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Time of India
3 days ago
- Entertainment
- Time of India
Untold interfaith love story of Dev Anand and Kalpana Karthik: Bollywood's best-kept secret
Bollywood icon Dev Anand's life was marked by a discreet yet profound romance with Kalpana Karthik. Their secret wedding, a stark contrast to the industry's fanfare, occurred during a lunch break on the set of 'Taxi Driver'. Kalpana, born Mona Singha, left her promising film career after marriage to embrace family life, cherishing their private bond away from public scrutiny. In Bollywood, where love stories often unfold under the harsh glare of the spotlight, some romances are quietly nurtured in the shadows. One such tale belongs to Dev Anand and Kalpana Karthik — a union that defied religious boundaries, bloomed away from prying eyes, and remained one of the industry's most charmingly guarded secrets. Gurdaspur to the city of dreams Dev Anand, Bollywood's original style icon, was celebrated for his suave charm, distinctive dialogue delivery, and a trademark hairstyle that fans tried to emulate. His signature look — a black coat paired with a crisp white shirt — became so famous (and distracting) that it was once reportedly banned in courtrooms. Hailing from Gurdaspur Dev Anand earned his English degree from Lahore in 1942. Though he dreamt of pursuing higher studies, financial hardships stood in the way. In 1945, with just ₹20 in his pocket, he set out for Mumbai to chase his cinematic dreams. A humble start Without a place to call his own, he shared a cramped room near the railway station with three other dreamers chasing fame. As his savings ran out, he found work at the Military Censor Office, sifting through soldiers' letters for a monthly pay of Rs 165. About a year later, he sought help from his elder brother, Chetan Anand , already an established name in cinema. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Medical Mystery Solved: Dementia and Memory Loss Has Been Linked To This Common Thing. Memory Health Click Here Undo Chetan offered him small roles, leading to the superstar's debut in 1946 with Hum Ek Hain. While the film failed at the box office, his next release, Ziddi (1948), catapulted him to overnight stardom. Over his illustrious career, he starred in 112 films, delivering timeless classics like Taxi Driver (1954), CID (1956), Paying Guest (1957), Nau Do Gyarah (1957), Kala Paani (1958), Asli-Naqli (1962), Guide (1965), Jewel Thief (1967), Johny Mera Naam (1970), Tere-Mere Sapne (1971), Hare Rama Hare Krishna (1971), and Heera Panna (1973). The Suraiya chapter In those days, life moved at a gentler rhythm, and emotions carried deep weight. The actor was deeply in love with actress Suraiya, but their romance faced staunch opposition from her family over religious differences. Suraiya chose never to marry, holding on to her enduring affection for him. While shooting Taxi Driver, he developed a fondness for his co-star Mona Singh , who later adopted the screen name Kalpana Karthik. What began as friendship soon blossomed into a quiet, enduring romance. A secret wedding During one lunch break on the set, the duo slipped away unnoticed. When they returned, a keen-eyed cameraman spotted a fresh ring on Dev Anand's finger. With a knowing smile, Dev quietly requested him to keep the secret. It was later revealed that the two had secretly tied the knot. Dev Anand believed marriage was an intimate affair, not something to be turned into a public spectacle. Who was Kalpana Karthik? Kalpana Karthik, born Mona Singha into a Christian-Punjabi family, adopted her screen name when Chetan Anand cast her in Baazi (1951). Before her film debut, she had participated in the Miss Shimla contest, where she first caught Chetan Anand's attention—they were cousins by marriage. Kalpana's brief yet memorable film career featured roles in Andhiyan (1952), Humsafar (1953), Taxi Driver (1954), House No. 44 (1955), and Nau Do Gyarah (1957). Following her marriage to Dev Anand, she stepped away from the spotlight to focus on family life. The couple had two children, Sunil Anand and Debina.
NDTV
04-08-2025
- Entertainment
- NDTV
Swapping Dialogues, Shaving Head Mid-Shoot: Why Kishore Kumar Did Everything He Could To Not Act In Films
For a voice that would someday define the very soul of Bollywood, Kishore Kumar's journey to musical superstardom was anything but instant. It took him two decades to ascend from a curious outsider to the most coveted singer in the Hindi film industry. Why did it take this remarkable talent so long to find his rightful place behind the microphone and in the hearts of millions? The answers are as winding and paradoxical as Kishore's own personality. Born Abhas Kumar Ganguly in Khandwa, Madhya Pradesh, he arrived in Bombay under the shadow of his elder brother, Ashok Kumar-a reigning film star, who was intent on casting Kishore as an actor, not a singer. But young Kishore had other plans: "Acting is something I never wanted to do... I prefer singing," Kishore told Lata Mangeshkar in a rare interview. But in the 1940s and 1950s, Bollywood was dominated by classically trained playback singers-stalwarts like KL Saigal, Talat Mahmood, and Mohammed Rafi, whose mastery of raga and traditional technique set a daunting standard. Kishore, famously self-taught and untrained in formal classical music, was regarded as an eccentric oddity-skilled, perhaps, but not so serious. Kishore Kumar's legend is built on contradictions. In those early years, Kishore was pigeonholed into comedic or supporting roles in films, often forced to act in projects he had little passion for. His unconventional style, both in performance and personality, made studios wary. Producers saw him as unruly; music directors hesitated to trust him with important songs. Even when he did get a chance to sing, it was usually for his own characters in films-amusing, light-hearted numbers, rarely those soul-stirring solos, which were reserved for industry favourites. Even "my brother discouraged me", he complained. Through the 1950s, Bollywood's gatekeepers kept their circle tight, favouring voices that could deliver the emotional gravitas of tragic heroes or romantic leads. Kishore's playful, improvisational singing style-soaring yodels, sudden quirks, and a conversational way with melody-was seen as unorthodox, even irreverent. It didn't help that Kishore, ever the rebel, refused to play by industry rules. A significant incident that gave Kishore some confidence as a playback singer occurred during the making of Bimal Roy's Naukri (1954) in which he was cast in the lead role. Logically, Kishore intended to sing for himself in the film. However, music director Salil Chowdhury wanted to have Hemant Kumar provide playback for Kishore. Determined to sing his own songs, Kishore pleaded for a chance to prove his ability. He played some of his best previous tracks for him-such as Marne Ki Duayen Kyon Mangu (Ziddi, 1948)-but the composer remained unconvinced, considering Kishore's style amateurish for his high musical standards. Salil Da told Kishore, "You don't know the ABC of music," and dismissed his earlier efforts as "laboured". Kishore's relentless persistence and support from Bimal Roy moved Salil Chowdhury to reluctantly let him record the song Chhota Sa Ghar Hoga as his own playback, which not only became popular, but was also one of his finest early performances. This incident is emblematic of Kishore Kumar's transition from being doubted as a singer to an actor-cum-singer. Following the success of Naukri (1954), Kishore's films gradually started doing well and he shot to fame as an actor with movies such as New Delhi (1956), Chalti Ka Naam Gaadi (1958), Jhumroo (1961), Half Ticket (1962), and Mr X in Bombay (1964), to name a few. These films established him as a leading man who could carry a film end-to-end, which led to valid comparisons with Raj Kapoor, Dev Anand, and Dilip Kumar, the most popular cine stars of the time. This 1954-1964 decade remains unmatched for its consistent commercial hits and audience appeal, making Kishore a superstar actor in his own right-even as his legend as a singer eventually eclipsed his acting fame. But the journey of actor Kishore Kumar is quite paradoxical-a man who tried everything to avoid the limelight, only to have the spotlight chase him down. Imagine being badgered into the big league, only to become the star act, then spending your whole career plotting increasingly hilarious ways to escape. Why? Here was a man who hated acting. "Acting is unreal. Singing is real. And anything that's real can straight away touch one's heart," as Kishore further told Lata. Evidently, his resistance to acting wasn't subtle: he flubbed lines, shaved his head mid-shoot [in Miss Mary (1957) as he himself told in an interview to Pritish Nandy], swapped scenes and dialogues, and generally unleashed chaos on film sets-a madcap, inventing absurd new ways to protest his own stardom. His antics on set-whether sabotaging a film by acting bizarrely or refusing to cooperate until paid-became legendary. When he wasn't upending film shoots, he was inventing ever more theatrical ways to demand payment-from biting a producer (yes, really) to chanting outside a defaulter's house. For Kishore, money was proof he wasn't being taken for a ride in the circus he never auditioned for. The self-sabotage was both rebellion and performance art, a creative protest against the very medium that made him famous. While directors despaired, co-stars gawked, and producers fretted, audiences loved him. Despite all this success as an actor, his heart still lay in music. But he had to consistently prove his worth as a singer to music directors who considered him an actor just dabbling in singing. Everything changed in the late 1960s. The Hindi film landscape was evolving, and so were its heroes. When SD Burman-visionary composers who recognised Kishore's unique talents-gave him a chance to sing for Dev Anand in Guide (1968) and later for Rajesh Khanna in Aradhana (1969), the tide turned. The song Mere Sapno Ki Rani became an instant sensation, and Roop Tera Mastana won him his first Filmfare Award, catapulting Kishore into the playback singer's stratosphere. The very qualities once seen as liabilities-his versatility, his dramatic flair, his refusal to be boxed into a single genre-became his greatest strengths. In fact, it took 20 years before Bollywood was ready to catch up to Kishore Kumar's originality. Only when the industry-and the nation's musical taste-was ready for a voice that could blend pathos with playfulness, sorrow with satire, did Kishore step into the spotlight he'd always deserved. The story of Kishore Kumar's delayed triumph is about an artist ahead of his time, waiting for the world to tune into his frequency. But here's the twist in the tale: all that time spent forced into roles he loathed, all that on-set improvisation and feigned eccentricity, gave him an uncanny talent for performance. When he finally managed to do what he really loved-sing-he brought an actor's empathy, a performer's intuition, and a rebel's spirit to every song. His voice became the emotional proxy for generations of screen icons, his dramatic flair honed on the battlegrounds of reluctant acting. In the end, the man who wanted only to sing became the voice every actor wanted to lip-sync. The paradox that haunted his career-forced into the very thing he despised-became the crucible for his artistry. Kishore Kumar didn't just sing about heartbreak, joy, or mischief; he played those roles as convincingly with his voice as any actor on screen. If anyone ever turned aversion into art, or reluctance into legacy, it was Kishore Kumar, Bollywood's most entertaining paradox.
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First Post
05-07-2025
- Entertainment
- First Post
Priyanka Chopra's 'Kismat' costar Smita Jaykar recalls judging the actress for being 'skinny' & 'dark': ‘How do these people come to...'
Priyanka Chopra has mentioned several times how she faced scrutiny over her dark complexion and skinny physique in her initial phase of her career read more From being a 'Desi Girl' to 'Global Sensation', Priyanka Chopra's journey is not only inspirational but exceptional in all sorts of forms. The _Heads of State_ actress has mentioned several times how she faced scrutiny over her dark complexion and skinny physique in her initial phase of her career. Now, veteran actress Smita Jaykar shared that she judged PeeCee for her physical attributes during their 2004 film Kismat and doubted her potential based on her appearance. STORY CONTINUES BELOW THIS AD 'I worked in Priyanka's initial days' film with her, Kismat. She was very thin, skinny, dark. She was introduced to me and Mohan Joshi that she would be playing our daughter. When I saw her, I said, 'Oh My God'. She looked like nothing at that point in time. I thought how do these people come to become a heroine,' Smita recalled while talking to Filmymantra Media. Smita shared that she later regretted judging Priyanka on her appearance and said, 'Cut to, Priyanka Chopra was wow. I thought, what has this girl gone and done? She became a diva completely. So, you can't judge somebody and say, 'Yaar, yeh kisko leke aaye ho'. Kuch maaloom nahi kiski kismat kab badal jaaye (Whom have you brought. You never know when fate changes). What an actress, fab!' Talking about Kismat, the movie also featured Bobby Deol Kabir Bedi, Sanjay Narvekar, and Ashish Vidyarthi in prominent roles. It was directed by Guddu Dhanoa of Ziddi, Aflatoon, Bichhoo and Big Brother fame. It was the remake of AR Murugadoss' Dheena, which featured Ajith Kumar, Laila and Suresh Gopi in key roles. STORY CONTINUES BELOW THIS AD Talking about Priyanka Chopra, she was recently seen in Prime Video's Head of State, which also features John Cena, Idris Elba, Jack Quaid, Paddy Considine, Stephen Root, and Carla Gugino in key roles. It is directed by Ilya Naishuller.
India.com
19-06-2025
- Entertainment
- India.com
Meet most dreaded villain of Bollywood who did 300 films in his career, married at 57, tried to end his life due to..., his name is...
At an age when most settle into quiet routines, a popular actor from the Indian film industry decided to take a bold step that sparked massive online chatter. Known for his shady and dark characters, he surprised everyone by announcing his wedding at 57 through a simple social media post. What followed wasn't just warm wishes, but a storm of trolling and unsolicited opinions from netizens who questioned his decision. Yet, unfazed by the digital noise, he stood firm in his choice, proving that love and companionship know no deadline. The Most Dreaded Villain Of Bollywood Here we are talking about actor Ashish Vidyarthi , who is best known for his outstanding negative performances in films, including Ziddi, Bicchoo, Joru Ka Ghulam, Bhai, Kill, Vedaa and many others. Ashish Vidyarthi was born on June 19, 1965, in Delhi, India. Vidyarthi made his acting debut in the film Sardar, portraying V. P. Menon , a character inspired by the life of Sardar Vallabhbhai Patel . However, his first released film was Drohkaal , which earned him the National Film Award for Best Supporting Actor in 1995. Over the years, he has acted in more than 300 films across 11 different languages. In addition to acting, Vidyarthi runs a popular YouTube channel with over a million subscribers, where he regularly shares vlogs about food. The Challenging Life Of Ashish Vidyarthi In one of his vlogs, while discussing his struggles, Ashish stated, 'Why am I even alive? This is a question I have asked myself many times when I felt completely broken, failed, and lost. I know you must have experienced this too—those moments when you felt like giving up on life. This is very personal to me, and I feel like I can openly share this with my family on YouTube today.' He continued, 'As an actor, there are many struggles one must face to make a name in this film industry. I had my share of challenges too. Even after winning a National Award and being appreciated for my work, I soon became a caricature of myself, taking on the same roles repeatedly. It was an absolutely painful time in my life when I was only hired to do what I had done in the past.' He further expressed, 'During this time, I was at my lowest and even contemplated ending my life. Had I chosen to take that path, people might have said, 'Bollywood failed him' or 'He should have lived because he deserved better'—perhaps a couple of breaking news stories or trending hashtags.' In 2001, Ashish Vidyarthi married Piloo Vidyarthi, also known as Rajoshi , and they welcomed a son named Arth . However, in 2022, they decided to separate and filed for a mutual divorce. In 2023, at the age of 57, Vidyarthi married entrepreneur Rupali Barua . When he announced his marriage on social media, many netizens mocked him. Despite the online criticism, the couple remained unaffected and are happily married.
Time of India
08-06-2025
- Entertainment
- Time of India
He made Lata Mangeshkar and Kishore Kumar overnight stars, yet his wife was found begging at Mumbai station. Who was Khemchand Prakash?
Javed Akhtar , a respected voice in the Indian film industry, has consistently supported the cause of fair compensation for those behind the creation of music — including lyricists, composers, and singers. His passionate advocacy for the Copyright (Amendment) Bill 2010 stemmed not only from a sense of justice but also from heartbreaking real-life stories that illustrate the absence of protective systems for creators. One such story is that of legendary composer Khemchand Prakash , whose family endured neglect and hardship after his untimely death. Prakash's name is etched in the golden era of Hindi cinema as a musical genius who shaped the careers of icons like Lata Mangeshkar , Kishore Kumar, Naushad, and Manna Dey. In an era when fresh talent struggled to find recognition, it was Prakash who gave Lata her big break in the film Ziddi in 1948. However, it was their second collaboration — the hauntingly beautiful 'Aayega Aane Wala' from Mahal — that catapulted her into national fame. Unfortunately, Prakash did not live to see the success of the film or the song, as he passed away in 1950 at the young age of 42 due to liver cirrhosis. His death not only marked the end of a brilliant musical journey but also pushed his family into financial turmoil. His wife, Sridevi, and daughter, Chandrakala, reportedly received little to no support from the industry. Their financial situation worsened over time, and in a painful revelation later shared by Javed Akhtar in the Rajya Sabha, it was found that Prakash's wife was reduced to begging at a Mumbai railway station, decades after her husband had composed timeless melodies. The industry's failure to support the families of its pioneers exposed the systemic gaps in how creators were compensated. Akhtar's speech during the parliamentary session served as both a tribute and a call to action. He emphasized how creators like Prakash were denied their rightful earnings because royalties were either poorly enforced or entirely absent. He argued that if Prakash's family had received ongoing income from the music he composed, their lives would have been very different. One of his compositions alone, 'Aayega Aane Wala,' could have earned his family lakhs in royalties, with reports suggesting a potential amount of ₹50 lakh. Khemchand Prakash was born in 1907 into a family deeply rooted in classical performance traditions. His father, Goverdhan Das, was a skilled Dhrupad singer and Kathak performer in the royal court of Madho Singh II. Though Prakash began his musical career early, his initial contributions to the 1935 version of Devdas were uncredited. His formal debut came in 1939 with Meri Aankhein. Over the next decade, he delivered a series of hits, including in films like Tansen, Ziddi, and Mahal. His compositions graced the voices of KL Saigal, Shamshad Begum, Noorjehan, and Kamini Kaushal, setting a high bar for Bollywood music. One of Prakash's greatest contributions to the industry was not just his music but his talent-spotting abilities. He discovered Kishore Kumar and brought him to public attention with the song 'Marne Ki Duaaen Kyun Maangu.' Lata Mangeshkar herself recalled in a 2020 interview that her first meeting with Kishore took place en route to Prakash's studio, highlighting how the composer was the connecting thread in some of Indian cinema 's most celebrated artistic unions. Today, the story of Khemchand Prakash stands as both a tribute to a musical visionary and a stark reminder of how creators can be forgotten if laws fail to protect their contributions. His life and legacy underscore the urgency of reform in recognizing and rewarding artistic labor — not just for the sake of artists, but for the dignity of their families as well.
