Did Rajesh Khanna slap Raza Murad after seeing him with Dimple Kapadia at Film City? Here's the truth
's life has always fascinated people, whether it's his blockbuster films or his personal relationships. His marriage to
in 1973, just before the release of her first film 'Bobby', was one of the biggest talking points of that time. But with fame also came wild rumours. One of the most shocking was that Rajesh Khanna had once slapped
because Murad was spending too much time with
.
Tired of too many ads? go ad free now
Now, Raza Murad himself has spoken up, putting these rumours to rest.
The rumour that refused to die
According to gossip that did the rounds back then, there was a day when Dimple and Raza turned up at Film City together. The story went that Rajesh Khanna was already there, busy shooting. When he saw them, things supposedly took a dramatic turn.
'There used to be a film newspaper called Urvashi. It was written there that Raza Murad and Dimple Kapadia came to Film City in the same car. Rajesh Khanna was shooting there. When he began talking to Dimple, Raza asked her to leave with him, leading to Rajesh Khanna slapping Raza Murad,' recalled Murad on the podcast 'The Filmy Charcha'
Raza Murad breaks his silence
But now, after so many years, Raza Murad has completely dismissed this rumour.
He set the record straight once and for all, 'Neither I ever went to Film City with Dimple, nor such a situation ever happened, and never have Dimple Kapadia, Rajesh Khanna, and Raza Murad ever been in the same spot together. We used to shoot separately with Kakaji (Khanna) and Dimple. This baseless rumour didn't have even 1% truth in it. It was a 100% lie.
'
A long list of films together
It's interesting that despite this rumour, Raza Murad has worked many times with both Rajesh Khanna and Dimple Kapadia. With Dimple, he has shared the screen in films like
's 'Janbaaz' (1986), David Dhawan's 'Aag Ka Gola' (1989), Babbar Subhash's 'Pyaar Ke Naam Qurbaan' (1990), Mahesh Bhatt's 'Gunaah' (1993), and Ajay Kashyap's 'Pathreela Rasta' (1994).
Meanwhile, he also did several films with Rajesh Khanna, such as
's 'Namak Haraam' (1973), 'Tyaag' (1977), 'Tinku' (1977), 'Oonche Log' (1985), 'Adhikar' (1986), 'Begunaah' (1991), and 'Riyasat' (2014).
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Indian Express
5 hours ago
- Indian Express
Amid confusion and political outrage, 2025 National Film Awards highlight cinema that matters
Some years, the National Film Awards tell us who the best actors are. Other years, they quietly signal what kind of cinema still matters. This year, amidst confusion, omissions and political outrage, three names stood out like steady notes in a dissonant chord: Urvashi, Vijayaraghavan and M S Bhaskar. All of them veterans, unmistakable presences, and winning for supporting roles. All, notably, from the South. Within that quiet pattern lies something deeper than individual excellence. These wins do not flatter stardom. They affirm a legacy where a film's soul is not always carried by its leads, but by those who arrive on screen already weathered by the world they inhabit. The films, Ullozhukku, Pookkaalam and Parking, share no similarity on the surface. But they speak in unison about something essential: The understanding that a plot is only ever as powerful as the people who carry it. In Ullozhukku, Urvashi plays a grieving mother whose pain is subterranean, slow and unrelenting. Her performance is the flood that the story cannot drain. M S Bhaskar leans into the stubbornness of an ordinary man in Parking with such layered conviction that even his silences feel confrontational. And Vijayaraghavan in Pookkaalam gives us a face aged by both time and tenderness. His presence doesn't just deepen the film's mood; it alters its moral temperature. These are not ornamental roles. They are the emotional spine of their films. What makes their recognition even more compelling is that it isn't new. In Malayalam and Tamil cinema, supporting characters are not a scaffolding for stars. They are part of the structure. Often, they are the reason a story breathes at all. This is a culture that has long written with a generosity toward its characters. From Sankaradi and Thilakan to KPAC Lalitha and Sukumari, supporting actors have not existed to flank the hero but to inhabit the world fully. Tamil cinema too has extended the same reverence to performers like Manorama, Delhi Ganesh and Vadivukkarasi. They were actors who could recalibrate an entire scene with a single shift of tone. They weren't merely present; they carried the narrative's quiet urgency, with a clarity of presence. Thilakan, with his volcanic restraint, could distil authority into a single gesture. Sankaradi, with his laconic delivery and dry intelligence, lent realism to even the most outlandish situations. Oduvil Unnikrishnan's face always held a controlled emotion that deepened every silence and brightened every smile. KPAC Lalitha's portrayals simmered with suppressed fury or unspoken affection, depending on what the frame asked of her. Sukumari moved between tones like a veteran classical musician, switching between menace, maternal care and comic timing with disarming ease. Manorama brought mischief and vulnerability to even her most minor roles. Nagesh, for all his physical humour, never chased the gag. He layered his comedy with anxiety, class discomfort, and even desperation. Delhi Ganesh, Vadivukkarasi and Nasser, always understated, built full lives for characters who often entered and exited the story within minutes. They didn't serve the leads. They served the world with the film they built. That tradition continues today, sharpened by a newer wave of screenwriters and directors who refuse to flatten characters into clichés. They trust the audience to stay with silences, to read expressions that aren't underlined by music. And they give their supporting cast room to inhabit those emotional spaces fully. This is why these National Awards wins feel like an affirmation of a way of making cinema. A reminder that the most potent moments often belong not to the most visible face, but to the one with the most lived-in silence. Even Janki Bodiwala's win for Vash (later remade as Shaitaan in Hindi), the fourth in this category, sits within this quiet continuum. A younger performer from Gujarati cinema, her inclusion rounds out a selection that leans more toward narrative integrity than celebrity hierarchy. Of course, there were other headlines this year. Controversial choices, omissions that stung, selections that sparked rightful confusion. But amid that noise, these four awards feel like a restoration of faith. As if the jury, however imperfectly, remembered what gives cinema its staying power. They recognised where the story rests its weight. Not always on the shoulders of heroes, but often on the backs of characters who have no names on the poster. To honour them is to honour a style of cinema that privileges depth over display. And in doing so, perhaps, we catch a glimpse of what might still be possible.
Indian Express
6 hours ago
- Indian Express
National Award-winning costume designer acted opposite Rajesh Khanna, designed Sridevi's outfits in Ajooba, died of cancer 10 years before son's debut
Late legendary superstar Rajesh Khanna may have married actor Dimple Kapadia in 1975, but one of his most memorable onscreen pairings was with Dimple's late younger sister, Simple Kapadia. She made her acting debut opposite Khanna in Shakti Samanta's Anurodh (1977), at the age of 18—the same age Dimple was when she debuted in Bobby four years earlier. 'It is definitely not a Bobby, and can never even be compared to it. Just like I guess, I can never be another Dimple. Actually, I'm quite uncomfortable working with him (Khanna) because when you know a person inside out it seems funny seeing him so different in front of a camera,' Simple had said in a 1977 interview to India Today. After her debut, Simple Kapadia went on to appear in Rajesh Khanna's 1987 thriller Chakravyuha, directed by Basu Chatterjee. Her filmography also includes the 1979 romance Ahsaas, starring Shammi Kapoor and Shashi Kapoor; Chatterjee's Man Pasand (1980) opposite Dev Anand; Dev Anand's 1980 mystery Lootmaar; the 1981 action film Shakka opposite Jeetendra; Nasir Hussain's 1982 romantic thriller Zamane Ko Dikhana Hai; Dulha Bikta Hai (1982) with Raj Babbar; T. Rama Rao's Jeevan Dhaara (1982) starring Rekha; and the 1985 drama Rehguzar opposite Shekhar Suman. Simple went on to design costumes for Sridevi in Shashi Kapoor's 1990 superhero film Ajooba, Juhi Chawla in Yash Chopra's 1993 romantic thriller Darr, and her niece Twinkle Khanna in her 1995 debut Barsaat, directed by Rajkumar Santoshi. She also worked on Meenakshi Seshadri's look in Santoshi's 1996 action film Ghatak, styled Kamal Haasan and Tabu in the 1998 comedy Chachi 420, Amrita Singh in Guddu Dhanoa's 2002 historical drama 23rd March 1931: Shaheed, and Ayesha Takia in Imtiaz Ali's 2005 directorial debut Socha Na Tha. Simple Kapadia even won the National Award for Best Costume Design for Kalpala Lajmi's Rudaali (1993), starring Dimple Kapadia in the titular role. Simple's last film as a costume designer was the 2006 crime drama Gafla. She was diagnosed with cancer the same year, but she reportedly continued to work till she breathed her last in Mumbai in 2009 at the age of 41. Also Read — Rajesh Kumar criticises 'Bollywood hierarchy', says 'had a human conversation' with Dimple Kapadia: 'Sitting on same couch as stars difficult at times, can't only appreciate…' Simple Kapadia had married Rajinder Singh Shetty in 1992, but the marriage didn't last long. She had a son with him, Karan Kapadia, who made his acting debut in Benzad Khambatta's 2019 action thriller Blank, which also starred Sunny Deol. Karan's debut film released 10 years after his mother's death.
Indian Express
8 hours ago
- Indian Express
From Mani Ratnam nearly firing AR Rahman to Shammi Kapoor rejecting RD Burman: On Friendship Day 2025, Bollywood bonds that stood the test of time
More often than not, it is creative friendships that give rise to the most iconic works of art—ones that are cherished for generations. The Hindi film industry has witnessed several such bonds over the years. On the occasion of Friendship Day, we revisit some of Bollywood's most memorable partnerships between filmmakers, composers and singers, where camaraderie led to timeless classics. From Asha Bhosle's one phone call that changed the course of Jatin–Lalit's careers to Mani Ratnam nearly firing AR Rahman — only to be moved to tears by his music — these enduring collaborations stood the test of time through their unforgettable body of work. Before Raj Kapoor's collaboration with composer duo Laxmikant–Pyarelal came into the limelight — thanks to the hit track Bobby — the actor-filmmaker was known for his frequent collaborations with another legendary composer duo: Shankar–Jaikishan. The duo had worked in Raj Kapoor's father Prithviraj Kapoor's iconic Prithvi Theatre, and it was Prithviraj who recommended Shankar's name to Raj Kapoor when he was looking to make Barsaat. According to a report in Firstpost, Raj offered the job to the musician, but Shankar insisted that Jaikishan be made an equal partner. Raj agreed, and after Barsaat's massive success, he made the duo his permanent composers, even putting them on a monthly payroll of Rs 500. Shankar–Jaikishan went on to compose music for some of Raj Kapoor's most iconic films, including Awaara, Shree 420, and Junglee. However, like many great partnerships, their collaboration came to an end after Mera Naam Joker. During the making of the film, Raj Kapoor had a temporary fallout with Lata Mangeshkar, who until then had sung in all of his films. This created a difficult situation even for Shankar-Jaikishan, but Shankar pushed for singer Sharda Rajan Iyer to be included in the project. Raj Kapoor allowed Shankar to continue working his way, but later decided not to shoot the songs sung by Sharda and they weren't a part of the film. But removing Sharda's songs from Mera Naam Joker couldn't save the film from its fate. It bombed at the box office, and what followed was even more tragic — a year after the film's release, Jaikishan passed away, leaving Shankar in deep grief. Raj Kapoor, meanwhile, moved on to Laxmikant-Pyarelal and worked with them in his later films, including Satyam Shivam Sundaram (1978) and Prem Rog (1982). AR Rahman was composing jingles for advertisements when Mani Ratnam first came across his work. The filmmaker heard one of Rahman's jingles play at an award show and immediately thought of him as a hidden gem waiting for a breakthrough. Determined to give him that chance, Mani Ratnam brought Rahman on board for his 1992 film Roja. 'Not everyone gets a Mani Ratnam movie for their first film. So, imagine how cool it must have been for me,' Rahman shared in an interview with Chennai Times. The film's music was a sensation and earned Rahman the National Film Award for Best Music Direction in his very first film. The duo went on to collaborate on several iconic films, including Thiruda Thiruda, Iruvar, Dil Se, Guru, Raavan, Kadal, and many more. Bombay was the third film that Rahman and Mani Ratnam worked together on. However, it was also the film where Mani Ratnam briefly contemplated firing the composer. In an old interview with O2 India, cinematographer Rajiv Menon recalled how Rahman delayed delivering the tune of the song 'Humma Humma' to such an extent that Mani Ratnam went to his house with the intention of letting him go — but returned with tears in his eyes. Menon recounted, 'We were shooting and we had to film the Humma Humma sequence, but it wasn't coming.' He recalled Rahman calling them to his house to hear the tune after several delays. Rajiv said, 'We go there and he says, 'I don't have the tune.' So Mani asked, 'Then why did you call us?' Rahman answered, 'But I have something else,' and then he plays the theme music of Bombay.' Listening to the Bombay theme music was an emotional moment for both Rajiv and Mani Ratnam. 'Tears started rolling down my eyes. Mani said, 'What have you done, Rahman? I came here to fire you and you're making me cry with this song.' Rahman replied, 'I just got this tune.'' Rajiv shared that Rahman then went on to score the entire theme over the next three days. Dilwale Dulhania Le Jayenge (DDLJ), Fanaa, Mohabbatein — composer duo Jatin–Lalit have created music for several iconic films under the Yash Raj Films banner. But it's the story behind their first collaboration with Aditya Chopra and YRF that is particularly interesting. Yash Chopra was looking for fresh, new-age composers to craft the soundtrack of his son Aditya Chopra's debut directorial, DDLJ. This is when his wife, Pamela Chopra, received a call from Asha Bhosle, who strongly recommended Jatin–Lalit to the Chopra family. It all happened when the composer duo had gone to pay their last respects at RD Burman's house after his passing. There, they met Asha Bhosle. Speaking to Bollywood Hungama, Jatin recalled, 'This was a time when Pancham da (R.D. Burman) had passed away. We had gone to his house two days later. Asha ji was sitting alone in Pancham da's room. We spoke to her. She told us, 'Tum log itna accha kaam kar rahe ho. Tum logon ko badi filmein milni chahiye.' (You are doing so well. You should be getting big films).' Jatin Pandit continued, 'She called Pam ji (Pamela Chopra; Yash Chopra's wife) and spoke highly about us. Some days later, we got a call from Yash Raj Films. The sitting was supposed to last for an hour but went on for 3–4 hours. We had no idea that Aditya Chopra was going to debut as a director and that they were looking for a music director for his movie. We thought it was a film that would be directed by Yash ji. We were fortunate that they were just ready to begin shooting. It was a case of being in the right place at the right time. We were then given the narration and bagged the film!' It was their friendship with Asha Bhosle that helped them get the big break that changed the trajectory of their careers. We all remember Shammi Kapoor grooving to 'O Haseena Zulfonwali' like there's no tomorrow — but did you know he almost lost the chance to dance to this iconic R. D. Burman track? At the time, R. D. Burman was still finding his footing in the Hindi film industry. He had already composed music for films like Bhoot Bungla (1965) and Teesra Kaun (1965), and it was during this phase that Teesri Manzil's producer — legendary filmmaker and writer Nasir Hussain — recommended Burman's name to the film's lead actor, Shammi Kapoor. Shammi, who was known for being assertive about his choices, initially insisted on retaining Shankar–Jaikishan as the composers of the film, who had worked extensively with his elder brother Raj Kapoor. He wasn't keen on switching to a relatively new name in the music industry. But Nasir Hussain managed to convince him to give RD Burman a chance. According to a report, Nasir told Shammi, 'Ek naya ladka hai. Burman Dada (S. D. Burman) ka beta. Zara sun toh lo (There's a new boy SD Burman's son. Just give his music a listen.)' For the unversed, RD Burman's father, SD Burman, was one of the most successful and influential music composers in both Bengali and Hindi cinema. Reluctantly, Shammi Kapoor agreed to hear the tunes– and was left stunned. Burman's music was innovative, peppy, yet soulful. Teesri Manzil went on to become a cornerstone of Pancham da's career. The film was a massive box office success, and much of its popularity was credited to its unforgettable soundtrack, which included gems like 'O Haseena Zulfonwali Jane Jahan,' 'O Mere Sona Re Sona,' 'Aaja Aaja Main Hoon Pyar Tera,' 'Deewana Mujhsa Nahin,' and 'Tumne Mujhe Dekha Hokar Meherban.' Pancham da and Nasir Hussain went on to work together for at least nine films, including Caravan, Yaadon Ki Baaraat, Hum Kisise Kum Naheen, Pyar Ka Mausam, Zamane Ko Dikhana Hai, Manzil Manzil and Zabardast.
