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India.com
21 hours ago
- Entertainment
- India.com
Bollywood's unluckiest film: Took 23 years to make, lead actor and director died before its release, film is...
You might have come across many films that are now made within a year or two. However, did you know that many films in Bollywood took a considerable amount of time to make? One such film is Love and God, also known as Cass and Laila. This film was released on the big screen on 27 May 1986, but do you know that during the making of this film, from the director to the actor, everyone died. After the death of the actor, another actor was cast, and then he also died. Let us tell you about this film. Which is Bollywood's most unlucky film? The shooting of the film Love and God started in the year 1963, at that time Guru Dutt was signed as the lead actor i.e. Cass in this film. At the same time, an actress named Nimmi was playing the role of Laila. However, Guru Dutt died suddenly in 1964 and this film remained incomplete. After this, the film was stopped, and then the director of the film, K. Asif, signed Sanjeev Kapoor as the lead actor. The shooting of the film started again in 1970, but during the shooting, the director and producer of the film K. Asif died. This was his first and last film, whose release he could not even see. View this post on Instagram A post shared by Priya (@bollywoodtriviapc) How did the film take so long to shoot? You will be surprised to note that after this, the shooting of the film was eventually halted in 1971. Asif's wife Akhtar Asif decided to release the film with the help of KC Bokadia. The remaining shooting of the film was completed in three different studios and the film was released, but before the release of the film, the lead actor of the film, Sanjeev Kumar, also died in 1985. After his death, somehow this film was finally released on the big screen on 27 May 1986. This is the reason why this film is called an unlucky film, because during the making of this film, from the actor to the director-producer, everyone died.
India Today
4 days ago
- Entertainment
- India Today
Sahib Bibi Aur Ghulam: A Tragedy That Foretold Meena Kumari's Doom
In our Retro Review series, we revisit Meena Kumari's haunting role in 'Sahib Bibi Aur Ghulam', where her performance mirrored her unraveling life, weaving a tragic prophecy of love, loss, and Review: Sahib Bibi Aur Ghulam (1962)Starring: Meena Kumari, Guru Dutt, Waheeda Rehman, RehmanProducer: Guru DuttDirector: Abrar AlviMusic: Hemant KumarWhere To Watch: YouTubeWhy To Watch: For Meena Kumari's iconic portrayal of a woman yearning for her husband's love Moral of the Story: Art often mirrors life, turning into a tragic prophecy of love, loss, and actor Mahjabeen Alibux was known by two other names until her death, one of which became her first faced the camera at the tender age of four, carrying forward the legacy of her mother, herself an actor. Her fourth film, 'Ek Hi Bhool', earned her the screen name Baby Meena, bestowed upon her by the film's director, Vijay Bhatt. By the late 1940s, Meena had blossomed into a petite beauty, with a slightly rounded face and sparkling eyes. Captivated by her charm and innocence, directors eagerly cast her in romantic musicals and comedies. In 'Baiju Bawra', a film famously declined by Dilip Kumar to his lasting regret, Meena captivated India's heart as a village belle singing Naushad's melodies. Around the same time, she starred in 'Miss Mary', a spirited comedy that showcased her effortless flair for could have imagined that this star of romantic comedies and musicals would transform into a tragedy queen, a title that would come to mirror her own tumultuous life?Certain films serve as haunting prophecies of the lives of their actors and directors, acting as chronicles of tragedies foretold. No film captures Meena Kumari's transformation from romantic heroine to tragic figure, and her subsequent descent into alcoholism, more poignantly than 'Sahib Bibi Aur Ghulam' (1962).A Tragedy that ForetoldThe film Sahib Bibi Aur Ghulam is a paradox, a haunting reminder of humanity's struggle against inescapable destiny. By the late 1950s, Guru Dutt had lost confidence in his directorial vision, shaken by the commercial failure of Kaagaz Ke Phool. Beyond directing, he yearned to shed his onscreen persona as a tragic hero, an image forged through his soulful performances in Pyaasa and Kaagaz Ke Phool. Yet, his fascination with tragedy endured, drawing him to produce and star in Sahib Bibi Aur Ghulam, a poignant tale of decadent morality among Calcutta's zamindars and the devastating toll it exacts on its protagonist, Chhoti Bahu, portrayed by Meena Kumari. In a striking reversal of roles, Guru Dutt—the eternal tragedian—cast himself as a village bumpkin, infusing his character with shades of comedy and guileless charm. The weight of inescapable tragedy fell instead on Meena Kumari, once the effervescent star of romantic musicals and comedies. Her portrayal of Chhoti Bahu, a woman consumed by unfulfilled longing and spiraling into alcoholism, marked a seismic shift, transforming her into the tragedy queen and eerily foreshadowing her own descent into personal curses, perhaps, are inescapable.A Stirring Tragedy'Sahib Bibi Aur Ghulam' is so layered that it invites multiple viewings, each revealing new depths. Yet, the frames that linger most are those where Meena Kumari pours out her anguish, first as a woman yearning for her husband's love, then as an alcoholic teetering on stirring voice, hollow laughter, and mournful eyes transform Chhoti Bahu into a haunting emblem of despair, a figure whose pain echoes Meena Kumari's own unraveling life, forever etching her tragedy queen persona into the annals of Kumari plays the doomed addict with haunting perfection. Her droopy eyes, slurred speech and unsteady gaze transform her persona, making her transition effortlessly between affection, rage, lust and melancholia. The camera captures her downfall with haunting closeups, creating a tableau of heartbreak so potent it encapsulates the film's tragic core, leaving an indelible mark on the viewer's iconic scene, where Chhoti Bahu's futile yearning collides with her husband's indifference, is a searing exploration of unattainable love. A drunk Chhoti Bahu implores her philandering husband, played by Rehman's with chilling detachment, to stay with her. 'Na Jao Saiyyan', she sings seductively, her eyes burning with pain and longing, her tresses falling on her playful face. When he refuses to stay with her, Meena Kumari breaks into hysterical laughter and heart-rending sobs. Rehman's restrained yet menacing presence amplifies Meena Kumari's vulnerability, making their interplay a goosebump-inducing pinnacle of art. The scene's stark cinematography and Hemant Kumar's melancholic score heighten its emotional weight, making it a touchstone for Indian cinema. Just for these fifteen minutes of wizardry, Meena Kumari deserves to be forever in the pantheon of Real To ReelFor Meena Kumari, this moment was more than performance, it was a haunting echo of her fractured relationships, a mirror held up to her life's marriage to Kamal Amrohi, director of the cult classic 'Pakeezah', had failed. Once a union of creative minds, it soured as his possessiveness and strict rules, such as barring her from signing new films or staying out late, stifled her spirit. Reports of physical altercations, including an incident where Amrohi's assistant allegedly slapped her, pushed her to leave his home, plunging her into depression and bond with Dharmendra, sparked during their collaborations on films like 'Phool Aur Patthar', was a brief respite. Resembling the dynamic between Chhoti Bahu and Guru Dutt's character, Bhoothnath, she mentored Dharmendra, nurturing his talent. But their rumored romance–denied by Dharemendra–ended in heartbreak. This rejection, coupled with her deteriorating health and financial ruin, hastened her tragic end, as she succumbed to liver cirrhosis at 38, leaving behind a legacy as luminous as it was its narrative, 'Sahib Bibi Aur Ghulam' stands as a testament to the synergy between Meena Kumari and Guru Dutt, two artists bound by their shared affinity for tragedy. The film's opulent visuals, soulful music, and Abrar Alvi's incisive direction (under Guru Dutt's stewardship) created a timeless elegy to human the personal costs were profound: Meena Kumari's immersion in Chhoti Bahu deepened her descent, while Guru Dutt's inability to escape his tragic muse foreshadowed his untimely end. Together, they left behind a cinematic masterpiece that continues to resonate. It is a poignant reminder that some destinies are written in the stars they portray.- Ends
India.com
20-07-2025
- Entertainment
- India.com
Those 10 Bollywood films which have been huge blockbusters in foreign countries, fifth one won an award at...
The Golden Age of Bollywood (1940-1960) was the golden era of Indian cinema, when films ruled the hearts of audiences not only in India but all over the world through social messages, emotional touch and great music. These films gave recognition to Indian culture and stories on the global stage. From Raj Kapoor to Nargis and Dilip Kumar, films of stars like these were widely watched abroad and participated in Cannes Film Festival to Oscars. Here is a list of 10 films that have become very popular abroad as well. Mother India (1957) This film by Mehboob Khan is the story of a mother's struggle. Nargis' acting and social message made it popular in Russia, the Middle East (UAE, Saudi Arabia) and African countries (Nigeria, Ghana). It was nominated for an Oscar. Mughal-e-Azam (1960) Dilip Kumar and Madhubala's pairing in this grand love story by K. Asif mesmerized audiences in the US, UK and the Middle East (Kuwait, Qatar). The song 'Pyar Kiya To Darna Kya' was a global hit. Awara (1951) This Raj Kapoor film depicts the social struggle of a young man. It was extremely popular in the Soviet Union, Turkey and China. The song 'Awara Hoon' was translated into many languages. Shree 420 (1955) This Raj Kapoor film depicts the story of the battle between morality and corruption. It was well received in Eastern European countries like Soviet Union, Romania and Poland. Do Bigha Zameen (1953) This realistic film by Bimal Roy depicts the struggle of a farmer. It won awards and praise in France (Cannes Film Festival), Italy and Germany. Pyaasa (1957) This Guru Dutt film is an emotional story of a poet. Its songs and story were highly appreciated in France, UK and Japan and hailed as greatest of all time. Pyaasa captures Guru Dutt's intimate journey as a striving artist in Bombay, showcasing his frustrations with society's apathy towards authentic art, alongside his pursuit of love and acknowledgment. Although the film isn't a straightforward biopic, it is deeply influenced by Dutt's experiences, especially his initial hardships and his father's unrealized creative dreams. Kaagaz Ke Phool (1959) This tragic story by Guru Dutt showcased the ups and downs of the cinema industry. It was considered a classic in cinematic circles in France, the US and Canada. The movie portrays the bond between Suresh and the actress Shanti, portrayed by Waheeda Rehman, which is interpreted as a mirror of Dutt's rumored romance with Rehman, introducing an additional dimension of autobiographical analysis. Neel Kamal (1947) Raj Kapoor and Madhubala's chemistry in this Kidar Sharma film attracted audiences in the Soviet Union and Egypt. Its music also became popular for featuring iconic songs like 'Bhul Jaate Hai Bhul Jaaya Karein' and 'Sochta Hai Kya.' Barsaat (1949 This romantic film by Raj Kapoor popularised Indian love stories in the Soviet Union, Türkiye and Iran. The song 'Barsaat Mein Humse Mile Tum' became global hit in many other countries as well. Anari (1959) The simplicity of Raj Kapoor and Nutan in this Hrishikesh Mukherjee film won the hearts of audiences in the UK, Australia and Singapore, which was based on the tale of Rajkumar, a compassionate and truthful yet jobless artist, as he maneuvers through a world driven by materialism. This film delves into themes of integrity, benevolence, and the battle for ethical principles, which is now hailed as cult classic in the history of Indian Cinema.
Indian Express
20-07-2025
- Entertainment
- Indian Express
Guru Dutt's granddaughters remember Pyaasa, Kagaz Ke Phool, but want to watch the breezy Mr & Mrs ‘55
She's Gouri Dutt and the name is special because more than its mythological significance, it was her grandmother Geeta Dutt's favourite name. In fact, Geeta was to make her acting debut in a Bengali-Hindi film by the same name, being produced by Gouri's grandfather, Guru Dutt, who was playing a sculptor of Durga idols opposite her. The film remained incomplete, but Gouri was curious about it after learning its connection with her name. 'I haven't watched any rushes or read the script, but I saw some stills from my grandmother's look test,' she shares. She got a degree in interior designing, even worked as an architect, not wanting to pursue a career in films because so many from the family were associated with it. But having seen her father, Arun Dutt, experimenting with writing, lighting and editing since she was a child, filmmaking was familiar territory. 'And at one point, I decided to give it a shot, not wanting any regrets later. Besides, I had a back-up plan in case things didn't work out,' she laughs. Gouri was the first Assistant Director on a number of films, including Girls Will Be Girls, and web series like Tanaav Season 2. 'Being associated with a project from scratch and running the set is fun. There's another film this year,' she informs. Her sister, Karuna Dutt, also was, still is, first AD on many projects, but now has also moved to the creative side. 'I was the creative producer of Jubilee and now a creative director on an upcoming show by Applause Entertainment. But both of us consciously take a break between projects to focus on our writing and pitch ideas. We want to direct someday and the hustle continues,' says Karuna whose name is an amalgamation of her parents, Arun and Kavita. Applauding their father for archiving her grandparents' lives, the girls grew up with access to their pictures and film equipment, Guru Dutt's driving license and wallet, Geeta's purse, watching their films and listening to their songs. 'I'm told I've inherited my grandmother's personality since I'm social and outgoing too,' reveals Karuna, while Gouri admits that for decades, like Guru Dutt, she was the quiet one who rarely spoke. 'I was told I had a sad face and looked like I was about to cry, and even my writing was intense and depressing,' she chuckles. Also Read | Guru Dutt @ 100: Here's looking at the man behind the artist The earliest Guru Dutt films they recall watching was Kagaz Ke Phool and it affected them deeply. 'As a child, I never asked my parents how and grandfather had died, but in my mind, I had made up this story that he had passed away on a set perhaps because the film mirrored his life so closely,' Gouri reminisces, adding that since their father had exposed them to world cinema from a young age—she had watched Rosemary's Baby when she was 11 and was terrified—she could empathize with such dark films. 'Today, I understand the technicalities and nuances better, but at the core, the memories remain the same.' Karuna was equally affected by the 1959 film, confessing that whenever Kagaz Ke Phool played, she'd pretend to watch, but would shut her eyes because it felt so personal. Her favourite is Pyaasa, and in 2015, both sisters watched the digitally restored film on screen for the first time at the 17th MAMI Mumbai Film Festival after seeing it on TV for years. 'It was heartwarming, I could see how captivated everyone was through the screening, and revelled in the spontaneous applause at the end. Some were watching it for the first time, others had watched it several times, but the connection with the film was universal,' she recalls. NFDC recently announced that it would restore six of Guru Dutt's films, including Baazi and Chaudhvin Ka Chand. His granddaughters are grateful for such initiatives that keep his work alive, reconnecting it to a new audience. They haven't thought of reviving the family banner yet, but may in the future. Gouri points out that while they want to work together, they want to do things on their own first that will add to their legacy. 'Even without Guru Dutt Films, the association will always be there,' she says, admitting it's fun to see people's reaction when they discover the family connection since they don't go around proclaiming it. Karuna adds that by the time people find out, they have already formed their own equation with them. So, rather than take over the moment, it adds to their perception, with many admitting their parents were huge fans and they have grown up on their grandparents' work. 'One writer reached out to me on Instagram to confide that whenever he hits a rough patch professionally, he watches Pyaasa and it rejuvenates him,' she narrates. Gouri loves the fondness with which everyone speaks about her grandfather. 'It's always an exercise in empathy,' she asserts. The world lost Guru Dutt when he was 39 and Karuna believes that with him, we lost many interesting stories and a unique, personal voice. Also, a pioneer given that Kagaz Ke Phool was the first Indian film in CinemaScope and many such technical revolutions might have come earlier had he lived. Also Read | GURU DUTT @ 100: Granddaughters recall their grandfather's legacy It is also a huge personal loss because, unlike their friends, having lost both their paternal and maternal grandparents early, the sisters never had any grandparents' stories to share. 'I was often told my grandfather didn't belong to us alone, he was everybody's, and while I understood that he was a public figure, it would have been nice to have him around,' she sighs. Guru Dutt loved romping in his Lonavala farm with his children and his animals, once waiting for hours to watch a chicken hatch. They have inherited his love for animals and grew up with dogs, cats, birds and fishes, today having two pet cats. 'There was a light-hearted side to my grandfather, and occasionally, he would use his image of an introvert and a disciplinarian, pretend to be angry, then crack jokes,' says Gouri. Perhaps that's why, on his 100th birthday, both Karuna and she want to move away from the intense Pyaasa, Kagaz Ke Phool and Sahib Biwi Aur Ghulam and watch the breezy romcom Mr & Mrs '55. 'It would be a nice tribute,' they echo in unison, recalling how as children, they would run around the house with dupattas singing Geeta Dutt's 'Thandi hawa kali ghata' from this Guru Dutt-Madhubala starrer.
News18
17-07-2025
- Entertainment
- News18
Guru Dutt's Iconic Film Posters Recreated With AI On His 100th Birth Anniversary, See Pics
1/5 Released in 1955, Mr. & Mrs. 55 was directed and produced by Guru Dutt. It stars Madhubala and Dutt in lead roles. (Image: News18 Creative)
