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India Today
03-08-2025
- Entertainment
- India Today
Chalti Ka Naam Gaadi: Madhubala and Kishore's defiant dance of joy amidst shadows
As part of our Retro Review series, we revisit 'Chalti Ka Naam Gaadi', where Madhubala and Kishore Kumar transform personal pain into timeless laughter, their radiant chemistry crafting a musical masterpiece that defies life's darkest Review: Chalti Ka Naam Gaadi (1958)Cast: Madhubala, Ashok Kumar, Kishore Kumar, Anoop Kumar, Veena, KN Singh, Sajjan Director: Satyen BoseProducer: Kishore KumaradvertisementMusic/Lyrics: SD Burman, Majrooh SultanpuriWhere To watch: YouTubeWhy To watch: For Madhubala's laughs, Kishore Kumar's yodelling, and Ashok Kumar's punchesMoral of the story: Yahan Chalti Ko Life Kehte Hai, Pyaare, Pam-Pam-Pam'Chalti Ka Naam Gaadi' is Madhubala's rebellion against her own life. Through the film, she radiates peerless charm and mesmerising beauty in sarees, silken night suits, collared shirts, caps, and scarfs. Every few minutes, she breaks into laughter - the sound of bells chiming in a large, almond-shaped eyes dance with mischief, eyelashes fluttering like flirtatious butterflies, her pearly teeth sparkling as she grins - a flash of lightning. She pirouettes, sings - even tries to seduce. Yet, beneath the dazzle, a shadow lingers, hinting at battles fought off-screen. Who would have thought?Tooti Phooti SahiBehind her effervescent spell, 'Chalti Ka Naam Gaadi' coincided with the darkest chapter of Madhubala's life. The vivacious beauty, hailed as the Venus of the East, faced an untreatable hole in her heart, a silent thief of her personal life unravelled, torn between her tyrannical father, Ataullah Khan, and her lover, Dilip Kumar, whose impatience grew. Bound by her father's grip, she withdrew from Naya Daur's (1957) outdoor shoot, only to be replaced by Vyjayanthimala. The bitter court case, where Dilip Kumar testified against her, shattered their six-year romance. Tooti Phooti Saheee Chal Jaye Theek Hai—like the film's spirited refrain, 'Chalti Ka Naam Gaadi' became her vehicle for driving headlong into her tragedies, emerging with a defiant she putting up an act? Was it her way of showing the middle finger to Dilip Kumar and the world?Chal Jaye Theek HaiPaired opposite her was Kishore Kumar, a genius masking his own wounds with impish charm. His dark, expressive eyes twinkled with a comedic glint, yodelling 'di–di-deeei, di-yudee-deei' like a carefree vagrant, yet betraying a soulful depth.A reluctant actor, pushed into films by his elder brother Ashok Kumar after composers and producers rejected his singing, Kishore produced 'Chalti Ka Naam Gaadi' as a prank, hoping its failure would offset his tax Madhubala, he too nursed a broken heart, his first marriage to Ruma Guha shattered by clashing dreams, driving him into seclusion. Yet, from this collision of two wounded spirits sprang a miracle - a laugh riot, a romantic musical for the ages, defining Madhubala and Kishore Kumar the immortal 'Haal Kaisa Hai Janaab Ka', Kishore and Madhubala call each other mad - pagli, he croons, pagle, she retorts - a fitting mirror to their turbulent lives in the era of 'Chalti Ka Naam Gaadi'. In their madness and broken hearts, Madhubala and Kishore weave a tapestry of joy, much like the joker of 'Mera Naam Joker', whose tears fuelled a spectacle of eternal creativity. Maarega Bhaiyya, Na-Na-NaThe film is an ode to an era of innocence, where Ashok Kumar could play a boxer, Anoop Kumar a blundering romantic, and Sajjan Vyas (later the ghost Betaal in 'Vikram Aur Betaal') a suitor vying for Madhubala's three Ganguly brothers - Brijmohan, Manmohan, and Jagmohan - run a ramshackle garage. Brijmohan, scarred by betrayal, forbids romance, but fate intervenes when Renu, a free spirit played by Madhubala, seeks shelter on a stormy portrayed by Kishore Kumar, is smitten, their flirtatious encounter sparking 'Ek Ladki Bheegi Bhaagi Si', brimming with mischief. As Renu's car repairs draw her back, their banter blossoms into love, set against the playful 'Paanch Rupaiyya Barah Aana', where Kishore redefines singing with his signature falls for Sheela, unveiling a web of deceit involving a smuggler, a stolen car, and a kidnapping plot. Mistaken identities and madcap chases ensue, with the brothers navigating goons and their own Renu dances through the chaos, while Kishore's Manmohan yodels and jests, their chemistry pure alchemy. In one scene, they drive with her father in the backseat, Kishore fumbling his lines, Madhubala breaking into peals of laughter, teasing yet guarding their shared secret, her ethereal beauty magnified in a tight another, Madhubala knots her saree's pallu, feigning talk of marriage to stoke Kishore's envy, his eyes drifting with philosophical depth before snapping back with a playful retort. Satyen Bose, director of classics like 'Dosti', weaves understated tension between these charismatic a whirlwind of laughter and romance, love triumphs over mistrust, cementing 'Chalti Ka Naam Gaadi' as a timeless musical, where joy prevails amidst life's Ashok Kumar gets to walk into the sunset, his heart lit up by the warmth of forgotten love - actor Veena, a timeless beauty and star of the 1940s, returning to lead the film to a rollicking Si Baat Na Samjha Zamaana'Chalti Ka Naam Gaadi' remains a vibrant pulse of India's cinematic heritage, encapsulating a post-independence optimism that celebrated simplicity, and subtly rebelled against caste and class divides. Its blend of slapstick, romance, and music crystallised a cultural moment, offering audiences an escape into a world where love could outwit chaos, conquer film's enduring appeal lies in its universal relatability - doting but bickering siblings, forbidden love, and the thrill of outsmarting villains - rendered timeless by SD Burman's eclectic 'Chalti Ka Naam Gaadi' endures, it whispers a truth: from the wreckage of broken hearts, art builds bridges to eternity, carrying Madhubala and Kishore's spirits forever their lives, the film also imparts profound lessons with simplicity. As Majrooh Sultanpuri's poetic pen declares:Itni Si Baat Na Samjha Zamana,Aadmi Jo Chalta Rahe Toh Mil Jaye Har duru-duru–dooou. Ha-ha-ha.- Ends
India Today
27-07-2025
- Entertainment
- India Today
Sahib Bibi Aur Ghulam: A Tragedy That Foretold Meena Kumari's Doom
In our Retro Review series, we revisit Meena Kumari's haunting role in 'Sahib Bibi Aur Ghulam', where her performance mirrored her unraveling life, weaving a tragic prophecy of love, loss, and Review: Sahib Bibi Aur Ghulam (1962)Starring: Meena Kumari, Guru Dutt, Waheeda Rehman, RehmanProducer: Guru DuttDirector: Abrar AlviMusic: Hemant KumarWhere To Watch: YouTubeWhy To Watch: For Meena Kumari's iconic portrayal of a woman yearning for her husband's love Moral of the Story: Art often mirrors life, turning into a tragic prophecy of love, loss, and actor Mahjabeen Alibux was known by two other names until her death, one of which became her first faced the camera at the tender age of four, carrying forward the legacy of her mother, herself an actor. Her fourth film, 'Ek Hi Bhool', earned her the screen name Baby Meena, bestowed upon her by the film's director, Vijay Bhatt. By the late 1940s, Meena had blossomed into a petite beauty, with a slightly rounded face and sparkling eyes. Captivated by her charm and innocence, directors eagerly cast her in romantic musicals and comedies. In 'Baiju Bawra', a film famously declined by Dilip Kumar to his lasting regret, Meena captivated India's heart as a village belle singing Naushad's melodies. Around the same time, she starred in 'Miss Mary', a spirited comedy that showcased her effortless flair for could have imagined that this star of romantic comedies and musicals would transform into a tragedy queen, a title that would come to mirror her own tumultuous life?Certain films serve as haunting prophecies of the lives of their actors and directors, acting as chronicles of tragedies foretold. No film captures Meena Kumari's transformation from romantic heroine to tragic figure, and her subsequent descent into alcoholism, more poignantly than 'Sahib Bibi Aur Ghulam' (1962).A Tragedy that ForetoldThe film Sahib Bibi Aur Ghulam is a paradox, a haunting reminder of humanity's struggle against inescapable destiny. By the late 1950s, Guru Dutt had lost confidence in his directorial vision, shaken by the commercial failure of Kaagaz Ke Phool. Beyond directing, he yearned to shed his onscreen persona as a tragic hero, an image forged through his soulful performances in Pyaasa and Kaagaz Ke Phool. Yet, his fascination with tragedy endured, drawing him to produce and star in Sahib Bibi Aur Ghulam, a poignant tale of decadent morality among Calcutta's zamindars and the devastating toll it exacts on its protagonist, Chhoti Bahu, portrayed by Meena Kumari. In a striking reversal of roles, Guru Dutt—the eternal tragedian—cast himself as a village bumpkin, infusing his character with shades of comedy and guileless charm. The weight of inescapable tragedy fell instead on Meena Kumari, once the effervescent star of romantic musicals and comedies. Her portrayal of Chhoti Bahu, a woman consumed by unfulfilled longing and spiraling into alcoholism, marked a seismic shift, transforming her into the tragedy queen and eerily foreshadowing her own descent into personal curses, perhaps, are inescapable.A Stirring Tragedy'Sahib Bibi Aur Ghulam' is so layered that it invites multiple viewings, each revealing new depths. Yet, the frames that linger most are those where Meena Kumari pours out her anguish, first as a woman yearning for her husband's love, then as an alcoholic teetering on stirring voice, hollow laughter, and mournful eyes transform Chhoti Bahu into a haunting emblem of despair, a figure whose pain echoes Meena Kumari's own unraveling life, forever etching her tragedy queen persona into the annals of Kumari plays the doomed addict with haunting perfection. Her droopy eyes, slurred speech and unsteady gaze transform her persona, making her transition effortlessly between affection, rage, lust and melancholia. The camera captures her downfall with haunting closeups, creating a tableau of heartbreak so potent it encapsulates the film's tragic core, leaving an indelible mark on the viewer's iconic scene, where Chhoti Bahu's futile yearning collides with her husband's indifference, is a searing exploration of unattainable love. A drunk Chhoti Bahu implores her philandering husband, played by Rehman's with chilling detachment, to stay with her. 'Na Jao Saiyyan', she sings seductively, her eyes burning with pain and longing, her tresses falling on her playful face. When he refuses to stay with her, Meena Kumari breaks into hysterical laughter and heart-rending sobs. Rehman's restrained yet menacing presence amplifies Meena Kumari's vulnerability, making their interplay a goosebump-inducing pinnacle of art. The scene's stark cinematography and Hemant Kumar's melancholic score heighten its emotional weight, making it a touchstone for Indian cinema. Just for these fifteen minutes of wizardry, Meena Kumari deserves to be forever in the pantheon of Real To ReelFor Meena Kumari, this moment was more than performance, it was a haunting echo of her fractured relationships, a mirror held up to her life's marriage to Kamal Amrohi, director of the cult classic 'Pakeezah', had failed. Once a union of creative minds, it soured as his possessiveness and strict rules, such as barring her from signing new films or staying out late, stifled her spirit. Reports of physical altercations, including an incident where Amrohi's assistant allegedly slapped her, pushed her to leave his home, plunging her into depression and bond with Dharmendra, sparked during their collaborations on films like 'Phool Aur Patthar', was a brief respite. Resembling the dynamic between Chhoti Bahu and Guru Dutt's character, Bhoothnath, she mentored Dharmendra, nurturing his talent. But their rumored romance–denied by Dharemendra–ended in heartbreak. This rejection, coupled with her deteriorating health and financial ruin, hastened her tragic end, as she succumbed to liver cirrhosis at 38, leaving behind a legacy as luminous as it was its narrative, 'Sahib Bibi Aur Ghulam' stands as a testament to the synergy between Meena Kumari and Guru Dutt, two artists bound by their shared affinity for tragedy. The film's opulent visuals, soulful music, and Abrar Alvi's incisive direction (under Guru Dutt's stewardship) created a timeless elegy to human the personal costs were profound: Meena Kumari's immersion in Chhoti Bahu deepened her descent, while Guru Dutt's inability to escape his tragic muse foreshadowed his untimely end. Together, they left behind a cinematic masterpiece that continues to resonate. It is a poignant reminder that some destinies are written in the stars they portray.- Ends
India Today
06-07-2025
- Entertainment
- India Today
Kaagaz Ke Phool: Chronicle of Guru Dutt's descent from hope to surrender
As part of our Retro Review series, we revisit Kaagaz Ke Phool, Guru Dutt's directorial swansong, and a foreboding reflection of his tragic endRetro Review: Kaagaz Ke Phool (1959)Starring: Guru Dutt, Waheeda Rehman, Johnny WalkerDirector: Guru DuttMusic/Lyrics: SD Burman, Kaifi AzmiBox-Office Status: Flop (Now a cult classic)Where to Watch: YouTubeWhy to Watch: For its profound study of fame and failureMoral of the Story: Pain is real, but it is not the end of lifeadvertisementFilms often aim to entertain or provoke introspection, and Guru Dutt's directorial journey reflects this with crowd-pleasing hits like 'Baazi' (1951) and 'Aar Paar' (1954), Dutt initially thrived as a master of commercial cinema. Yet, as a deeply sensitive artist, he yearned to explore life's deeper questions, its meaning, purpose, and the artist's place in a flawed society. Inspired by European filmmakers like Ingmar Bergman and Federico Fellini, whose existential narratives left a profound impact, Guru Dutt leveraged the success of films like 'Mr & Mrs' 55 (1955) to pursue more introspective stories. The result was two cinematic masterpieces: 'Pyaasa' (1957) and 'Kaagaz Ke Phool' (1959).Primarily, both films probe life's meaning and human response to rejection. Within a short span, Dutt offered contrasting answers, with 'Kaagaz Ke Phool' foreshadowing the personal tragedies that would mark his own Questions, Different AnswersIn 'Pyaasa', Vijay (Guru Dutt), a struggling poet ignored by a materialistic society, delivers a defiant answer. In the film's climax, he appears at his own memorial, after he is presumed dead, and ridicules people celebrating his now-famous poetry. Standing in the theatre doorway, evoking a Christ-like silhouette, Vijay renounces the world's hollow acclaim, declaring, 'Ye duniya agar mil bhi jaaye toh kya hai?( Even if I gain this whole world, what is it truly worth?)' For Vijay, society devalues humanity, rendering its recognition meaningless. Facing an angry crowd after scorning their hypocrisy, Vijay rejects society's suffocating norms. 'Burn it down, turn it into ashes, this is your world, handle it yourself, it is of no use to me,' he asked why he is throwing it all away, he responds, 'I won't find peace here.' Choosing authenticity over fame, he walks into the sunset with Gulabo, a sex worker who embodies genuine humanity.'Pyaasa's ending is Vijay's refusal to be crucified by a selfish world, bent by its rules and expectations. It is his way of saying: 'I spit in your face.'advertisementYet, in 'Kaagaz Ke Phool', Dutt offers a starkly different response, negating his own optimism, saying, 'I quit.'The central premise of 'Kaagaz Ke Phool' is the same: an artist's rejection by society. In the classic, his descent into ignominy comes after the highs of success as an acclaimed director of does Suresh Sinha, the protagonist, deal with the crisis? Instead of defying society, Sinha (Guru Dutt) accepts defeat and spirals into darkness, embracing loneliness and the film's climax, he runs away from Shanti (Waheeda Rehman), the woman who loves him, and offers a glimmer of hope. Living in poverty, consumed by failure and shame, Sinha returns to the empty film studio where he once reigned. There, in a heartbreaking scene, he dies alone in the director's chair, a broken man defeated by society and his own Optimism To Self-Destruction'Pyaasa's Vijay embodies the artist's rebellion, a refusal to compromise integrity for societal acceptance. It is an optimistic, almost romantic vision of the artist's ability to rise above the world's flaws. In contrast, 'Kaagaz Ke Phool' is a darker, more introspective exploration of despair and depression that ultimately leads to self-destruction. This shift reflects Dutt's evolving 'Pyaasa', Dutt deals with questions of existence like famous philosopher Albert Camus. He accepts life's absurdity, but refuses to be defeated by it. He decides to carry on defiantly, choosing to find meaning in his struggle. By contrast, in 'Kaagaz Ke Phool', he embraces nihilism—the idea that life is absurd, not worth living, and resignation is the only way did Guru Dutt go from defiance to surrender within a span of two years? A deeply sensitive person, Guru Dutt overdosed on pills during the filming of 'Pyaasa', narrowly escaping blindness. The film's critical and commercial success failed to rescue Guru Dutt, who had by then descended deep into depression and alcoholism. 'Kaagaz Ke Phool' is a tragic echo of Dutt's final years, a disturbing self-fulfilling scene of 'Kaagaz Ke Phool' is a glimpse into Dutt's mind. Just before the end, when he meets Shanti after a long break, he raises a glass in celebration. 'When the effect of all other intoxicants—fame, success, wealth, love—wears off, this is the only thing that remains,' he says. It is a chilling admission of his hollow life—a fractured marriage, the scars of his growing closeness to Waheeda Rehman, and his another scene, Sinha's footsteps on a beach are erased by waves, signifying the fleeting nature of human imprint on time. When his daughter comes to see him, Sinha evades her, refusing to present to her a broken, defeated man–- 'Kya leke milen duniya se, aansoo ke siva kuch paas nahi? (What do I have to offer the world, except tears — I possess nothing else).'In the final moments, Sinha flees Shanti—a striking contrast to Vijay's embrace of love in search of peace, choosing isolation. It is a choice that underlines Sinha's pessimism: in the end, nobody stays. In the background, Mohd Rafi's voice rises to a crescendo, 'Fly away, don't sit in the gardens where only paper flowers ki hai duniya saari, bichhde sabhi, baari, baari.' advertisementCelebrating Guru Dutt's LegacyGuru Dutt would have turned 100 this July 9. But, in 1964, at the age of 39, he died of an overdose, widely believed to be intentional, in a haunting parallel to Suresh Sinha's demise. His tragic end reveals 'Kaagaz Ke Phool' as a painful dialogue within Guru Dutt's mind, his struggle with personal and professional rejection, and his ultimate 'Pyaasa' and 'Kaagaz Ke Phool', he laid bare his soul, inviting audiences to introspect, confront the same questions that haunted him: What is the purpose of life, and is it worth pursuing? His divergent answers underline humanity's enduring he surrendered to despair, his unflinching honesty, cinematic genius inspire us to embrace defiance, creating our own legacy. On Guru Dutt's birth centenary, the biggest tribute to the great filmmaker would be to hail Vijay as humanity's role model, and show the middle finger to life's struggles. 'Ye duniya agar mil bhi jaaye to kya hai?'- Ends
India Today
28-06-2025
- Entertainment
- India Today
Naa Ninna Bidalare: Anant Nag's classic is a battle between obsession and devotion
In this week's Retro Review, we pick a 1979 Kannada horror film that set trends, made waves and gave an iconic on-screen pair. 'Naa Ninna Bidalare' is a milestone film in the esteemed careers of Lakshmi and Anant Nag, who were considered an iconic on-screen pair during their prime. The film established Anant Nag's acting prowess as well as his potential to pull audiences to the Naa Ninna Bidalare (1979)Cast: Anant Nag, Lakshmi, K Vijaya, KS Ashwath, Leelavathi, Balakrishna, Musuri Krishnamurthy among Vijay ReddiBox-Office Status: Blockbuster (Ran in theatres for over 100 days)Where to Watch: YouTubeWhy to Watch: Anant Nag-Lakshmi on-screen chemistry, screenplay, peak horror, beautiful songsadvertisementToxicity in relationships and romance is one of the most talked-about topics currently, in cinema or otherwise. Red flags, obsession, stalking, coercion, manipulation, etc., on one side - green flags, loyalty, trust, devotion, etc., on the other - and we often find characters in films and people around us in real life oscillating and stuck between these poles; all in the name of imagine a film that is almost four decades old addressing the same issues, but with a magnified perspective. That's 'Naa Ninna Badalare' for you - a 1979 Kannada film that talks about the same problems but on a deeper, darker and scarier level. On one end, we have Kamini, played by K Vijaya, who represents all the negative connotations of love listed above; and on the other, we have Gayathri, played by Lakshmi, who represents the positive. Struggling in between is Krishna, played by Anant Nag, who is married to his childhood love Gayathri but becomes blue-eyed due to Kamini's obsession - a love that haunts him literally. A poster of 'Naa Ninna Bidalare' advertisementThe Plot in a nutshellThe film begins with Krishna attempting to study for his exams, but his focus quickly falters, thanks to a photo of Gayathri tucked inside his textbook. The picture acts like a bookmark - or maybe a checkpoint in the syllabus - as if he's promised himself he can see her only after completing a set number of the exams are done, Krishna heads back to his village. But instead of going home, he rushes straight to see Gayathri. Having grown up together - their parents being siblings - Krishna and Gayathri have shared a bond since childhood. Their love story feels destined, even unofficially betrothed over the follows is a string of cinematic highs: Krishna jumps off a moving train just to get to Gayathri immediately; a retro classic, 'Naanu Neenu Ondada Mele' by SP Balasubrahmanyam and S Janaki, sets the tone; there's drama, comedy, and a wedding fixed before you know it. Then comes another SPB–S Janaki gem, 'Hosa Balige Nee Joteyaade', played on their first night as a married couple. Just when things seem to be heading toward a near-consummation of marriage - boom - the pre-interval twist drops: in a graveyard, Krishna is blue (eye)balled, and the camera pans ominously to the name... Kamini. (PC: Youtube/SGV Digital) This is where the film really gets into its element and picks up pace. Who is Kamini? What happened to Krishna? Was Krishna loyal to Gayathri while he was away for his studies? Will Gayathri be able to save her husband from the clutches of Kamini? The answers to these questions - delivered in the most conventional and classic manner - form the plot of the rest of the film. Not just that, but these very answers are what made the film a classic in the rich filmographies of cinema icons like Anant Nag and of romance: Red flags and green flags'Naa Ninna Bidalare', which translates to 'I won't leave you' in Kannada, is applicable in two ways: the innocent, dedicated love of Gayathri and the toxic obsession of Kamini - both directed at Krishna. While 'red flags' and 'green flags' are terms popularised by Gen-Z, the theme itself has existed for as long as love has been relevant, and cinema has long explored these Anant Nag as a possessed Krishna looks terrifying, the conversations between Kamini in Krishna's possessed body and Gayathri are just as catty as ever - conversations between two women over a man. The dialogue, 'Baa re baa!', is so iconic that it's the first thing that comes to mind for anyone who has watched the film. And the pre-climax clash between the metaphorical green and red flag? It's the kind of spicy (masaledaar) showdown that reality shows today could only dream of staging. (PC: Youtube/SGV Digital) advertisementThe film takes a moral standpoint, holding up a mirror to reflect the contrast between these polar-opposite forces. Sitting in 2025, it might come off as a tad preachy in its portrayal of a modern city girl versus a traditional village girl. But if you look past the obvious classic template, you can see how these women represent all the traits we now label individually - what was once simply considered good or classic template: Old now but gold thenThe story, screenplay, and technical aspects of the film follow what we now recognise as 'the template'. In the realm of love-centric dramas, it has all the familiar ingredients: a noble and charming hero, a heroine who's the epitome of virtue, families who heighten the drama without offering real solutions, a couple of comic side characters, and a female villain who's the complete opposite of the ideal heroine. And since the villain is a ghost, it's ultimately God who steps in to save the paper, it might sound like a film you've seen a hundred times before, but what makes this old gem feel like gold is the way it has been presented. A classic template done right is still entertaining today, so just imagine the kind of craze this film must have had - which, for a 1979 release, can still be considered ahead of its time. While the elements follow the template, the treatment does not. Most importantly, the comic scenes are an extension of the main plot, and not just a random ape-man showing up in the city and harassing women under the guise of comedy. This shows that building a story was given the most importance and not a mindless integration of music and immortal voicesSP Balasubrahmanyam, S Janaki, and P Susheela are pillars of playback singing in Indian cinema. Just these names, along with the music cassettes sold, were enough to make this film a profitable venture. Those were the days when such musical icons were no less than superstars on screen. The immortal voices of these stalwarts struck the right chord, elevating the cinematic experience and instantly establishing the chemistry between the characters. P Susheela, SP Balasubramaniyam and S Janaki (from the left), some of the most accomplished singers in Indian cinema advertisementThe four songs in the film - the devotional 'Bidenu Ninna Paada', the saucy anti-romantic 'Endendigoo Naa Ninna', the song of unification 'Hosa Balige Nee Joteyaade', and the ever-romantic 'Naanu Neenu Ondada' - form a playlist, and a set of voices, that are truly Nag and Lakshmi: One of the finest on-screen couplesLakshmi, or 'Julie Lakshmi', became a nationwide sensation with her debut film for her beauty and on-screen charm. Anant Nag, on the other hand, was a consistent presence in parallel cinema, frequently seen in Shyam Benegal's award-winning films like 'Ankur', 'Nishant', and 'Kalyug'. While these roles marked their entry into the Hindi film industry, both actors carved out their own success stories in South Indian cinema before coming together on who debuted in 1968, was soon cast opposite some of the biggest names in South Indian cinema - from Rajkumar and Vishnuvardhan to MG Ramachandran, Sivaji Ganesan, NT Rama Rao, and Akkineni Nageswara Rao. She steadily built a strong portfolio, eventually establishing herself as a female superstar of that Nag, meanwhile, made his debut in 1973 after gaining prominence in theatre. He gradually rose in popularity for his chocolate-hero image in commercial films, while also making a mark in several award-winning parallel cinema projects. When the two were paired together in 'Naa Ninna Bidalare' (1979), their chemistry was so widely appreciated that they went on to star in several more Kannada films together, becoming a formula for guaranteed commercial success. A lasting legacyA film becomes a classic when it refuses to fade with time and continues to live on in the minds of its audience. This is one such film - not just because its themes still resonate today, but because its storytelling sets it apart from the rest. What truly cements its legacy, however, are two unforgettable forces: the iconic pairing of Padma Bhushan Anant Nag and Lakshmi, and Kannada cinema's eternal blue-eyed boy - Krishna. - Ends
India Today
22-06-2025
- Entertainment
- India Today
Aandhi: A cinematic storm that echoed Indira's era
In this week's Retro Review, we dive into 'Aandhi', a bold political satire that stirred controversy for its striking parallels to Indira Gandhi. A timeless tale of ambition, love, and sacrifice, it remains a cinematic Review: Aandhi (1975)Cast: Sanjeev Kumar, Suchitra Sen, Om Prakash, AK Hangal, Om ShivpuriDirector: GulzarMusic/Lyrics: RD Burman, GulzarBox-Office Status: HitWhere to Watch: YouTubeWhy to Watch: For its poignant portrayal of politics' toll on personal livesMoral of the Story: Kuch toh log kahenge, logon ka kaam hai kehnaadvertisementFormer Indian Prime Minister Indira Gandhi devoted an hour every morning to yoga. She spent almost an equivalent amount of time with her stylist every week. The combination of the two gave her a distinct personality, highlighted by a slender physique, brisk walk, crisp sarees, and a hairstyle with a signature streak of the 1970s, Mrs Gandhi (as she was known worldwide) was at the peak of her popularity. The victory over Bangladesh, and her 'garibi hatao' campaign had endeared her to the masses and the classes. Even the opposition hailed her as an avatar of Durga. Photo: IMDb advertisement Film-maker Gulzar saw in Indira's unique persona and soaring popularity an opportunity to craft a political satire. The outcome was 'Aandhi', a film that suffered the highs and lows of the character that inspired has said many times the film was not based on Indira Gandhi's life. Only the lead character, Aarti Devi, was inspired by her, and Tarkeshwari Sinha, a popular Parliamentarian from Patna. But at the time of 'Aandhi's' release, the film was marketed as an Indira Gandhi biopic, with posters exhorting the audience to come and watch 'their PM on the screen.'The strategy, initially successful, backfired when Mrs Gandhi's opponents started screening some of the scenes in 'Aandhi' to tarnish her image during elections for the Gujarat assembly, fought in the heat of the Navnirman on a complaint filed by the Congress, the Election Commission banned 'Aandhi', 24 weeks after its initial release. Soon after, on June 26, 1975, Indira Gandhi's firm voice crackled through All India Radio, announcing the imposition of the Emergency. The film, thus, was indelibly linked with Mrs Gandhi, and the excesses of the Emergency that coincided with the PLOT'Aandhi's' narrative unfolds with a delicate balance of personal drama and political intrigue, centred on Aarti Devi (Suchitra Sen), a charismatic yet embattled politician whose chance reunion with her estranged husband, JK (Sanjeev Kumar), forces her to confront the sacrifices her ambition has demanded. Sanjeev Kumar and Suchitra Sen in a still from 'Aandhi'. (Photo: Facebook/FilmHistoryPic) While Aarti navigates the deluge of emotions from the past, an election unfolds, with all its trickery and subterfuge. Unable to match her aura and sharp moves, the opposition attacks Aarti's personal tongues, like they always do, begin to wag with rumours, snide remarks and salacious gossip. But, with a bold move at the end, Aarti stuns her critics, stealing the show, literally, from their own narrative similarities with Indira Gandhi are hard to miss. Her father, India's first PM Jawaharlal Nehru, wasn't happy with her marriage to Feroze Gandhi, a Parsi. The marriage was solemnised with Vedic rituals, at Nehru's Gandhi, a dynamic politician and journalist, maintained an independent identity. Elected to the Lok Sabha from Rae Bareli in 1952 and 1957, he often sparred with the government. In 1958, he famously uncovered the LIC scandal, which implicated the relationship with Indira was complex, marked by periods of strain. Burdened with contradictions, the alliance didn't last long. Indira Gandhi soon shifted to her father's home with her sons Rajiv and 'Aandhi', Aarti's complex marriage with JK, who has an independent spirit, mirrors the Indira-Feroze dynamics. But, unlike Feroze Gandhi's tragic end - he died young after a heart attack - the film ends on a happy another scene, Aarti is pelted with stones. This happens after she delivers a speech and is confronted by an angry crowd. A journalist then asks her if violence is a part of politics, to which she replies that it is a part of bad incident has an uncanny similarity with a political rally where a stone hit Indira Gandhi's nose, requiring minor surgery. Photo: IMDb THE GOOD, BAD AND UGLYThe film's brilliance lies in Gulzar's ability to craft a story that is both intimate and universal, exploring the toll of public life on personal relationships. Sen's portrayal of Aarti is magnetic. She channels the poise and steely resolve of a leader while revealing the quiet loneliness beneath her polished as JK, matches her with a performance that is understated yet deeply affecting, his character's stoic demeanour masking years of unresolved film's non-linear storytelling, a Gulzar trademark, weaves past and present seamlessly, showing how Aarti's rise in politics strained her marriage and distanced her from her daughter. This personal conflict is juxtaposed with her public persona, where she navigates a world of sycophants, rivals, and moral compromises.'Aandhi' doesn't shy away from showing the gritty realities of politics - bribery, manipulation, and public scrutiny - but it does so with a poetic restraint that avoids Burman's music, paired with Gulzar's evocative lyrics, is the film's emotional heartbeat. Songs like 'Tere Bina Zindagi Se' and 'Is Mod Se Jaate Hain' are not mere interludes but narrative pillars, amplifying the themes of longing and chemistry between Sen and Kumar is most palpable in these musical moments, where their unspoken emotions speak louder than words. The supporting cast - Om Prakash, AK Hangal, and Om Shivpuri - adds depth, portraying the loyalists and sceptics who orbit Aarti's problem with the film is its climax. It starts with a problem that looks like a pointless 'Aandhi', a storm in a teacup, and ends with a dramatic solution. The subplot feels forced, relying on exaggerated gossip to dramatise Aarti's marriage, which clashes with the film's nuanced VERDICTDespite this flaw, the film's depiction of a strong, flawed female leader was groundbreaking for its time, challenging stereotypes in a male-dominated industry. The human story at its core - a love tested by ambition and time - makes 'Aandhi' timeless. The formula has been copied many times, almost verbatim in later films like 'Pyar Jhukta Nahin', underlining its evergreen Gandhi lost the 1977 election. When 'Aandhi' was re-released by the Moraraji Desai government, the audiences embraced its nuanced take on power and vulnerability. The film's success was a reminder that Indira Gandhi may have been defeated, but she wasn't forgotten. Like 'Aandhi', Indira Gandhi also got a second chance at redemption.'Aandhi' remains a must-watch for its bold storytelling, unforgettable performances, and its unflinching look at the personal costs of political life. It's a reminder that behind every public figure lies a private struggle, and that art, even when banned, has the power to endure and provoke. Watch it to witness a masterclass in filmmaking, music composition, and to reflect on the timeless truth: kuch toh log kahenge, but the heart knows its own story.P.S.: In 'Aandhi', Suchitra Sen is styled after Indira Gandhi. She wears crisp sarees, and has her trademark streak of grey. Habib Ahmed, the famous stylist, once revealed Indira's hair was 99 per cent except that grey streak, the rest had to be dyed black. 'She had it done first in France, and then I took over,' Habib revealed, adding that he saw the PM once or twice a week to help her maintain her iconic look.
