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Time of India
2 days ago
- Entertainment
- Time of India
‘Saudagar' Turns 34: When director Ravi Dewan revealed on-set tension between Raaj Kumar and Dilip Kumar
1 2 When 'Saudagar' hit theatres in 1991, audiences were mesmerised by the rare pairing of two cinematic giants Dilip Kumar and Raaj Kumar . On-screen, their chemistry was magnetic, but behind the scenes, things were far from cordial. Speaking on Sutradhar with Vineet Rai, according to veteran action director Ravi Dewan , the tension between the two often surfaced in subtle yet telling ways during filming. Dewan recalled an intense death scene where all eyes were fixed on Dilip Kumar, except for Raaj Kumar's. With no shot scheduled for him that day, Raaj quietly placed his chair eight feet away, facing the opposite direction. This was seemingly indifferent to the moment. The waterfall incident that spoke volumes One particularly memorable episode took place during a shoot at a hill station. While couples and fans flocked to click photos with Dilip Kumar, Raaj Kumar wandered off to a nearby waterfall. There, he pulled up a chair and sat knee-deep in the icy water. When director Subhash Ghai eventually asked why, Raaj quipped, 'Yahan photo kheenchne koi nahi aayega' ('No one will come here to take photos'). For Dewan, this was Raaj in his element — unpredictable, calculated, and often aloof from the crowd's attention. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like These Are The Most Beautiful Women In The World Undo Clashes, retakes, and an old grudge Raaj Kumar's quirks extended beyond avoiding fan interactions. Dewan revealed that in one rope-pulling scene with Amrish Puri , Raaj insisted on multiple retakes despite the first take going perfectly. In a punch scene, he delivered such force that it caused Puri genuine discomfort. Dilip and Raaj's cold war reportedly began during 'Paigham' (1959), when Raaj allegedly struck Dilip too hard in a scene, prompting the latter to vow never to work with his contemporaries again. Fate, however, had other plans, reuniting them for 'Saudagar'. Despite their personal distance, 'Saudagar' emerged as a commercial success. Saira Banu Shares Rare Photos of Dilip Kumar & Lata Mangeshkar
News18
2 days ago
- Entertainment
- News18
Raaj Kumar Sat In Water As Dilip Kumar Filmed For Saudagar: ‘Yahan Photo Kheenchne Koi Nahi Ayega'
Ravi Dewan recalls Raaj Kumar's strange Saudagar set behaviour – from sitting in cold water to pointedly ignoring Dilip Kumar's big scenes. When Saudagar hit the big screen in 1991, audiences were glued to the magnetic pairing of Dilip Kumar and Raaj Kumar. Off-screen, though, things were far from warm between the two legends – a tension that, according to veteran action director Ravi Dewan, sometimes spilled into quirky, calculated moments on set. Speaking on Sutradhar with Vineet Rai, Dewan recalled that Raaj Kumar often made unexpected moves during filming. One day, while Dilip Kumar was preparing for an intense death scene, Raaj had no shots scheduled. Yet, he placed his chair just eight feet away, facing in the opposite direction, seemingly ignoring the moment entirely. Everyone else's eyes were on Dilip – but not his co-star. The eccentric behaviour didn't stop there. At a hill-station shoot, the set attracted couples eager to take photos with the stars. While a crowd gathered around Dilip Kumar, Raaj quietly wandered off to a nearby waterfall. 'Raaj Kumar took a chair and sat in one foot of water at a nearby waterfall. After a long time, director Subhash Ghai approached him and asked why he was sitting there, as the water was cold. Raaj Kumar replied, 'Yahan photo kheenchne koi nahi aayega (No one will come here to take photos),'" Dewan recounted. Amrish Puri, another stalwart in Saudagar, was known for his towering villain roles, but Dewan described him as 'soft" in real life. Still, even Puri wasn't spared Raaj Kumar's relentless on-set habits. In one rope-pulling scene, Raaj insisted on multiple retakes – even after the first went smoothly. And during a punch sequence, Dewan said Raaj landed a blow hard enough to cause real discomfort. The roots of the Dilip–Raaj cold war went back decades. While filming Paigham (1959), Raaj allegedly slapped Dilip too hard in a scene. It was said to have sparked a vow from Dilip never to work with his contemporaries again. Yet, fate brought them back together for Saudagar, and despite their personal distance, the film went on to become a box-office success. Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
Indian Express
2 days ago
- Entertainment
- Indian Express
Ravi Dewan on Raaj Kumar and Dilip Kumar's ‘cold war' on the sets of Saudagar: ‘Raaj kept looking in the opposite direction'
The 1991 film Saudagar featured two iconic Bollywood stars, Dilip Kumar and Raaj Kumar. While the film was widely discussed for its powerful star cast and songs, the real-life 'cold war' between its two leads also remains a talking point. In a recent interview, veteran action director Ravi Dewan revealed how Raaj Kumar would deliberately create trouble on set. In an episode of Sutradhar with Vineet Rai, Ravi Dewan was asked how Raaj Kumar and Dilip Kumar were on the sets of Saudagar. He recalled that Raaj Kumar often did many 'funny' things during filming. For instance, when Dilip Kumar was shooting a death scene, and Raaj had no shot scheduled, he placed his chair just eight feet away and kept looking in the opposite direction while everyone else was focused on watching Dilip prepare. Ravi Dewan also shared another incident from the shooting of Saudagar at a hill station, where many couples would visit the sets to meet the actors and take pictures with them. On one such occasion, while Dilip Kumar was surrounded by a huge crowd, Raaj Kumar did something rather unusual. 'Raaj Kumar took a chair and sat in one foot of water at a nearby waterfall. After a long time, director Subhash Ghai approached him and asked why he was sitting there, as the water was cold. Raaj Kumar replied, 'Yahan photo kheenchne koi nahi aayega (No one will come here to take photos),'' shared Ravi Dewan. Speaking about Amrish Puri, known for playing memorable villains in many films, Ravi Dewan highlighted his 'soft' nature off-screen. Recalling one scene, Dewan said it was planned for Amrish Puri's character to be tied to a rope and pulled. While the first take went smoothly, Raaj Kumar, being a senior actor on set, insisted on retaking the shot, and had it done multiple times. Ravi Dewan added that Raaj Kumar seemed to enjoy tormenting his co-stars on set. He recalled the shoot of a punch scene with Amrish Puri where Raaj would deliberately land a hard blow. For the unversed, the famous rivalry began when Raaj Kumar slapped Dilip Kumar too hard while filming a scene for Ramanand Sagar's 1959 film Paigham. The incident created a rift between the two actors, prompting Dilip Kumar to vow never to work with his contemporaries again. Despite their animosity, Raaj Kumar and Dilip Kumar went on to deliver powerful performances in Saudagar, which became a commercial success.
Economic Times
11-06-2025
- Entertainment
- Economic Times
Amitabh Bachchan called him 'ahead of times'. He had all - money, fame and stardom - but he died penniless
Tired of too many ads? Remove Ads About Motilal Motilal's offscreen lifestyle Long before method acting became a buzzword and natural performances were celebrated, one man quietly set the gold standard for onscreen authenticity in Indian cinema Motilal Rajvansh . A name that once echoed with admiration from legends like Dilip Kumar Amitabh Bachchan , and Naseeruddin Shah, today survives mostly in footnotes of film history . But exactly 50 years after his passing on June 17, the legacy of Motilal remains as compelling as the most fitting tribute to Motilal's genius came from none other than Amitabh Bachchan, who, in the foreword of The Hundred Luminaries of Hindi Cinema, acknowledged just how far ahead of his time Motilal truly was. Bachchan reflected that despite the lack of widespread acclaim, Motilal's natural style and remarkable versatility would have easily earned him a prominent place in today's cinematic landscape, arguably surpassing even many of his contemporaries and in Shimla, Motilal starred in over 60 films, with more than half of them featuring him in lead roles. But ironically, it is his smaller, nuanced performances that continue to linger—be it the charismatic Chunni Babu in Devdas , the suave antagonist in Anari or Paigham, or the unforgettable title role in Mr Sampat, where he played a smooth-talking conman with unmatched flair. With effortless screen presence and a dialogue delivery style that leaned into realism rather than theatrics, he was decades ahead of his time. Critics and peers agree: he should be studied in acting schools and celebrated in retrospectives, not lost in cinematic acting wasn't his only bold move. Motilal defied the conventions of his time, both onscreen and off. At a time when most actors leaned into melodrama, he introduced casual, conversational dialogue delivery. Motilal brought a lightness and charm and wasn't afraid of bold, socially progressive roles either, as seen in Achhut, where he played an untouchable—a role applauded even by Mahatma offscreen life, however, was as dramatic as some of his films. A lover of high-stakes hobbies—horse racing, flying, gambling, cricket—he lived with flamboyance and emotional intensity. His long-standing romance with Shobhna Samarth and friendship with actress Nadira often grabbed headlines, sometimes more than his artistry. Stories of his humour, quips, and larger-than-life personality made him a favourite of journalists. But beneath the charm was a man burdened by illness, bad luck, and ultimately, he died his final years, Motilal devoted himself wholeheartedly to Chhoti Chhoti Batein—a deeply personal film that he wrote, produced, and directed. Quiet, introspective, and rooted in the everyday, the project was far removed from commercial formulae, reflecting his artistic convictions more than box-office ambitions. Motilal passed away before the film's release. Yet his performance in it remains one of his finest—subtle, moving, and unmistakably his own. In 2013, the Indian government issued a stamp in his honour while celebrating 100 years of Indian cinema.
Time of India
11-06-2025
- Entertainment
- Time of India
Amitabh Bachchan called him 'ahead of times'. He had all - money, fame and stardom - but he died penniless
About Motilal Motilal's offscreen lifestyle Long before method acting became a buzzword and natural performances were celebrated, one man quietly set the gold standard for onscreen authenticity in Indian cinema Motilal Rajvansh . A name that once echoed with admiration from legends like Dilip Kumar Amitabh Bachchan , and Naseeruddin Shah, today survives mostly in footnotes of film history . But exactly 50 years after his passing on June 17, the legacy of Motilal remains as compelling as the most fitting tribute to Motilal's genius came from none other than Amitabh Bachchan, who, in the foreword of The Hundred Luminaries of Hindi Cinema, acknowledged just how far ahead of his time Motilal truly was. Bachchan reflected that despite the lack of widespread acclaim, Motilal's natural style and remarkable versatility would have easily earned him a prominent place in today's cinematic landscape, arguably surpassing even many of his contemporaries and in Shimla, Motilal starred in over 60 films, with more than half of them featuring him in lead roles. But ironically, it is his smaller, nuanced performances that continue to linger—be it the charismatic Chunni Babu in Devdas , the suave antagonist in Anari or Paigham, or the unforgettable title role in Mr Sampat, where he played a smooth-talking conman with unmatched flair. With effortless screen presence and a dialogue delivery style that leaned into realism rather than theatrics, he was decades ahead of his time. Critics and peers agree: he should be studied in acting schools and celebrated in retrospectives, not lost in cinematic acting wasn't his only bold move. Motilal defied the conventions of his time, both onscreen and off. At a time when most actors leaned into melodrama, he introduced casual, conversational dialogue delivery. Motilal brought a lightness and charm and wasn't afraid of bold, socially progressive roles either, as seen in Achhut, where he played an untouchable—a role applauded even by Mahatma offscreen life, however, was as dramatic as some of his films. A lover of high-stakes hobbies—horse racing, flying, gambling, cricket—he lived with flamboyance and emotional intensity. His long-standing romance with Shobhna Samarth and friendship with actress Nadira often grabbed headlines, sometimes more than his artistry. Stories of his humour, quips, and larger-than-life personality made him a favourite of journalists. But beneath the charm was a man burdened by illness, bad luck, and ultimately, he died his final years, Motilal devoted himself wholeheartedly to Chhoti Chhoti Batein—a deeply personal film that he wrote, produced, and directed. Quiet, introspective, and rooted in the everyday, the project was far removed from commercial formulae, reflecting his artistic convictions more than box-office ambitions. Motilal passed away before the film's release. Yet his performance in it remains one of his finest—subtle, moving, and unmistakably his own. In 2013, the Indian government issued a stamp in his honour while celebrating 100 years of Indian cinema.
