Latest news with #DoRaaste
India.com
a day ago
- Entertainment
- India.com
Rajesh Khanna used to hit THIS actress, touched her nose, people thought they were..., her name is...
Rajesh Khanna used to hit THIS actress, touched her nose, people thought they were..., her name is... There are numerous stories in Bollywood where reel relationships spark off-screen rumours. One such speculation that garnered traction in 90s involved Bollywood's evergreen on-screen pair, Rajesh Khanna and Mumtaz. In a recent candid chat, Mumtaz opened up about her unique bond with Rajesh Khanna, and why people assumed that they were more than just co-stars. While talking to Radio Nasha, Mumtaz recalled her first meetup with superstar Rajesh Khanna, 'I didn't know him that time. I met him first time when I got to know that there is a hero Rajesh Khanna with whom I had to work. I said first ask him if he wants to work with me. That's how I got my first picture with him, Do Raaste. He has been very kind to me, we were very good friends.' She said. Mumtaz further talked about sharing a playful bond with him, which made people believe that they were in a relationship. The actress shared, 'When you do 15 films with a hero, then you develop a timing with each other. Kaka sirf mere saath hi aisa karta the (He used to do these things only with me). Sometimes he used to put something on my face, hit on my hips or touch his nose to mine during a song. So people thought, 'Dekh dekh chakkar chal raha hai, dekho kitne nazdeek hai. Jaisa Kaka ke saath Mumtaz chipakti hai naa vaisa kisiko bhi nahi chipakti. Kuch chakkar hai (There is something going on between them. The way she gets close with Kaka, she doesn't do it with any other hero).' All our films were hit, that's why they used to say 'they are having an affair'.' Since Rajesh Khanna and Mumtaz shared a close bond, she was asked whether he was ever possessive about her. She stated that it's quite natural for any man to be possessive about their favourite woman. For the unversed, Rajesh Khanna and Mumtaz collaborated in many memorable films including Do Raaste, Bandhan, Sachaa Jhutha, Dushmun, Aap Ki Kasam, and Roti. In 1970s, they were considered one of Bollywood's most loved on-screen pairs, and their wonderful chemistry evidently gave many box office hits.
Hindustan Times
2 days ago
- Entertainment
- Hindustan Times
Mumtaz says Yash Chopra proposed marriage to her but she wanted to focus on career: ‘Unhone kabhi line nahi maari'
Veteran actor Mumtaz was the highest-paid actor in the 1970s. She established herself as a leading lady with hit films such as Do Raaste, Bandhan, Khilona, and more. In an interview with Radio Nasha, Mumtaz revealed that filmmaker Yash Chopra had once proposed marriage to her, but she turned down the proposal as she wanted to focus on her work. (Also Read: Mumtaz breaks down recalling her final meeting with Shammi Kapoor: 'Agle janam mein milenge') Mumtaz recalled Yash Chopra proposing marriage to her and said, "Yash ji used to genuinely like me very much. He was an assistant at that time under his brother, BR Chopra. He used to like me. I'm not saying I was very beautiful, I was reasonable, so he used to like me. I was young and he was an assistant. Unhone bohut sharafat se, tameez se mujhe shaadi offer kari (He very decently and respectfully proposed marriage to me). He said, 'Moti Moti, I love you', and I said, 'No, I want to focus on work, I wanted to get somewhere'." She added, 'Bohut hi acche insaan the. Unke jaisa accha insaan aur director bohut kum hai. Unka beta Aditya bhi ab accha director hai. Par unone bohut izzat se mujhe shaadi offer ki thi, aisa nahi ki line maar rahe hai. Voh bohut shareef insaan the. Fir jab unhone shaadi ki, toh main unki shaadi mein bhi gayi. We were very, very good friends (He was a very good person. There are very few good people and directors like him. His son Aditya is also a good director now. But he had very respectfully proposed marriage to me—it wasn't like he was hitting on me. He was a very decent man. Later, when he got married, I even attended his wedding).' Mumtaz later married businessman Mayur Madhvani in 1974 and has two daughters with him. She took a 13-year sabbatical from acting after her marriage. Recently, in an interview with Instant Bollywood, Mumtaz talked about her comeback and made it clear that she is not interested in playing elderly roles on screen. She stated that she hasn't yet been offered a role that aligns with her appearance or personality. Mumtaz said that while she is open to a comeback, it would only be for a character that truly suits her presence. She also emphasised that she is not willing to take on the role of someone's mother unless the part resonates with her expectations.
Time of India
2 days ago
- Entertainment
- Time of India
Mumtaz reveals Rajesh Khanna used to 'hit on my hips, touch his nose to mine': 'People used to say ‘they are having an affair''
Mumtaz reminisces about her close friendship with Rajesh Khanna, revealing how their playful on-set interactions sparked rumors of a romance. She recalls their initial meeting and the natural chemistry they developed while filming 15 movies together. Mumtaz acknowledges Rajesh Khanna's playful teasing and possessiveness, attributing it to their successful on-screen partnership and the era's dynamics. Bollywood has always been filled with on-screen romances that spark off-screen rumours. One of the most talked-about pairs from the 1970s, Rajesh Khanna and Mumtaz , were often rumoured to be more than just co-stars. In a candid chat, Mumtaz opens up about their unique bond and the playful moments that fueled these rumours. Recalling her first meeting with Rajesh Khanna, Mumtaz told Radio Nasha that she didn't know him initially. When she learned she had to work with him, she jokingly thought she should first ask if he wanted to work with her. That's how she got her first film with him, Do Raaste. She described Rajesh Khanna as very kind, and they became good friends. She explained that working on 15 films with Rajesh Khanna helped them develop a natural chemistry. He would playfully tease her during shoots, like putting things on her face or getting physically close during songs. This closeness made people believe they were in a relationship, especially since their films were all hits, fueling the rumors. When asked if Rajesh Khanna was possessive about her, Mumtaz said that it's natural for any man to be possessive of his favorite woman. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 10년 묵은 "모공각화증" 홈케어 해결한 방법! 사과별 더 알아보기 Undo She also added that every hero tends to be possessive about their beautiful and favorite heroine. Rajesh Khanna and Mumtaz were one of Hindi cinema's most beloved on-screen pairs in the 1970s. Their chemistry sparked many box-office hits and memorable performances in films like Do Raaste, Bandhan, Sachaa Jhutha, Dushmun, Aap Ki Kasam, and Roti. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
Scroll.in
6 days ago
- Entertainment
- Scroll.in
In Raj Khosla biography, a portrait of an director as a ‘gloriously flawed human being'
Raj Khosla was born in 1925, the same year as his mentor Guru Dutt. Khosla went on to become a well-regarded Hindi cinema director, making his debut with a Guru Dutt production – the crime thriller C.I.D. in 1956. Khosla then moved smoothly into other genres. Ghost stories, melodramas, dacoit dramas – Khosla rolled them out mostly with panache until 1989, two years before he died at 66. 'No other filmmaker has, arguably, made so many iconic and path-breaking films,' says the introduction to Raj Khosla, a new book about the filmmaker. ' It is as if they are all from different filmographies. How on earth can the same director have made a C.I.D. and a Do Raaste? The same guy, without breaking a sweat, created Main Tulsi Tere Aangan Ki and Dostana within a span of two years.' Written by Amborish Roychoudhury along with Khosla's daughters Anita Khosla and Uma Khosla Kapur, Raj Khosla is a well-researched and engrossing chronicle. Khosla's films attested to his technical feats – especially in the shooting of songs – as well as his troubled personal life, the biography suggests. The book will be released on May 31, which is Khosla's birth centenary. To mark the occasion, three of his best-known films will be screened: C.I.D, Woh Kaun Thi? and Mera Gaon Mera Desh. The event at Mumbai's Regal cinema have been organised by Film Heritage Foundation, with restored prints supplied by the National Film Archive of India. Roychoudhury, who has previously written Sridevi: The South Years, was approached by Khosla's daughters to work on the biography. He spoke to Scroll about the complexities of profiling a filmmaker with a varied filmography and a colourful personal life. Here are edited excerpts from the interview. What are the challenges of profiling a filmmaker who worked between the 1950s and the 1980s, whose contemporaries have mostly died, and about whom there is largely anecdotal material? A lot of narrative gets lost over time. Unfortunately, we as a country really suck at archiving or preserving our past. In this case, he said or she said wasn't possible since people weren't around to talk. There weren't too many interviews even when he was making his major films. But there are resources available if one wants to do the research. There are bread crumbs. I found the gossip columns in old Filmfare issues useful. They talked about films that were under production, so I found some stories there. For instance, how Solva Saal (1958) is based on a real incident. The family was very helpful. They had some material, but not a lot. They had photographs, books and his diary, which is written in Urdu. A lot of the things that were discovered in the journey of writing this book were also news to them. The book states, 'Like his mentor Guru Dutt, a lot of Raj Khosla's later work was autobiographical. As with every sensitive artist, the trials and tribulations of his private life had a direct impact on his creative approach and output.' How did you approach the sensitive aspects of his off-screen self in an authorised biography? There's a lot of information on him available on Google, which I have not said out loud or written explicitly. The family has been helpful and forthcoming. They didn't have qualms. They extended phone numbers of people who were party to the developments. But I didn't get permission from the concerned people to quote them or state their names, which is why I didn't. I didn't want to sensationalise anything. There is a thread that you can join from Guru Dutt to Raj Khosla to Khosla's protege Mahesh Bhatt, in terms of their scars and demons and how these found expression in their films. The distinction is that Mahesh Bhatt opened up and spoke about it publicly. Guru Dutt clammed up. Raj ji also didn't speak about it very often. What did you discover about Raj Khosla while working on the book? That he was a passionate singer. He was so passionate about his singing that he squeezed in some of his humming into his films without his music director knowing. When I was interviewing Mr Pyarelal, I told him about one such instance and he said, humein to bataya nahi [He didn't inform me]. Then, there was the aspect of how what was happening in his life came into his films, like Main Tulsi Tere Aangan Ki or Sunny. He always wanted to run away from his work. There are many instances of how he found excuses to say pack up or go back to sleep – do anything but shoot. I also found his relationship with his co-workers and people who worked for him fascinating. He used to pay salaries for months on end even when he wasn't making films. There is the incident of how his father was dying, so his secretary hesitated to ask him about singing pay cheques. When Raj Khosla got to know, he was furious. He said, my father is the one who is dying, why should these people suffer? There was a lot of respect for him and genuinely so, not just from the standpoint of success but also as a human being. He was a gloriously flawed human being. I developed deep respect for his personality, his filmmaking, his storytelling. View this post on Instagram A post shared by Film Heritage Foundation (@filmheritagefoundation) And what did you discover about his filmmaking? I don't think he had a very exalted view of himself as a creator. He basically said, I don't want to be celebrated as the maker. Filmmaking is a collaborative project, there's nothing grand about it. People come to see the actors and the stories. At the same time, he had certain fascinations. Creators like Guru Dutt, Vijay Anand and Raj Khosla used songs as narrative devices, not only in terms of moving the plot forward but also in terms of building a personality for the character or emphasising the relationship. Raj ji did this very well. His songs had a beginning, middle and end, like his films. Take Achcha Ji Mein Haari from Kala Pani (1958). There's a story in how Dev Anand moves, how Madhubala moves. A conversation is happening through the lyrics. The way he filmed the songs was very special. He had a dysfunctional relationship with women in terms of how he wanted to project them. Some of his female characters had flaws and regressive aspects. At the same time, certain characters had agency and spoke for themselves, such as Asha Parekh's character in Do Badan, who stands up to her husband. The Sadhana trilogy [ Woh Kaun Thi?, Mera Saaya, Anita ] is all about the women. Several of Raj Khosla's films have been ripped off from novels or American films. How do you view this lack of originality in his plots and scripts? A work of art needs to be seen in its historical context. We would be hard-pressed to find films from previous decades that had not been adapted from somewhere, whether it's William Shakespeare's plays or Wuthering Heights. The sources were not acknowledged – it wasn't a done thing, which doesn't make it right. That said, the world of the Hindi film was so restricted in the past that the filmmakers probably felt that the audiences wouldn't know, and that nobody outside India would see these films anyway. A film like Bombai Ka Babu is based on a short story [O Henry's A Double-Dyed Deceiver ], but there are big changes in the script and storytelling. So I don't think we can say that it is a blatant copy.
India.com
21-05-2025
- Entertainment
- India.com
'This film will flop': Mahesh Bhatt cried after hearing this, but after release, film ran in theatres for 50 weeks, film is..., lead actor was...
The first ever Indian to be called a superstar in Bollywood was no one else but Rajesh Khanna. Fondly called Kaka by his fans and loved ones, Rajesh Khanna made his debut in the 1966 film Aakhri Khat, which was India's first official Academy Awards entry in 1967. With his first film, Rajesh made a name for himself in the industry. However, in 1969, there came a film that was announced to be a flop. It featured Rajesh Khanna and Mumtaz in the lead role. However, while everyone thought that the film was a flop, it did completely the opposite. The film ran on the big screens for 50 weeks. If you are wondering which film we are talking about, then the movie in discussion is Do Raaste. Directed and produced by Raj Khosla, the film Do Raaste was based on Marathi writer Chandrakant Kakodkar's novel Nilambar. The movie Do Raaste clashed with Rajesh Khanna's other film Aaradhana. When both the films were on the big screen, Vaman Bhosle and Mahesh Bhatt were at Bombay's Royal Opera House. A report by Times of India reveals that the writer of the biography Amborish Roy Chowdhury writes in the book, 'A manager named Desai came to Bhatt and Bhonsle and told them that Aaradhana is housefull whereas Do Raaste had no audience and probability is there that the movie will be a flop.' Upon listening to this, Mahesh, who was in his 20s, was left devastated and turned emotional, as he was extremely attached to the movie. The crisply-written book titled Raj Khosla: The Authorized Biography also reveals that the film originally ended with some 'touching lines about the mother-son relationship,' which did not go well with the audience. After this, Raj approached actress Sadhana, with whom he did four films. 'Over the years, she had become a confidante and a sounding board. He showed her his films, and she told him what she felt,' writes Roy Chowdhury. Sadhana suggested ending the film with a clip of the song 'Bindiya Chamkegi,' which later became the No. 1 track on the radio countdown show Binaca Geetmala in 1971. Do Raaste 'ran for more than 50 weeks at the same Opera House where the staff had written the film off.'
