Latest news with #Paheli
Hindustan Times
10 hours ago
- Entertainment
- Hindustan Times
Who is Shefali Jariwala's husband? 5 key facts to know about Parag Tyagi
Shefali Jariwala, actor-model famous for Bigg Boss and the 2002 song Kaanta Laga, has died at 42, according to reports. Her husband, Parag Tyagi, was spotted leaving Bellevue Hospital in Mumbai late on Friday after reports stated that Jariwala suffered a cardiac arrest and could not be saved. Shefali Jariwala, known for her appearance in the music video of Kaanta Laga, was married to Parag Tyagi.(Instagram) Jariwala's passing was first reported by journalist Vickey Lalwani on social media. He stated that the 'Kaanta Laga girl is no more'. Actor Aly Goni, Tehseen Poonawalla and Mika Singh paid their tribute. Goni, who also starred in Bigg Boss, shared Shefali Jariwala's picture on social media, writing 'RIP'. 'Shocked and saddened to hear about Shefali Jariwala's sudden demise. Life is so unpredictable. Rest in peace,' he further wrote on X, platform formerly known as Twitter. 'I'm deeply shocked, saddened, and feeling a heavy heart… Our beloved star and my dearest friend @shefalijariwala has left us. Still can't believe it. You will always be remembered for your grace, smile, and spirit. Om Shanti,' singer Mika Singh wrote. Who is Shefali Jariwala's husband, Parag Tyagi? Parag Tyagi is the husband of Shefali Jariwala. The couple, married since August 2014, has featured on several reality shows. Tyagi was born in Ghaziabad, Uttar Pradesh, and is known for his work in television and cinema. He is 49 years old. Parag Tyagi's debut and career He debuted as Vinod Karanjkar in Zee TV's Pavitra Rishta (2009-2014) and gained fame as the menacing Brahmarakshas in Brahmarakshas (2016), inspired by Hindi films like Paheli. His TV credits include Jodha Akbar, Shakti – Astitva Ke Ehsaas Ki, Kaala Teeka, and Aghori. In films, he appeared in Bollywood's A Wednesday! (2008) and Sarkar 3 (2017), and Telugu hits like Agnyaathavaasi (2018) with Pawan Kalyan. Relationship with Shefali Jariwala Parag Tyagi met Shefali Jariwala at a mutual friend's dinner party, where he fell in love with her instantly. After her 2009 divorce from musician Harmeet Singh (Meet Bros), Shefali was initially cautious, but Parag's caring nature won her over. They dated for nearly four years before marrying in 2014. Reality show Parag and Shefali competed together on Nach Baliye Seasons 5 and 7, showcasing their chemistry. Supportive partner Tyagi stood by Jariwala during tough times, including the death of his father in May 2020, when they traveled to Ghaziabad for the last rites amid COVID-19 restrictions. He supported Shefali's openness about her epilepsy, which limited her career post-Kaanta Laga, and her mental health struggles.
India.com
3 days ago
- Entertainment
- India.com
This is Shah Rukh Khan's biggest flop film, was rejected by Kajol, Aishwarya Rai, Tabu, made for Rs 140000000, earned Rs..., lead actress was..
Shah Rukh Khan, known as the King of Bollywood, has been entertaining audiences for over three decades. His films have taught us how to fall in love. While he is best known for his romantic roles, he has also portrayed a wide range of characters, some of which have become iconic, like in Darr. Though widely recognised as the Baadshah of Bollywood, Shah Rukh Khan has also taken on content-driven roles that earned critical acclaim. Here, we talk about one such film that was praised by critics but initially rejected by four leading actresses. Despite its strong storyline and Khan's performance in a double role, the film did not succeed at the box office. Shah Rukh Khan's flop movie The movie we are talking about is 2005's Paheli, directed by Amol Palekar and produced by Gauri Khan. This film was released 20 years ago, and the shooting was completed in just 45 days. After the release, the movie to be a moderate commercial success at the box office, grossing Rs 32 crore worldwide. Paheli was made on a budget of Rs 14 crore, and was declared an 'average' in India, but a 'hit' abroad. It received mixed-to-positive reviews from critics upon release, with praise for its production design, cinematography, costumes, and special effects; however, its story and screenplay received criticism. These top actresses refused to pair opposite Shah Rukh Khan in this movie According to reports, several prominent actresses rejected the role of Lachchi, lead actress in Paheli. These included Kajol, Aishwarya Rai, Tabu and Sushmita Sen. The reasons weren't specified, and the role then eventually went to Rani Mukerji. Do you know Paheli was India's official entry to the 79th Academy Awards? This fantasy movie's supporting cast included Anupam Kher, Amitabh Bachchan, Juhi Chawla and Suniel Shetty. SRK and Rani have worked earlier and created magic, but that was not the case in Paheli. Based on the Rajasthani short story Duvidha by Vijayadan Detha, Paheli was a remake of the 1973 Hindi film Duvidha by Mani Kaul.
Indian Express
4 days ago
- Entertainment
- Indian Express
20 years of Paheli: Shah Rukh Khan-Rani Mukerji starrer feminist, dreamlike love story has aged gloriously well
'Paheli' is a deeply fascinating title. It is deceptively simple, yet dense with suggestion. A word that breathes poetry into the everyday, that lives between the literal and the symbolic. It can be a riddle, yes, but also its resolution. It invites contemplation and still manages to offer closure. In the context of Amol Palekar's 2005 fantasy film, starring Shah Rukh Khan and Rani Mukerji, the title becomes something else entirely. Many still argue that the film might have been better served by the title 'Duvidha,' the original 1973 film by Mani Kaul, which serves as inspiration for Palekar's 2005 rendition. But the truth is: 'Duvidha' as a word could never fit into what Palekar was trying to convey. After all, he wasn't telling the story of a ghost, but of love — ghostly in its own right, not dead, not alive, just endlessly recurrent. Take the film's logline: Lachchi (Rani Mukerji) marries Kisanlal (Shah Rukh Khan), yet on their wedding night, Kisanlal refrains from consummating the union, revealing he must leave for five years on a business trip. But when he departs, a ghost, entranced by Lachchi's beauty, assumes Kisanlal's form. At first glance, one might expect a straightforward tale of mistaken identity. A story about a ghost (let's call him Prem), courting Lachchi, who soon discovers the truth. Yet Palekar (just like Kaul) subverts this expectation. When Prem first meets Lachchi, he does not conceal his nature; he confesses, openly, that he is a ghost impersonating her husband. He offers her freedom, to reject him and be left alone. Caught in a 'duvidha,' a dilemma, Lachchi hesitates. But the title 'Paheli' acquires a distinct meaning here, as she chooses not to unravel the mystery, not to seek an answer. Instead, she embraces the riddle. She lets herself be caught in the enigma of love, in its illusions. Because what is love, if not illusion? Sometimes, the illusion is the only truth that matters. Then the film transforms into a vivid dream of love, alive with stirring songs, and a gentle, unfolding romance. And that is where Palekar departs from Kaul, not by disagreeing with him, but by dreaming differently. Kaul's Duvidha was about stillness. About the silence between two possibilities; Palekar's Paheli is movement. It flows, it dances, it breaks rules not to shock, but to soften. Perhaps the most striking departure is how Palekar envisions a feminist love story, grounded in women of agency, rooted in a small Rajasthani town. Consider the introduction of Shah Rukh's character: he remains out of focus, while Rani commands the foreground. This might appear a subtle choice, even trivial. Yet, the deliberate way a film composes its women on screen, how it centers the narrative around them, is a language unto itself. And here, those creative decisions speak volumes. They invite us to study not just the story, but the very politics of presence. Also Read | 'Perfect man is an illusion': Shah Rukh Khan's old video goes viral, Richa Chadha finds it 'intellectually exciting' The very fact that on her wedding night Lachchi chooses Prem, the ghost, is rooted in something profound: he alone asks for her consent. He offers her the gift of choice, the pleasure of agency. The film deliberately departs from the traditional cinematic portrayal of the 'suhaag raat,' where women are often shown as passive, or aching with restraint. In Paheli, Lachchi commands the moment. She tells her husband to lift her veil and is the one who desires to consummate the marriage. And it is the man, Kisanlal, who flees, cautioning that passion kindled for a single night is dangerous. This reversal is not only bold but grounded in cultural nuance. Brides, especially in traditional narratives, are framed as demure, hesitant, shy. Lachchi is neither. She embraces her desire openly. As desire, in her hands, becomes not transgression, but truth. Watching Paheli now, two decades after its release, hints at the kind of cinema we claim to be striving for today. But there was Palekar, doing it already back then. He imagined a world where women support one another, where abandonment by men does not define their sorrow, only their freedom. Think of Laapataa Ladies, that same thread of camaraderie runs through Lachchi and her sister-in-law (Juhi Chawla). Their bond is not written with sentiment, but with solidarity. Even in the song 'Minnat Kare,' as Lachchi's friends tease her about the wedding night, there's a playful, subversive energy, one that feels like a precursor to 'Naram Kalija' from Amar Singh Chamkila. It's the same undercurrent: women laughing among themselves, not as objects of desire, but as subjects of their own stories. What I also believe Paheli set in motion was Aditya Chopra's decision to make Rab Ne Bana Di Jodi a few years later. You can sense it, the way Palekar crafted Shah Rukh's lover persona, with such poetic restraint and emotional sophistication, seems to have inspired Chopra to create his own mythic duality in Surinder Sahni and Raj. Because at their heart, both films are not about the men, but about the women. About their longing, their desire, their rebellion. And SRK, as always, exists not to dominate those stories, but as the bridge, the embodiment of what they dare to dream. It's no accident, then, that in Paheli, when Kisanlal asks the ghost who he really is, Prem answers: 'Aurat ke dil mein jo prem ho, woh hoon main.' (I am the love that lives in a woman's heart.) No wonder, it's a scene where Shah Rukh speaks to himself, split into two bodies, two selves, inhabiting the myth of who he has always been on screen. Who said love is an illusion? As long as you have Shah Rukh Khan, it's the only truth that matters.
India.com
05-05-2025
- Entertainment
- India.com
Made in Rs 14 crore, This Shah Rukh Khan film was rejected by 4 top actresses, the actor spent Rs 2 crore just on sand, earned Rs…, lead actress was…
Made in Rs 14 crore, This Shah Rukh Khan film was rejected by 4 top actresses, the actor spent Rs 2 crore just on sand, earned Rs..., lead actress was... By the early 2000s, Shah Rukh Khan had firmly cemented his position as one of the biggest stars in the country and the undisputed king of Bollywood. Having consistently delivered the year's biggest blockbusters, the actor began exploring with few off-beat content-driven cinema. Between 2004-2010, he even backed several such projects like Swades and Billu , and went extra miles by investing his own money to support them. In 2005, Shah Rukh Khan signed Anmol Palekar's Paheli , based on a Rajasthani folk tale. The film starred Rani Mukerji in lead alongside veteran actors like Naseeruddin Shah, Ratna Pathak Shah, with Amitabh Bachchan in special appearances. Made in a budget of Rs 14 crore, most of the film was shot in Rajasthan, but few scenes were filmed in Mumbai. In an interview, designer Muneesh Sappel revealed that around 400 trucks of sand were bought to recreate the particular Thar Desert scene in the film. Shah Rukh Khan, who bankrolled Paheli, under his banner Red Chillies Entertainment, reportedly spent Rs 2 crore solely on that elaborate set. Muneesh also revealed that the desert sequence, featuring SRK and Amitabh Bachchan was actually shot on a helipad in Mumbai. Paheli received critical acclaim and was even selected as India's Official entry to Oscars. However, unfortunately, it failed to make an impact at domestic box office, earning just Rs 2 crore, and being tagged as an average performer. Interestingly, Shah Rukh Khan's romantic thriller found greater success overseas, where it became a hit and turned profitable for makers. According to reports, several prominent actresses rejected the role of Lachchi in Paheli. These included Kajol, Aishwarya Rai, Tabu and Sushmita Sen. The reasons weren't specified, and the role then eventually went to Rani Mukerji.
