Anil
Kapoor got what he describes as the “most precious gift I've ever
received in my life“ from Shabana Azmi a book, The Curious Case of
Anil Kapoor: 16 @ 60, which traces his six-decade journey through
write-ups from his mother, Nirmal Kapoor, sister Reena, brothers, Boney
and Sanjay, friends, co-stars, directors and even his make-up man,
Deepak.Shabana ensured deadlines were met, proofed the copies herself, dug out pictures and even sat with the graphic designer Zain of Spenta Multimedia. “It made me so happy, nostalgic, sentimental...,“ says the actor, admitting that he had to stop Shabana after she'd read out three excerpts penned by his mum, Nirmal, Aamir Khan and Javed Akhtar, because he was too overwhelmed.
“Duniya mein apne jaise bas ik hain Anil Kapoor, Main unki khoobiyun ka bayaan kya karoon huzoor, Maaloom ye huwa hai huwi jab bhi unse baat, Har din hai MINDBLOWING, hai FANTASTIC har ik raat...Jisne bhi unko dekh liya hai vo dang hai Sonam ka father hai ye magar kitna young hai, Ye dieting ka jaadu hai ki gym ka hai asar, Lagti hai ladkiyon ki inhen aaj bhi nazar, Maana ki sab ye mehnat aur zid ke nishaan hain, Ab kis tarah hain, chhodiye, lekin jawaan hain...“: That's how Javed Akhtar's poem read.
Wife Sunita refused to go public with her feelings, reasoning she's
“too private a person for this“, but unearthed two pictures from their
wedding day which had survived the Mumbai floods. When Shabana asked why
they were both looking so solemn, she reminisced with a laugh, “He was
behaving as though tragedy had struck him and I was contemplating
murdering him!“
Sonam begged off saying her schedule was crazy, younger daughter Rhea
shot past the deadline and son Harshvardhan wasn't in the 'mind space'
because he was shooting nights. Anil's mum revealed that an astrologer
had predicted he'd become famous worldwide but she hadn't believed him
then because “aisi
baatein to sirf Raj Kapoor ke liye boli ja sakti hain“. Today, she's
proud of her son.Brother Boney remembered the first time Anil had shot for a film, Tu Payal Mein Geet, in which he'd played the young Shashi Kapoor. After the shoot he refused to remove his makeup, slept with it and even attended school the next day with it on because he wanted everyone to know that he had become a film actor.
Shabana,
in her passage, informed how, at 10, Anil had travelled by bus all
alone from Chembur to Peddar Road to take guitar lessons for the film.
Yet she took an instant dislike to him when she once spotted him in
black drainpipes and a red shirt with all the front buttons open. She
reckoned he was a rich brat, a producer's son, and was horrified to
learn that he'd been cast in a bit role in her film Ek Baar Kaho and
she'd have to suffer him through a month-long schedule in Darjeeling.However, she discovered that he was the opposite of the upstart she'd expected. He was hungry to learn and while the other youngsters couldn't wait to party after pack-up, Anil would hang around hoping to catch favour with the director, Lekh Tandon, so that he could be given at least one scene to make a mark. “Oh, how he wanted that song that was picturised on Dilip Dhawan! He didn't get it but he didn't let his disappointment turn into disenchantment,“ she remembers.
Anil found it hard to get a break as a hero because he looked too much like Raj Kiran. Once, when Rajkumar Barjatya told him he was good but he wanted someone younger, a frustrated Anil dragged his kid brother, who was playing cricket at the time, telling him he could take Sanjay. “His attitude was that koi to ghar mein hero ban jaye,“ Sanjay laughs.
He was impressed with N Chandra's script of Tezaab, but had no dates for two years. “Boney promised to give all cancelled dates for Tezaab provided I was ready to shoot at 48 hours' notice. We accepted and the film was completed in time,“ reveals Chandra while his co-star, Madhuri Dixit, recalls how in their first meeting she noticed a tall, lanky guy who kept checking his hair in the mirror. Subhash Ghai gives 25 reasons why Lakhan is his favourite actor, one of them being that “he is too envious of handsome stars but finds himself the most handsome in front of the mirror“.
Art director Bijon Das Gupta once complimented him on his efforts to remain fit telling him that he was giving contemporaries like Jackie Shroff a run for their money.“ Anil had retorted, “Jackie is not my competition. Shahid Kapoor and these guys, they are my competition.“
Aamir Khan shared how, around 13-14 years ago, when he was going through a broken marriage, he'd sit alone and drink till he passed out. “This self-destructive behaviour continued for a year-and-a-half. For some reason, he reached out to me. He would come over to spend time with me. He saw me spiralling out of control... He spoke to me, never about my situation, but about hope and films. He made me laugh,“ Aamir shares.
The director of his home production, Gandhi, My Father, Feroz Abbas Khan, calls Anil the Dale Carnegie of the Indian film industry. “If you want to have a good day, call him in the morning; if you want to have a great week, meet him in his gym, if you want a healthy life, have lunch with him; if you want a life exploding with possibilities, make him your friend for life.“
Padmini Kolhapure flashbacks to 1986 when they were shooting for the title track of their film Pyaar Kiya Hai Pyaar Karenge. Between shots Anil very seriously came up to her and proposed on behalf of his dear friend, Tutu Sharma, unaware that she and Tutu were already secretly courting. “Till today he can't get over it and keeps saying, 'Kya bevakoof banaya mujhey!' she chuckles.
Shekhar Kapur insists that his Mr India still needs to convince himself that he is successful and that's his most endearing quality. Nephew Arjun asserts, “He's defied the odds to become a star and he's defied the numbers to be 16 at 60... Happy birthday Anil Chachu stay Jhakaas forever!“ Jhakaas has become his memorable clarion class from the resolutely unmemorable Yudh. But film critic and long-term friend Khalid Mohamed reveals that nothing rattles Anil more than when he's asked to cry out loud, “Jhakaaaas!“ When a princeling of a royal family air-dashed from Rajasthan to B-town, wormed himself into the Kapoor residence, sprinted towards the actor, and yelled at the top of his voice, “Ekdum jhakaaas!“ AK blushed a bright red, asked the household staff to serve the Rajkumar a cup of tea, and skedaddled from the scene. He had to get to the gym for his afternoon work out anyway.
Watching Madhuri Dixit dancing in Tezaab was the trigger-Vidya Balan
8:34 AM
Shaheen Parkar (MID-DAY; January 1, 2017)
I was about 11 when I first watched Madhuri Dixit dance her iconic number, Ek Do Teen, in Tezaab. I consider this a trigger point that made me interested in movies. The acting bug had bit me.
In the years that followed, during my growing up years, I carefully watched actors’ performances and tried to imbibe the things I liked. My sister, Priya, would constantly tell me that acting wasn’t just about having a pretty face and a good body. It’s what you do with it. It is how you use it to convey what you are thinking, feeling and going through.
Of course, over time, my understanding of acting changed and evolved, but at a basic level, I think the one factor that has, and still remains, is my interest in people and their life stories. It is the chance to relate to their tales or alter them. Or perhaps, imagine how changing a little bit in someone’s life can change their life altogether. This is probably most evident in my choosing a film like The Dirty Picture (2011). The South sex siren, Silk Smitha, is far removed from the person I am. I wanted to know what and how it feels. I could only do that by living her.
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