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Indian Express
6 hours ago
- Entertainment
- Indian Express
Mumbai's Regal theatre to screen Bambai Ka Babu, CID, Mera Gaon Mera Desh during Centenary celebration of Raj Khosla
The face-off between Dharmendra, essaying the character of a reformed petty thief-turned-farmer Ajit, and Vinod Khanna as dreaded dacoit Jabbar Singh will play out on the screen of Regal, the city's heritage single-screen theatre, on Saturday evening as it will showcase Mera Gaon Mera Desh (1971). The screening is organised as part of its director Raj Khosla's birth centenary celebration and will be introduced by one of the film's leading actor Asha Parekh. A day-long mini-retrospective of the popular writer-director's movies, titled 'Raj Khosla 100 – Bambai Ka Babu', organised by the Film Heritage Foundation (FHF) at Regal on Saturday, commemorates this 100th birth anniversary. The event will also hold screenings of Khosla's C.I.D. (1956) and Bambai Ka Babu (1960), which have been restored in 4K resolution by the National Film Archive of India (NFDC). His just-published biography, written by Amborish Roychoudhury, will be released. In a career spanning three decades and 27 films, Khosla is known for his remarkable song picturisation in the 1950s and 60s as well as revolutionising the way music was integrated into Indian film narratives. Born in Punjab (now in Pakistan), he shifted to Bombay with dreams of becoming a playback singer. Instead, he ended up being an assistant director on Guru Dutt's directorial debut, Baazi (1951), which featured actor Dev Anand. Though Khosla's directorial debut, Milap (1955), was not a box-office hit, he went on to direct several successful entertainers — from neo-noir crime dramas like CID (1956) and Solva Saal (1958) to the haunting Woh Kaun Thi? (1964) and Mera Saaya (1966). Describing Raj Khosla as 'the Howard Hawks of Indian cinema' for his remarkable ability to successfully make films in every genre from thrillers, whodunits, musicals, action adventure to love stories and dacoit films, Shivendra Singh Dungarpur, director of Film Heritage Foundation says: 'Raj-ji excelled in song picturisation and was known for having strong female characters in his films. It inspired me as an upcoming filmmaker when I saw images of his hoardings that had a director's chair with his name emblazoned on it.' Parekh counts Do Badan, Chirag, Main Tulsi Tere Aangan Ki and Mera Gaon Mera Desh — directed by Khosla — among her favourite films. 'Before my first film, Do Badan, with Raj Khosla, I was known more for my dancing and glamorous roles. Do Badan that changed people's perception of me as an actress that could perform more serious roles. He was a very fine filmmaker and his song picturization was remarkable,' says the Dadasaheb Phalke Award recipient. 'This screening at Regal, Mumbai is a unique opportunity for the cinema lovers to view, for the first time ever, Bombai Ka Babu in 4K restored version. We are also showcasing another classic, CID, restored by NFDC-NFAI,' says Prakash Magdum, managing director of NFDC.
Time of India
10 hours ago
- Entertainment
- Time of India
FHF to celebrate Raj Khosla's centenary with screenings of his restored films
The Film Heritage Foundation (FHF) has announced a one-day retrospective to commemorate the 100th birth anniversary of writer-filmmaker Raj Khosla. Titled 'Raj Khosla 100 - Bambai Ka Babu', the event will take place on May 31 at Mumbai's Regal Cinema and also features a special panel discussion on the legacy of one of 's most versatile directors. Tired of too many ads? go ad free now As part of the celebrations, three of Khosla's acclaimed films -- "C.I.D." (1956), "Bambai Ka Babu" (1960), and "Mera Gaon Mera Desh" (1971) -- will be screened. T he first two movies have been restored in 4K resolution by the National Film Development Corporation (NFDC) and National Film Archive of India (NFAI) under the National Film Heritage Mission, an initiative of the Ministry of Information & Broadcasting. The event will feature a panel discussion with veteran actor Asha Parekh, filmmaker Mahesh Bhatt, and Amborish Roychoudhury, the author of "Raj Khosla: The Authorized Biography". Shivendra Singh Dungarpur, director of the Film Heritage Foundation, said, "I would describe Raj Khosla as the Howard Hawks of Indian cinema for his remarkable ability to successfully make films in every genre from thrillers, whodunits, musicals, action adventure to love stories and dacoit films." "He excelled in song picturisation and was known for having strong female characters in his films. It inspired me as an upcoming filmmaker when I saw images of his hoardings that had a director's chair with his name emblazoned on it," he added. Parekh, who collaborated with Khosla on several films including "Chirag", "Main Tulsi Tere Aangan Ki", and "Mera Gaon Mera Desh", said his 1966 film Do Badan transformed the way audiences perceived her as an artist. Tired of too many ads? go ad free now "Before my first film with Raj Khosla, I was known more for my dancing and glamorous roles. It was 'Do Badan' that changed people's perception of me as an actress that could perform more serious roles. I shared a great rapport with Rajji and I enjoyed working with him. He was a very fine filmmaker and his song picturization was remarkable," she said. Mahesh Bhatt paid a tribute to Khosla, saying, "His words haunt me still. He likened fame to starlight - a flow emanating from stars long dead, their light journeying across vast distances to reach us. 'The light is the message,' he said, 'but the star, the messenger, is gone'. Raj Sahab is such a star. Though he is long gone, his light still shines through me." Prakash Magdum, managing director, NFDC, revealed that NFDC-NFAI has had a 35mm release print of 'Bombai Ka Babu' in its collection for over 40 years, which made the 4K restoration possible in the first place. "This screening at Regal, Mumbai, is a unique opportunity for the cinema lovers to view, for the first time ever, 'Bombai Ka Babu' in 4K restored version," he added. PTI
Mint
2 days ago
- Entertainment
- Mint
Satyajit Ray's 'blackface' moment at Cannes 2025
At the screening of Satyajit Ray's 1970 classic, Aranyer Din Ratri, at the Cannes film festival earlier this month, the audience gave a standing ovation to the celebrities on stage—Wes Anderson along with Sharmila Tagore and Simi Garewal, the only surviving members of the cast. Restored by the Film Heritage Foundation, the movie was presented by Anderson, an ardent fan of Ray. Also read: Cannes 2025: 'Nouvelle Vague' is a winsome homage to Godard Tagore played the urbane and sophisticated Aparna, beguiling four young men who arrive in Palamau (now in Jharkhand) for a break from their busy and troubled lives in Kolkata. Critic Pauline Kael once described her presence as 'incomparably graceful", a sharp contrast to Garewal's Duli, a Santhal woman, who plays a pivotal role in the denouement. For the first few days of the shoot, Ray had Garewal observe tribal women at a local watering hole. Once she had absorbed the nuances of their demeanour, she had her body blackened. On her website, the actor says it took four hours for her to become Duli, and three hours to remove the paint afterwards. In the 1960s, when Ray shot Aranyer Din Ratri, featuring a 'blackface" (an actor whose face and/or body are darkened to represent someone unlike them) on screen was par for the course. Through the 1960s, Hindi movies embraced the blackface trope with impunity. From Ashok Kumar in Meri Surat Teri Aankhen (1963), where he played the dark-complexioned Pyare with fanged dentures and a wild wig to boot, to Meena Kumari playing Rajni in Main Bhi Ladki Hoon (1964), examples of such misuses abound. Sadly, the tradition remains unbroken to this day, albeit with a shift more towards 'brownface"—Alia Bhatt in Udta Punjab (2016), Hrithik Roshan in Super 30 (2019), and Bhumi Pednekar in Bala (2019), the examples are plenty. It's disappointing, though not entirely surprising, that mainstream cinema is yet to rid itself of such regressive traits. After all, misogyny, homophobia and Islamophobia, in various degrees, not only continue to be part of India's commercial cinema, but have led to blockbusters like Kabir Singh (2019) and Animal (2023). The baffling part is that a director like Ray, widely lauded for his humanism and aestheticism, should have fallen for the same problematic trope. When questioned about her choice to play a Santhal, Garewal spoke of the exigency behind the decision: 'You needed a professional to play the role." One wonders if Ray would have taken the same line to defend himself. The irony is heightened, considering that the film (inspired by a novel by Sunil Gangopadhyay of the same name) lays bare the hypocrisy of upper-caste elites towards those they regard as less 'civilised" than them. The word sabhya (civilised) appears several times in the original Bengali novel, especially in the context of the young men who want to momentarily relinquish all decorum of modern life to immerse themselves in the 'wild" freedom of the forests. Their distance from civic rules gives them an unfettered licence to behave like overlords in the land of the oppressed. They demand to be served, sexually and otherwise, and remain largely oblivious to the inconveniences they cause to the dwellers of the forest. A couple of these men do feel periodic stabs of conscience, triggered by the fragile political ecosystem of the 1960s, when the novel was written. Sanjay, who is in charge of labour relations in a factory, is particularly pricked by the disgraceful behaviour of his friends. Back home in Kolkata, as the ultra-left Naxal movement upturns systems of governance, in the so-called idyll of the forests, Sanjay and his well-educated friends hanker for a taste of the lives of the nobles savages—by partaking of their food, liquor and women, while refusing to give up their daily necessities, like having boiled eggs for breakfast. Did Ray internalise this mindset while casting Garewal as Duli? Or was he, in fact, mocking himself as a member of the same elite as the protagonists, by putting her in the role? From the distance of 55 years, we can only speculate on these questions, while reckoning with our discomfort, either way. Also read: Lounge Loves: Sri Lankan director Sumitra Peries' 'Gehenu Lamai'
Scroll.in
4 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.
Mint
5 days ago
- Entertainment
- Mint
Lounge Loves: A film club, ‘Toward Eternity' and more
There are two titles restored by Film Heritage Foundation in the Cannes Classics selection this year. One is Satyajit Ray's 1970 film with Soumitra Chatterjee and Sharmila Tagore, Aranyer Din Ratri. The other is a lesser-known film, though just as accomplished, only now getting the refurbishing it deserves: Sri Lankan director Sumitra Peries' Gehenu Lamai (1978). This was Peries' debut, but the direction is assured and intimate. Set in a village, this delicate black-and-white film is about the lives of two teenage sisters dealing with the complications of first love and societal pressure. Wasanthi Chathurani, also making her debut, is tremendous as Kusum. I'd seen breadfruit in carts and stalls in Goa, but hadn't tasted it till the personable bartender at Petisco in Panaji, Sherwin, recently suggested it as a pairing for his 'Imli pop', a tangy cocktail made with seasonal urrak, jaggery and a brine spiced with jalapenos and chilli. Breadfruit, like jackfruit of which it is the more elegant cousin, is the new favourite of chefs looking for inventive non-meat substitutes. Its versatile potato-like flavour and bready texture lends itself to all sorts of dishes, including the breadfruit fritters with a salad that Petisco has on its menu. But breadfruit made the shift from 'nice' to true favourite when Sherwin opened up his tiffin box and made us taste his mother's nirponos, or shallow-fried breadfruit lightly coated with rava, which she'd packed for his dinner. Old style hospitality beats fine-dining any day. Writer and translator Anton Hur's debut novel Toward Eternity has been an absolute joy to read. Curing cancer by replacing human cells with inorganic 'nanites' that not only makes the recipient cancer-free but also immortal? An AI trained on Victorian poetry that develops consciousness, and an appreciation for Christina Rossetti? A far future scenario with Biblical undertones? Inject it directly into my veins! I may sound flippant but this is a novel absolutely bursting with ideas. It feels like Hur (who I was delighted to discover was on the panel of judges that has just bestowed the International Booker Prize on Heart Lamp)—could have spun three or four books out of this cornucopia, but somehow they all fit together in one perfect novel. A friend co-runs a movie-screening initiative in Mumbai, @Secret7Cinema on Instagram, and it has become my favourite weekend activity of late. Each session begins with two iconic films pitched against each other. Everyone in the room gets 1-2 minutes to present their case—why this film, why now—and then we vote. The majority gets to decide if they want to flip a coin, otherwise, the losing team sits through the winning title. Last week, it was a fight between two Sanjay Dutt anti-hero flicks, Khalnayak and Vaastav. I voted for Vaastav, and that's what we watched, although someone else made a better case to swing votes in our favour. It's a playful but passionate exercise in debate, far from the noise of social media hellsites. No quote tweets, no hot takes, just voices in a room, arguing for the love of cinema. Paradiso.
