Latest news with #SharmilaTagore
India.com
3 days ago
- Entertainment
- India.com
Released 56 years ago, this blockbuster film ran in theatres for over 100 days, new actor became star, he is…, film is…
Rajesh Khanna started his career in the year 1966. But for three years, he did not get any big recognition. He appeared in about 6 to 7 films during this time. But did not get fame. Then, in the year 1969, he worked in the film Aradhana. After this film, his stars shone so much that he became an exemplary superstar in the industry. The period from 1969 to 1975 proved to be very lucky for Rajesh Khanna. During this time, every film he touched became a hit. Kaka was the only actor who hit 15 consecutive solo hero films. It was difficult to even get tickets for his films. Aradhana, which came in 1969, did not leave the theatres for 100 days. This film not only made Rajesh Khanna a superstar but also gave him an everlasting identity in the industry. Rajesh Khanna started his career with the 1966 film Aakhri Khat, which was directed by Basu Bhattacharya. The film received praise from critics, but it was not very successful at the box office. After this, Rajesh appeared in the 1967 romantic drama Raaz. Then he appeared in Baharon Ke Sapne (1967), Aurat (1967), Daulat Ke Dushman (1968), Ittefaq (1969), and the 1964 film Doraha. But this film could not give him any recognition. Occupied the theater for 100 days The audience went to the theatres to watch this Rajesh Khanna film for 100 days. People liked this film so much that it became difficult to get tickets. Sharmila Tagore and Farida Jalal were also seen in the film along with Rajesh Khanna. The film broke many records at the box office. This film did not leave the theatres for 100 days. The iconic pair of Rajesh Khanna and Sharmila Tagore was also liked by the people. The songs of the film are Mere Sapno Ki Rani, Roop Tera Mastana, Kora Kagaz Tha Yeh Mann Mera, and Chanda Hai Tu Mera Suraj Hai Tu. Not only the story of the film, but also the songs of this film were very hit. This film, directed by Shakti Samanta, did a business of 17 crores in that era.
Time of India
4 days ago
- Entertainment
- Time of India
Sharmila Tagore reveals what sets Habitat Film Festival apart from Cannes 2025
Veteran actress Sharmila Tagore opened up about her experience at the Habitat Film Festival, highlighting what makes it truly unique compared to other global events like Cannes 2025. Veteran actress Sharmila Tagore opened up about her experience at the Habitat Film Festival, highlighting what makes it truly unique compared to other global events like Cannes 2025. In a recent conversation, Tagore, a regular attendee of the Habitat Film Festival, revealed what sets this festival apart and why it continues to be a cherished event for cinephiles across India. Sharmila emphasized that the Habitat Film Festival thrives on love, dedication, and a commitment to quality. When asked about the differences with Cannes, she acknowledged the scale and global reach of the French festival. Sharmila Tagore told IANS, "Well, I've been coming to this festival for many years now, and they always curate very interesting films from all over India. It's a great opportunity to see those films, and they've maintained their high standards. So, it's always something to look forward to - I really look forward to this festival." The 'Gulmohar' actress added, "I don't think comparisons are necessary here. Habitat has been running with lots of love, with people taking great interest in maintaining quality. They organize conversations and various activities, and it has a very high standard. Over the years, it has become increasingly popular. Cannes is something else - it's much bigger, with different kinds of awards, and it's a global affair. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Trade Bitcoin & Ethereum – No Wallet Needed! IC Markets Start Now Undo Since the time of filmmakers like Bajor Bahadur, people have been attending Cannes. It's a very different kind of event. Also, many brands advertise themselves there, not necessarily films. Plus, there's a film bazaar where people come to sell and buy films. It's a very large, prestigious, and thriving film festival as well as a marketplace where filmmakers showcase their work and look for buyers. This market aspect is a very necessary part of film festivals." Sharmila Tagore went on to explain, "Habitat, on the other hand, is a more intimate festival. Some might think Cannes is totally commercial, but that's not true. There are beautiful films shown there. When I was on the jury, we saw films like The White Ribbon, which was excellent and won the best film award. It's not just intellectual films; there are many good films from different languages." "Cannes is very old and well-funded, attracting many big stars, so it draws a much larger crowd. It takes time for festivals to grow, and Cannes has had that funding and time. We don't have to compete with Cannes, but Habitat is also growing - and growing very well," Tagore further explained. The 17th Habitat Film Festival honored legendary figures from the film industry such as Shyam Benegal , Raj Kapoor, Manoj Kumar, Mohammed Rafi , Talat Mahmood, and Aruna Vasudev. Additionally, the festival featured the screening of 'Puratawn,' which marked Sharmila Tagore's return to Bengali cinema. 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 .
Indian Express
4 days ago
- Entertainment
- Indian Express
Sharmila Tagore recalls shouting at Mausam co-star Sanjeev Kumar after he made her wait for 6 hours: ‘Gulzar Sahab had to pacify me'
Sharmila Tagore and the late Sanjeev Kumar shared screen space in films like Mausam, Faraar, Satyakam, Griha Pravesh, and Charitraheen, among others. During the promotion of her debut OTT venture Gulmohar on The Kapil Sharma Show in 2023, Sharmila shared an anecdote about her friendship with Sanjeev. She recalled that on her very first day of shooting for Mausam, he made her wait for six hours—causing them to start the film on a rather furious note. Also Read: Sharmila Tagore stayed in a chowkidar's room while Simi Garewal got a bungalow during the shoot of Satyajit Ray's Aranyer Din Ratri: 'You cannot imagine how hot it was' Sharmila shared, 'Sanjeev Kumar was my favorite. That time we used to have double shifts, so in the morning I was working with him in Faraar, and in the evening I worked with him on Mausam. I was playing a sex worker in the film, and it was my first day. I was very excited, we had a shift from 2 pm to 10 pm. I was ready to give the shot at 2 pm, and he came at 8 pm. I got so angry with him and said lots of things. Gulzar Sahab had to pacify me.' She added, 'The shooting kept going on, but I was not talking to him even when we shot for Faraar. Then I went and saw Aandhi and loved the film. So the next day, he was in the dressing room next to me, I knocked at his door and told him that he is a very good actor. We shook hands and I forgave him. But I told him that next time, if he is planning to be late, he should inform me, because it is very rude otherwise. Then we became friends. He was a lovely person.' On the work front, Sharmila Tagore was last seen in the Bengali film Puratawn.
India.com
5 days ago
- Entertainment
- India.com
This Rajesh Khanna film ran in theatres for 100 days, sold 42 million tickets, became first Hindi movie to..., earned Rs...
This Rajesh Khanna film ran in theatres for 100 days, sold 42 million tickets, became first Hindi movie to..., earned Rs... Rajesh Khanna stands as one of the most celebrated actors in Indian cinema. His journey to superstardom took a remarkable step with the release of musical romantic drama Aradhana. Released on September 27, 1969, the film surpassed all box office records and became the first Hindi film to run successfully for more than 100 days. The film continued to captivate audience for three years and became platinum jubilee hit across India. Reports claim that about 42 million tickets were sold at the box office. Moreover, the film had four daily shows even in the non-Hindi speaking areas of the Northeastern and 4 South Indian states. Aradhana was one of the films that cemented Rajesh Khanna's status as superstar. His dual role of a husband and son was highly appreciated by masses. The film also starred Sharmila Tagore, Farida Jalal, and Madan Puri. Morover, Aradhana's music was a superhit, especially the most loved track Mere Sapno Ki Rani . Legend Kishore Kumar gave the vocals of this song, while Sachin Dev Burman composed the music. Made in an estimated budget of Rs 80 lakh, Aradhana earned Rs 7 crore at the box office, becoming the highest-grosser of the year. Helmed by Shakti Samanta, the film won the Filmfare Award for Best Film at the 17th Filmfare Awards. Moreover, Sharmila Tagore also bagged her only Filmfare best actress award. Following its success, the film Aradhana was remade in Telugu version titled Sivagamiyin Selvan (1974) , as well as in Tamil version called Kannavari Kalalu (1974).
Time of India
6 days ago
- Entertainment
- Time of India
Watching Aranyer Din Ratri in 480p while the world applauds in 4K
As the Business Head for The Times of India, I lead strategic initiatives and drive growth for one of the nation's most influential media organisations. My journalist friends believe I've crossed over to the proverbial dark side. Living on the edges of a dynamic newsroom, I dabble infrequently into these times that we live and believe in the spectatorial axiom – 'distance provides perspective'. LESS ... MORE A slightly squinting, wholly mesmerised viewer of great cinema, regardless of resolution. It happened the way it always does. A news alert buzzes in: Satyajit Ray's Aranyer Din Ratri has received a standing ovation at Cannes, now reborn in shimmering 4K, courtesy Wes Anderson and The Film Foundation. Sharmila Tagore and Simi Garewal are all elegance and nostalgia on the red carpet. And me? I'm slouched on my couch, watching a pixelated version on YouTube—complete with floating watermarks and the occasional audio dropout. Also read: Cannes 2025 screening: 'Aranyer Din Ratri' receives standing ovation (Picture: Sharmila Tagore and Simi Garewal at Cannes Film Festival 2025) Call it poetic irony, or just very subcontinental. But here's the twist. Even in that battered, barely-holding-it-together version, the film still gripped me by the collar. The forest still breathed. The silences still echoed. The infamous memory game scene still sliced through class, gender and entitlement with the precision of a scalpel. And Duli's smile? Still unknowable. Still unforgettable. Yes, it stings a little to know that somewhere in the south of France, people were gasping at every restored shadow and rediscovered frame of Soumendu Roy's cinematography. That the grain of the forest floor, the tremble in Sharmila's voice, the murmur of Ray's score—all made pristine again—were finding new audiences. And yes, the restoration is reportedly a masterpiece itself: cleaned, cared for, curated. (Picture courtesy: Facebook) But you know what? The truth about Ray's genius is this—it doesn't need 4K to function. His films operate at another bandwidth entirely. They get under your skin. His camera doesn't just watch; it listens. Not just to words, but to pauses, glances, guilt, desire. That emotional fidelity—that unspoken weight—remains intact, even in 480p. Also read: Sharmila Tagore and Simi Garewal dazzle on the red carpet at the Cannes Film Festival 2025 screening of Satyajit Ray's film 'Aranyer Din Ratri' At the cusp of two Rays Aranyer Din Ratri is also where Ray pivots. It marks the start of his 1970s phase—where his gaze sharpens, his tone darkens, and his themes veer from the lyrical to the political. The 1960s gave us the quiet dissection of the Bengali middle class in films like Mahanagar, Nayak, Kapurush. But the '70s? That was when Ray pulled out the gloves and dropped the poetry. What followed was the Kolkata Trilogy—Pratidwandi, Seemabaddha, Jana Aranya—where disillusioned young men wandered through moral quicksand, economic dead-ends, and the city's cold bureaucratic heart. Aranyer Din Ratri stands at that crossroads. It's as if Ray packed four men off into the woods, watched them fall apart, and came back convinced: things are going to get worse. Think of it as the cinematic equivalent of taking a long weekend before diving into a decade of existential dread. Watching Aranyer Din Ratri in less-than-ideal conditions is like reading Charulata in a tattered paperback. You're not missing the point—you're just closer to the ink. Perhaps this is the truest test of a classic: that it still moves you despite the medium. It doesn't need Dolby or restoration credits to provoke introspection. The film still asks the same uncomfortable questions. Who are we when the city recedes and the forest begins? When we stop performing, who remains? What breaks first—the mask or the man? So yes, I'll be first in line when the restored version hits our shores. But till then, I'm strangely grateful for that grainy YouTube copy. It reminded me that Ray's cinema wasn't just crafted for projection rooms and film festivals—it was built to last. Built to haunt. Even through static. Facebook Twitter Linkedin Email Disclaimer Views expressed above are the author's own.
