Showing posts with label Woh Kaun Thi. Show all posts
Showing posts with label Woh Kaun Thi. Show all posts
Jacqueline Fernandez's next is a Gothic horror inspired by Woh Kaun Thi
9:41 AM
Upala KBR (MID-DAY; July 29, 2026)
Two back-to-back comedies in Housefull 5 (2025) and Welcome To The Jungle later, Jacqueline Fernandez is looking for a change of pace. An atmospheric horror film might just be the answer. mid-day has found out that the actor has signed a supernatural thriller, along the lines of Raj Khosla’s celebrated film Woh Kaun Thi? (1964)
Produced by Khyati Madaan, the yet-untitled movie is set in a small town of North India. A source from the team revealed, “Jacqueline plays a modern, working woman who gets caught up in supernatural events occurring around her. It’s not a creature feature or vampire film; the horror elements are subtly played like they were in Woh Kaun Thi? Think of it as an old-world dark film with Gothic elements. Here, the story is based on a real supernatural phenomenon. Jacqueline will also be seen doing some action.”
Two actors have been roped in alongside Fernandez. However, the makers are keeping the director and cast under wraps until they make an announcement in September.
That’s when the makers intend to take the project on floors as well. A start-to-finish schedule has been planned, with the unit set to begin filming in a North Indian city, followed by Mumbai and an international location.
The source added, “British cinematographer Mark Nutkins — who was part of the second unit on Bridgerton, and has shot Rivals [2024] — will be the director of photography.”
Manoj Kumar generated employment for so many people-Prem Chopra
3:20 PM
(From left) Prem Chopra and Manoj Kumar in Upkar and Shaheed
Close friend and veteran actor Prem Chopra remembers Manoj Kumar’s contribution to cinema and his career
As told to Upala KBR (MID-DAY; April 5, 2025)
I came from Shimla to become an actor. But I took up a job in a newspaper to gain a foothold in the film industry. Manoj [Kumar] was always there to help me; he has contributed a lot to my career. I was there in almost all his films. We were the best of friends, and we did many films together, including Dr Vidya [1962], Shaheed [1965], Upkar [1967], Yaadgaar [1970], Purab Aur Paschim [1970], Kranti [1981], Sanyasi [1975] and Be-Imaan [1972]. The films he made, glorifying India, are remembered even today. [That is why] he is also known as Bharat Kumar. He was a filmmaker, writer, and producer. Some of the current generation of filmmakers are even copying his patriotic style of making movies. In every film, he conveyed a message to his country. Manoj also generated employment for so many people through his films. He was instrumental in changing the images of many actors who have sustained in the film industry because of him.
My first film with Manoj was Woh Kaun Thi? [1964]. After that, he offered me the role of Sukhdev [Thapar] in Shaheed, based on Bhagat Singh, Sukhdev, and [Shivaram] Rajguru. That was my big break.
Set against the backdrop of the Indo-Pakistani war of 1965, Upkar [1967] celebrated the contributions of farmers and soldiers to India. The film also marked Manoj’s directorial debut. Initially, Rajesh Khanna was set to do the role, as Manoj wanted a young actor, but he had to opt out due to other commitments. So, he immediately cast me, as the set was ready, and we had to start shooting.
People have often compared him to some of the best directors of India, including K Asif and Raj Kapoor, among others. Manoj was ahead of his time; he would sketch out his characters and give them to his actors. It was so easy to work with him because he was clear about what he wanted. Manoj would tell you everything you were going to do [in the scene] and then back off so as not to disturb the actors in front of the camera. When he was directing, his mind was completely focused on the film 24/7. Manoj had directed himself in so many movies; he also wrote his own dialogues, which were challenging. He knew everything about cinema, including cinematography and music.
I will miss him; he was a dear friend. I feel sad that he has left us. Manoj’s name will be written in gold in film history.
Madan Mohan's 100th birth anniversary: Under-feted in life, ghazal maestro finds a new note
8:59 AM
Chartbusting Success And Awards Largely Eluded Madan Mohan During His Lifetime, But The Decades Have Burnished The Legacy Of The Composer Whose Birth Centenary Is On June 25
Avijit Ghosh (THE TIMES OF INDIA; June 23, 2024)
Some songs have afterlives. They are reborn in other languages, repurposed as jingles and cover versions, discovered and nurtured by new generations and geographies. Madan Mohan’s haunting composition, ‘Lag Jaa Gale’, a brew of melody and melancholy, belongs to that elite club of single malt songs.
Here are the facts: the classic from ‘Woh Kaun Thi?’ (1964) was reused in a bunch of films, notably as ‘Ponmeni Thazhuvaamal’ — lensed on a teenage Jayalalitha in the 1966 Tamil film, ‘Yaar Nee?’ — and, more recently, in ‘Saheb Biwi Aur Gangster 3’ (2018). Several Pakistani singers have crooned it; there’s a qawwali version, too. The track was used to promote digital audio player, Saregama Carvaan. No wonder, the song, written by Raja Mehdi Ali Khan and voiced by Lata Mangeshkar, has over 300 million YouTube hits.
And here’s the irony: ‘Lag Jaa Gale’ didn’t figure among the top 32 songs of 1964 in Binaca Geetmala’s annual hit parade even though two other numbers from the same film — ‘Jo humne dastan apni sunayee’ and ‘Naina barse rimjhim rimjhim’ — made it to the coveted chart.
Unsung Star
Lag Jaa Gale’s fate is emblematic of Baghdad-born music director Madan Mohan’s chequered career, which brims with moody melodies that have stood the test of time and changing taste but that seldom became chartbusters or won awards. In a career spanning 25 years, the composer didn’t take home a single Filmfare statuette.
Only three of his songs figured in Geetmala’s Top 5 hits of the year. The frisky ‘Ae dil mujhe bata de’ (No.5 spot, film: ‘Bhai Bhai,’ 1956), the folksy and dancey, ‘Jhumka gira re’ (No.4, ‘Mera Saaya’, 1966), which was recast in Karan Johar’s ‘Rocky Aur Rani Kii Prem Kahaani’ (2023), and 1977’s ‘Koi pathar se na maare mere deewane ko’ (No.1, ‘Laila Majnu’). Tragically, the music director had breathed his last a couple of years before that. He was only 51.
His eldest son Sanjeev Kohli writes that the lack of mass adulation always caused him anguish and, over the years, embittered him. “The man who was acknowledged as a genius by people who understood and appreciated music was never at the top rung in the hit parades or with the big banners or the big stars,” he says in the website, madanmohan.in.
With exceptions like Madras-based production house AVM and filmmakers like Chetan Anand and Raj Khosla, Madan Mohan mostly scored music for smaller producers and directors. He worked for Devendra Goel (who gave him his break with ‘Ankhen’ in 1950), Shakti Samanta and Pramod Chakravarty, too, but that was much before they became industry biggies.
The songs he composed were invariably better than the movies they were located in. Often, they are the only notable element of a film. Some of his finest works, ‘Dekh Kabira Roya’ (1958), ‘Jahan Ara’ (1964), ‘Dulhan Ek Raat Ki’ (inspired by Thomas Hardy’s ‘Tess of the d’Urbervilles’ (1967), was for movies that were mega flops. The songs are remembered, not because of the movie, but despite its failure.
Ghazal Maestro
There is a timelessness and universality to his compositions, says film music historian Pavan Jha. Veer Zaara’s tunes were used about 30 years after his death, but they don’t sound outdated at all, he says.
Nobody composed ghazals better in Hindi films. The music director with leading man looks had the gift to imbue songs with subterranean sadness even when the words were not overtly so, notably in ‘Aapki nazron ne samjha’ (‘Anpadh’, 1962), ‘Teri aankon ke siva duniya mein’ (‘Chirag’, 1969) and Dil dhoondta hai (‘Mausam’, 1975).
Jha reasons that unlike some of the more popular music directors, Madan Mohan understood and appreciated Urdu poetry. He sang as well. “Which is why there’s a special symmetry of words and melody in his compositions,” he says. His niece, actor Anju Mahendroo, reinforces the point. “He wasn’t formally trained in music. But he was blessed with inborn talent. His music came from his heart,” she says.
He was also a master of the mega song, best illustrated in ‘Tum jo mil gaye ho’ (‘Hanste Zakhm’, 1973) and ‘Har koi chahta hai’ (‘Ek Mutthi Aasman’, 1973). Like Vivaldi’s Four Seasons, these ambitious tracks change tempo, evoking a multitude of yearnings. He was versatile, too. Few patriotic pieces are as moving as ‘Kar chale hum fida jaan-o-tan saathiyon’ (‘Haqeeqat’, 1964). And, you’d seldom have heard a more joyful track than ‘Zaroorat hai zaroorat hai’ (‘Man-Mauji’, 1962).
Songwriter-singer Amitabh Bhattacharya stumbled upon a Madan Mohan track from the unreleased film, ‘Jahan Tum Wahan Hum’. “Over the days, I kept returning to it and I think it underlines the strength and class of the composer who is making us listen to his song in an era where everything is fleeting and clutter rules our audio universe,” he says. The song goes, ‘Kaise kategi zindagi tere bagair’.
In 1970, Madan Mohan won the national award for best music director for ‘Dastak’. Writer-director Rajinder Singh Bedi’s movie had some of the composer’s most poignant and sensitive melodies like ‘Baiyan na dharo’ to ‘Hum-hain-mataae-koocha’ and ‘Mayee ree’. “He was extremely sensitive. During a song recording of ‘Hanste Zakhm’, he was so moved by a note of a sitar that he started weeping profusely,” recalls Mahendroo.
Man Of Principles
He was also a man of conviction and principles, a trait he shared with fellow composers such as Jaidev and Khayyam. “While he was convinced that Talat Mahmood was the right singer for some of ‘Jahan Ara’s’ songs, the director was insistent that Rafi saab be given all the songs. My father did not budge and was willing to give up the film. The same thing happened when he chose Rafi saab over Kishore Kumar for the songs of ‘Laila Majnu’. The directors finally gave in and these films became musical landmarks,” Kohli writes. Overshadowed by Kishore Kumar in the post-‘Aradhana’ era, the superhit songs of ‘Laila Majnu’ helped Rafi stage a strong comeback.
Like the finest of whiskeys, many of Madan Mohan’s compositions have aged remarkably well and his reputation vaulted. In the run-up to his 100th birth centenary, celebrations of his life and songs are planned in places such as Mumbai, Surat, Pune and others. The master music maker would have loved that.
Lag Jaa Gale is a song that I can resonate with considering everything seems so uncertain-Radhika Madan
8:28 AM
Angrezi Medium actor Radhika Madan discusses recreating Lata Mangeshkar's hit number Lag Jaa Gale
Uma Ramasubramanian (MID-DAY; June 25, 2020)
Lockdown collaborations have become the latest virtual trend. Joining the bandwagon is composer-singer-lyricist Jasleen Royal, who kicks off her maiden music video featuring Radhika Madan. The actor will also be seen playing a keyboard for the recreation of veteran singer Lata Mangeshkar's hit song, Lag Jaa Gale, originally written by Madan Mohan Kohli and Raja Mehdi Ali Khan for the 1964 film, Woh Kaun Thi."We opted for Lag jaa gale because it is a deep-dyed classic that continues to delight listeners of all ages," says Royal, adding that she started curating the introduction [of the song] after discussing the project with Madan. "Radhika enjoys playing the keyboard and had sent me a few of her jamming videos. I dusted off my accordion for the reinterpretation of the track. With assistance from our househelp, we wrapped up the shoot within a fortnight."
Madan, who has started honing her music skills during the Coronavirus lockdown, ticked one item off her bucket list. "Learning an instrument has always been on my bucket list. I have been practicing the piano to perfect that craft. Lag Jaa Gale is a song that I can resonate with considering everything seems so uncertain. You don't know what is in store for you tomorrow," says Madan enthused about her collaborating with Royal. "Jasleen has guided me through the entire piece — the keys, chords and the overall conceptualisation."
When Sadhana haunted Manoj Kumar and Biswajit almost died to save her
8:08 AM
Roshmila Bhattacharya (MUMBAI MIRROR; September 7, 2019)
Since the last few days, it’s been pelting down in Mumbai which is perhaps why the song from Woh Kaun Thi?, “Naina Barse Rimjhim Rimjhim” is stuck in my mind or maybe because September 2 was its leading lady Sadhana’s 78th birth anniversary. Even after 55 years, Madan Mohan’s haunting melody, along with the vision of the mysterious lady in white, resonates in our collective memory. Its ‘hero’ Manoj Kumar recalls filming the song in Kufri with Sadhana ji lip-synching to the composer’s voice because Lata Mangeshkar had fallen ill and was unable to record it before the schedule. To ensure that the schedule was not cancelled, Madan Mohan ji recorded the song himself, telling director Raj Khosla that Lata ji could dub it on their return. “A crowd of star-gazers were watching us shoot, and after a while they wondered aloud why Sadhana was singing in a man’s voice,” he guffaws.
Manoj Kumar saab (right) himself had recommended Sadhana ji’s name, but while she was keen to partner with him in the chiller thriller, she pointed out that since neither of their films had done well commercially, it might not be a viable jodi. To this he quipped, “Two minus will make a plus.” However, the actor admits, that having taken off to Delhi earlier, he was on tenterhooks, wondering which actress was coming, till he saw Sadhana ji and heaved a sigh of relief.“Woh Kaun Thi? also made me a full-fledged writer,” reveals Manoj Kumar saab who having ghost-written in his struggling days, was going through the script while his director shot with Parveen Choudhary who played Dr Lata. On Khosla saab’s return, he told him that he wanted to discuss some scenes and was invited to his hotel room. When Manoj Kumar saab confessed to having rewritten six-seven scenes, Khosla saab silently read them, then, without saying a word, strode to the actor’s room where his wife Shashi was sitting with producer N N Sippy, Sadhana and her parents. “Even as we watched wide-eyed, he chucked the file he was holding in one hand into the burning fireplace, saying, ‘There goes the original script, we don’t need it anymore’, then, waving the sheaf of papers in his other hand, added, ‘Pandit ji will write a new one for us,’” recounts the actor who from that day was frantically writing between shots. “Raj Khosla would stroll across to enquire how far I had progressed, and when told I’d finished half a scene, would insist we shoot that much, before I returned to complete it. I not only wrote the script and acted in the film, I even gave it its intriguing title and designed an eye-catching poster which had me with my back to the camera and Sadhana facing it,” informs Manoj Kumar saab.
Another star of the ‘60s, Biswajit (left) also shares anecdotes from his triangular love story with Sadhana and Dharmendra, Ishq Par Zor Nahin, which released six years later in 1970. He played Amar, the only son of a millionaire shipping magnate while Dharam ji was his impoverished friend, Ram, whom he gets a job in his father’s company. He then uses his friend’s talent as a shayar to woo Sadhana ji’s Sushma, only for her to decide that she will marry Ram when she discovers that he’s the real poet. This plot was tweaked for Lawrence D’Souza’s Salman Khan, Sanjay Dutt and Maduri Dixit’s musical romance Saajan .The original love story ended in flames, literally. In the climax, shot aboard a ship, Biswajit da’s father (Abhi Bhattacharya) shoots at the fuel tank, and within minutes, there’s fire around the ship as the spilled petrol burns. Playing the sacrificial hero, Amar jumps into the sea, grabs a lifeboat and sends Ram and Sushma to safety, but loses his own life.
“To everyone’s horror, despite all the precautions we had taken, the blaze suddenly went out of control. There were no fire brigades around to douse the leaping flames that encircled me, and like everyone else present, I too believed that the reel life tragedy would happen for real when the film’s action director threw a chain into the water, and instructed me to grab it, saying I should swim underwater. Being a strong swimmer, I dived below the surface and found my way out of the fiery ring, living to tell you the story,” he signs off with a relieved laugh.
What lies ahead for Aishwarya Rai Bachchan...
8:08 AM
Nayandeep Rakshit (DNA; August 30, 2018)
Ever since Aishwarya Rai Bachchan returned to the silver screen with Jazbaa (2015), she has been taking measured steps. In the last three years, she has been a part of four projects. The diva is clear that she wants to do movies that will help her portray diverse characters and make the audience see her in a new light. She talks to After Hrs about the films that she has greenlit and the ones that are still being worked on.
Couple Shenanigans
After the recently-released Fanney Khan, Ash will be seen in Anurag Kashyap’s Gulab Jamun opposite Abhishek Bachchan. The former beauty queen is excited to share screen space with her hubby after eight years. They were last seen together in Mani Ratnam’s Raavan (2010). Ash reveals, “I agreed on it early last year. At that time, Abhishek had taken a small break to review his work. It was a good move because I think every professional should do that. He just wanted to sit back and decide what he wanted to do next.” She adds, “He chose Manmarziyaan then, and now with Anurag directing this one (Gulab Jamun) too, people have incidentally put it together and there have been a lot of re-mentions. We will set the plan to do this one soon.”
No Clarity On Cop Drama Yet
Abhi-Ash were also approached to star together in Shailesh R Singh’s next production venture, where they were supposed to play cops. “The discussions stopped midway in February this year. Abhishek had asked them to rewrite some aspects of his character. I don’t know whether he continued to show interest in it or he dropped it completely. I couldn’t reconnect on my part.” Apparently, Junior Bachchan has not liked the final draft of the script and moved on. Quiz her if she will do the project and the light-eyed beauty says, “I’m not saying that it has to be Abhishek and me together, otherwise we won’t do the film. We are both liberated as artistes. But it still needs to be ideally cast. Only then you will see the magic on screen.”
Rewrite And Right Issues
After Fanney Khan, Aishwarya was also in the news for three other projects with the same producer. But none of them has materialised as yet. However, the Ae Dil Hai Mushkil heroine admits that there’s still a possibility with these movies. “I had asked the makers of the surrogacy story (Jasmine) for a rewrite. There were two remakes (Woh Kaun Thi and Raat Aur Din), which were interesting ideas. I respect the movies of those times (the ’60s). So, I asked them to get their rights in place,” she asserts. If all goes well, she will reprise Nargis’ iconic role in the Raat Aur Din remake. “When Sanju (Sanjay Dutt) and I were filming Shabd (2005), he had said that if there was ever a remake of Raat Aur Din, I should essay the protagonist. It made me happy that he believed I could play his mother’s role,” signs off Aishwarya.
Criticism doesn't spear through my heart-Aishwarya Rai Bachchan
8:11 AM
Sashaying down the red carpet of the prestigious festival for the 17th year as the ambassador of L'Oreal Paris, Aishwarya Rai Bachchan wowed fashion critics with her outing in a Michael Cinco gown
Sonil Dedhia (MID-DAY; May 15, 2018)
With her latest appearances at the Cannes Film Festival, Aishwarya Rai Bachchan showed why the title of one of the world's most beautiful women rests deservingly on her shoulders. Sashaying down the red carpet of the prestigious festival for the 17th year as the ambassador of L'Oreal Paris, the actor wowed fashion critics with her outing in a Michael Cinco gown, followed by the dreamy Rami Kadi creation. However, Rai said she doesn't understand the judgment that goes hand-in-hand with such outings.
"Shringaar [here, dressing up] has been part of who we are. It's an individual choice and people need to stop judging each other," said Rai. Though she has been having a good run at the style central over the past few years, it hasn't been a cakewalk for her — the fashion police had come down heavily on her during her missteps in the initial years at Cannes. When asked how she deals with the criticism, she said, "There can be immense praise or criticism, which comes with being a celebrity. I don't disrespect it, but it doesn't spear through my heart."
With her Cannes commitment behind her, Rai is now expected to get back in the thick of things. Reports suggested that she would team up with Prernaa Arora's KriArj Entertainment for three films — Jasmine, and the remakes of Raat Aur Din (1967) and Woh Kaun Thi (1964). However, Rai insisted that she is yet to give her nod to them. "After I was given a narration of Jasmine, I requested the team to rewrite a few things. So we'll see where that goes. Woh Kaun Thi and Raat Aur Din remakes are fabulous ideas. Once I return from Cannes, I will sit down with the team and understand how they want to remake the films. Only then will I take a call."
I choose to find pleasure in the moment-Aishwarya Rai Bachchan
8:13 AM
DNA (April 3, 2018)
Aishwarya Rai Bachchan has mastered the art of juggling her personal and professional lives. From being a daughter, wife, and a hands-on mom, to acting, endorsing brands and making red carpet appearances, she does it all with ease. In this excerpt from Vogue India, April 2018 issue, she talks about how she makes the most of what comes her way...
What’s a day in the life of Aishwarya Rai Bachchan like?
It’s busy! In the superlative. I spend all my time with Aaradhya and I respect homemakers for the endless work they do. As far as downtime goes, it’s about perspective — if you believe you’re tired, you will be, so I choose to find pleasure in the moment and experience the present for what it is.
Tell us about your upcoming projects.
In Fanne Khan, I’m playing a chapter in the narrative that I believe is intrinsic to the story. I’ve been approached for the remake of Raat Aur Din, which is a great opportunity, and what’s funny is while filming Shabd, Sanju sir (Sanjay Dutt) said he’d have loved for me to play the part, and I was very touched. We’re still working out the details. I’ve also been approached for a remake of Woh Kaun Thi?
You inspire multitudes and are part of the first family of Indian cinema. But do you have any role models or dream roles?
My mother is the only one I know inside out, so as a role model she’s the only one I choose to name — and it’s her values I’m imbibing consciously and subconsciously while raising my daughter. I’ve never shared dream roles…because what if someone writes it for you? Then what? You’ll have nothing to look forward to.
Aishwarya Rai Bachchan to be seen in remakes of Raat Aur Din and Woh Kaun Thi?
7:53 AM
Nayandeep Rakshit (DNA; March 22, 2018)
Aishwarya Rai Bachchan is on a remake spree or so it seems. After Fanne Khan with Anil Kapoor, that is slated for a July release, the former Miss World is likely to team up with Prernaa Arora’s KriArj Entertainment for three other films, which will include the remakes of Raat Aur Din (1967) and Woh Kaun Thi (1964).
Says a source, “Aishwarya has become a favourite with KriArj. They have loved the Fanne Khan experience and going forward, they want to consolidate their relationship with her. She is doing KriArj’s next which is co-produced by Siddharth Anand and directed by Rohan Sippy. It’s an edgy thriller that will have another younger actress and a hero along with her. She has also been locked for the Woh Kaun Thi remake in which she will reprise Sadhana’s role from the original. The producers wanted someone as beautiful as Ash to play the character that was essayed by the yesteryear actress. The team plans to start one of the two films this July.”
That’s not all. There’s another movie lined up right after they complete the above films. “Many have confused Rohan Sippy’s thriller to be the Raat Aur Din remake. They are two different projects altogether. Aishwarya is definitely doing the remake of the Nargis-starrer as well where she plays the lead role. But the psychological thriller is still in its initial stages and it will go on floors only next year.”
Shahid Kapoor to star in Woh Kaun Thi remake?
8:07 AM
Mohar Basu (MID-DAY; March 13, 2018)
After a social drama in Batti Gul Meter Chalu, Shahid Kapoor may be attempting a psychological thriller next, if all goes as planned. Buzz is the actor, who has a three- film deal with KriArj Entertainment, is one of the frontrunners for the production house’s recently- announced remake of Manoj Kumar’s iconic film, Woh Kaun Thi (1964).
A source tells midday, “Shahid has developed a great rapport with Prernaa Arora [one of the producers of KriArj Entertainment] in the course of Batti Gul shoot. After this project, he is committed to doing two more films with the studio. So when they bought the remake rights of Woh Kaun Thi, he was one of the first choices to essay Manoj Kumar’s role.”
Arora, on her part, is excited to be revisiting the mystery drama, which had set cash registers ringing when it released in 1964, to the big screen. She says, “This is our tribute to Manoj Kumar. He knows we are planning a remake of his film. We have also acquired the rights of two songs, Lag Ja Gale and Naina Barse.”
Ask her if Kapoor is likely to step into Kumar’s shoes and Arora adopts a diplomatic stance. She says, “It’s too early to talk about the cast. We are just at the starting point.”
Manoj Kumar speaks about ghost writing and directing Woh Kaun Thi
7:39 AM
Roshmilla Bhattacharya (MUMBAI MIRROR; December 16, 2014)
On October 18, 1962, around 2 am, Manoj Kumar's eldest son Vishal Goswami, was born. The beaming first-time dad returned home to find a letter waiting for him. It was from N N Sippy. The congratulatory message hinted that the producer wanted to meet the actor again.
"Nari Sippy (as N N Sippy was fondly called) had previously approached me with a couple of film offers. But despite two superhits, Hariyali Aur Rasta and Grahasti, my career hadn't taken off and this had made me cautious. So, I had decided to sign a film only if I was confident about the story, director and the set-up," recalls Manoj Kumar. He admits he wasn't too pleased to find Sippy and screenplay writer Dhruva Chatterjee waiting for him at the Holy Family Hospital when he went to check on his wife Shashi and their newborn son.
This time it was difficult to shake off a persistent Sippy who requested the actor not to focus too much on project details. "Beta paida hua hai, put your faith in his kismet and give your nod to my film," he urged, and Manoj Kumar, moved by his emotional words, obliged.
Soon after, Raj Khosla came on board to direct the psychological thriller that revolved around a doctor who is the heir to an inheritance, a mysterious woman who waylays him on a rainy night, turns up dead in an eerie mansion, then returns as his wife. Manoj Kumar had suggested the title, Woh Kaun Thi?, and after hours of brainstorming had come up with Sadhana's name to play his leading lady. The actress had seen his films and was keen to work with him. But, she pointed out that since she was also going through a low phase in her career, commercially they wouldn't be a viable jodi.
"Shooting was to start on January 22, 1963, in Shimla. Leaving behind my two-month-old son, I took off for Delhi where I waited till January 18, wondering about my leading lady. I was so relieved when I saw Sadhana at the station," he recalls.
Once they reached the location, he started reading the scenes and wasn't impressed. Since it was an important film for him and he had the time, Manoj Kumar started rewriting the script. By evening, he had reworked 10-12 scenes, and hesitantly gave them to the director.
"Sadhana, her parents, the rest of the cast were sitting around that evening when Raj Khosla entered with the original script in one hand and the one I had rewritten in the other. He threw what had been written earlier into the fire and pointing towards me announced that I would be writing the film," reminisces the actor.
Thereafter, between shots, he'd be writing frantically on the sets. "After a while Raj Khosla would walk over and ask, 'Panditji Maharaj, kahan tak pahunche?' If I'd finished half a scene, he'd shoot that much, then let me return to my writing," says the actor, adding that in his later interviews Khosla would often refer to him as his 'half guru and half chela'.
He didn't get credit for his ghost writing or for having ghost directed a scene. It happened when they were shooting in Kufri near Shimla. Looking for snow, Manoj Kumar wandered down to the valley below and returned excitedly to tell Khosla that they should shift base. Khosla confessed that he turned dizzy when looking down and requested the actor to can the shots for him. He was happy to oblige.
According to Nari Sippy's brother, Gul, Manoj Kumar was involved in all departments— from screenplay and dialogue writing to acting and editing. "He would sit with the editor through the night and even accompany me to Tardeo to look at the hoarding. He also suggested the poster design," Gul informs.
It was Manoj Kumar's idea to focus on Sadhana's face in the poster while only his back is seen. "It helped build up the suspense that got people hooked," he reasons.
Madan Mohan's music was another crowd-puller with evergreen hits like Naina barse rimjhim rimjhim and Lag jaa gale. The latter is one of Lata Mangeshkar's personal favourites. Yet, it almost didn't get featured in the film. The director had rejected the song much to the distress of the music director who then made an SOS call to Manoj Kumar.
He hesitatingly fixed up another sitting with Madan Mohan for Sippy and Khosla. He went half-an-hour before the meeting and listened to the song. "It was mesmerising and when Raj arrived, I told him to listen to it a couple of times. He did, silently, then picking up his shoe started hitting himself on the head wondering how he, a singer with a keen ear for music, could have turned down this song," says the actor.
The black-and-white film released in 1964 was a superhit. Manoj Kumar went on to act in two more suspense thrillers, Gumnaam (1966) and Anita (1967). Ask him whether he was surprised by Woh Kaun Thi?'s success and he insists that he wasn't. He recalls how after the film's premiere, Dara Singh, who he'd seen triumph in the akhadas of Delhi, congratulated him saying, "You are a wrestler."
Equally impressed was master filmmaker Mehboob Khan. He referred to Khosla as the Alfred Hitchcock of India. "He called me India's Rock Hudson and asked both of us to see him in his studio soon," smiles Manoj Kumar, relishing the moment even after half-a-century.
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