We know him as the ambitious maker behind Bollywood's greatest ode to Indian womanhood (1957's Mother India) and perhaps as the founder of Mumbai's iconic Mehboob Studio. But Mehboob Khan was more than that.
Mother India is a valentine to Indian womanhood. On International Women’s Day and in particular, Mother’s Day, film journalists (mea culpa) cheerfully list it as a must-watch. Whether or not young audiences are drawn to it despite all the good press is hard to guess. But thanks to Nargis’ mother of all performances in the mother of all Hindi movies, the 1957 classic has a secured place in Bollywood’s rarefied sanctum. In addition to giving us Nargis’ ballsy act, Naushad’s magnum opus music, Sunil Dutt’s devilish rogue performance, the evil Lala and the milky river of melodrama that has only served to sweeten future Hindi films, Mother India has one main contribution that has outlasted everything else — the ‘mother’ trope, obviously.
Also, it gave us Sanjay Dutt. Nargis and Sunil Dutt’s famous romance began on the sets of this picture, as Dutt saved his co-star from a near-fatal fire and nursed her to recovery. In the film, of course, an entirely different fate awaited the on-screen mother-son duo. The long-suffering mother Radha (Nargis) had to channel her inner Kali and bring herself to shoot her favourite son (Dutt as Birju), a demon who keeps haunting the village. Radha kills her own boy to save the honour of another woman. In real life, Sunil Dutt was quite the gentleman. And so, a year after Mother India’s release, Dutt and Nargis were happily married. And in 1959, Sanjay Dutt was born.
For trivia buffs, there’s much to celebrate about the epic, which was India’s first Oscar nominee while for the good ol’ viewers, there’s the film itself whose lingering influence has been felt decades after it was made, most notably on Salim-Javed’s Deewaar. There’s one man to thank for it. Mehboob Khan - who has been described as a ‘showman’, ‘ziddi and ambitious’ by actress Nimmi (courtesy, Guftagoo on Rajya Sabha TV), ‘hidayat kar-e-azam’ (director par excellence) and in old-time journalist Bunny Reuben’s view, ‘India’s Cecil B. DeMille.’
Khan not only fits those descriptions but owns it. Whether you love it (like Javed Akhtar, one half of Salim-Javed, who admits in Talking Films: Conversations on Hindi Cinema, “Mother India and Ganga Jumna were Salim sahib’s and my favourite films) or find it to be one giant cornball, Mother India
... keep reading on reddit ➡
(1) Aamir Atlas Khan PSA Ranking 14 in 2009 with 19 years and 2 months, PSA Ranking 24 with 17 y. 2 month - actual Rank 425
(2) Farhan Mehboob PSA Ranking 16 in 2009 with 20 years, actual Rank 106
(3) Habiba Mohamed - PSA Ranking 18 with 15 years in June 2015, acutal PSA 68
So, I do not understand what happens with these players, acutual the user discuss about a young talented Diego Elias, he is next month 20 y. and now PSA Ranking 32 and he doesn't reach the rankings of Mehboob and Khan.
Anyone knows why Mehboob and Khan stopped their (international) career and do not play big international tournaments anymore. Is Habiba injured?
In the history of Indian cinema there are a few milestones which paved the path and future of our Cinema. Some of these moments have been forgotten over time but others still shine bright. Here is a list of the most iconic milestones to treasure in our memory and pay respect to:
First Indian Short Film (1899) - "The Wrestlers" was the first ever motion picture made in India by Harishchandra Sakharam Bhatavdekar AKA Save Dada. Save Dada was among the first Indians to witness the movie pioneer Lumiere Brothers unveiling of a new mode of entertainment and communication on their global tour in Bombay with their first motion picture “La Sortie des ouvriers de l'usine Lumière” (“Workers Leaving the Lumière Factory”). After experiencing this new art form he decided to buy a movie camera and projector and started making short films in India. He is considered India’s first documentary film maker as he started shooting scenes from daily life and important events.
India’s First Full Length Film (1903) - "Ali Baba and Forty Thieves" is considered India’s first ever full length movie of a stage play recorded by Hiralal Sen. Hiralal saw a stage show captured on.film called “The Flower of Persia” in Calcutta and decided to make his own movies. He founded the Royal Bioscope and made more than 40 short films over the next decade. He lost most of his money over the years leading to the eventual closure of Royal Bioscope and unfortunately all his films were lost in a fire in 1917 before his untimely death. Hiralal is also considered India’s first advertising film maker.
India’s First “Feature Film” (1912) - "Shree Pundalik" is in fact the first 22 min feature film shot based on a script and released in India by Dadasaheb Torne. Since it was shot by British cinematographers, processed in London and is considered a recording of a play, it is not recognized as India’s first film by the Government of India despite being released a year before Raja Harishchandra.
First Authentic Indian Film (1913) - "Raja Harishchandra" is the movie we all know as India’s first film. It may have not been the actual “First” Indian film but it is definitely the first truly authentic Indian film made and processed completely locally. The Father of India Cinema, Dadasaheb Phalke got inspired by the film “The life of Christ” in 1911 and travelled to London to learn about film making. On his return he founded the Phalke Films company, imported the required equipment to shoot
... keep reading on reddit ➡Check out this 1982 Stardust article about Dilip Kumar.
Even though the whole country was disillusioned, seething with fury and utterly disgusted when their darling Dilip Kumar deceived them about his second marriage, it wasn’t long before people forgave, forgot and started making excuses for their idol. Within a couple of months, Dilip Kumar was back on his pedestal.
The public had literally grown up believing in his legend, fans had lived with stories of his greatness for too long to accept his feet of clay because of just one mistake.
Now however, it’s come to light that Asma was not the legend’s first mistake. It was only the first to be exposed! The expose, however belated, seems to have aroused the other ‘wronged parties’ who have kept quiet about their suffering all these years, out of fear for themselves and their families.
Today, there’s no end to the stories shattering the white-washed façade, no restraint in the explosion of the myth of the ex-Sheriff, the actor nonpareil, the perfect family man, the legendary lover, the Godfather of the industry. One (exposed) slip-up has cost the fallen angel his thirty-year-old image!
So far, the only well-known negative aspect of this Marlon Brando of the Indian screen was that he had the habit of interfering with his scripts, directing his directors and delaying his films. Any filmmaker who signed Dilip Kumar, did so after knowing what to expect from the screen God. Those who resented his encroaching, never worked with him.
But it hasn’t been such simple and straight dealing always. Very few people are aware that the thespian has time and again deliberately cheated his producers, ruined his directors and put film families out of action for years, even at times, forever…
#Manmohan Desai and his family of filmmakers
Manmohan Desai and his family of filmmakers were one of Dilip Kumar’s first victims!
It is said that Manmohan Desai’s father was one of the industry’s richest producers in his time. In fact, he had so much money, that he used to get his wardrobe specially flown in from the most expensive boutique in Paris! But, he made one mistake – he signed Dilip Kumar for one of his films and with it, he lost everything he had achieved and amassed in life.
>That film never got made. My father almost became a pauper. - Manmohan Desai
As if his own extravagant demands during and after the film’s making weren’t enough, Dilip Kumar even instigated Saira Banu as a major accomplice in the Desa
... keep reading on reddit ➡New Delhi:
The Enforcement Directorate, probing conman Sukesh Chandrashekhar in the Rs 200 crore money laundering case in which Jacqueline Fernandez and Nora Fatehi were recently questioned, stated that the Bollywood actresses received top models of luxury cars and other expensive gifts from the accused.
An ED chargesheet filed in the matter clearly stated that "during the investigation, statements of Jacqueline Fernandez were recorded on 30.08.2021 and 20.10.2021. Jacqueline Fernandez stated she received gifts viz three designer bags from Gucci, Chanel, two Gucci outfits for gym wear, a pair of Louis Vuitton shoes, two pairs of diamond earrings and a bracelet of multicoloured stones and two Hermes bracelets. She also received a Mini Cooper, which she returned." According to ED, Chandrashekar was confronted with Jacqueline Fernandez on October 20 and the actress stated that the conman had arranged private jet trips and her hotel stay on different occasions.
The ED chargesheet further stated that during the investigation under the Prevention of Money Laundering Act (PMLA), 2002, it was revealed that the accused Chandrashekar gifted a BMW car to actress Nora Fatehi in December 2020. The said BMW Car- S Series was registered in the name of Mehboob Khan.
Statements of Nora Fatehi were recorded under section 50 of PMLA, 2002 on September 13 and October 14, wherein she stated that she got a booking for a charity event and during the event, she was gifted a Gucci bag and one iPhone by Leena Maria Paul, wife of Chandrashekhar.
Nora further stated that Leena Maria Paul had called her husband and put the phone on the speaker where he thanked her and said that they were her fans. She then announced that they were going to gift her a brand new BMW car as a token of love and generosity.
ED further stated that, during custody, the statement of the accused Chandrashekar was recorded on October 14 and he admitted that he had gifted Nora Fatehi a BMW car - S series, which was registered in the name of Bobby Khan on her request. He also admitted that he had sent cash to the tune of Rs 75 lakh to B Mohanraj in Chennai through co-accused Deepak Ramnani and Mohanraj arranged RTGS to Infinity Cars for the car purchased for Nora Fatehi.
Patiala House Court has recently taken cognizance of the ED''s chargesheet filed against Sukesh Chandrashekhar, Leena Maria Paul and others in the Rs 200 crore money laundering case. The court asked the ED to supply a copy of the charge
... keep reading on reddit ➡samsya hai to samadhan bhi hai har samsya ka jaldi samadhan guarante 101%ke shat )syed baba+09828891153 Nuri Amliyat Ka Karishma Har Kam Main Kamyabi 300 YEARS OF MY FAMILY HAVING EXPERINCE IN ASTROLOAQGRY SOLVE ALL YOUR PROBLEM WITH THE HELP OF ROOHANI AMLIYAAT,JINNJINNAYAT,MOOVAKEEL,HAMJAAD.MUSLIM ASTROLOGER MOLVIJI shastri pandit baba tantrik aghori bar bar MOLVI SYED BABA ek bar JAO CHAHE JIDHAR KAAM HOGA IDHAR JAISE CHAHOGE WEISA PAOGE VISWASH AAPKA HOGA KAAM HAMARA HOGALakho dhukho ki 1 duwa molvi syed baba mera ilam chale ga saat samander paar sang dil mehboob hoga apke pass mera ilam or kam hi meri pahchan h.duniya ke har konne mein hamara ilm asar karwae hai sire klam-e-ilahi aur noori ilm se har mushkil se mushkil kaam problems solutions Lakho rupees kharach karne ke baad aapka kaam kyun nhi huya satye jano.Jaise ki nab KI allha s duaa khali nhi jati usi tarha MOLVIBABA ki Chiraage dua khali nhi jati.Sirf ek Chiraage dua lagbao or apni har problem ka solution payo,alah sbse bda badsah.Chiraage Duaaye bhee takdir badal skti hai.ON LINE apna masla aik fone call per ghar bhete hal karwae ek call apki zindagi badal sakti hai NA MUMKIN ko MUMKIN BANAYE JO CHAHE vo payo edhar udhar na bhatke kesa bhi kam hamse le turant smadhan.samsya kesi bhi ho jad se khatm sirf 3 din me online world famous POWERFUL MUSLIM astrologer har samsya ka samdhan 72 hours and with 101% guaranted ROHANI DUNIYA MAIN AIK KHAS naam molvi syed baba ji KALY JADO KA TOOR OR PALAT KAY MAHIR ilmo ke badshah vashikaran muth karni black magic Mohini Vashikaran,lslamic ilm ruhani & sifli ilam GUARANTED RESELT ONLY 72 HOURS tona totka,tantra mantra,jadu tona,kali kitab,kala ilame lal kitab specialist molvi ji 09828891153 Vashikaran-Mantra is Used to inter Cast Love specialist on Someone Whom You Want To Make You Love inter cast Get Your Love Ex- Girl Friend / Boy Friend Back+black magic love vashikaran specialist 9198288-91153 SYED BABA JI Inter Cast love marriage love back love guru ishq ki dua specialist Samast Dukhon Ke Nivaran Ke Live call Karen Ilmo ka betaj baadshah Molvi syed baba ji,kali kitab kaala ilm sipli ilm ruhani ilm all power full kalma,s & succes full Mohini Mantra mohini VashiKaran Mantra,Black Magic kamdev mantra vashikaran mantra mooth karni bangali jadu -love Vashikaran jin jinayat Specialist,and KaLKaPaL AGHORI Tantrik Siddhi Sadhana Lord allah & dua Shakti)PHONE PAR GUMRAH KARNE BALO SE BACHE, SACHAI AUR VISVASH KI PARMPARA MANAV KALYAN KE LIYE . MOLVI
... keep reading on reddit ➡There arent too many Indian movies listed in Time Magazine's Top 100 movies of all time list who had such tremendous global impact like the movie, that made India’s iconic R.K. Studio. This Indian Gem sold more tickets in alien countries than their own domestic movies, with sales north of 250M tickets worldwide in the 50s. Often called the world’s favorite movie, this is one of the most beloved Indian movies of all time not only in India but Russia, China, Eastern Europe, Africa and the Middle East. Cannes had no other option but to nominate the movie for its Grand Prize award. If you search YouTube for its iconic songs, you will be surprised to find an unending list of covers from all over the world including Russia, Uzbekistan, Turkey, China, Japan etc. This is one of the key movies that was instrumental in creation of a film industry in India. The immortal classic “Awaara”.
Awaara (1951)
Directed by Raj Kapoor
Produced by Raj Kapoor
Starring - Raj Kapoor, Nargis, K.N. Singh, Leela Chitnis and Prithviraj Kapoor
Written by Khwaja Ahmad Abbas and V.P. Sathe
Music by Shankar Jaikishan
Budget/Box Office - INR 50 Lac/INR 15 Crore (INR 1,500 Crore Adjusted for Inflation)
Awards - Released before Filmfare and National Awards were established. Nominated for the Grand Prize in Cannes Film Festival
IMDB Rating - 7.9/10
RT Rating - 86%
My Rating - 10/10
Khwaja Ahmad Abbas wrote the film for India’s legendary director Mehboob Khan, Khan didn't show much enthusiasm about the movie and wanted to cast Ashok Kumar and Dilip Kumar which Abbas didn’t think was the right casting. Hence Abbas took the movie to Raj Kapoor who had just tasted success with his first hit “Barsaat” and was looking at launching his first movie under the newly formed banner of R.K. Films and shoot in his newly created R.K. Studio. Raj Kapoor loved the script and wanted to cast his father Prithviraj Kapoor but was afraid to ask him to sign up for the movie. So he reluctantly asked Abbas to narrate the story to his father. Prithviraj Kapoor loved the story and asked who was the movie’s director. When Abbas revealed that his son RK was going to direct the movie, Prithviraj warned Abbas not to hire such an inexperienced director to tell such a bold and great story. Despite his reservations and strong opinion Abbas managed to convince Prithviraj to join the movie’s cast.
Raj Kapoor had a tough time directing his f
... keep reading on reddit ➡(Published: September 14, 2020)
Ram Gopal Varma directorial Rangeela completed 25 years recently. The film starring Urmila Matondkar, Aamir Khan and Jackie Shroff had seven songs composed by AR Rahman.
Music maestro AR Rahman says composing the music of his debut Hindi film Rangeela, which completes 25 years in cinema this month, felt like he was discovering something new.
The Ram Gopal Varma-directed romantic drama, starring Urmila Matondkar as a backup dancer Mili, Aamir Khan as her tapori friend Munna and Jackie Shroff as Bollywood star Raj Kamal, is considered one of the landmark musical hits of the ’90s.
The 1995 film, which marked the arrival of Rahman in Bollywood, had seven songs composed by him including evergreen hits such as “Tanha Tanha,” “Rangeela Re” and “Kya Kare Kya Na Kare.”
His songs for Roja (1992) and Bombay (1995) were dubbed from Tamil.
“Composing the songs of Rangeela was like discovering something new. The soundtrack arrived naturally and we didn’t feel the pressure for this movie because I was enjoying the new company I had in Ramu and lyricist Mehboob. We would just talk and joke and have fun. It was my kind of vibe,” Rahman told PTI in an interview.
Crediting the film’s team, including choreographers Saroj Khan, Ahmed Khan, actors and producer Jhamu Sughand, Rahman said he learnt a lot while working on the movie.
“The first song that we worked on was ‘Tanha Tanha’ and then came ‘Rangeela Re’. The most important decision we made was getting Asha Bhonsleji to sing. Her voice brought something extraordinary to the music. She lent credibility to the soundtrack in a big way because Mehboob, Ramu and me, we were all new,” the music maestro said.
Rahman still remembers Aamir’s yellow jacket that he says “stood out” during the scoring. “I was stunned, I still remember. And the way he acted was brilliant. And Urmila was brilliant,” Rahman recalled.
The composer added he was already a huge fan of Shroff, having seen Subhash Ghai’s Hero.
What makes the film stand out for Rahman is the fact that the team trusted their instincts while creating the music.
“I think the whole soundtrack was an experiment. Apart from ‘Tanha Tanha’ and ‘Yayire’, nobody does a (‘raag’) Bhairavi for the beginning of a song, it is used at the end but I didn’t know that information. I was like happy tuning ‘Tanha Tanha’. There were strains of Bhairavi constantly in it.”
‘Rangeela Re’, he said, had an old school melody, a 1950s kind of thing.
“We just
... keep reading on reddit ➡I don't want to step on anybody's toes here, but the amount of non-dad jokes here in this subreddit really annoys me. First of all, dad jokes CAN be NSFW, it clearly says so in the sub rules. Secondly, it doesn't automatically make it a dad joke if it's from a conversation between you and your child. Most importantly, the jokes that your CHILDREN tell YOU are not dad jokes. The point of a dad joke is that it's so cheesy only a dad who's trying to be funny would make such a joke. That's it. They are stupid plays on words, lame puns and so on. There has to be a clever pun or wordplay for it to be considered a dad joke.
Again, to all the fellow dads, I apologise if I'm sounding too harsh. But I just needed to get it off my chest.
Play It As It Was is an article in todays' Indian Express. Written by an Indian Express film critic , it makes a movie map – 75 films across seven decades – that celebrates the journey of the world's largest democracy.
I would like to know your opinion on the movies selected. Would you like to remove any film or add any other?
------------------------------------------------------------------------------------------------------------------------------------------------
The idea of India has been constructed through push and pull, in which old and new, ancient and modern, traditional and contemporary are constantly rubbing up against each other, making room – adjusting – in an endless, eternal dance.
We sing, with equal passion and gusto, “saare jahan se achcha Hindustan hamara” and “jinhe naaz hai Hind par who kahaan hain”. Optimism, deep nihilism. We thrive on contradiction. Long live the argumentative Indian!
Ancient Bharat’s journey to modern India is ongoing. Seventy-five years after Independence, we still live in a million Indias, where a million mutinies brew and spark every day. So many bewildering diversities, each state a nation unto itself with its distinct language and culture, all of which make India such a glorious, enduring puzzle. Underneath those differences is a tensile mesh, unimaginably strong, which holds this heaving mass together.
When India was being cobbled together from the fragments of the resentful rajwadas was when it began grappling with the twin forces that would always dominate its narrative – a small section that would enthusiastically espouse the newly enshrined Constitution’s liberal, secular, democratic principles, and another which was invested in maintaining status quo of caste, creed, gender. That minority today is shrinking even more; the majority, pushing its polarising views, is spreading its wings.
Cinema, after Independence, had begun by radiating promise, but already by the end of the ’50s, the patina of betrayal was starting to show. Clearly, Nehruvian socialism was failing, and the gap between the haves and have nots was not going to close any time soon, if ever. Affluence was growing only in urban pockets. When Satyajit Ray featured Indians and their villages, he was mocked for showing the country in “a bad light” – the incredible, indelible beauty of Pather Panchali has had a hard time facing down those spurious charges of “glorifying poverty”.
The popular cinemas of India matched the new-old coun
... keep reading on reddit ➡Looking at the roots of Hindi Cinema, there are stellar examples commercial success; such as Mehboob Khan who broke records with Andaz and Mother India. What went wrong and what caused Son of India and Amar to become mislaid and ignored?!
Guru Dutt made sustainable films, only to have his victory washed away by the bombing of Kaagaz Ke Phool. How did that happen?! Sure, Chaudhvin Ka Chand helped him resurrect; but why was it KKP, now regarded as great cinema that brought down his empire??
Yash Chopra had ambitious projects up his sleeve, Silsila being a glorious example; which painted a real life controversy on celluloid. But the film went on to flop. Why?
Raj Kapoor made Mera Naam Joker with his heart and soul, only for it to be panned by the audience. Now it is seen as some kind of magnum opus. The film had a theme, music, sensation; but it still did no magic at first.
Can someone apply some logic and help me understand?
I'm surprised it hasn't decade.
This was from a cineblitz magazine
SHE was just a fifteen - year - old with an enviable bust line (read forty-two), when she first landed in Bombay fresh out of the starched uniform of some convent school in Madras.
It was in the winter of '68 that Mohan Segal signed Rekha for her first Hindi movie opposite Navin Nischol: The name Sawan Bhadon. A party was thrown to introduce her to the press.Most newcomers are shy and hesitant. Not Rekha. Her answers to all questions were bold and spoken out. And as the intake of pegs by our brethren of the Fourth Estate increased, so did their questions grow bolder. Yet Rekha was never at a loss for the quick retort.
By the time that party was over no doubts remained that she had won the journalists completely over. They had never encountered anyone, new or old, who was as frank and fearless as this brash, young girl-woman. Could this outspoken fifteen-year-old have been coached to say the boldest things? I doubt it. The girl had apparently seen life raw and lived it to the full even before catching that plane to Bombay. She knew how to speak for herself.
Sajid Khan
The Sawan Bhadon unit did not immediately leave for location shooting in Poona. In the meantime, Mohan Segal had put up Rekha and her mother at a posh hotel in Juhu. Rekha was given tuition to perfect her Hindi diction, and her dancing.It was during this period that Sajid Khan had just returned from the States after making a big name for himself there.
Rekha spotted him one morning at Mehboob Studios.It was the blast-off for her first serious friendship,I remember Rekha's words clearly when she set eyes on him, because I was around then and saw what occurred."Oh my God!" this was said with awe and reverence. "That's Sajid Khan? He's my favourite! I'm in love with him! I have collected every photograph of his!"She scrambled out of the van in which she had driven into the studio compound and ran straight up to Sajid Khan. And that was that!
There followed a rapid succession of midnight rendezvous; midnight-to-hell drives; and nine o'clock pairs to parties. Sajid was the more experienced of the two-I mean, he'd been in permissive America and all that. Rekha accompanied him everywhere he went. How can you blame a poor girl who finds herself face to face with the idol of whom she's dreamed for nights without end? Their dosti went on strong until Rekha had to go to Poona for a month-long location-shooting of Sawan Bhadon. Sajid obviously couldn't
... keep reading on reddit ➡Chandramukhi’s role in Bimal Roy’s Devdas (1955) was rejected by Nargis, Bina Rai and Suraiya. Vyjayanthimala, who finally did the role refused to accept Filmfare’s Best Supporting Actress Award for Devdas, stating that her role was as important as Paro’s. Years later, Reena Roy too, rejected Filmfare’s Best Supporting Actress trophy for Apnapan (1978), citing that her role was leading and not supporting.
Bimal Roy’s Do Bigha Zameen (1953) remains a landmark film that has influenced several films including Lagaan (2001). One can find echoes of “Hariyala sawan shol bajata aaya…” from Do Bigha Zameen in “Ghanan ghanan ghir aayee…” from Lagaan.
Raj Kapoor’s Shree 420 (1955) was a tremendous hit in India and overseas, especially in Russia, Egypt, Middle-East etc. “Ichak dana…” and “Mera joota hai japani…" were rewritten in the languages of various countries and sung as local songs.
V. Shantaram’s Do Aankhen Barah Haath (1957) was inspired by the story of an ‘Open Prison’ experiment in Satara. The film portrays a young jail warden, Adinath, who rehabilitates six deadly prisoners released on parole into persons of virtue. During the shooting of the film, V. Shantaram battled with a bull and hurt his eyes and affected his vision. During the period of temporary blindness, he visualized some unseen colours of life which resulted into the making of his colourful Navrang (1959).
Dilip Kumar initially refused to be part of Naya Daur (1957) but then, his friend Ashok Kumar, who heard and loved the story, convinced him to accept it. Madhubala was the female lead in this movie but when B.R. Chopra decided to shoot the movie in Bhopal, Madhubala’s father, Ataullah Khan, refused to let her go citing personal reasons. Finally, Madhubala had to be replaced with Vyjayantimala who entered a new phase of her career with the super hit – Naya Daur.
Guru Dutt wanted Dilip Kumar to play the leading role in Pyaasa (1957). The Tragedy King declined because he thought this role was similar to his Devdas (1955). So, Guru Dutt himself decided to play the role. Similarly, Madhubala and Nargis were his first choices for the leading ladies, which were eventually played by Mala Sinha and Waheeda Rehman. Pyaasa went on to become a cult film in the history of Indian cinema.
Mehboob Khan’s Mother India (1957), was the colour remake of his own Aurat (1940) which featured his wife Sardar Akhtar. Aurat was inspired from Pearl S. Buck’s novel “The Mother”. Nargis got the role of her lifetime
... keep reading on reddit ➡For context I'm a Refuse Driver (Garbage man) & today I was on food waste. After I'd tipped I was checking the wagon for any defects when I spotted a lone pea balanced on the lifts.
I said "hey look, an escaPEA"
No one near me but it didn't half make me laugh for a good hour or so!
Edit: I can't believe how much this has blown up. Thank you everyone I've had a blast reading through the replies 😂
It really does, I swear!
They’re on standbi
Pilot on me!!
Nothing, he was gladiator.
Dad jokes are supposed to be jokes you can tell a kid and they will understand it and find it funny.
This sub is mostly just NSFW puns now.
If it needs a NSFW tag it's not a dad joke. There should just be a NSFW puns subreddit for that.
Edit* I'm not replying any longer and turning off notifications but to all those that say "no one cares", there sure are a lot of you arguing about it. Maybe I'm wrong but you people don't need to be rude about it. If you really don't care, don't comment.
(Published: October 21, 2016)
One of the most distinctive screen villains in Hindi cinema Ajit passed away on October 22, 1998. The legendary actor, who was born Hamid Ali Khan, is mostly remembered for playing evil roles with suave and sophistication.
His son Shehzaad Khan, who has acted in films like Qayamat Se Qayamat Tak and Andaz Apna Apna, is quite the opposite. He is full-on comic guy and can crack jokes at the drop of a hat.
On his father Ajit Khan's death anniversary (October 22), Shehzaad talks to Patcy N/Rediff.com about his famous father’s journey into Bollywood.
My father’s screen name Ajit was given to him by Nanabhai Bhatt (director Mahesh Bhatt’s father) because his real name Hamid Ali Khan was too long. The new name proved to be lucky.
My father was from Hyderabad. When he was 22, he sold his college books and ran away from home to pursue his dreams. My grandfather was in the Nizam’s military. He was very strict. He was against my father becoming an actor; he wanted him to have a more dignified profession like doctor or lawyer.
Acting was considered taboo. If you entered the Indian film industry, you were outcast from your community. In those days, there were no acting schools. My father, Dilip Kumar and other legends never went to acting school. At the most, they did theatre.
I was so scared of my father that I was unable to tell him that I wanted to act. So how could my father tell his father that he was interested in acting?
We come from a staunchly patriarchal family where you have to listen to your father. We did not have the guts to ask. We couldn't even make eye contact with our father. Even though I knew my father had run away from home, I never had the courage to ask him about his life. It was only when he grew older that he himself started telling us about his life. When he came to Bombay, he stayed with a friend in Mohammed Ali Road (in south Mumbai).
When I was a kid, my father once showed me these huge cement pipes which are put into nullahs, and told me that he stayed in one of them for a few days. A local goon would collect money every week from people to allow them to live in those pipes. This was in the 1950s or may be earlier.
One day the goon asked my father for the hafta, which my father refused, and bashed him up instead. From the next day, my father became the local goon and no one would take money from him! He would get free tea, snacks and food.
* * * * *
My father started his career as a
... keep reading on reddit ➡What did 0 say to 8 ?
" Nice Belt "
So What did 3 say to 8 ?
" Hey, you two stop making out "
Ganga Jumna may have become a little known movie for the current generations of the new millennium, however its impact on Indian cinema is unparalleled as one of the biggest trendsetters of the golden era. The movie inspired a youngster named Amitabh Bachchan to try his hand at acting and also served as the prototype of the angry young man persona he created in the 70s. Another youngster named Amjad Khan based his iconic character Gabbar Singh’s dialogue delivery based on Gunga’s Awadhi dialect in the movie. Another newbie named Ramesh Sippy took inspiration from Gunga Jumna to visualize Sholay’s opening sequence of the train attack by dacoits. Another bunch of youngsters named Salim and Javed created their own legacy along with Bollywood’s superstar Big B with a long list of movies like Deewar, Trishul, Amar Akbar Anthony etc based on Ganga Jumna’s Good - Bad brother storyline. Gunga Jumna inadvertently laid down the foundation of the Bhojpuri film industry which took shape a couple of year’s after the predominantly Awadhi language based Gunga Jumna became India’s 2nd highest grossing blockbuster on release. Gunga Jumna is in fact the Gangotri of Indian commercial cinema of the last century and is its creator’s brightest gem.
Gunga Jumna (1961)
Directed by Nitin Bose
Produced by Dilip Kumar
Starring - Dilip Kumar, Vyjayanthimala, Nasir Khan, Nazir Hussain and Anwar Hussain
Written by Dilip Kumar
Music by Naushad
Budget/Box Office - INR 3.5 Crore/INR 11.27 Crore (INR 1,366 Crore adjusted for Inflation)
Awards - National Film Award for Best Film, 3 Filmfare Awards including Best Actress and Special Award at Karlovy Vary International Film Festival
IMDB Rating - 7.7/10
My Rating - 9/10
Dilip Kumar AKA the Tragedy King AKA the “First Khan of Bollywood” was part of the Golden Trio of Bollywood with Raj Kapoor and Dev Anand. Often described as the ultimate method actor, Dilip Kumar pioneered his unique style of method acting which inspired the likes of Big B, SRK and Irrfan to name a few. Dilip Kumar’s method acting predates the Hollywood greats like Brando, Hoffman and DeNiro. Dilip Kumar had already won 5 of his record breaking 8 Filmfare awards by 1960 and starred in the biggest blockbusters of that era like Andaz, Devdas, Naya Daur, Madhumati and Mughal-E-Azam. He decided to write, produce and act in a movie often considered by many as his finest. Over the years it became clear
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(Edit: Lamba post hai, samay nikaalke aaram se padhiyega)
Check out this 1982 Stardust article about Dilip Kumar.
Even though the whole country was disillusioned, seething with fury and utterly disgusted when their darling Dilip Kumar deceived them about his second marriage, it wasn’t long before people forgave, forgot and started making excuses for their idol. Within a couple of months, Dilip Kumar was back on his pedestal.
The public had literally grown up believing in his legend, fans had lived with stories of his greatness for too long to accept his feet of clay because of just one mistake.
Now however, it’s come to light that Asma was not the legend’s first mistake. It was only the first to be exposed! The expose, however belated, seems to have aroused the other ‘wronged parties’ who have kept quiet about their suffering all these years, out of fear for themselves and their families.
Today, there’s no end to the stories shattering the white-washed façade, no restraint in the explosion of the myth of the ex-Sheriff, the actor nonpareil, the perfect family man, the legendary lover, the Godfather of the industry. One (exposed) slip-up has cost the fallen angel his thirty-year-old image!
So far, the only well-known negative aspect of this Marlon Brando of the Indian screen was that he had the habit of interfering with his scripts, directing his directors and delaying his films. Any filmmaker who signed Dilip Kumar, did so after knowing what to expect from the screen God. Those who resented his encroaching, never worked with him.
But it hasn’t been such simple and straight dealing always. Very few people are aware that the thespian has time and again deliberately cheated his producers, ruined his directors and put film families out of action for years, even at times, forever…
#Manmohan Desai and his family of filmmakers
Manmohan Desai and his family of filmmakers were one of Dilip Kumar’s first victims!
It is said that Manmohan Desai’s father was one of the industry’s richest producers in his time. In fact, he had so much money, that he used to get his wardrobe specially flown in from the most expensive boutique in Paris! But, he made one mistake – he signed Dilip Kumar for one of his films and with it, he lost everything he had achieved and amassed in life.
>That film never got made. My father almost became a pauper. - Manmohan Desai
As if his own extravagant demands during and after the film’s making weren’t enough, Dilip Kumar even
... keep reading on reddit ➡When I got home, they were still there.
