Latest news with #ArdhSatya
NDTV
23-05-2025
- Entertainment
- NDTV
Why Amitabh Bachchan Reacted Strongly To Smita Patil Sitting On The Floor And Eating With Light Men
Patil worked with Amitabh Bachchan in the film Shakti (1982). Her son Prateik shared a story about her lunch habits on set. Bachchan advised Patil that her actions influenced others' perceptions. New Delhi: Smita Patil was one of the most acclaimed actresses of the 1970s, with films like Mirch Masala, Manthan, Ardh Satya, Arth and Mandi to her credit. Despite being a phenomenal actress, she was extremely down-to-earth. Smita Patil had worked in a film called Shakti (1982) with Amitabh Bachchan, Dilip Kumar, and Rakhee. Recently in conversation with Varinder Chawla's YouTube Channel, Smita Patil's son Prateik Smita Patil shared an incident that had taken place on the sets of the above-mentioned film. Prateik revealed how Amitabh Bachchan had reprimanded Smita Patil for bringing lunch from home and sitting on the floor and eating with the light men. Prateik revealed, "Such a big superstar, Smita Patil, eating lunch on the floor. One day Amitabh Bachchan called her to the side and said listen you are screwing it up for people like us. Tum baithte ho neeche aise sab ke sath toh hum kharab dikhte hain kyunki hum nahi karenge toh hum kharab dikhenge. Humko bhi karna padega abhi. Hum bure lag rahe hain aapki wajah se. (You sit on the floor with everyone, and it makes us look bad because we aren't doing it. We would also have to do it because it looks bad otherwise). And she was bindaas, she was like, aap jao van mein, main kha rahi hu (You go to the van, I am eating here)." Amitabh Bachchan and the late Smita Patil worked in other films like Namak Halaal (1982), and Pet Pyar Aur Paap (1984). On the work front, Prateik was last seen in HIT: The Third Case led by Nani and Srinidhi Shetty. The film also had Surya Srinivas, Rao Ramesh, Komalee Prasad, and Nepoleon, among others, in key roles.
Hindustan Times
22-05-2025
- Entertainment
- Hindustan Times
Amitabh Bachchan told Smita Patil not to sit on the floor and eat with light men: 'Hum bure lagte hai aapki wajah se'
Smita Patil is not only known for her powerhouse performances in films like Mirch Masala, Manthan, Ardh Satya, Arth and Mandi to name a few, but also for being a down-to-earth personality. Her son Prateik Smita Patil recenlty shared a heartwarming incident from the sets of Shakti (1982) which starred legends like Dilip Kumar, Amitabh Bachchan and Rakhee. (Also read: Prateik Smita Patil reveals the real reason behind not inviting father Raj Babbar to his wedding, says sorry) In an interaction with Varinder Chawla's YouTube channel, Prateik recalled how Smita would bring her lunch from home and sit on the floor with light men and share food with them. "Such a big superstar, Smita Patil, eating lunch on the floor. One day Amitabh Bachchan called her to the side and said listen you are screwing it up for people like us. Tum baithte ho neeche aise sab ke sath toh hum kharab dikhte hain kyunki hum nahi karenge toh hum kharab dikhenge. Humko bhi karna padega abhi. Hum bure lag rahe hain aapki wajah se. (You sit on the floor with everyone, and it makes us look bad because we aren't doing it. We would also have to do it because it looks bad otherwise). And she was bindaas, she was like, aap jao van mein, main kha rahi hu (You go to the van, I am eating here)," Prateik said. Amitabh and Smita worked together in films like Shakti (1982), Namak Halaal (1982), and Pet Pyar Aur Paap (1984). Smita also made a guest appearance in Sharabi (1984), which had Jaya Prada as the female lead. Prateik was recently seen in the movie HIT: The Third Case. Helmed by Sailesh Kolanu, the film features Nani and Srinidhi Shetty in lead roles, along with Surya Srinivas, Rao Ramesh, Komalee Prasad, Nepoleon and others in key roles.
Time of India
15-05-2025
- Entertainment
- Time of India
Naseeruddin Shah revisits 'Ardh Satya,' says Om Puri was 'much more than' an actor
Veteran actor took a nostalgic trip down memory lane as he revisited his iconic film " Ardh Satya " on the big screen. Reflecting on the powerful performances, Shah especially praised the late Om Puri, describing him as "much more than an actor." Tired of too many ads? go ad free now Quoting filmmaker , Shah likened Puri's presence to a "living reproach," acknowledging the profound depth and realism he brought to the screen. Taking to Instagram, Naseeruddin Shah posted a photo of waving and expressed his deep admiration for the late actor. Naseeruddin wrote, "Revisited Ardh Satya on the big screen last night after ages. Both Sadashiv and Om are at their absolute best. Something Nicholas Ray said about Bogart which really applies to Om, 'His face was a living reproach. He was much more than an actor. He was the very image of our condition." "Ardh Satya," a 1983 film directed by , was based on the short story 'Surya' by S. D. Panvalkar. In the cop drama, Om Puri portrayed Anant Velankar, a police officer grappling with the corruption around him as well as his own personal struggles. The film also starred Amrish Puri, Smita Patil, and Sadashiv Amrapurkar. Naseeruddin Shah appeared in a cameo role as Mike Lobo, a suspended cop, in the film. For the unversed, Om Puri and Naseeruddin Shah shared a close professional journey that began at the National School of Drama (NSD), where they were batchmates. Om later advanced his training at the Film and Television Institute of India (FTII), where Naseer was already a senior. Both actors launched their careers in the 1980s. Om Puri reportedly died in his sleep from a heart attack at his residence in Mumbai on January 6, 2017, at the age of 66. When he passed away in 2017, Om Puri was actively involved in a Marathi film project. Following his death, several of his finished films, such as "Viceroy's House" and "Tubelight," were released posthumously.
The Hindu
23-04-2025
- Entertainment
- The Hindu
Dead in the streets: Watching ‘Salim Langde Pe Mat Ro' with Saeed Akhtar Mirza
For a film that unfolds as a chronicle of a death foretold, Salim Langde Pe Mat Ro opens in resplendent liveliness. A young, brash man struts down (or up?) a Mumbai street, seems to 'own the street', according to the film's director, Saeed Akhtar Mirza. 'My name is Salim Pasha, the public calls me Salim Langda,' announces Pavan Malhotra, then a young man of 30, in insolent voiceover. He walks with movie-star assurance, proudly massaging his wrist, dark birds gliding in the dawn sky. A BEST bus pulls up behind him, and Salim, ever the punk, makes way. He will die a dog's death by the film's end, but there's time. The 1980s are popularly viewed as an era of unmitigated trash in Hindi film, yet out of the muck bloomed such incendiary works as Ardh Satya, Jaane Bhi Do Yaaro and Salim Langde Pe Mat Ro. For Mirza, one of the boldest (and coolest) exponents of the Parallel Cinema movement, the film rounded out a loose quartet of films with playfully elongated titles: the previous entries were Arvind Desai Ki Ajeeb Dastaan (1978), Albert Pinto Ko Gussa Kyoon Aata Hai (1980) and Mohan Joshi Hazir Ho (1984). All four films were set in Mumbai; each homed in on a protagonist representing a certain social class, and each distilled, in its own way, the moral, political and existential collapse of its time. Salim Langde Pe Mat Ro was recently screened in Mumbai, as part of the Versova Homage Screenings (VHS) initiative. It was my first trip to a VHS screening; they've shown 21 films so far, small, curated gatherings at assorted venues, typically ending with a conversation with the filmmaker. Mirza, now 80 and residing in Goa, turned up for the screening, and was in conversation with Sudhir Mishra, who assisted the director on multiple films, including Salim Langde Pe... Mirza shared a lovely origin story for his penultimate film. While shooting Mohan Joshi Hazir Ho in Do-Tanki, a lower-middle class Muslim neighbourhood in South Mumbai, his set was intercepted by a young hoodlum of 23; though Mirza, shooting on limited film stock and a paltry budget, was incensed by the interruption, he was duly advised by his local 'protector' not to react. The trespasser, he was later told, was a shooter for the D-gang. 'He owned the street, he owned the neighbourhood,' the director recalled observing. Mirza described Salim Langde... as an 'essay' film mapping the anxieties and aspirations of a 'ghettoised mind'. The film, he emphasised, was made in a specific social and historical context: the textile mill strikes that disenfranchised Mumbai's working class, the 1984 Bhiwandi riots, the trouble in Kashmir and the buildup to the Ram Janmabhoomi movement. Salim, a low-level enforcer for a local 'seth', gets by thieving and extorting and hanging around street corners with his two buddies. He has a rascally laugh that Malhotra makes oddly endearing, and he professes a weary, street-toughened philosophy. 'Ek pai ki mistake nahi bardaast karti yeh duniya (this world is unforgiving),' he says, a coarse poetry in his agitated tones: Salim's language, per Mirza, is influenced by his Deccani roots. The film's best scenes unfold inside Salim's home. With simple pans and tilts, cinematographer Virendra Saini evokes a world. Salim's father, we learn, lost his job in the mill strikes, and his elder brother, Javed, an electrician who worked at a factory, died in a mishap. His mother toils at the sewing machine, while his sister—so the family concludes—has come of marriageable age. Salim feels the weight and humiliation of his circumstances, though he is not, as yet, fully equipped to investigate its true origins. Like many of the director's heroes, his consciousness is raised by degrees, through conversations and late-night reflection. 'It is not the consciousness of men that determines their being, but, on the contrary, their social being that determines their consciousness,' wrote a certain German philosopher from the 19th century (quote that to Salim and he will likely reach for his rampuri.) ALSO READ:I see my films as essays, which you can accept or reject: Saeed Mirza Much like his late contemporary, Shyam Benegal, who passed away last year, Mirza's reputation as a 'serious' social thinker obscures his yen for humour. Even as bleak and pessimistic a work like Salim Langde Pe... packs a barrel of laughs, with zingers and quips as serrated as knives. 'This country has a long queue of patriots,' spits a character at one point. 'Don't add to the traffic jam.' There are also the countless cameos that make you pleasantly misty-eyed: Tom Alter as a sweet-natured hippie, singing 'Mera Joota Hai Japani' for street urchins in a slum, Neeraj Vora hawking digestive herbs with a long blowhorn, and, my favourite, Ajit Vachani as the venerated Rafiq bhai, a calm, cautious equanimity in his eyes. After the screening, an audience member told Mirza, in a matter-of-fact way, 'thank you for reflecting our times.' Salim Langde Pe Mat Ro does that to you. The communal tensions that simmer throughout the film are now the bland order of things. The fringe is the mainstream. Mirza, as ever, was even-toned in his self-assessment. 'I'm not an oracle,' he said, adding a little later, 'but I had my ear pretty close to the ground.'
