While the male actors of Bollywood are reluctant to experiment with their roles, it is the women brigade that has taken the lead in attempting different roles and even shouldering the risk of spearheading them too. Hrithik Roshan who was offered an adaptation of Night Manager reportedly opted out because of his comfort with conventional films versus the web series that requires long working hours. Experimental endeavours like Tubelight and Zero have forced Salman Khan and Shah Rukh Khan to go back to doing commercial cinema, their strongholds. Whereas Aamir Khan continues to script new hits with experimental creativity as his USP. Other names that feature prominently in the experimental genre are Saif Ali Khan, who today is one of those who play characters rather than conventional heroes in the film; and Shahid Kapoor, who has taken risks with a whole-hearted plunge into the webspace. Still, the most sought-after actors are concerned about the image and worried about losing their audiences if they drifted away from formula films. At the same time more and more actresses are coming forward to experiment; striving to “be the change” in the cinema, just like what Vidya Balan once promised to her fans. Today, a Kangana Ranaut, Taapsee, Deepika Padukone, and Alia don’t really need a hero as they prefer to play the heroes in their respective films

Mughal-e-Azam is considered a masterpiece in Indian cinema. This all-time hit epic historical drama directed by the renowned K Asif starring Prithviraj Kapoor, Madhubala, Durga Khote and Dilip Kumar was released in 1960. The character of Prince Salim played by Dilip Kumar has been immortalized. But not many know this great masterpiece was made in fits and starts. It took 10 years to complete it. And there were several reasons for it. One was director Asif fell in love with Dilip Kumar’s sister Akhtar and this incensed Dilip Kumar who refused to shoot till the matter was finally resolved. Besides, Dilip Kumar and Madhubala had an affair that ended around the making of this film and this took a toll on the shoots as their on-screen chemistry went awry. Finally, the pearls that were used in the shoot would break every time it fell on the floor, and the shooting had to be cancelled. It was then decided to import unbreakable pearls from Belgium and getting those in the sixties took months. It was finally released with all the fanfare at Maratha Mandir. By evening it was declared flop. This news depressed the cast which met at Asif’s house near Opera House after the premiere. Looking at all of them Asif said, “Kyon, Chehre Latak Gaye! Dekhna Ye Film Zabardast Hit Hogi.“ And it did.

Finally, the controversy-hit Rhea Chakraborty will see the release of her film Chehre this month. It was during the making of this film, the idea to act in a film opposite Sushant Singh Rajput (SSR) was mooted. Unfortunately, that didn’t happen with the mysterious death of SSR. Rhea, one of the main accused, faced trial by the media for more than a year. But the young star managed to weather it all and get her life back. Rhea is now confidently socializing, focusing on fitness and talking to producers. She seems to get her PR right as the personal attacks vis a vis SSR coverage have reduced except on Twitter where SSR continues to trend. Although the industry is not spelling it out, but it seems they have accepted her and some announcements may be made soon. Director of Chhere Rumi Jaffery may sign her for his next film. Speaking to a cross-section of people, the general thinking is: Rhea deserves a second chance – just like actor Sanjay Dutt, who spent five years in prison under Arms Act after the TADA Court acquitted him in the 1993 Mumbai serial bomb blast case. The audience has accepted him, and he continues to be the most sought-after actor in Bollywood. Well, Amitabh Bachchan and Emraan Hashmi-starrer Chehre looks like a ‘thodi si lift kara de’ moment for Rhea, which may open up new possibilities for the budding star.

A few months back, when the 30-year old Kartik Aaryan lost three films in a row there were murmurs in the film trade especially the big production houses that the actor’s career is over and he may not get work as he was ousted from both Shah Rukh Khan and Karan Johar productions. On the contrary, the opposite has happened. A few well-known production houses who were chasing him have quickly signed him on.  Among them is well known producer Sajid Nadiadwala. Likewise Ekta Kapoor who is supposedly to be a close friend of Karan has taken over the project that was once to be produced by SRK’s Red Chillies Entertainment. Interestingly, Kartik seems to have carved a niche within Bollywood. He has support from award winning filmmakers like Hansal Mehta who is also directing him. Besides, producer-director-writer Anubhav Sinha has been praising Kartik on social media. The proof of the pudding is in eating and it is learnt that the actor’s remuneration too has gone up. This proves that he is a bankable star and his box office track record proves he is a big draw as a solo hero. Kartik who started his journey in Bollywood with multi-starrers It is his track record with Lukka Chhupi and Pati Patni Aur Who that won him the confidence of producers like Sinha, Mehta and Nadiadwala.

Everybody deserves a second chance. In Bollywood, yesteryear’s stars are padding up for a second innings. Mandakini of Ram Teri Ganga Maili fame, Kalpana Iyer who predominantly played a vamp role, and Farheen Prabhakar, a Madhuri Dixit look alike who married cricketer Manoj Prabhakar, are keen to return to acting, and don’t mind playing their age.  Big B was lucky. Kaun Banega Crorepati launched him into the stratosphere and there was no looking back. But, not everybody is lucky. Superstar Rajesh Khanna tried very hard to make a comeback but alas. Ditto: Popular star Mumtaz. Versatile star Govinda who is making guest appearances on reality shows, is yet to get the big break on the silver screen. Fardeen Khan is also knocking at producers’ doors and may sign up for a web series. For Madhuri Dixit-Nene the return was not a cakewalk. She has now come to terms, and settled down to judging a dance reality show, acting in a web series for Dharma Productions and occasionally cutting an album. Effectively, she is in the limelight. Shilpa Shetty had a high visibility thanks to a reality show Super Dancer, and her Yoga album, but got a break in the big screen after a gap of 11 years. Bhagyashree of Maine Pyar Kiya fame will be seen in Thalavi, a biopic on J Jayalalithaa played by Kangana Ranaut.

Sashadhar Mukerji became a legend in his own lifetime. Popularly known as S Mukherji, his contribution to the Indian film industry remains unparalleled. Mukerji, who initially joined Bombay Talkies and went on to create Filmistan and Filmalaya Studios was known as the man with Midas touch. Everything was a hit – his movies, stars, songs. In fact, people who worked closely with Mukerji say that he had an ear for music. They say he had the knack of picking the right ones when a music director gave him a choice of 10 tunes for a song. Naturally this success created a lot of enemies within the industry, and they would spread rumours about his movie. A similar thing happened in 1954 when he released Nagin, famous for its song Man Dole Mera, Tan Dole Mera sung by Lata Mangeshkar to the accompaniment of Been music.  His rivals said snakes were entering the cinema halls the moment Been music played. This rumour kept the audience away from the theatres for a few days. But, not for long. Not only was the movie a super hit but the Been music became synonymous with snakes and snake charmers. And of course, the movie established Vyjayanthimala’s career as a star.

For star kids getting entry into Bollywood is easy. But, how many make it big – like Hrithik, Aamir, Kajol and Ranbir in past three decades? The cine fans are pinning hopes on a new crop of star kids. Shah Rukh Khan’s daughter Suhana who has performed in plays will soon face the camera; while son Aaryan who has done a voice over for The Lion King is keen to stay behind the camera, for now. Suniel Shetty’s son Ahan who debuts in Tadap may be signed for Aashiqui3. Producer Sajid Nadiadwala’s son Subhan is all set to debut. Shashi Kapoor’s grandson Zahan (Kunal’s son) has just started shooting for Hansal Mehta’s film. Meezan Jaffrey, son of actor Javed Jaffrey, made his debut in Sanjay Leela Bhansali’s Malal, and is already into his second film Hungama2.. Abhimanyu Dassani, son of Bhagyashree of Maine Pyar Kiya fame, who made his debut in Mard Ko Dard Nahi Hota, eagerly awaits the release of Nikamma with Shirley Setia as heroine. Sanjay Kapoor’s daughter Shanaya gets a lead role in a Karan Johar film. Salman Khan’s niece Alizeh and nephew Nirvaan are all set to dab the grease paint. Waiting in the wings are Sridevi’s daughter Khushi and Saif Ali Khan’s son Ibrahim. So, who will survive the star race? Only talent will tell!

High on money and muscle power, the underworld started dominating Bollywood. The money was routed through financiers and big stars who often visited Dubai to meet the Don. In the late 90s, early 2000s photographs of top actors, musicians and singers performing at Dawood’s Darbar were published by the media. These photographs exposed the nexus between Bollywood-Underworld. And proof of that was tapped telephonic conversation between Dawood’s right hand man Chhota Shakeel and various film personalities. This nexus pressurised Mumbai police to arrest diamond merchant cum film financier Bharat Shah under MCOCA. Reportedly, Shah was arrested for aiding Chhota Shakeel. Somebody like Rakesh Roshan had a narrow escape on the eve of the release of Kaho Naa…Pyaar Hai, his son Hrithik’s first movie. The sharp shooters fired two rounds at him for not paying Rs 5 crore. This incident shook the film world. The Mumbai police came forward to provide them protection. But, things started ebbing with Dawood not keeping well; Abu Salem incarcerated, and Chhota Rajan too cooling his heels in Tihar jail. Insiders say the extortion cases have come down. Though there were sporadic incidents like gangster Ravi Pujari trying to take advantage of the situation. Now, he too has been arrested. Now the underworld has almost stopped extortion but continues with its piracy business. Ironically, the fraternity which complains about the underworld are the same people who glamorize the underworld, making them larger than life.  CONCLUDED

Karim Lala was one of the three dreaded dons of Mumbai till the early 1980s. The other two dons were: Haji Mastan and Vardabhai or Varadarajan Mudaliar. This Pashto speaking Pathan who had moved to Mumbai from Afghanistan in the early 1920s was operating from Mumbai’s Dongri area. He ran two hotels and a travel agency – which was just a façade. As a leader of the Pathan gang his real job was extortion, kidnapping, contract killing and narcotics. Many people instead of going to the police went to Karim Lala’s court to get instant justice. During his peak, Lala frequently invited several film personalities to his parties and Eid celebrations. One of his close friends was a well-known Pathan — Mohammad Yusuf Khan aka Dilip Kumar (who hailed from Peshawar in British India – now in Pakistan). At one such party, cabaret sensation Helen tagged along with Dilip Kumar to meet Lala and casually complained about her manager PN Arora, who had allegedly duped her of large sums of money. All that Karim Lala did was make a phone call. By the time the party was over and Helen reached home, a sweating Arora was standing outside her building with a briefcase full of money. For many producers, it was an Open Sesame moment. They started paying the underworld to put a stop to starry tantrums and ensure stars report to their sets on time. In south India, stars are time-conscious and report on sets with full make up. There are stories galore about top stars keeping the entire crew waiting for hours. Producers’ myopic vision and actors’ indiscipline paved the way for the entry of the underworld into the film world. For the goons not only the money was good but they were more than rubbing shoulders with stars and starlets. Guns and roses were a deadly combination.  READ PART 2

Neither dreaded don Karim Lala nor Vardarajan Mudaliar were glamour struck. For them looking at other women was a taboo – well, that was the image they had arduously cultivated. But, not so for Mastan Mirza aka Haji Mastan, the man from Salem, Tamil Nadu. He was besotted by actresses. So much so that he financed quite a few movies with well-endowed stars. He was particularly infatuated by Madhubala. And in her memory, married an upcoming starlet Sona, a look alike of Madhubala. There are photographs of well-known film makers paying obeisance to Haji Mastan by touching his feet. It was fear and money. Mastan’s diktat ran large. There are stories of how well-known actors and actresses were forced to complete movies.  A top leading actress, on her arrival from London, drove straight from the airport to the set as she was confronted by Mastan’s men. Similarly a thespian actor was physically picked up by the goons from his bungalow taken to Hyderabad and brought back after completion of shooting. Parallely, even as Mastan was going about his filmy business, Dawood Ibrahim’s notoriety was fast rising for contract killing, gold smuggling, extortions, drug trafficking and real estate deals. After fleeing to Dubai he had corporatized illegal activities under the umbrella D Company, paid his henchmen monthly salaries. For D Company, which was spreading its tentacles, the film industry was the low hanging fruit. Of course, like all Dons he and his brothers too sought to have their own harem of heroines and starlets. A case in point is Mandakini of Ram Teri Ganga Maili fame. With the D gang entering the scene, stars started reporting to sets on time. Producers were happy. But, not Dawood. This protection money was small beer for him. He saw huge business opportunities in acquiring distribution rights in India, then he moved to acquiring overseas rights before becoming a producer. Of course, Dawood’s brother Noora penned songs for Hindi films.  TO BE CONTINUED – PART 3 & PART...

The 1957 romance-drama Pyaasa starring Guru Dutt and Waheeda Rehman is widely considered one of the best Indian films. Produced and directed by Guru Dutt, it was a box office hit too. And of course who can forget the melodious songs like Jaane woh kaise log they jinake pyaar ko pyaar milaa or ye mahalo, ye takto, ye taajo ki duniyaa…  Guru Dutt not only perfectly fitted the role of a sensitive poet, he immortalized the character! But Guru played the role not because he wanted to but because he was left with no option. How?  Actually for the main role of the poet, the actor finalized was Dilip Kumar. Guru Dutt briefed him about the story and finalized the deal. But strangely as promised, Dilip Kumar never reported to the set for shooting. The entire crew was kept waiting and a totally exasperated Guru Dutt decided he will put on the make-up and do the role. And what a momentous decision he took. It turned out the best thing that could have ever happened to him, the movie and also the Indian audience. Even today Pyaasa is regarded as one of the greatest films ever made. It frequently features on world cinema’s greatest films lists. It was one of the earliest films to have achieved a healthy blend of artistic as well as commercial mainstream traits. One may ask, was it destiny or luck that played the role here!

It was quite a popular song of the 1970s Do Bichaare Bina Sahaare, Dekho Puchh Puchhkar Haare sung on screen by Ashok Kumar and Pran in the 1972 comedy movie Victoria 203. The movie, produced and directed by Brij Sadanah, had Navin Nishchol and Saira Banu in the lead roles. Those days most of the films were shot with the original sound recorded simultaneously at the time of shooting. There was no post-production concept. The shooting of the movie was in full progress at a Mumbai studio with Ashok Kumar (Raja) and Pran (Rana) in full flow…delivering their dialogues. But there was a problem. Every time the camera rolled it would capture the cooing sound of pigeons. The sound recordist said that pigeon cooing noise was interfering with the dialogues. After three takes everybody was exasperated as to how to overcome the pigeon noise issue.  Ashok Kumar said, “Okay, don’t worry, I will manage.” No one understood what he meant by ‘manage’.  When the director said lights, camera, action, Dada Moni effortlessly added a line before his actual dialogue, ”Kya zamana aa gaya hai Rana, aajkal raat me bhi kabootar bolte hain!”  This thinking on the feet or ad-libbing as it is popularly known saved the day and the director Brij could finally say cut and pack up.

It does seem like Salman Khan has set the trend of hybrid releases in India. Even if the net business is Rs 125 crore, Radhe has set a new yardstick for tangible recoveries, proportionate to Box Office (BO) returns. Overseas, the theatre numbers of the film are very encouraging, given the currently restricted footfalls in the cinemas. In the past Zee had released Khali Peeli which didn’t work but a Tamil/ Telugu film released on the same day worked wonders. So, the writing is on the wall, that in the coming months when cinemas will start opening, the hybrid formula of the revenues via Transactional Video on Demand (TVOD) will continue. It has raised the bar, which will only add to the BO number game. There are middle-order films that are now released directly on OTT like Hungama 2 and Bhoot Police and we also hear that some big films that are in the pipeline are looking to keep a TVOD window for their films.

After the death of Himanshu Roy in 1940, one of the pioneers of Indian cinema and husband of Devika Rani, the burden of running Bombay Talkies side fell on his partner Sashadhar Mukherji, who also became a legend in his own lifetime.  The new found responsibility saw Mukherji hiring directors to complete the film under his creative supervision. Last film he produced in Bombay Talkies was Kismat directed by Gyan Mukherjee starring Ashok Kumar, his brother-in-law and Mumtaz Shanti. It was in Kismat that he gave the ‘lost and found formula’ to Bollywood. Kismat’s release was at the backdrop of Quit India movement 1942. The film was ready for release when Mukherji got a novel idea to include a song that captures the country’s political sentiments. Lyricist Kavi Pradeep wrote the song Door Hato Aye Duniya Walo Hindustan Hamara Hai which became popular. At Mumbai’s Roxy Theatre, Opera House where the film was released, the audience gave a standing ovation to the song. People’s patriotism was aroused. The British authorities got jittery and police were asked to investigate everyone connected with the film. The song was so cleverly written that they couldn’t find anything objectionable. Kismat was his swan song at Bombay Talkies, post that Mukherji formed a cooperative and created Filmistan Studio with 11 partners — including Ashok Kumar, Kavi Pradeep, Madan Mohan’s father and othe

Inderjeet Singh Johar, popularly known in Bollywood as IS Johar, was a versatile actor, writer, producer, and director. His talent took him to Hollywood where he acted in movies like Lawrence Of Arabia, Death On The Nile. But, for a man who made it big in Bollywood, he was deeply disturbed by the 1947 Partition as he was born in Talagang in Punjab in British India (which became a part of newly created Pakistan). The rape, murder of lakhs of Hindus shook him very badly. He felt such violence could be done by only those who have lost faith in God. So, he went to his mentor S Mukerji to make a film on a subject that could restore people’s faith in God. Mukerji read Johar’s script and told him, if you want to appeal to the masses then tweak the script; don’t take the problem head on but do it subtly. Heeding to his mentor’s advice, Johar rewrote the script and directed the film. Nastik, produced by S Mukerji (Filmistan) in 1954, is a film set against the backdrop of Partition with its ensuing riots and violence, and using actual footage of refugees. The movie was phenomenally successful at the box office and completed Golden Jubilee. Even today it is known for its “immortal” song Dekh Tere Sansar Ki Haalat Kya Ho Gayi Bhagwan, Kitna Badal Gaya Insaan. Married five times, Johar died in 1984 at the age of 64.

Versatile star Ranveer Singh seems thrilled after signing the Hindi remake of the 2005 hit Tamil movie Anniyan (dubbed version Aparichit). It shows. Immediately on his Instagram handle he wrote: “Proudly announcing my collaboration with the pioneering visionary of Indian cinema, the maverick master craftsman SHANKAR, powered by veteran film producer Dr Jayantilal Gada.” But the movie is already shrouded under controversy with the south producer S Ravichandran claiming that he owns the right to the film and the director Shankar cannot really sell the story of the film to Bollywood. The two producers – Gada and Ravichandran – are locked in a legal battle over the film rights so the chances of the film release date getting postponed cannot be ruled out. Meanwhile, various theories are floating around as to why Shankar and Ranveer came together for this remake. Some say Ranveer fell in love with script and was keen to make inroads in the south and this movie would be a perfect platform. Another theory doing the rounds is that Shankar was keen to sign Ranveer as he has not really worked with Bollywood’s leading stars save for Akshay Kumar and Anil Kapoor. But everybody agrees that Ranveer is the right man to play the lead role in the Bollywood remake  – just like actor Vikram who played the lead role in the original Tamil film.

The untimely death of Sushant Singh Rajput last June kicked off a national debate about nepotism and outsider vs insider in Bollywood. The uncharitable lines one heard was: “Oh! Karan Johar is the son of a successful producer Yash Johar; Aditya Chopra is the son of an eminent director Yash Chopra; Sonakshi is daughter of a super star Shatrugan Sinha; Ranbir comes from the most celebrated Kapoor family so on and so forth. And this is why they made it big!  Actually, all these so-called “insiders” had skills, which was a cut above the rest and proved their mettle to emerge successful in their own rights. Pedigree gave them entry, but it does not guarantee success. Or else how do you explain sons and daughters of successful stars not being able to make a mark. What about Feroz Khan’s son Fardeen; what about Abhishek Bachchan? What about BR Chopra’s son Ravi Chopra? What about the sons of Guru Dutt? What about the sons of Chetan Anand and Dev Anand? In the cricket world one can think of Sunil Gavaskar’s son Rohan and Kumar Mangalam Birla’s son Aryaman.  The list is endless. People forget that in any creative field or even in sports it is the performance that finally speaks. Of course, luck too plays a major role. Rajendra Kumar may not have been considered a great actor but he was popularly known as Jubilee Kumar as all his movies ran for 25 weeks in theatres.

The Shammi Kapoor-Sharmila Tagore starrer Kashmir Ki Kali directed by Shakti Samanta was not only a box office hit but also renowned for its popular songs composed by OP Nayyar and sung by Mohammed Rafi. Remember the famous number, Yeh Chand Sa Roshan Chehra, shot on Dal Lake shikara which became an eternal boat ballet to remember with the song reaching a striking crescendo – Tareef Krun Kya Uski Jisne Tujhe Banaya What’s not known to many is an interesting story behind the song. At the recording studio, as is customary, the hero, Shammi Kapoor, was present. But he did not like the way music director OP Nayyar had composed the song – especially the end part of it. Being a popular star, Shammi Kapoor requested Nayyar if he could quicken the pace of the song at the end to a crescendo and sync the last line Tareef Karun Kya Uski with the music. Nayyar, it seems, turned down Shammi’s suggestion. Seeing a sulking Shammi, Rafi saab asked him what the matter was. Shammi told Rafi saab about his suggestion and how Nayyar saab refused to entertain him. Rafi was convinced; he told Nayyar saab, “Looks like Shammi has something in his mind as to how he will perform on this song. Why not listen to him and compose the ending as per his wish.”  With Rafi also making a request, Nayyar relented. The picturisation is dramatic as you see Shammi serenading Sharmila in the middle of the Dal Lake, as she’s rowing her shikara, full of flowers. The performance has become immortal. What would have happened had Nayyar saab not given in?

Remember childlike, seductive and that infectious smile of Dev Anand with that small gap in his upper left denture that sent women swooning. What became a selling point was actually a bone of contention between Dev Saheb and his director. Well, it’s a ‘painful’ story. Dev Anand got the first break in the movie because of his smile. Baburao Pai, producer of Prabhat Films part of the Pune-based Prabhat Studio (founded by the likes of VG Damle and V Shantaram was), was mesmerized by Dev’s smile and signed him to play a hero’s role. But, when the shooting began director PL Santoshi (father of Rajkumar Santoshi) and the cameraman did not like the gap in Dev’s teeth. It ‘looked odd’, they both felt, in close-up shots. So, it was suggested Dev put cotton buds and fill the gap. After few days of shooting the gum got infected and Dev Saheb could not bear the pain and he complained. Giving to hero’s complaints, the cotton buds were removed and it was status quo ante. The smile took him more than a mile. No wonder he was called the Evergreen Hero till he passed away in 2011 at the age of 88 in London.

Born into an aristocratic family, Himanshu Roy is one of the leading pioneers of the Indian cinema. Bombay Talkies studio, which produced a number of hits and launched several stars, was his brainchild. It was set up in 1934 along with his actress wife Devika Rani. The other partner was Shashdhar Mukherji who roped in his brother-in-law Ashok Kumar Ganguly as a technician. According to a knowledgeable source, Roy in a fit of rage threw the leading hero out of the movie as he suspected him of having an affair with his wife Devika. Now, the whole studio was in a fix as the movie was going on the floor. A desperate hunt began for a new hero and everybody’s eyes fell on Ashok Kumar and he was cast as a hero opposite Devika Rani. Now rose another tricky situation. Since Mukherji was controlling the whole project there was an issue as to how he would address Ashok Kumar who was his wife’s elder brother. His nickname was Moni so Mukherji like a good Bengali added the prefix Dada to Moni and started calling him “Dada Moni”. The rest is history.

Unlike yesteryear’s stars today’s stars are business-like. They put the money where their mouth is. Alia Bhatt who has turned producer for the movie Darlings will charge Rs 15 crore for her lead role. So, besides acting fees, she will make big numbers if the movie does well at the box-office. Ditto: Deepika Padukone who is a joint producer of 83, a sports drama film that focuses on India’s 1983 World Cup win by Kapil Dev. Directed by Kabir Khan, she plays the role of Kapil Dev’s wife Romi. Deepika, who has already signed on with a couple of big banners, is the highest paid star in the industry, commanding a price of Rs 21 crore, according to the industry insiders. Kangana Ranaut, who has four films in the pipeline, reportedly commands around Rs 11-12 crore per film. Besides, there are four stars who fall in the Rs 7-crore bracket. They are: Shraddha Kapoor, Kareena Kapoor, Katrina Kaif and Anushka Sharma.  Shraddha Kapoor has Naagin and Luv Ranjan film. Katrina Kaif who has signed Phone Booth launched her own beauty line. Kareena and Anushka consciously signed less films as they were in the family way but managed to keep their cash registers ringing with series of brand endorsements. And the ‘desi girl’, Priyanka Chopra Jonas today commands around Rs 6 crore.

As you drive from SEEPZ to L&T complex in Mumbai’s Andheri east, you cannot miss on your left a huge film studio complex – Kamalistan — named after Pakeezah fame writer-director-producer Kamaal Amrohi. He was also the husband of Meena Kumari, the tragedy queen of Bollywood. Hailing from eastern UP’s Amroha, he landed in Mumbai to seek his fortune as a writer. As is known nobody entertained him. One day he managed to enter the office of the great film maker of Minerva Movietone fame Sohrab Modi. As he broke into conversation, Modi who was busy reading a script, did not even look at him and said “I am busy, I cannot meet anybody.” Then as he lifted his head he saw this lean thin man in Achkan, a topi with a walking-stick. Seeing his physical appearance, Modi broke into a loud laugh. Quick-thinking Kamaal cashed in on the situation and said, “I am not a person to be seen; I am to be heard.” Modi sat down, heard what he had to narrate. His command over Urdu writing skills landed him a job with Modi and he quickly became a famous writer and director.

Just when Rhea Chakraborty thought the nightmare was behind her and that she could focus on her acting career comes the news that her name figures in the Narcotics Control Bureau chargesheet linked to the Sushant Singh Rajput case. Trouble, they say, never comes alone. Earlier, she found to her dismay that her name was missing from the credit list of the mystery thriller Chehre directed by Rumi Jaffery. Yet, this 28-year-old starlet did not lose hope. She, according to sources, flew to Hyderabad to meet a producer and almost bagged the film.  One does not know if Jaffrey will ever revive the film he had planned with Rhea and Sushant. But some film makers have decided to give her a second chance. However, those who know her say that Rhea is treading cautiously; not signing films till there is clarity in her case. Nikhil Dwivedi has already announced that he is open to working with her. People from Bollywood are asking why she shouldn’t get a second chance when Sanjay Dutt has got more than three chances.  In fact, she recently met Salman Khan’s former talent manager Reshma Shetty who helped Salman resurrect his career after two big court cases. Looks like Rhea is working towards a gameplan!

It appears that no death — be it that of Mahatma Gandhi, John F Kennedy, John Lennon or Lady Diana — has been as hysterically covered that too non-stop for over 100 days by the Indian media as that of Bollywood star Sushant Singh Rajput who died under mysterious circumstance on June 14, 2020. The CBI has been on the job but their findings are yet to be made public. The glimmer of hope came in December 2020 when the CBI, in response to a letter written by the BJP’s Rajya Sabha member Dr Subramanian Swamy to the Prime Minister Narendra Modi. “The CBI is conducting investigation in a thorough and professional manner using latest scientific techniques. During investigation, all aspects are being looked at and no aspect has been ruled out as on date,” Dr Swamy was informed. Meanwhile, the diehard fans of Sushant are keeping the issue alive by posting relentlessly on Twitter: it was trending at #7 with 129,000 tweets on 3 March 2021.

The doyen of the Indian film industry, Sashadhar Mukerji, who initially joined Bombay Talkies and went on to create Filmistan and Filmalaya Studios, was considered the man with the Midas touch. He not only launched several new faces who have become a runaway success stories but his entire family right from his sons (Joy, Deb, and Shomu), grandson (Ayan), grand-daughter (Kajol), relatives (Ashok, Kishore, and Anup Kumar) are part of the film fraternity. It is a huge extended family. Actually, he was the brain behind the concept of formula films. A legend in his own lifetime, Mukherji was approached by Shammi Kapoor constantly for a big break. “Sir, you have made so many stars, when are you going to do something for me?” This persistence by Shammi went on for some time till one day Mukherji said: “Shave off your moustache and see me tomorrow.” Without wasting time, Shammi landed at his office the next day sans moustache and producer Mukherji signed him for Tum Sa Nahi Dekha which was directed by Nasir Hussain. Interestingly, this film became a launch pad for heroine Ameeta, director Hussain and catapulted a struggling Shammi Kapoor into the big league. Shammi told the undersigned: “I had a Hillman car those days. Even before the release of the film, I sold it and went on a holiday to the Far East. I knew when I return, I shall be a star!”

Unlike yesteryear’s stars who hid their married status and pregnancy, today’s stars are going to town on both the counts. Both Kareena Kapoor Khan and Anushka Sharma have smartly cashed on their pregnancy by endorsing advertisements showing their baby bumps. Result: both made money hands over fist. Kareena, according to industry sources, earned about Rs 12 crore from brand endorsements. Interestingly even brands are keen for such endorsements by celebrities. It was a hush-hush affair when Sridevi was pregnant with Janhvi while shooting for Judaai, produced by her husband Boney Kapoor. Though one did get a glimpse of it in one of the songs in the movie. Similarly, Aamir Khan’s marriage was kept a secret although the audience saw the glimpse of his wife Reena Dutta in Qayamat Se Qayamat Tak. Aishwarya Rai Bachchan was probably the first Bollywood actress who had the courage to show her baby bumps. She was spotted at fashion shows when she was pregnant with Aaradhya. She walked the ramp and did invite snide remarks, but she was unfazed. Today, pregnancies have become just a minor bump in a female actor’s career. Rani Mukherjee made a successful comeback; so did Kareena after her first baby. Even Neha Dhupia is back in the business with her talk show besides making guest appearances on TV shows and Page 3 events. Come to think of it, today’s stars are having the best of both the worlds – motherhood and career.

This model turned actress-producer-social worker has never changed her narrative. She is one woman who stands up for women’s rights and children’s rights and has never cared about political correctness. Bhumi Pednekar may be called the climate warrior and Taapsee Pannu has begun speaking up on the subject now. But the original voice of dissent from Bollywood and the person who took on the mantle of activism in this generation is the 39-year old Dia Mirza.  Dia is unique in her own way – elegant, charming yet understated. She went through a painful divorce but nobody got a whiff of it. She compartmentalised her personal and professional life smartly.  There was no mudslinging and neither did she look up for any sympathy.  Even if we look at her PR, it is not about publicising her role in a movie but about the good work she does outside films. Her work on the Yamuna clean up and the Ganga documentary are well-known. That is why when she was appointed as an official Sustainable Development Goals’ advocate it made sense because we know this woman will do justice to her role. Everybody needs a second chance. Professionally, Dia is making a comeback on big screen and web series, and personally she got married for the second time. We wish her luck on both fronts.

Remember Salma Agha the honey-eyed husky voiced lady who came here from Pakistan to make it big as a singer-actor-star in Bollywood — a la Noorjahan, Suraiyya! That was the time when the legendary film maker BR Chopra (who always made films on social issues – Ek Hi Raasta, Naya Daur, Mazoor) was planning to make a film on triple Talaq- based on a short story given to him by a Hindi freelance journalist Achala Nagar.  She had forgotten about it. Chopra not only read the story but also asked to search for the writer. He decide to make this film with an entirely fresh cast and crew. Salma got a break with this film along with Hasan Kamaal as its lyricist. The film was made under the title Talaq Talaq Talaq and that precisely attracted the ire of muslim groups. They said even if we mention the title of the film in front of our wives we would be pronouncing “Talaq!” One important muslim poet/journalist told Chopra “Muslims make 70% of cinema going audiences, if we issue a Fatwa to not to see the film, the film would flop.” Heeding his advice the title of the film Talaq Talaq Talaq was changed to Nikaah.  

When Bollywood stars tweeted against international pop star Rihanna they were targeted by the Maharashtra government. Now Big B and Akshay Kumar are being targeted by the Congress in Maharashtra for not tweeting against rising petrol prices. Guess one meeting or a phone call to Sharad Pawar might just solve Big B’s problem. Recently, Sonu Sood bought peace from Sena after talking to NCP supremo Sharad Pawar. Earlier Sunil Dutt sought blessings of Balasaheb Thackeray after Sanjay Dutt was arrested in the Mumbai bomb blast case. Also, Manisha Koirala went to complain about Shashilal Nair who had used her body double in a controversial scene without taking her consent. Karan Johar had to frequently meet politicians — once for My Name Is Khan, the second time for Ae Dil Hai Mushkil when the film got into trouble for featuring Fawad Khan, a Pakistani national. Even Dev Anand had to call on Balasaheb Thackeray as he had a Pakistani actor Anita Ayub in his film. Of course, one cannot forget that Mani Ratnam had to screen his film Bombay for Balasaheb Thackeray and Sharad Pawar. Looks like politicians have always been a different kind of censor board for films even after approval from the CBFC.

It may sound clichéd but behind every successful man there is a woman. Baldev Raj Chopra after doing MA in Literature from the University of the Punjab, Lahore joined as a journalist with film magazine Cine Herald and eventually acquired it in 1947. With right contacts, he launched a movie the same year in Lahore but the Partition genocide saw him fleeing to India. Eventually, he moved to Mumbai and made a movie Karwat in 1948. It flopped. In 1951, he directed a movie starring Ashok Kumar and it was a hit. More hits followed. Soon he was flooded with offer by producers to direct their films. A well-known producer gave him Rs 5,000 (a big sum those days) to direct his movie. Chopra was elated and happily broke the news to his wife. But his wife’s response surprised him. She told him: “You should not direct for others, you should become your own producer and director.” Heeding his wife’s advice, Chopra returned the money and floated BR Films in 1955. His first movie Ek Hi Raasta was a runaway hit. After that there was no looking behind.

After the Tandav controversy, the Indian government is seriously looking at tightening the noose around the OTT channels. The plan is to form a Joint Parliamentary Committee (JPC) to bring in a regulation to control the content that is streamed on the OTT channels. Feelers are being sent to various film personalities to become a part of the JPC and create some kind of guidelines based on the lines of the Central Board Of Film Certification (CBFC) for feature films. Those close to the film industry have hinted that the Standing Committee on the Information & Technology Ministry are examining the functioning of the CBFC. In order to have a holistic examination of the subject, the committee has decided to seek views of individuals associated with the media and entertainment industry. While their plan is being worked out, the makers of edgy content have begun self-regulation to avoid any kind of issues with the government. Most industry people said there has to be censorship, but there are quite a few who feel that self-regulation is the best option. The government, it seems, is keen to avoid another Tandav kind of situation. So, for now it is wait-and-watch game.

With four films in his kitty, Kartik Aaryan is one of the busiest stars from the younger generation of Bollywood actors. The actor has finished shooting for Ronnie Screwala’s film in record time and, believe it or not, has received a fee of about Rs 20 crore. The film was first slated to have a theatrical release, but the makers decided to go for a digital release with the actor being paid a premium price for it. Kartik is one of the most sought-after stars and those in the film trade feel that the actor is justified in being paid that amount. They believe that he is going the Akshay Kumar way by slowly becoming the Gen-Next bankable star.  He is also following Akshay Kumar’s footsteps and becoming a socially responsible star. The actor’s monologue ‘Corona Stop Karo Naa’ became a huge hit. He is also one of the few to donate about Rs 1 crore for the welfare of Covid Warriors followed by an awareness chat show on Covid-19 titled ‘Kookie Poochega’.  Kartik who started his journey in Bollywood with multi-starrers is now shouldering a film as a solo hero. It is his track record with Lukka Chhupi and Pati Patni Aur Woh that probably got producer Karan Johar to sign him for Dostana sequel. Kartik’s other films in the pipeline are Anees Bazmee’s Bhool Bhulaiyaa 2 and Rohit Dhawan’s next film, which is a remake of a South film.

There is one thing that the remake of Coolie No 1 managed to achieve in December 2020 – it made the film industry miss the original bearer of that title, Govinda. Film buffs felt that Govinda’s Coolie No 1 was like Mughal-e-Azam in front of the new-age version starring Varun Dhawan. The senior actor, however, does not have anything to say on the remake as he is getting ready to make his debut on the OTT platform. He wants to explore the medium as he has been getting offers for it. He feels that  the pandemic has exposed people to the world of cinema and content that has universal appeal. The actor, who has often mentioned a conspiracy against him and his films, feels that the OTT is a boon for somebody like him who has been struggling to find a platform. Much before Govinda became largely synonymous with breezy entertainers and musicals, he had showcased his versatility in intense films like Hatya, Swarg, Awaargi and Marte Dum Tak among other films. The actor is now hoping to make 2021 his year and is seriously working towards making a comeback in a big way. The actor has been listening to scripts and will soon be making an announcement. He also has plans to give opportunities to those looking for a break in the film industry.

Seema Pahwa of the Humlog fame is breathing fire at Bollywood’s trade magazines which dubbed her maiden directorial venture Ramprasad Ki Tehrvi as a commercial disaster. Digital entertainment portal Koimoi.com said: “Ram Prasad Ki Tehrvi was an ensemble affair that hit the screens on 1st January and the numbers are practically nothing to talk about. The collections were never meant to be encouraging and this is what actually transpired too with just about 20 lakhs coming in.” According to Seema Pahwa’s interview in Mid-Day: “For a film to release in current times and survive is challenge in itself. How can box-office be the yardstick of a film’s success when the theatres are functioning at half the capacity?” Many are questioning the current yardstick of measuring the success or failure of a movie based on footfalls during Covid times. Interestingly, the Twitteratis were all praise for the director and producer. But, it is about time trade magazines revisited their traditional approach – and usual parameters — to gauge the popularity of a movie.

Reel life villain but real life hero Sonu Sood is widely hailed for helping thousands of migrants stranded at different parts of the country to reach their home safely during Corona lockdown. Now, his new image as the migrants’ messiah seems to have unnerved some politicians in Maharashtra, and set tongues wagging. “He is just the face, the producer-director is BJP,” suspects a section of non-believers. Mahatma Sood is what Shiv Sena’s Rajya Sabha MP Sanjay Raut called him. Be that as it may be but this can’t be denied that thousands of migrant labourers have benefited from his social mobilization and community initiatives. Now, he is embroiled in a court battle with the Brihanmumbai Municipal Corporation (BMC) for allegedly converting a residential building in Juhu into a hotel. Both the civil court and High Court has not given him any relief and Sood has moved the Supreme Court for a relief. But, the moot point is why is BMC trying to make an example of a good Samaritan like him when there are thousands of illegal structures in the Maximum City.

If you ever wonder what made a talented actor like Swara Bhasker an activist that may see her lose a promising career in Bollywood then you should read her foreword in the book Inquilab: A Decade Of Protest. This is a collection of articles penned by various activists like Anna Hazare, Kavita Krishnan, Rana Ayub, Nayantara Sehgal, Ramachandra Guha etc. Swara writes that she grew up in defence services gated colony as her father is Commodore C Uday Bhasker, now retired. The colony consisted of three multi-storeyed buildings occupied by the families of officers serving the defence forces. The separate lift and staircase for officers and servants intrigued the 10-year old Swara. Now, segregation based on hierarchy in the armed forces isn’t a new thing. But this discrimination disturbed her? So she asked her father: “Is it not like our own kind of apartheid?” Her father smiled and told her: “Well, if you think it’s wrong you should do something about it.” Encouraged by her father, she did protest and took a signature campaign but of no avail. Like charity begins at home, so too for her, the crusading started at home.