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Hindustan Times
a day ago
- Entertainment
- Hindustan Times
He gave magic, mystery, great music to cinema
The year was 1964 and in that one year, I literally swallowed a lot of Hindi films into my heart and soul. Those were cinema times and my brother would make it a point to take us for every new release in Patna town and on Saturdays we would see old films screened in the open for the other ranks. My brother, who headed the family after my father's passing away, was a handsome and a strict disciplinary at times but no restriction did he put on us watching cinema. Those were cinema and radio times and my favourite was of course Dev Anand. Some of my friends had switched their loyalties to Joy Mukherjee, who danced around Asha Parekh with a guitar in his arms singing 'Phir Wohi Dil Laya Hoon'. Surprisingly, I had no favourite heroine, although my mother was very appreciative of Nutan. But that year I found my role model in Sadhna and guess how and in which film? It was a Raj Khosla film with haunting music and mystery and even before I got to see the film, I would be glued to the radio listening to the promo I still recall like a nursery rhyme. It went thus: 'Andheri raat, sansanati dastan, kabristan ka darwaza apne aap khula aur woh dekhate hi dekhate gum ho gayi. Woh kaun thi?' (A dark night, a scary story, the door of the graveyard opened, and she was lost forever. Who was she?). Well she was to become my role model and I wept before my mother that she give me a fringe cut. Now hair cuts for girls was a no-no in our male-dominated family and my mother was afraid of the response of her haughty Major son. So a story by my mother and bhabhi was made that I burnt my hair while lighting a lamp in my mother's little temple and there was no choice but to give me a fringe cut. This earned me the nickname of Sadhna in my peer group, to my great joy! The Raj Khosla times All this comes to the mind as I have in hand a mint-fresh authorised biography of Raj Khosla by Amborish Roychoudhury with passion and deep research, including long interviews with his friends, colleagues and associates. The book comes from Hatchette when he is all but forgotten, not because of his merit, but owing to the fact that he was not party savvy or publicity conscious. Yet Khosla was always a lover, always a poet with a singing soul and the great urge to be a singer like his ideal Kundan Lal Saigal. He was a great connoisseur of the poet of all poets, Mirza Ghalib. Born and schooled in Punjab he was proficient in Urdu poetry. His dream was to be a playback singer but 'Bambai Meri Jaan' had other things in store for him. Dev Anand, in his early days of struggle, became a friend of Khosla in the Bombay Coffee House and later referred him to Guru Dutt when the Navketan cinema took root. Dev Anand always referred to him as a friend of the Coffee House days. The story of the Anand-Dutt camaraderie is well known. The two loved in the same building while they were trying to find a foothold in the Bombay Island as they called it. Once the press wala exchanged their shirts by mistake. So the two faced each other in the lobby in the exchanged shirts. They became such good friends that when they got a chance they would work together and the words came true. The book recounts that when Khosla was trying hard to get a break as a singer, Dev Anand told him, 'My friend Guru Dutt is directing my next film. Why don't you become his assistant. Come on Raj, we'll work together,soon you will be able to sing too.' The singing never came but much else came and Khosla was to become a great director with his films having some of great songs which are sung till date. If he reinvented Sadhna as a ghost singing 'Naina barsein rim-jhim', he also gave the feisty Mumtaz alluring song 'Bindia chamkegi' to lure Rajesh Khanna in one of the great breaks for the star. Biographer Choudhury writes; 'When I told my friends that I was writing a book on Raj Khosla, only the hardened film buffs among them showed any comprehension. Later, when I posted a collage from his films, my inbox was overflowing with messages of the following nature, 'Wow! All these songs are from his films? 'He needs to be celebrated'. Indeed, he is celebrated in this biography with aplomb and it is a book one find hard to put away. As Mahesh Bhatt remembers The heartwarming prelude to this soulful remembrance has a prelude by Mahesh Bhatt who approached Khosla in 1969 to be his assistant. Witness to his era, Bhatt writes: 'Raj Sahab's story is larger than my memories, larger than my single telling. He was a magician, a creator of light and shadow, a man no biography could fully capture. But I salute the audacity of Amborish who has dared to do that'. Well said. nirudutt@
News18
2 days ago
- Entertainment
- News18
Film Heritage Foundation Celebrates Raj Khosla's 100th Birth Anniversary With Restored Classics
Last Updated: Raj Khosla's centenary will be celebrated with restored 4K screenings of C.I.D., Bambai Ka Babu & more at Mumbai's Regal Cinema. Free public event. On the occasion of legendary filmmaker Raj Khosla's 100th birth anniversary, the Film Heritage Foundation (FHF) has announced a day-long celebration titled 'Raj Khosla 100 – Bambai Ka Babu'. Taking place on May 31, 2025, at Mumbai's historic Regal Cinema, the event will offer a rare chance to revisit some of Khosla's most iconic films on the big screen—restored to their original cinematic glory. The retrospective will feature special screenings of C.I.D. (1956), Bambai Ka Babu (1960), and Mera Gaon Mera Desh (1971). Two of these films—C.I.D. and Bambai Ka Babu—have been restored in 4K resolution by the NFDC – National Film Archive of India under the National Film Heritage Mission, a government initiative dedicated to the preservation and restoration of Indian cinema. The event will also include a panel discussion featuring distinguished guests such as veteran actress Asha Parekh, filmmaker Mahesh Bhatt, and Amborish Roychoudhury, author of Raj Khosla: The Authorized Biography. Together, they will reflect on Khosla's cinematic vision and the cultural impact of his diverse body of work. Shivendra Singh Dungarpur, Director of Film Heritage Foundation, described Khosla as 'the Howard Hawks of Indian cinema," referencing his mastery across genres—from thrillers and musicals to romance and action. 'He was a filmmaker whose name on the hoarding was as important as his stars," Dungarpur noted, adding that Khosla's innovative storytelling and nuanced depiction of strong female characters made him a trailblazer. 'We are proud to celebrate his centenary with this retrospective, and grateful to the NFDC for restoring two of his classics for the occasion." For Asha Parekh, who worked with Khosla on several hits including Do Badan and Mera Gaon Mera Desh, the tribute is deeply personal. 'He gave me one of my most memorable performances," she said. 'His understanding of emotions and song picturization was unmatched. I'm thrilled the Film Heritage Foundation is keeping his legacy alive for new generations." Mahesh Bhatt, in a heartfelt statement, recalled Khosla as a philosophical mentor. 'He once told me fame is like starlight—traveling across time even after the star is gone. Raj Sahab was that star. His influence lives on in all of us who were lucky enough to be shaped by him." NFDC Managing Director Prakash Magdum emphasized the importance of the restored versions being screened. 'Bombai Ka Babu has been preserved in our collection for decades, and showcasing it in 4K for the first time is a landmark moment. It's our honor to present these restored prints during such an important celebration." The screenings are free and open to the public on a first-come, first-served basis—part of Film Heritage Foundation's ongoing mission to make classic cinema accessible and preserve India's rich film legacy. The foundation has previously curated tributes to cinematic icons like Dev Anand, Dilip Kumar, Raj Kapoor, and Amitabh Bachchan, earning praise for its commitment to cultural preservation. Over the course of his three-decade career, Raj Khosla directed 27 films that redefined the grammar of Hindi cinema. From his early days as an assistant to Guru Dutt to his collaborations with stars like Dev Anand and Asha Parekh, Khosla was an architect of visual storytelling whose work bridged art and commerce. He introduced a lyrical style to thrillers, reinvented romance with psychological depth, and pioneered narrative song sequences that would become standard across Bollywood. As Raj Khosla 100 – Bambai Ka Babu brings his work back to the silver screen, audiences old and new will get to experience the light of a cinematic star whose brilliance refuses to fade. First Published: May 31, 2025, 17:54 IST
Time of India
2 days ago
- Entertainment
- Time of India
Cinematic tribute to Raj Khosla kicks off with ‘Bambai Ka Babu' screening
The Film Heritage Foundation, in collaboration with Raj Khosla 's official legacy account, launched a day-long tribute to the iconic filmmaker on his birth centenary with the screening of Bambai Ka Babu (1960), starring Dev Anand and Suchitra Sen . Raima Sen introduces restored 1960 classic at the event celebrating director's birth centenary The event opened with a special introduction by actor Raima Sen, granddaughter of Suchitra Sen, who took the stage to speak about her grandmother's role in the noir classic and her cinematic legacy. She was joined by author Ambarish Roychoudhury and Film Heritage Foundation director Shivendra Singh Dungarpur. The restored version of Bambai Ka Babu —meticulously revived in 4K by the National Film Archive of India (NFAI) under the National Film Heritage Mission, Ministry of Information and Broadcasting—was showcased as part of the centenary celebration, aimed at bringing classic Hindi cinema back to the big screen. 'Raj Khosla was one of Hindi cinema's most versatile storytellers,' said Shivendra Singh Dungarpur, adding, 'From suspense thrillers and noir to musicals and romantic dramas, his storytelling breadth remains unmatched. Today is about rediscovering that brilliance where it belongs—on the big screen.' The Film Heritage Foundation has curated a lineup of Khosla's most celebrated works for the day, offering cinephiles a rare chance to view them in restored formats. Fans are encouraged to follow the Film Heritage Foundation for screening schedules and updates as the tribute continues through the day. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
NDTV
2 days ago
- Entertainment
- NDTV
Raj Khosla At 100 - Meet The Man Behind Sadhana's 'Mystery Woman'
There's a Hindi proverb which translates in English to "Behind every successful man, there's a woman". In the case of Raj Khosla and Sadhana, this saying proved to be true, both ways. In his 30-year career, Raj Khosla made a name for himself as a director with star-studded movies such as Dev Anand's CID; Mera Gaon Mera Desh, starring Dharmendra and Asha Parekh; and Dostana with Amitabh Bachchan and Shatrughan Sinha. Advertisement - Scroll to continue But what made him stand apart from his contemporaries was his mystery trilogy -- Woh Kaun Thi? (1964), Mera Saaya (1966), and Anita (1967) - all three with Sadhana in the centre. While women characters in Raj Khosla's films were hardly just an arm candy or a mute spectator, his collaboration with Sadhana in the genre holds special importance. According to Raj Khosla: The Authorized Biography, a book penned by Amborish Roychoudhury in association with the director's daughters Anita Khosla and Uma Khosla Kapur, these three films were "all primarily love stories neatly wrapped in a thrilling exterior. At the heart of the mysteries were a man and a woman (actually two women - Sadhana had double roles in all three films) in love." Raj Khosla: The Authorized Biography Photo Credit: Cover designed by Pia Alizé Hazarika Raj Khosla Kaun The? Born in Punjab in 1925, Raj Khosla was one of the most prominent filmmakers and screenwriters in Hindi film industry between the 1950s to1980s. May 31 (Saturday) marks the birth centenary of the director. He cut his teeth in films as an assistant to master filmmaker Guru Dutt before flying solo. Whether it was experimenting with opening credits, film editing techniques, staying true to genre without compromising on the emotional quotient, or his handling of musical sequences, the filmmaker was a cinematic visionary. He trained in Indian classical music and came to Bombay, erstwhile Mumbai, looking for work as a singer: he was part of the All India Radio's music staff. Sadhana As 'The Hero' And Fashion Icon In Raj Khosla's Films Before embarking on the suspense trilogy, Raj Khosla and Sadhana first collaborated on 1962's Ek Musafir Ek Hasina. The Hindi cinema of the 1960s and 1970s was dominated by the hero, especially in musical romance films. So to take a female actor and make her the driving force of the story, along with internalised acting and all the song-and-dance (Remember Lag Ja Gale from Woh Kaun Thi? and Jhumka Gira Re from Mera Saaya?), in genres such as mystery and suspense thriller, was almost avant-garde. (1966) Raj Khosla and Sadhana during the shoot of song 'Jhumka Gira Re', for film 'Mera Saaya'. — Film History Pics (@FilmHistoryPic) February 20, 2018 Sadhana's status as a fashion icon -- the first Hindi film female actor to have a hairstyle famously named after her -- was also a bonus for Raj Khosla's films. Whether it was the floral saree and pearl jewellery in the haunting Lag Ja Gale or an embroidered powder blue saree against the backdrop of a palace in Udaipur in the love ballad Nainon Mein Badra Chhaye (Mera Saaya), the Raj Khosla and Sadhana duo was a winning sartorial combination too. Raj Khosla, Sadhana And Mystery According to the book, filmmaker and historian Karan Bali highlighted how the late filmmaker worked with his cinematographer KH Kapadia to get just the right low-key lighting to add to "Sadhana's mystery" in Woh Kaun Thi?, also starring Manoj Kumar. "... It adds to the confusion that Manoj Kumar is going through, and the way he Khosla makes Sadhana walk so that her face is always within light..." Raj engaged in an intense conversation with Sadhana, one of his closest friends in the industry. Photo Credit: Personal collection of Raj Khosla's family The book, recently published by Hachette India, also states that Mera Saaya had "a better ending" than Woh Kaun Thi? "While the latter had a series of mysteries and red herrings built into the script, in the end it all boiled down to one explanation: that the heroine had a humshakal, a twin (Bollywood's favourite buzzword till well into the 1990s). However, in Mera Saaya, we already know that there's someone who looks like the heroine. Yet, till the denouement occurs, even seasoned thriller buffs are left scratching their head and wondering what really could have happened. If keeping the audience guessing till the end is a Hitchcockian trait, Raj Khosla was the finest Hitchcockian director India had seen." Raj Khosla and Sadhana collaborated on four films - Ek Musafir Ek Hasina and the mystery woman trilogy. Why we never got another film remains a mystery.
Scroll.in
2 days ago
- Entertainment
- Scroll.in
From the archives: How Raj Khosla and Guru Dutt struck up an instant friendship
In the late 1980s, I had the privilege of meeting Raj Khosla. I was introduced to him by Guru Dutt's sister, the artist Lalitha Lajmi, who took me to see him in Marina Apartments in Pali Hill in Bandra, Mumbai. His apartment was later bought by Aamir Khan's family, and it is where they still live today. At that time, I was researching material for a documentary I later made called In Search of Guru Dutt (Channel 4 TV, UK, 1989) and meeting Raj Khosla was most memorable. His love for cinema, warmth of personality and generosity of heart were so evident. Following are excerpts from two conversations, the first an audio interview recorded on November 5, 1986, and the second filmed on September 22, 1988. Raj Khosla: In those days [late 1940s, early 1950s], I wanted to be a playback singer. Dev [Anand] was trying to help me, but things weren't working out. So, one day he told me, 'There's a friend of mine, Guru Dutt, and he's going to direct my next picture. Why don't you become his assistant?' 'I don't want to do filmmaking; I want to sing.' He said, 'Come on! Get together, things will gradually fall into place.' That's how I met Guru Dutt. He asked me, 'Do you have any experience in being an assistant in films? Dev has recommended you.' 'Yes, I have, I'm studying filmmaking.' The second thing he asks, 'Do you know Hindi?' 'Of course I know Hindi.' I didn't write in Hindi. I wrote in Urdu and Persian. In the 1940s, most Punjabis knew Urdu well, and some, even Farsi. But I didn't know how to write in Devanagari. He said, 'Fine, join duty from tomorrow.' So I ran from there and the first thing I did was learn to read Hindi, ka, kha, ga. Sure enough, after six or seven days, he said, 'Just copy out these scenes.' By that time, I had picked up some Hindi. When I wrote the scenes, he asked, 'One second, when did you start learning?' I said, 'The day you asked me if I knew Hindi.' He smiled. We struck up a friendship instantly. Nasreen Munni Kabir: What was your relationship with the Anands? Raj Khosla: The Anand family and my family were from the Punjab. We had generational relations. Their father and mine were college mates and friends. So, we were the second generation of friends. When I was looking to work, Chetan Anand said, 'Why don't you work at Navketan?' Since they were producing Baazi at that time, my destiny was kind to me. I opted to work as Guru Dutt's assistant. Nasreen Munni Kabir: You told me you were very fond of Sahir Ludhianvi. Raj Khosla: I was a college student when I heard the work of Sahir sahab. I told my father that Sahir Ludhianvi was going to be a fantastic success. In my college days, I used to know a poem written by Sahir, Sanaa-khvaan-e taqdis-e mashriq kahaan hain. This poem became Jinhen naaz hai hind par woh kahaan hain. The lines were changed for Pyaasa, because who would understand the Persianised original lines? One day we were sitting in the Navketan office, and I sang the whole song to Guru Dutt. I had composed the tune myself, and he said, 'Raj, this is it! This is Pyaasa!' By chance, Sahir was already writing for him in Baazi. So, there was no problem of copyright or anything. Guru Dutt had a great gift of understanding emotion. But the relationship between Sahir and Guru Dutt was a little distant, I would say. In art, they were very close but personally they were not very close. I was personally much closer to Sahir. Nasreen Munni Kabir: You said you wanted to be a singer. Did you record any songs? RK: No, I didn't. In Jaal, we had this song, Sun Ja Dil Ki Dastaan. Guru Dutt recorded me singing it, but I failed the test. SD Burman said, 'Raj is good, but...' The song was later re-recorded in Hemant Kumar's voice. It was a tremendous hit. Raj Khosla: My first film was Milap, I made it for the same producer, TR Fatehchand, who also made Jaal. Many people thought C.I. D. was my first film, because Milap was not a hit. It was C.I.D. that got me noticed as a director. There's an amusing incident that happened when C.I.D. was released in Calcutta in 1957. We had very heavy rains that year and all the flights were cancelled, so we went to Calcutta by train. We took a box of beer and drank in the compartment. Remember Bombay-Calcutta was 46 hours in those days. We got thoroughly bored with each other. As the train ultimately entered the train station, the distributor, who was a very fat man, I don't remember his name, had garlands ready for us and he said, 'Raj, it's a hit. Ho gaya kaam!' (The work is done!) The garlands told us things were okay. Nevertheless, we went to the theatre to see for ourselves how C.I.D. was doing. Twenty minutes into the film, Guru Dutt says, 'Raj, you've made a super-hit film, come on, let's celebrate.' The next morning, I didn't find him in the hotel suite. I searched everywhere for him. Where is he? Fully dressed, with bowtie and all, lying in the bathtub. He must have been drinking all night. He was very sweet. Nasreen Munni Kabir: Why didn't you carry on directing under Guru Dutt's banner? Raj Khosla: As a matter of fact, after C. I. D., he offered me a lakh of rupees for the next film, which was a lot of money in 1957. I said, 'No, Guru Dutt, I will not work with you anymore.' 'Why? What's the problem?' 'You don't grow under a big tree. I'm a small plant. If I work with you, it'll always be Guru Dutt made this film.' He said, 'Go your way. Whenever you want to come and make a film for me...' Nasreen Munni Kabir: Can you talk about the C.I.D. song Leke Pehla Pehla Pyaar, featuring Dev Anand and Shakila? It was filmed on the pedestrian promenade on the Worli Sea Face [now part of the Coastal Road]. Raj Khosla: Dev Anand was a very disciplined person. He still is one of the most disciplined actors we ever had. The only thing I remember about that song is that Dev Anand tells me, 'Raj, what am I doing in this song?' 'The song is doing everything, you just walk.' So we started shooting. It was quite a long walk down the promenade, you know. The song goes through its entirety for about three minutes or so and he keeps walking. So after a few shots, he said, 'You want me to walk a mile or two or something? What am I doing in this song?' I said, 'You're walking. You're not going to sing.' 'Okay, you're the boss.' Typical of Dev, you know, he always wants to be active. Then the second thing I remembered is that while walking he had this habit of always using his hands somewhere. 'You don't move your hands.' He says, 'I can't sing, I can't move my hands, I'm supposed to walk.' 'That's it, you're just supposed to walk and look handsome!'
