Latest news with #HumDilDeChukeSanam
Time of India
a day ago
- Entertainment
- Time of India
Composer Monty Sharma reveals he postponed his wedding five times because of Sanjay Leela Bhansali's Devdas: 'I snapped...'
Longtime collaborator Monty Sharma, who has composed music for many of 's films, including Saawariya and Black, and who also worked on the background music for Devdas, recently talked about their working relationship. Tired of too many ads? go ad free now Bhansali is known for being a hard taskmaster. Although Bhansali gave him a lot of freedom as an artist, Sharma recalled that the director would occasionally make demands that did not fit with his vision. He also revealed that SLB's concerns about the film's completion led him to postpone his wedding five times while Devdas was being made. In a chat with Lallantop Cinema, Monty recalled working with the ace director on Hum Dil De Chuke Sanam, saying the director often demanded 'magic' in the music. While Bhansali is known for his love for classics like Lata Mangeshkar, Sharma noted they mostly saw his intense side on set. Despite frequent creative clashes, Bhansali gave him the freedom to work in his own style. While speaking about the recording of Hum Dil De Chuke Sanam's title track, Sharma recalled that Sanjay Leela Bhansali made a last-minute request for an elaborate 60-violin orchestra. Just before the session, Bhansali asked Sharma to add more layers to the composition. Sharma responded by reminding him that, like seasoning in food, music needs balance—and only so much can be added without overwhelming the whole. Monty recalled a moment from the making of Devdas when Sanjay Leela Bhansali insisted on using the song Silsila Yeh Chahat Ka repeatedly in the background score. Sharma, however, had a different creative vision and chose not to follow the instruction initially. This led to Bhansali confronting him for not using the song even after five reels. Tired of too many ads? go ad free now In response, Sharma briefly removed all themes and filled the background with songs. Later, Bhansali called him to clarify that the miscommunication was due to assistants interfering and told Sharma to trust his instincts and continue working with his original approach. According to Monty, Bhansali is a "short-tempered" person who prefers to express his rage on others so that others can sense his anger around them rather than yelling at the person he is upset with. Then he remembered that Bhansali was concerned about finishing Devdas, so he put off getting married. He further recalled that just two days before his wedding—already postponed five times for Devdas—he was still scouting locations. During this time, Sanjay Leela Bhansali called him in a panic, saying Shah Rukh Khan had watched the film and strongly disliked the background score, calling it the worst he had heard. Sharma, taken aback, reminded Bhansali that he had approved the entire score earlier. When Sharma reached the studio, he discovered the issue was due to a mixing error. He told Bhansali that such technical matters weren't his domain, and the entire background score was reworked after that.
Indian Express
a day ago
- Entertainment
- Indian Express
Had to postpone my wedding five times because Sanjay Leela Bhansali was worried about finishing Devdas, recalls composer: ‘I snapped'
Sanjay Leela Bhansali is known to be a hard taskmaster and recently, his longtime collaborator, Monty Sharma, who has composed music for many of his films like Black and Saawariya, and also worked on the background music of Devdas, opened up about their work relationship. Sharma shared that while Bhansali allowed him a lot of space as an artiste, he also recalled how the filmmaker would make demands that were not in alignment with his vision. He also shared that during the making of Devdas, he had to postpone his wedding five times because SLB was worried about the film's completion. In a chat with Lallantop Cinema, Sharma was asked about Bhansali's inclination towards music and if the director starts his day by listening to Lata Mangeshkar's vocals. 'I'm sure that's possible but we have never seen that. We have only seen him getting angry,' he said with a laugh. Sharma was also involved in arranging the music for Hum Dil De Chuke Sanam and recalled that Bhansali would repeatedly keep asking for 'magic.' 'One day, I just got up and I said, 'Sanjay ji, if you want magic, you go to PC Sorcar. I am not a magician but I will create music. We would have a lot of nok-jhok,' he recalled and added that Bhansali gave him a lot of liberty to work in his style. Talking about the title song of Hum Dil De Chuke Sanam, Monty Sharma said that Sanjay Leela Bhansali asked for 60 violins in an orchestra and when he sat down to record, Bhansali made a request at the last minute. 'The entire orchestra was ready with 60 violins and everything and he came in at the last minute and said 'Monty, kuch aur add kar de na'. I said, 'Sanjay ji khaane mein utna hi namak daalenge jitna daal sakte hain.'' ALSO READ | Sanjay Dutt confirms 62-year-old woman left her entire Rs 72 crore property to him; reveals what he did with it Sharma recalled another anecdote from Devdas and shared that Bhansali was really fond of the song 'Silsila Yeh Chahat Ka' and wanted to include it through the background score but he was of another opinion, and did not use it in the way that the director wanted. 'He walked in the morning and said, 'Monty, what do you think of yourself? I have asked you to use the song repeatedly, you have not used it even once until 5 reels,' he recalled. As Sharma tried to explain himself, Bhansali told him, 'Who listens to the background music? People listen to the song.' Sharma recalled, 'And that was it. I snapped. I told my assistant to take out all the themes and music, just use songs everywhere.' After a couple of hours, Bhansali called him and said, 'These assistants bug me, that's why this happened. You just work with your conviction and continue with whatever you are doing.' Monty Sharma described Sanjay Leela Bhansali as a 'short-tempered' person who will not always yell at the person he is mad at, but show his anger towards other people so they can feel the anger around them. He then recalled postponing his wedding because Bhansali was worried about the completion of Devdas. 'I had postponed my wedding 5 times for Devdas,' he said and recalled that he went looking for a venue when his wedding was just two days away. At this point, Bhansali called him and criticised the film's background score and said that even Shah Rukh Khan hated it. 'He called and said, 'Shah Rukh saw the thing and he said 'sabse bakwas background hai (it's the worst background).' What have you done Monty?' I was shocked. I said, 'Sanjay ji, you have listened to the whole thing. How can you say that?'' When Sharma landed up at the studio, he found that someone had messed up the mixing of the song. 'I told him, 'Sanjay ji, you don't do all of this, this is not your cup of tea.' That entire thing was redone then,' he recalled.
Time of India
4 days ago
- Entertainment
- Time of India
Who is Jameel Khan? Gullak's beloved dad now playing a crucial role in Mandala Murders
Veteran actor Jameel Khan, celebrated for his commanding screen presence and remarkable range, is back in the spotlight, this time for his compelling role in the Netflix crime thriller Mandala Murders. Widely recognized for his portrayal of the lovable father Santosh Mishra in SonyLIV's hit series Gullak, Khan's transition to a more intense, mystery-driven storyline marks an exciting and well-received departure from his usual roles. Who is Jameel Khan? Gullak's beloved dad now in Mandala Murders Jameel Khan, born on November 26, 1974, in Bhadohi, Uttar Pradesh, studied at Sherwood College, Nainital, and later completed his Master's in Literature from Aligarh Muslim University. Initially not aiming for a career in acting, his passion for performance eventually led him to theatre and films. He began his film journey with a minor role in Hum Dil De Chuke Sanam (1999) and went on to appear in acclaimed films like Gangs of Wasseypur and Baby. However, it was his role Santosh Mishra in Gullak that brought him widespread recognition. Jameel Khan's role in Mandala Murders In Mandala Murders, Jameel Khan portrays Jimmy Khan, an English-speaking oculist with an intense fascination for mandalas and ancient symbols. Though he may initially seem like a supporting character, Jimmy quickly proves to be a key intellectual force in the investigation led by Rea (Vaani Kapoor) and Vikram (Vaibhav Raj Gupta). His character blends scientific accuracy with philosophical insight. As an oculist, a specialist in vision, his profession serves as a clever metaphor for his role in the story: helping others uncover hidden truths. More than just an advisor, Jimmy becomes a catalyst for discovery, steering the main characters through the symbolic and spiritual maze tied to the series of murders. Jameel Khan as Santosh Mishra in Gullak In the beloved slice-of-life series Gullak, Jameel Khan takes on the role of Santosh Mishra, the sensible yet lovable father of a typical middle-class North Indian family. As the head of the Mishra household, Santosh is a government employee navigating the everyday challenges of financial stress, parenting duties, and clashes between traditional values and modern outlooks.
NDTV
19-07-2025
- Entertainment
- NDTV
The Making Of Devdas: How Salman Khan Spending Nights On Set Of Aishwarya Rai's Film Led To A Cameo
Twenty-three years ago this July, director Sanjay Leela Bhansali unveiled Devdas. A lavish, emotional, and visually stunning film that redefined the scale of Hindi cinema. It was the most expensive Hindi film of its time. It was a high-stakes gamble in an era unsure if 'millennial' audiences would connect with an old-fashioned tale of love and self-destruction. The story had been adapted many times before, but Bhansali wasn't just staging another remake, he was up against the towering legacy of Bimal Roy's 1955 classic and Dilip Kumar's iconic portrayal of the doomed Devdas. Shah Rukh Khan poured everything into the role of Devdas, but did you know Salman Khan was part of the film too, like a 'real-life Devdas' haunting the sets? The story of how this madness on screen took shape is just as captivating as the film itself. The Casting Bhansali had tasted both critical and commercial success with his previous film, Hum Dil De Chuke Sanam (1999), but he had long been obsessed with remaking Devdas. He wanted it to be more spectacular than anything Indian cinema had ever seen. For the role of Devdas, he had only one name in mind - Shah Rukh Khan. The grand scale Bhansali envisioned for the film could only be realised with the biggest Bollywood star at its helm. Shah Rukh Khan had risen to superstardom with his stylish modern lover-boy roles in blockbusters such as Dilwale Dulhania Le Jayenge, Dil To Pagal Hai and Kuch Kuch Hota Hai. When Sanjay Leela Bhansali first offered him the role of the doomed, alcoholic Devdas, Shah Rukh said no, saying "No, he is a loser, an alcoholic, I am too cool to be Devdas". Bhansali replied, "I would not make this film if not with you because your eyes are like Devdas". Shah Rukh had said, "Okay, if you can't find eyes like mine, I'll do the film". For a year, Bhansali didn't cast anyone. Then, they met again and Shah Rukh signed the film. When Bhansali announced the project, he discovered that a producer, K. Chopra, held the rights to the title Devdas. He wasn't ready to part with it. For a while, Bhansali even considered calling the film 'Aaj Ka Devdas'. Eventually, Chopra relented, but only for a steep price. For Chandramukhi, the courtesan with a heart of gold, he turned to Madhuri Dixit, admired for her grace and dancing skills. Though she loved the role, she announced her marriage around the same time, making Bhansali briefly hesitant. In the end, her presence was too powerful to pass up. Kareena Kapoor gave a look-test for the role of Paro but Bhansali wasn't satisfied. He narrated the the script to Aishwarya Rai, who moved to tears during the script narration and said yes almost instantly. Govinda was first approached for Chunnilal but declined, unwilling to play second fiddle to Shah Rukh Khan. Manoj Bajpayee also declined for similar reasons. The role of Chunnilal, the flamboyant, debauched friend of Devdas, eventually went to Jackie Shroff. Obstacles Behind The Camera The mammoth Rs 50 crore budget to make Devdas with its dream starcast was financed by diamond merchant Bharat Shah. At the time, Shah was a fledgling producer backing dozens of films. Production began two months before filming, with art director Nitin Desai building six elaborate sets starting August 2000. The most lavish was Chandramukhi's golden kotha that alone cost Rs 12 crore, while even the simplest set came in at Rs 3 crore. The scale was so grand that Maharashtra's then Governor urged Bhansali to preserve the set as a tourist attraction. Most of the shoot took place at night, with cinematographer Binod Pradhan lighting the massive sets using 30 lakh watts of power from dozens of generators. At one point, a Mumbai daily even reported panic among wedding planners as Devdas had taken up nearly every big generator in the city. Filming began in November 2000, but trouble followed swiftly. A tragic on-set accident claimed a technician's life, drawing media attention. But the real blow came in January 2001, when producer-financier Bharat Shah was arrested for alleged links to underworld don Chhota Shakeel, the frontman of Dawood Ibrahim. His other films suffered, but his most prestigious project, Devdas, faced an immediate halt as a key 15-day shoot was canceled despite stars and sets being ready. Author and journalist Anupama Chopra writes in her book King of Bollywood: Shah Rukh Khan and the Seductive World of Indian Cinema (Grand Central Publishing, 2007), 'The easier option would have been to cut losses and shelve the project, but both Bharat and Sanjay were determined to see it through. Bharat, fiercely protesting his innocence and struggling to survive the horrors of a Mumbai jail, instructed his children that Devdas must be made.' This was easier said than done with each day of shooting requiring Rs 7 lakh and the source of funding struggling. Bhansali even borrowed from close friends to keep the project afloat. The media reported that some of the actors, including Madhuri Dixit, and some technicians refused to shoot further till their payments were not made, while Bhansali sat for hours outside Bharat Shah's hospital room to get the cheques signed and update about shooting. At times, Devdas felt like a dream that might never come true. Despite the obstacles, Bhansali worked like a man possessed, uncompromising, and fiercely loyal to his vision. Through it all, Shah Rukh believed in his director's madness. And as Devdas captured the doomed love on screen, another real-life doomed romance unfolded behind the scenes. When Salman Khan Became A Real-Life Devdas Yes, Salman Khan also appeared in Devdas! On the sets of Sanjay Leela Bhansali's previous film, Hum Dil De Chuke Sanam, a fiery romance had sparked between its stars, Salman Khan and Aishwarya Rai. It was one of Bollywood's most scrutinised love stories, reportedly shadowed by volatility and possessiveness. By the time Devdas began shooting, their relationship had hit a painful low. In the book King of Bollywood, Anupama Chopra writes, 'Salman had become a real-life Devdas, simultaneously self-destructing and attempting to salvage his romance. He was as much a part of the Devdas shoot as the crew… Salman Khan would spend nights lying intoxicated on the floor of Aishwarya's trailer. ' Salman's constant presence on Devdas 's set led to an unexpected cameo. During the filming of a tender romantic scene where Paro (Aishwarya) gets a thorn stuck in her foot and Devdas (Shah Rukh) gently removes it, Salman volunteered to demonstrate the motion. Anupama Chopra recounts, 'Salman was on the set, and he volunteered to demonstrate how this should be done. SRK agreed, and as Salman performed the action, Sanjay rolled the cameras. It was a poignant moment: a spent, tragic lover enacting his own life for the film. Aishwarya cried. It was the last time the two were captured on film together.' The footage of the close-up of Salman's hands made it to the final cut, lending the scene a haunting emotional undercurrent. Amid relentless financial strain, Devdas still soared with grandeur. Madhuri's brilliant dance draped in a 30-kg ghagra, in the Kathak piece Kaahe Chedhhe Mohe crafted by the maestro Birju Maharaj. The iconic Dola Re uniting Madhuri and Aishwarya in an unforgettable spectacle; and Shah Rukh's searing intensity lighting up the screen. Who can forget the haunting moment when Devdas performs his own shraadh, a man mourning himself while still alive? Pure goosebumps! Shah Rukh was up against the brilliance KL Saigal, Soumitra Chatterjee, and Dilip Kumar. He didn't outdo them, but brought his own charm and unforgettable intensity to Devdas. To add authenticity in the inebriated alcoholic scenes, Shah Rukh started to perform by actually drinking. He would rehearse the scenes drinking Bacardi just enough that his eyes glazed over. Recalling how the role took a toll on his health as he started drinking after the film, Shah Rukh said, 'One thing I did -- I normally never drink. But for this film, I drank. I tell you, life can be very hard. Imagine, it is two in the morning and I have to drink Bacardi…' Aiming for perfection, Bhansali spent over a year on the music, marked by fierce clashes with composer Ismail Darbar. After finalising the songs, Darbar refused to score the background music, which was ultimately completed by Monty Sharma. Singer Shreya Ghoshal made her Bollywood debut through this film. Each day on shooting cost a staggering Rs 7 lakh, and with funds drying up, Bhansali was pushed to the edge. He borrowed from friends, chased payments, and waited outside Bharat Shah's hospital room for signed cheques. Reports surfaced of some actors and crew refusing to shoot until paid. But Bhansali refused to back down. Driven and defiant, he pressed on, unwilling to compromise a single frame of his vision. Despite major delays due to the Bharat Shah case, Bhansali wrapped the shoot on April 29, 2002, after 260 shifts spread across nearly three years. Released on July 12, 2002, Devdas became the biggest hit of the year in India and rewrote the rules of Bollywood spectacle. Despite its old-fashioned storyline, sweeping melodrama, theatricality and doubts about whether a new millennium's audience would connect with a pre-Independence tragic hero, it struck gold. The film won big, taking home 11 Filmfare Awards, including Best Film, Director and Actor, plus five National Film Awards. While fans embraced its extravagance, purists and critics were sharply divided, and many still are. The film's portrayal of Bengali culture, heightened emotions, and departures from the original novella, especially the Chandramukhi-Paro meet leading into the iconic Dola Re sequence, faced harsh criticism. Despite the controversy, Dola Re soared to become one of Hindi cinema's most unforgettable songs. Looking back, it remains a bold reimagining of Sarat Chandra Chattopadhyay's classic, dripping with grandeur, emotion and everything in excess. Bhansali's Devdas wasn't crafted for purists. It was perhaps designed for the fans who crave Bollywood's larger-than-life flair. For Bhansali himself, it was a full-throttle leap from the subtlety of his debut Khamoshi, leading to the heartfelt tones of Hum Dil De Chuke Sanam. With Devdas, he found his maximalist spirit of crafting the grand, opera-like cinema that would become his signature. Personally, and this might be an unpopular opinion, Devdas remains one of my favourite Shah Rukh performances, where his raw, unbridled energy and those unforgettable eyes truly set the screen ablaze.
Indian Express
16-07-2025
- Entertainment
- Indian Express
Bollywood star who came from a ‘conservative Muslim family' married 8 years younger Hindu man in 1942; had to flee from Lahore amid rising tension
Bollywood stars have been under the scrutiny of the public eye ever since the industry has existed. The choices they make affect their fan following and many times, they stay away from making controversial choices just so they don't have to be at the receiving end of harsh comments. Unfortunate as it is, stars have also had to face harsh comments with regard to the people they choose to marry and Zohra Sehgal faced something similar when she chose to marry a man from a different faith in pre-Partition India. Now remembered for her roles in films like Cheeni Kum, Hum Dil De Chuke Sanam and Veer Zaara, Zohra was yet to make a name for herself in the movies, but she was one of the most popular dancers of her time when she married a Hindu man who was eight years her junior. Zohra met her husband Kameshwar Sehgal at a dance school set up by Uday Shankar in Almora and for her, it was love at first sight. On her 100th birthday, Zohra shared in an interview with Aparna Gupta that she first met Kameshwar, who was eight years younger than her in 1940. He was a painter from Indore and was training in the dance school. 'I found him to be handsome and talented and was bowled over by a Burmese hut he had painted using rice and fungus. Although Kameshwar was eight years my junior, he reciprocated my feelings,' she said. Zohra had already traveled to many countries as a dancer and was starting to establish herself as one of the most renowned classical dancers of the country. Zohra recalled that they courted each other for two years and finally got married in 1942, during the Quit India Movement. 'We had a civil marriage at Allahabad, but with railway tracks and roads being blocked, we had just one barati,' she recalled. But marrying a Hindu man was no small feat, especially since Zohra came from a 'conservative Muslim family.' ALSO READ | Bollywood director lost entire life's savings after one flop; daughter was forced to dance, son performed for money at beach to repay debts In a recent chat with Hauterrfly, her grand niece Ayesha Raza Mishra shared that Zohra's decisions were quite shocking for the family. 'She decided to get married. She fell in love with a gentleman who was 8 years younger than her and he was a Hindu and she was from a conservative Muslim family. And imagine at that time, I am talking about in the 1930s, to go and talk to your father, say that I am in love and talk about your to-be husband. (They must have asked) 'What does he do?' 'He is a dancer. He is from a different religion, he is younger'. I am saying my family went through these challenges two generations ago,' she shared. Zohra and Kameshwar were deeply in love with each other and soon after their wedding, they started an institute for performing arts in Lahore, Zoresh. What looked like a beacon of Hindu-Muslim unity when it started, soon became a point of contention in the area as tension would flare up frequently. The couple, with a baby in their arms, moved to Bombay (Mumbai) almost overnight and joined Prithvi Theatres, where Zohra found her passion for acting. In a 2012 interview with Hindustan Times, Zohra spoke about her husband and described him as a 'versatile talent who was a jack of all trades but who could master none.' She had then shared, 'He was a talented artist, homoeopath, dancer and a cook… but he could not be famous.' Kameshwar passed away in 1959. Zohra passed away in 2014 at 102.
