Did you know Moushumi Chatterjee and Rekha once fought over a movie poster?
Over the years, Bollywood has seen a lot of petty fights, be it full-blown arguments or subtle indications of dislike. While many resolve themselves and get over it, some believe in holding a grudge that can last for more than a decade. This has often resulted in some of the most intense catfights of Bollywood over time. As today is
Moushumi Chatterjee
's birthday, an interesting piece is doing the rounds on the net.
Moushumi Chatterjee is one of the most renowned actresses of Indian Cinema, known for her contributions in both Hindi and Bengali movies. She entered the industry at a young age and quickly rose to fame during the 1970s and 1980s. She has appeared in various successful films, showcasing her versatility across genres. Some of her notable works include: 'Roti Kapda Aur Makaan', 'Manzil', 'Angoor', and many more. Moushumi Chatterjee's continuing presence in Indian cinema demonstrates her talent and versatility, making her a popular character among audiences across every generation.
Among such celebrated actresses comes Rekha, known for versatility and exceptional acting skills, she has a career spanning over five decades. While she charmed the audience with her beauty and dancing skills, she has also been a part of various controversies, including but not limited to her marriage and rumors of her affairs. One such conflict was in a professional setting,
Rekha
and Moushumi Chatterjee were the parallel lead in the 1978 film Bhola Bhala with Rajesh Khanna, according to a report in New18.
When the poster of the film was released and Rekha was placed in front of Moushumi, the latter got upset and was reported to have an argument with Rekha on the sets of the film. She even went on and pressured the makers to change it, but unfortunately for her, that did not happen. Moushumi in retaliation, went and vented her anger in front of the media.
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Another such conflict arose when Rekha was on top of her career and was reported to have been linked with Amitabh Bachchan. The actor was married to Jaya Bachchan at the time. When the rumors of their alleged affairs surfaced, Jaya was visibly upset as she went on the set of the film, where the two actors were sitting together in a corner, and had a huge fight with Rekha.
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Indian Express
27 minutes ago
- Indian Express
Tagore and Yeats: How a Nobel-winning friendship fell apart
At the turn of the 20th century, few non-European writers captured the Western literary imagination as powerfully as Bengali polymath Rabindranath Tagore. For many, especially in Britain, he was a symbol of tranquility in the face of industrial exhaustion. Central to this mythmaking was William Butler Yeats – the towering 20th-century Irish poet and co-founder of Dublin's Abbey Theatre – who became Tagore's most celebrated Western champion. Yeats's role in introducing Gitanjali to the Anglophone world is by now a well-trodden narrative. His preface to the 1912 English edition of the collection of spiritual verses that Tagore had self-translated from Bengali was instrumental not only in launching the poet into the global literary spotlight, but also in helping promote it for the Nobel Prize in Literature the following year. Though Tagore translated the verses himself from Bengali to English, it was Yeats's endorsement that positioned him as a 'seer' in the eyes of the Western literary world. In 1913, Tagore, became the first non-European to win the Nobel Prize for Literature. The citation praised his 'profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West.' Tagore met Yeats in June 1912 at the house of English painter and cultural intermediary William Rothenstein. Yeats, presented with the English manuscript of Gitanjali, was immediately moved: 'I have carried the manuscript of these translations about with me for days,' he wrote in the introduction, 'reading it in railway trains, or on the tops of omnibuses and in restaurants, and I have often had to close it lest some stranger would see how much it moved me.' As literary scholar Dr Ragini Mohite writes in her 2025 article, 'Yeats, Tagore, and the Nobel Prize in Literature: Imprimaturs in Modernist Cultural Conversations' (International Yeats Studies, Vol. 9, No. 1, 2025), this introduction helped construct the image of Tagore as a saint-like figure, one who seemed to channel 'the Indian civilization itself.' For Yeats, Gitanjali was akin to scripture. He likened Tagore to the English poet William Blake, and imagined India not as an exotic Other, but as a mirror. As Ruprecht-Karls-Universität Heidelberg professor Dr Carl O'Brien observes in his article 'Rabindranath Tagore's India and WB Yeats's Ireland' (Canadian Review of Comparative Literature, 2019), Yeats imagined Indian culture 'not because of its strangeness, but because it was like meeting our own image… our voice as in a dream.' Yeats's framing proved decisive. Mohite contends that the Nobel committee's internal report relied 'entirely on Yeats's introduction,' even admitting that 'no biographical information was included with the proposal.' In Yeats's words, Tagore was 'the first among our saints,' someone who rose above worldly strife. By the time Tagore won the Nobel in November 1913, accusations circulated that he had not written the translations alone. Some, like British journalist Valentine Chirol, cast aspersions on his English proficiency; others suggested Yeats was the true author. As Mohite observes, Tagore's own disappointment with such insinuations was clear: 'It is not possible for [Chirol] to relish the idea of Mohammedans sharing this honour with Hindus.' While Yeats undoubtedly assisted in shaping the English Gitanjali—making editorial suggestions and contributing to its arrangement— he did so alongside others, sometimes with mixed feelings about his lack of sole control over the proofs. Nonetheless, Tagore remained the work's author and translator, and the Nobel Prize, as Mohite suggests, became a lightning rod for praise and critique alike. The Gitanjali for which Tagore was honoured was not his 1910 Bengali collection, but a curated English compilation — only 53 of the 103 poems were from the original; the rest were taken from other works such as Kheya and Achalayatan, stripped of rhyme and metre, and arranged for a mystical tone. In 1913, Yeats helped stage Tagore's play The Post Office at the Abbey Theatre. He also introduced Tagore to American poet Ezra Pound and secured publication through the India Society and Macmillan. This elevation of Tagore as a mystic suited the moment but troubled critics. Pound warned early: 'If his entourage has presented him as a religious teacher rather than as an artist, it is much to be lamented.' Tagore himself grew wary of this spiritual branding. In his delayed Nobel lecture (1921), he focused on his newly founded Visva-Bharati University, saying: 'I have used the money for establishing… a university where Western students might come and meet their Eastern brethren.' He had begun converting symbolic recognition into real capital for India's educational sovereignty. Yeats would win his Nobel a decade later, in 1923, as the national poet of the newly independent Irish Free State. His Nobel lecture, 'The Irish Dramatic Movement', celebrated the role of literature in shaping Ireland's national consciousness. As he wrote to Edmund Gosse, 'Of course I know quite well that this honour is not given to me as an individual but as a representative of a literary movement and of a nation.' Tagore, by contrast, was increasingly critical of nationalism. In his lectures (Nationalism, 1917), he argued that political chauvinism — whether Western or Eastern — ultimately imitated the violence of the Empire. His novel Gora (1909) goes further, challenging notions of religious and racial purity through a protagonist who discovers he is ethnically Irish but raised as a Brahmin Hindu. Yeats's nationalism, while not imperialist, was mythic. Rooted in Celtic revivalism, his plays and poetry built a romantic Irish self-image. While Tagore sought to dismantle cultural boundaries, Yeats idealised Ireland's past to inspire its future. Both poets looked to tradition, but Tagore's was dialogic and international; Yeats's, symbolic and insular. Their relationship soon grew strained. By 1935, Yeats wrote bitterly, 'Damn Tagore … Tagore does not know English, no Indian knows English. We got out three good books … then he brought out sentimental rubbish and wrecked his reputation' (Yeats, Letters, p. 834). This position contrasts starkly with his tribute just four years earlier in The Golden Book of Tagore (1931), where Yeats wrote, 'I am still your most loyal student and admirer.' This disillusionment, scholars say, stemmed not just from aesthetic disagreement, but from ideological divergence. Tagore, unlike Yeats, rejected nationalism as the foundation of identity. As O'Brien contends, Tagore denounced the violent mimicry of European imperialism in his lectures, notably in 'Nationalism' (1917) and 'The Spirit of Japan' (1916). 'By this device the people who love freedom perpetuate slavery in a large portion of the world,' he wrote, decrying both European hypocrisy and Asian complicity in adopting imperialist values. The literary crossing between Yeats and Tagore was a moment of rare poetic diplomacy. But it was also a cautionary tale. Recognition, especially in colonial settings, often demands translation, linguistic and cultural. In becoming the 'Indian saint', Tagore's political agency and artistic precision were partially erased. Yet, as Tagore reminded us, 'We cannot borrow other people's history. If we stifle our own, we are committing suicide.' Over a century later, their relationship remains a study in mutual admiration, ideological divergence, and the politics of literary framing. Yeats and Tagore remain twinned in Nobel memory, not as perfect collaborators, but as witnesses to a moment when East and West briefly, and uneasily, shared a page. Aishwarya Khosla is a journalist currently serving as Deputy Copy Editor at The Indian Express. Her writings examine the interplay of culture, identity, and politics. She began her career at the Hindustan Times, where she covered books, theatre, culture, and the Punjabi diaspora. Her editorial expertise spans the Jammu and Kashmir, Himachal Pradesh, Chandigarh, Punjab and Online desks. She was the recipient of the The Nehru Fellowship in Politics and Elections, where she studied political campaigns, policy research, political strategy and communications for a year. She pens The Indian Express newsletter, Meanwhile, Back Home. Write to her at or You can follow her on Instagram: @ink_and_ideology, and X: @KhoslaAishwarya. ... Read More
Indian Express
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Pakistan actor Akram Udas urges peace amid Indo-Pak cultural row, slams Iftikhar Thakur's remarks without naming him
Pakistani actor Akram Udas — best known for his role as 'Boota' in the Punjabi film Chal Mera Putt and its three sequels — has directly addressed the ongoing controversy sparked by fellow Pakistani actor Iftikhar Thakur amid heightened India-Pakistan border tensions. In a video released on Thursday titled 'Please stop this controversy, Punjab??', Udas appealed for calm and urged Punjabi artists from both sides of the border to act with restraint. The controversy began on May 2, following provocative statements made by Iftikhar Thakur in response to the Pahalgam terror attack. In a televised Pakistani talk show, Thakur issued an aggressive warning to India, saying: 'If you come through the air, you'll be blown away in the wind. If you come through the sea, you'll be drowned in water. If you come by land, you'll be buried.' The remarks drew sharp criticism from Indian Punjabi actors and filmmakers, who denounced Thakur's comments as inflammatory and called for a boycott of Pakistani actors. Since then, several Indian Punjabi cinema stakeholders — including actors, directors, and producers — have voiced concerns, triggering a backlash against cross-border collaborations that were once celebrated. Unlike Bollywood, Pakistani actors such as Thakur, Akram Udas, Nasir Chinyoti, and many others have been regularly cast in Indian Punjabi films, with all scenes of the Pak actors shot outside India and Pakistan. In his video statement, Akram Udas—seen with a portrait of Pakistan's founding father Mohammad Ali Jinnah in the background—expressed disappointment over how the issue had escalated. 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Udas also took a veiled dig at Thakur's assertion that Indian Punjabi cinema cannot succeed without Pakistani actors. 'If I say Punjabi movies in India don't work without 'us,' even that is false. He could have said 'me' instead of 'us.' Did he consult the others before making that statement?' Udas asked pointedly. He continued, 'If I say all films without Pakistani actors are flops, that too is wrong. One should think about the producers who have invested so much money in upcoming projects and the many artists who've worked together in the past.' Appealing to audiences and artists, Udas said, 'Fans are on both sides. They love us and believe every word we say. My words should not hurt anyone's business, sentiments, or create cracks between communities. I urge everyone giving statements to think before speaking. Work comes to everyone as per Allah's will. We should speak in a manner that allows us to face each other with dignity. If I have hurt anyone's sentiments, I apologise.' Udas has become the first Pakistani actor to publicly criticise Thakur, who had sparked the row. Though Udas never explicitly named Thakur, the context and tone of the video point toward a rebuttal of Thakur's controversial statements. Thakur's most recent remarks have further intensified the controversy. In a viral video from last week, he claimed: 'We're the reason these films work.' He suggested that Indian Punjabi films owe their success to Pakistani actors, especially referencing the Chal Mera Putt franchise, which featured himself, Akram Udas, Nasir Chinyoti, and Indian stars such as Amrinder Gill and Simi Chahal. The fifth sequel of the film is scheduled for release in August. Thakur also asserted: 'They have no right to boycott us… It is we who should boycott them. I've already signed 16 of their films, and they've invested over ₹300 crore on me. They made nine films without casting us, and all nine were flops.' Indian Punjabi filmmaker and writer Rakesh Dhawan, who penned Chal Mera Putt, responded sharply. 'Thakur, you can't run your own household— how do you expect to run Punjabi cinema?' he remarked. 'Only the films you did with me became hits. The rest were all flops. Chal Mera Putt gave you a global identity.' He added that though one film starring Thakur has already been shot and must be released due to the producer's financial commitment, he would have preferred to sever ties. 'Had it been in my control, I'd have sent him back,' Dhawan added. Prominent Indian Punjabi actors also condemned Thakur. Binnu Dhillon called him 'an enemy,' vowing never to work with him again. Gurpreet Ghuggi said, 'Artists are supposed to build bridges, not walls. I don't think anyone in the Punjabi film industry will ever work with Pakistani actors now. He's shut the doors not just for himself, but for others too.' On May 12, in an apparent attempt to backtrack, Thakur issued a clarification claiming his comments were directed at the Indian government in the context of water disputes. However, he stirred more outrage by saying, 'Eastern Punjab (in India) is like my elder brother. We are one Punjab. I never consider Eastern Punjab as part of India.' These remarks further angered Indian Punjabi artists, who rebuked Thakur for undermining India's territorial sovereignty. 'Punjab is a jewel of India, and we are proud of it,' said Gurbhajan Gill, a Punjabi poet. Meanwhile, the row has opened up a deeper conversation about cross-border cultural exchanges and the fragility of artistic collaborations amid rising political tensions. While Indian reactions have largely remained measured, Akram Udas's balanced and peace-oriented statement has emerged as a rare voice of sanity from across the border. Concluding his message, Udas urged all stakeholders to 'move forward with understanding, not controversy.'
Time of India
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