#dilip kumar muslim

[indiejones]

OF 1940'S BOLLYWOOD'S CHILDHOOD FRIENDS -TURNED- (DIRECTIONLESS & LITERALLY NAMELESS) NEW PESHAWARI KIDS ON THE BLOCK! - OF VASUDEV & RANBIR ! ... OOPS ... YUSUF KHAN & SHRISHTI NATH ! ... OOPS ... DILIP KUMAR & RAJ KAPOOR!

Did you know that the Dilip Kumar- Raj Kapoor friendship goes back not just to their childhoods growing up close by in Peshawar, but to literally several generations back, with Dilip's Dad being best friends with Raj's Grand-Dad ie Prithviraj Kapoor's father, their ancestors in fact having grown up in the same locality all life.

Infact 'tis via this friendship with Raj's grandfather, Lala Basheshwarnath, that Yusuf's father came to crystallize his dislike for the acting profession as a whole, letting no opportunity pass by in unabashedly criticizing his friend's son Prithviraj's wayward ways, in front all & sundry incl Yusuf, in a profession that he regarded of loose moral values & low prestige, this outlook also borne of his staunchly orthodox Muslim views on life, also simultaneously being heavily politically involved in Muslim politics, alongside the Ali brothers, & a big supporter of the Caliphate Raj idea itself.

So anyway, once in Bombay to try his luck (for as he narrates, "any job available whatsoever in Bombay Talkies" (the story leading to which we've already narrated in our Dilip Kumar-Ashok Kumar blog), he landed up bagging not just any, but the main lead's role, for which was also offered a certain pretty handsome salary price. But what really set his interest going, was that this sum, was much much higher than the salary being received by his good friend & only person he really knew even remotely from the movies then, Prithviraj Kapoor's son, Raj Kapoor, who he was in regular touch with, & who'd been working as an Asst Director in the same studios for some time too! Which is why, as he humorously recalls, unaware of the (perennial) hierarchy btwn Assts & Heroes, he had to get it re-confirmed from studio bosses, whether this offered sum was a monthly or yearly figure!

Next problem though, remained in informing his father of this new job placement, which he knew, would be totally & utterly against his express & strongly held beliefs! And so, afraid of his father's wrath, decided to not tell his family of his new job placement, as long as he could avoid, a very important turn of events in the story, to what was to follow next - the naming of the new hero, a routine affair in Bollywood back then!

Studio bosses came up with 2 alternative names, Dilip Kumar and Vasudev!

Dilip recalls his immediate reaction being, "Anything but Yusuf Khan pls!"

He amusingly recalls, how he too, just like the whole world, would learn of his new, & forever re-christened name, from the morning papers of a month later. And Dilip Kumar was born!

Also re-birthing his old childhood bond with Ranbir (birth name Shrishti) now re-christened Raj from their kiddy Peshawar days, a time he would fondly recall in interviews many decades later, of those nascent times of 1945-46, when both these to-be pillars were yet wannabes-

Dilip says: "Both us friends lived in constant fear of what'd happen at the studio each next day. And he (that's Raj, being an Asst Director, & incharge of more petty matters) would keep harping on small things & what all could go wrong, & I'd keep scolding him for always bringing it up & spoiling my mood."

Dilip continues- "I also had a fondness for watching good films, many many times...upto 3 theater shows a day, & that repeated for many days, if a film fascinated me enough. While Raj was not of the same view. He found the repetition confusing, moreover and thought it a waste of time. I always defended myself, by pointing to the quality of films (intl & natl) being watched by us here, & the value of our purpose. Anyway, what I imbibed from my observation, as one starting out, was the minimal amount of acting being done. I recall him saying once, "Listen,what we'll do is change it. Do it differently, this & that..", & I immediately reacted, "NO. I WILL NOT DO IT. I JUST WON'T!" "

How was History to know, while one became the grand "Showman"of Indian Cinema, the other would go on to be called the loveliest & among the Greatest Method Actors the world's ever seen!

[salmankhanholics]

★ Pathaan and The  SUPERSTARS Of Indian Cinema!

February 8, 2023

Pathaan has smashed records at the box office and it should put into no doubt who are the superstars of INDIA are. The film confirms the box office clout of Shahrukh Khan which had not gone anywhere despite the last decade not being as kind as the decade before. There was a box office change towards the end of 2000-2010 decade where digital prints allowed far wider releases on day one and as this process got bigger and bigger it meant the genre which was the forte of Shahrukh Khan was never going to get record numbers. But through the 2010-2020 decade the numbers coming with films which were not action films were still huge.

Pathaan had a guest role for Salman Khan and the public response has to seen to be believed and this should be enough for the naysayers who have appreaed due to his last few films not doing as well as expected. Stardom does not dissapear with a few films failing at the box office, just like it does not come overnight and takes many films to establish.

The Hindi film industry is probably the most secular place there is in India but the fact that the biggest stars of India over the last two decades are Muslim has not sat well in some quarters of the country and the media over the last few years. In fact the third biggest also with Aamir Khan though this is arguable with Hrithik Roshan and Akshay Kumar in the fold as well. The cinema going audience does not care one bit about religion and within the industry nobody notices the religion baring when things get bought up from the outside. There are these non secular voices also within the industry but the way the industry has functioned for decades these people soon become outcasts and work will just dry up.

The last few years has seen this Pan India thing pop up so you have regional stars names being put up as the biggest superstars of the country laughable as it may seem. There are no doubt some great directors in the Southern industries so it is possible their films can do well in the Hindi belts but that hardly means the actors in these films become stars and superstardom is far away except for the regional one which they probably have already..

India has seen seven stars achieve megastardom and two of them are Salman Khan and Shahrukh Khan. The others being Dilip Kumar, Rajendra Kumar, Dharmendra, Rajesh Khanna and Amitabh Bachchan. There is not one name in sight from regional film industries and yet today you see names like Prabhas, Yash, Allu Arjun and others put up with there with two superstars who are not only the biggest superstars of the day but among the biggest ever.

This is not to say that someone from the regional industry cannot become a huge superstar tomorrow because if the public takes to you then anything can happen but to reach the level of above names will take some doing not only for the regional stars but even for Hindi filmstars.

The simple reason why the the big superstars have come from the Hindi film industry is because the language has a wider reach. If other languages had a reach as wide as Hindi then maybe it would be a different story. Yes movies can be dubbed but that is the film reaching out and not the actor.  

Basically the negativity towards the Hindi film industry has led to many claims as to which is the biggest film industry and who are the biggest stars and when the national media is like this you get the regional one badmouthing Hindi cinema as and pushing their own which is natural. But at the end of the day nothing much has changed despite the claims as the HINDI film industry easily remains the biggest film industry in India as content may go wrong but that does not change the reach.

 As for the stars, Salman Khan and Shahrukh Khan remain the biggest stars in India and that does not look like changing for sometime yet even though the starpower may not be as big as it was other points in their careers

[milascl]

Madhubala ek ishq ek junoon 285

#MADHUBALA EK ISHQ EK JUNOON 285 MOVIE#

In spite of her conservative upbringing, she aimed to become a film actor-which her father strictly disapproved of.

#MADHUBALA EK ISHQ EK JUNOON 285 MOVIE#

An avid movie viewer since the beginning, she used to perform her favourite scenes in front of her mother and spend her time dancing and imitating film characters to entertain herself. Madhubala nevertheless learnt Urdu, Hindi as well as her native language, Pashto, under her father's guidance. Owing to the orthodox ideas of their Muslim father, neither Madhubala nor any of her sisters except Zahida attended school. Madhubala spent most of her childhood in Delhi and grew up without any kind of health issues. Unknown to her family members, Madhubala was born with a ventricular septal defect, a congenital heart disorder which had no treatment at the time. Khan was an employee in Imperial Tabacco Company. She was the fifth of eleven children and at least four of Madhubala's siblings died as infants her sisters who survived until adulthood were Kaneez Fatima (born 1925), Altaf (born 1930), Chanchal (born 1934) and Zahida (born 1949). Madhubala was born as Mumtaz Jehan Begum Dehlavi in Delhi, Punjab Province, British India, on 14th February, 1933 into a Muslim family of Pashtun descent of the Yusufzai tribe, from the Peshawar valley of the North West Frontier Province to parents Ataullah Khan and Aayesha Begum. The results of a 2008 poll conducted by Outlook listed her as the most celebrated actress of Bollywood. Since the beginning of her thirties, she suffered from recurring bouts of breathlessness and hemoptysis caused by a ventricular septal defect, ultimately leading to her death at the age of 36. Additionally, she produced three films under her production house Madhubala Private Ltd., which was co-founded by her in 1953.ĭespite maintaining strong privacy, Madhubala earned significant media coverage for her extensive philanthropic work, and for her relationships with actor Dilip Kumar, which lasted seven years, and with actor-singer Kishore Kumar, whom she eventually married in 1960. She worked sporadically in film in the 1960s, making her final appearance in the drama Sharabi (1964). Madhubala's portrayal of Anarkali in the historical epic drama Mughal-e-Azam (1960)-the highest-grossing film in India at that point of time-earned her widespread acclaim and a nomination for a Filmfare award in Best Actress category her performance has since been described by critics as one of the finest in Indian cinematic history. '55 (1955), Chalti Ka Naam Gaadi (1958) and Half Ticket (1962), the crime films Howrah Bridge and Kala Pani (both 1958), and the musical Barsaat Ki Raat (1960). Following a brief setback, Madhubala rose to international prominence with her roles in the comedies Mr. She progressed to leading roles in late 1940s, and earned success with the dramas Neel Kamal (1947) and Amar (1954), the horror film Mahal (1949), and the romantic films Badal (1951) and Tarana (1951). Half a century later, she continues to be held in high regard, with her portrayals of strong-willed and independent characters being seen as a significant departure from the regular portrayals of women on the Indian screen.īorn and raised in Delhi, Madhubala relocated to Bombay with her family when she was eight years old and shortly after appeared in minor roles in a number of films. She had roles in more than 70 motion pictures in multiple genres during a career that lasted over two decades-17 years of which were as a leading lady-and became one of India's most popular and highest-paid entertainers between the late 1940s and early 1960s. Madhubala (born Mumtaz Jehan Begum Dehlavi 14 February 1933 – 23 February 1969) was an Indian actress and producer who worked in Hindi cinema.

[ballstonki]

Kisor kuar

I would cry with her."Īfter battling the disease for a long time, Madhubala passed away in 1969. That's what I did till her very last breath. How can such an active person spend 9 long years bed-ridden? And I had to humour her all the time. She would rave and rant and scream in frustration. She was such a beautiful woman and she died so painfully. You can never understand what this means until you live through this yourself. So, I kept my word and brought her home as my wife, even though I knew she was dying from a congenital heart problem. I knew she was very sick even before I married her. In an interview with Pritish Nandy, Kishore had stated: The reason being, Madhubala was mostly bed-ridden and Kishore had watched the love of his life die painfully in front of his eyes. Though they lived harmoniously for a while during their short-lived married life, both went into bouts of depression during the last few years of their marriage. Right when Madhubala was preparing to leave for her treatment to London, Kishore had proposed to her in a true filmy style. Before their marriage, Madhubala was detected with a hole in her heart. Even after a civil Hindu wedding, Madhubala was not accepted by Kishore Kumar's family. Kishore Kumar and Madhubala's marriage sent the entire nation into a fizzy as he had reportedly changed his religion and converted into a Muslim (he was named Karim Abdul for the same) to appease her parents, who vehemently opposed their alliance. Born in a poor Pathan family, Madhubala decided to tie the knot with Kishore Kumar after her relationship with Dilip Kumar faded. Ever since she entered the industry, Madhubala emerged as an instant sensation, a diva, a trendsetter. While the west flaunted their Marilyn Monroe, India had its own Madhubala.

[lahoreherald]

Yusuf Khan was Dilip Kumar's previous name

Dilip Kumar, also known as the Tragedy King of the silver screen, had several monikers. For some, he was Mughal-e-Salim. Azam’s Others knew him as Deva since he was the second actor to play Devdas in an adaptation of Saratchandra Chattopadhyay’s tale of the same name.

There were also Ram, Shyam, Rana Vishwa Pratap Singh, and Veer Singh, to name a few. But what exactly was his given name? Producer Devika Rani gave the late actor the screen name Dilip Kumar. Muhammad Yusuf Khan was born in Pakistan’s Peshawar to an Awan family.

WHY DID MUHAMMAD YUSUF KHAN’S NAME CHANGE TO DILIP KUMAR?

Dilip Kumar, born Muhammad Yusuf Khan on December 11, 1922, to Lala Ghulam Sarwar Khan and his wife Ayesha Begum of Peshawar (now in Pakistan), chose a screen name at the urging of producer Devika Rani. Later, the producer cast him in the lead part in the 1944 film Jwar Bhata.

The famous actor disclosed why he changed his identity from Muhammad Yusuf Khan to Dilip Kumar in his book, Dilip Kumar: The Substance and the Shadow.

THRASHING FATHER FEAR

Dilip Kumar wasn’t only influenced by Devika Rani to change his name. Dilip Kumar had remarked in an interview in 1970 with Mahendra Kaul that it was actually because he changed his name from his father’s ‘pitayi ka darr.’

The late star stated his father would never want to play and he dubbed it “nautanki.” Interestingly, his father never likes film-making by the grandson of his Dewan Basheshwarnath Kapoor, Raj Kapoor. The neighbors in Peshawar were Dilip Kumar and Raj Kapoor

Read Also: Dilip Kumar’s net worth has been disclosed

Published in Lahore Herald #lahoreherald #breakingnews #breaking

[indizombie]

A celebrity's lack of interest in social causes and larger politics could be a matter of debate, yet we can safely posit that Indian celebrities have selfishly received from society and have failed to give back in return. Was this always the case? I am not sure, but there comes to my mind an exception to this general rule. And this exception is the exceptionally talented superstar and most loved tragedy king of all times, the first Khan among the Khans, Dilip Kumar aka Yusuf Khan. Very few people know that Dilip Saheb has participated extensively in the struggles of marginalized among the Muslim community, despite coming from an upper caste and having achieved an elite status among the elites of the country. This is quite rare and an exceptional feat. The thespian has spent a substantial time of his late working life off the stage, participating with activists of All India Muslim OBC Organization (AIMOBCO) for the rights of Pasmandas in Maharashtra.

Abhijit Anand, ‘Dilip Kumar: A Baghbaan of Pasmanda Movement’, Round Table India

[anarchistin]

"In all public meetings, Dilip Saheb insisted that reservation should not be seen as a religious issue, in case of Pasmandas, but rather as a social means that is required for the upliftment of this socially and educationally backward community, which simply happens to be Muslims. He stressed that Pasmandas have suffered from caste marginalization. Due to the discriminatory categorization into occupational biradaries, they are restricted in economic mobility and social development. Therefore, reservation is a constitutional process and the marginalized communities should use the opportunity for social-economic upliftment."

[bollywoodirect]

Wishing yesteryear shining star, Nimmi happy birthday as she turns 86 years today. Nimmi was a highly popular star right through the 1950s acting with all the top heroes of her time and working with directors like Raj Kapoor, Kidar Sharma, Mehboob Khan, Amiya Chakravarty, S.U. Sunny and KA Abbas. However, her larger than life gestures and eye-popping theatrics have not always held up well and admittedly many of her performances look stilted today. But there’s no denying her stardom and popularity in her heyday. In fact, one of her greatest admirers was no less than Ismail Merchant! She gained popularity playing spirited village belle type characters but also appeared in diverse genres such as fantasy and social films. Here, Nimmi speaks about her first break in films: "Raj Kapoor noticed me on the sets of “Andaz” in 1948 and offered me the role of a prominent character opposite his brother-in-law Prem Nath in “Barsaat” in 1949. I was thrilled at the opportunity of working with established actors like Raj Kapoor and Nargis. At the same time, I also feared being sandwiched between heavyweights like them. Though it was his second film as a director, Raj Kapoor showed ample promise both behind and in front of the camera. Since he himself was a natural actor, he did not believe in theatricals and gave equal footage to all actors. Raj Kapoor was one director who never kept the camera focused too much on himself. During the shooting of “Barsaat”, I emoted more than required in some of my pathos scenes. Raj Kapoor maintained his cool and then told me, “Don't overdo. Remember, you are a normal human being who has been ditched by her playboy lover. Be conscious whilst delivering your shots but again don't get over conscious.” These words from Raj Kapoor were like an inspirational mantra for me. I followed them throughout my career. After the success of “Barsaat”, I was flooded with offers. Mehboob Khan cast me opposite Dilip Kumar in his technicolor costume drama “Aan” in 1951. I had to perform an absurd scene of dancing even after consuming poison in “Aan”. I was not convinced but Mehboob Khan, the grand director that he was, explained to me that it was fantasy and not a realistic film as such. With Dilip Kumar I formed a successful pair and we starred in hit after hit like “Uran Khatola”, “Daag”, “Amar” and “Deedar”. Dilip was and still is fond of me. He affectionately addresses me as Pagli. I still don't forget how after the shooting of the “Aye Mere Dil Kahin Aur Chal” sequence in “Daag”, picturized on me, he softy kissed my forehead and said, “Brilliant”. Whilst Raj was a born actor, spontaneous in approach, Dilip is studied, method and versatile. Another gifted actor of those times, Dev Anand, worked with me in “Saaza” and “Aandhiyan”. Handsome and romantic, Dev Anand simply conquered all hearts with his smile. “Aandhiyan” is a memorable film of mine directed with expertise by Dev's elder brother Chetan Anand. He and cinematographer Jal Mistry waited for seven days to shoot the storm sequence in “Aandhiyan” on Dev and me. They waited to get the reddish sky before the storm. I consider “Anjali” as my best film and the entire credit for it goes to the imaginative Chetan Anand for extracting commendable work out of me as the Chandalini. “Mere Mehboob” was a beautiful Muslim social I enjoyed working in but my true challenge was as the dumb lover of Ashok Kumar in “Akash Deep” in 1964, in which Dharmendra also showed his acting skills very well."

[aalliedcarrentals]

15 Best Things to Do in Mumbai

Mumbai had been well known for its busy lifestyles and the modern city culture on India. Home to about 20 million people, the city has long been a fascination and a dreamland for many. Lots of attractive places available in Mumbai. This city is indeed one of the worthiest explorations in India. You will have plenty of entertainment, authentic cuisines, and explicit cultures along with places that have great historical significance. You could always have a long list of things to do in Mumbai.  Knowing them well will surely help in planning some absolutely successful trips.

Best things to do in Mumbai

You will, of course, want to have a perfect escape from your frustrating routine and reach out to place and experiences that could bring you peace, fun and great memories to keep. While you have numerous things to do and places to visit, it might get difficult to recognize what are the best experiences. Having an idea about these will let you take your trip to a better level. Here are some of them you may consider:

1. An evening at the Gateway of India

This is probably the most prominent landmark that represents Mumbai almost everywhere. Overlooking the Arabian Sea on one side and the royal Hotel Taj on the other; this yet another architectural marvel in India with considerable historical significance. The arch commemorates the visit of King George V and Queen Mary to India. The sea near the structure is generally occupied by vessels, trawlers, and yatches. When lighted up in the evening, the Gateway of India carries an explicit charm. You can also take up ferries to other islands from here.

2.Explore  the caves at Elephanta Island

Situated in the Sea of Oman, the Elephanta Island and the island caves are very easily accessible to people in Western India. This place is home to all types of archeological elements and evidence that prove they are belonging to the 2nd Century. There are also various religious artifacts that are known to belong to the 5th and 6th century AD. The 7 meter statue of Lord Shiva is one of the most prominent fixtures here. There are also other structures that give a detailed description of seven other religious figures. It’s a worthwhile experience.

3. Taste the Mumbai special Vada Pav

All Mumbaikars would consider their routine incomplete without Vada Pav. It is one of the most affordable eateries available around to deal with hunger. Sold at every nook and corner of the city, this is indeed an interesting recipe. The basic idea behind this is bread bun stuffed with spiced potatoes and Indian flavored sausages. You’d love eating it.

4.  Watch over the murals at Chapel Road

Within the sleepy alleys of old neighborhoods, you may come across several outstanding street arts. These include lifelike images of various Bollywood stars including Amitabh Bachchan, Madhubala, Dilip Kumar, and Rajesh Khanna glorifying the old street walls. There are also several cartoon murals that you would love watching.

5.  Capture an elegant sunset at the Marine Drive

Often popular as the ‘Queen’s Necklace’ the Marine Drive is just a 15 minutes cab ride away from the Gateway of India. You can hire a rental car in Mumbai. It is known to be the cleanest and breeziest parts of India. The broad pavement along the driveway and also the broad wall is where many spend their nights sleeping. You may be able to capture some really tranquil views of the Arabian Sea and feel fresh. This is a perfect place to reach in the evening.

6. Catch up with the spiritual vibes at Siddhivinayak Temple

This temple is dedicated to Lord Ganesha, the ruling deity of the city. This temple has had great significance ever since its existence and is visited by the most popular and wealthiest families too. There are thousands of visitors here regularly. However, you may find more crowds on special religious occasions.

7.Castella-de-Aguada

With just a flight of a few stairs and two arches, this is the modest fort you will ever witness in your lifetime. Moreover, what makes it the most special is its location. This is one of the best places to gaze at the excellently laid Bandra Worli Sea Link. Visiting here would be one of the best things to do in Mumbai.

8. Shopping at the Chor Bazar

The Chor Bazar or “Thief Market” became popular for sale of theft goods. Also, this is how it got its name. Window shopping could be done well here even if you’re not into really buying anything. There are also several street food spots that would offer amazing dishes to savor.

9.Animal Spotting at Sanjay Gandhi National Park

Well, this is a national park situated right in the middle of the city with tigers and other wild species roaming and dwelling within its ambiance. The national park also has an entire cluster of ancient Buddhist caves named as the ‘Kanheri Caves’ within its borders. You could have a great day here.

10. Know the Sassoon Docks Fishermen

An early morning visit to Sasoon Docks will let you catch up with some amazing market scenes with fishermen in large numbers returning back with their fresh catch. This is where most of the popular restaurants get their stuff from. It could be a different way of exploring a place, knowing how the city functions regularly.

11. The Royal Opera House

The foundation of the Royal Opera House was known to be laid in the Colonial Era and holds on to several interesting historical events and secrets. There were further renovations and additions made to this building from time to time after 1911.  It has been renovated and reopened in the year 2016 with all sorts of explicit entertainment for the Mumbaikars. A visit here would surely be worthwhile.

12.The Bohri Kitchen

If you’re fond of savoring new flavors, this restaurant could never be missed from your list. One among the most renowned and oldest settled restaurants, the Bohri Kitchen is also known to be visited by many prominent celebrities.

13. Iscon Temple

Situated very next to the Juhu Beach, this is one of the most prominent temples in India with a grand, elegant structure. Built over four acres of land this temple had been a considerable spiritual retreat for people.

14.  Visit the Haji Ali Dargah

Situated 500 yards offshore in the Arabian Sea the Haji Ali Dargah is the tomb of the Muslim saint Pir Haji Ali Shah Bukhari. This is one of the most elegant and prominent religious places in Mumbai. The intricate Indo-Islamic architecture and glass work at the Dargah is absolutely worthwhile.

15. Colaba Causeway Market

This is one of the best shopping joints to be visited in Mumbai. The market offers with a wide collection of different ladies garments and accessories. Situated near the police headquarters in Southern Mumbai, this market should be visited at least once while you’re in Mumbai.

The list of interesting things to do in Mumbai would hardly come to an end.If you have any travel problem then you can book Tour and Travel in Mumbai. Moreover, the above-mentioned suggestions would surely help you plan some of the worthiest explorations in Mumbai.

[indiejones]

- OF RAJESH KHANNA & DIMPLE KAPADIA .

- OF THE BEWILDERING "INNUMERABLE INSTANCES" WHEN THE MEGASTAR MET HIS WIFE FOR THE VERY FIRST TIME !

- A 'EYE-OPENING ACCOUNT' OF HINDU-MUSLIM UNITY!

Veteran film journo Devyani Choubal who was known in film circles to be a real nasty piece of work when came to most stars, but somehow close to, & like most women of the time, a secret admirer/lover of, Rajesh Khanna, narrates of the moment (as shown in the most viewed Rajesh Khanna BBC documentary by Jack Pizzy, 'Bombay Superstar') when Rajesh spoke to her on the phone at 3 am in the night to give her the info that he was getting married (to a girl unheard of by most before) next week! When a stunned & probably heartbroken Devyani asked her who this female was, he told her "I saw this girl drowning in the sea, & I went into the sea & rescued her out, & in the process fell in love!". Devyani mentions to Jack how she thot Rajesh was quite drunk at the time, so didn't take it too seriously, but when called him up again in the morning, a now sober Rajesh narrated almost the same incident but with a few (strange) changes (obvi for would've likely forgotten details of his narration in the night when a little drunk), namely, that this time, he never went into the sea to rescue her, but twas her that got pushed ashore by tidal waves, when he first saw her lying on the sands, & fell in love! .. Devyani mentions how she immediately quizzes him, about the stark contrast in his narrations from night to morning, but that's when the documentary too mysteriously shifts focus, & the matter is forgotten in the aftermath.

This means, what Rajesh mentioned about this whole 'girl drowning & hero rescuing' act was no drunk talk, but actual "star supplied info", for whatever it's worth.. (Watch from 7:50-9:15 > https://www.youtube.com/watch?v=XvX6p2OoGP0 )

Neither does Jack Pizzey probe further on the subject anytime after the docu release, that we know of, nor do we very strangely hear Devyani talk any more on it, given that a journo of her reputation was almost impossibly unlikely to let such huuge discrepancies in narration of one of the most momentous occasions of inarguably India's most famous person ever, pass her by, just like that!

A discrepancy that gets even more bewildering yrs later, in early 1980's when Khanna & Kapadia officially separate, when Dimple actually opens up more on her first meeting with the megastar, her narration making it 7 days before the wedding, somewhere in a flight, where on one occasion it's him proposing to her at first sight or so, or at another instance she indirectly proposing to him at first sight or so.

What a (multi) world of (multi) difference! .. but ofcourse, nobody cares (for such seeming triviality), so his too, we let pass.

Btw, Did You Know- (Per Dimple's own wiki page> https://en.wikipedia.org/wiki/Dimple_Kapadia )

Dimple Kapadia's parents are both Muslim Nizari Ismaili Shias, both as weird as it sounds, having "embraced Hinduism" (the father, a wealthy businessman, who was known for roaming in influential filmy circles, & promoting his daughter, changing his name to Chunnibhai Kapadia in this 'embrace') yet family remaining followers of Aga Khan, her mother infact staying a practising Ismaili all her life! Also, Dimple's actual birthname is Ameena! .. Infact his father had become a good friend of top director H. S. Rawail too, & near-bagged her 11 yr old a role in Dilip Kumar's 'Sunghursh' but was rejected at last moment as looked too old for her part!

Did You Know- ( https://www.masala.com/bollywood-news/dimple-rajesh-rocky-marriage )

The megastar who was known for his near-impossible timing, achieved that timing yet again, by getting married (as the whole world knows, & has seen & videographed) on March 27, 1973, & having her 1st daughter born (per the daughter's own announced wiki page), by God's miracle, on Dec 29, 1973, miraculous also for being Rajesh's own birthday too, that then making it a full 9 mths & 2 days to their marriage!

Did You Know- ( https://www.imdb.com/name/nm1149378/?ref_=nmtrv_ov) ( https://www.bollywoodbiography.in/reem-kapadia.html)

Dimple has a 3rd sister, younger to her & Simple, named Reem, that died of sleeping pill overdose, or per many committed suicide, on March 27, 1991, that's the date of her elder sis Dimple's marriage anniversary!

Did You Know-

( https://www.imdb.com/name/nm0438092/trivia/?ref_=nm_dyk_trv )

From available info on Imdb & various places on social media, Dimple also had a real younger brother named Suhail, who was a struggling actor & recovering drug addict for a very long time, before dying in a, per many, most mysterious car accident.

Did You Know- ( https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/when-dimple-khanna-said-that-she-knew-her-marriage-with-rajesh-khanna-wont-work-the-moment-she-stepped-into-his-house/articleshow/99764330.cms?from=mdr ) ( https://www.masala.com/bollywood-news/dimple-rajesh-rocky-marriage )

Dimple in several interviews, incl to India Today in 1985 (from her own wiki pg), gave weird & very very suspiciously cryptic statements like "The life and happiness in our house came to an end the day I and Rajesh got married" & "OUR MARRIAGE WAS A FARCE!" & "The day I entered his house, I knew the marriage wouldn't work".

How can a 15 yrs 9 mth old girl know all these gigantic things from the future, unless told?

Well, we'll leave it at saying, the 'real' family that believes in astrology (like Rajesh atleast acknowledged if nothing more) & in karma (like Rajesh we know for sure did), did succeed in disabling all the 'Rahus & Ketus & Shanis' in his life, enuf to notch up, "BY A LIGHT YEAR, THE GREATEST CAREER IN WORLD CINEMATIC HISTORY", in all his good wisdom & foresight afterall!

🙏

SIMILAR BLOG:

[newsupdatesbykiara]

Cong leader demands immediate arrest of Nupur Sharma, Naveen Jindal

Maharashtra Congress leader Naseem Khan on Friday sought immediate arrest of suspended BJP spokesperson Nupur Sharma and expelled BJP leader Naveen Kumar Jindal for their alleged objectionable remark against Prophet Muhammad.

Khan has written letters to Chief Minister Uddhav Thackeray, Deputy Chief Minister Ajit Pawar, Revenue Minister and Congress Legislative Party leader Balasaheb Thorat, Public Works Minister Ashok Chavan and Home Minister Dilip Walse Patil.

"Former BJP spokespersons Nupur Sharma and Naveen Jindal's offensive remarks about the Prophet Mohammad Saheb have hurt the feelings of Muslims across the country, including Mumbai and Maharashtra. There is strong resentment in the Muslim community against this. The state government should take note of the outrage and form a team of senior police officials to arrest Nupur Sharma and Naveen Jindal immediately and take stern action," Khan demanded.

[yoramkelmer]

“Shahida”, one of the first pakistani movies, from 1949.

Released a year after the first pakistani movie “Teri Yaad”, this muslim social was directed by Luqman, and starred Shamim, Nasir Khan, Begum Parveen, Shakir and Himalayawalla, and with Music by Ghulam Haider, with songs by Munawar Sultana (not to be confused with the indian actress of the same name).

Shamim (1920-1984) had two years earlier, shortly before partition, starred in the muslim social “Nateeja”, and “Shahida” was one of her first movies in Pakistan. A few years later she married the director Anwar Kemal Pasha, and would retire from acting all together.

“Shahida” would also be the last movie of Nasir Khan in Pakistan, as he shortly after its release returned to India. In India, he would marry the actress Begum Para and act till his death in the 70s, though he never would get past the shadow of his older brother Dilip Kumar.

Himalayawalla would also not find that big of a success in Pakistan outside of character roles and villains. Two years earlier he had his most famous role pre-partition, in the Mehboob Khan directed muslim social Elan, opposite Munawar Sultana and Surendra.

Like all of the 7 movies from the 40s in Pakistan, the movie is very rare and hard to get, except for its soundtrack.

Notice that the title on the poster is in devanagari as well - this would continue until the early 50s, when the devanagari would be replaced by bengali script, as a token for the bengali speaking population of East Pakistan, a trend that continued till Bangladesh got independent from Pakistan in the early 70s.

[weepli]

Book review: The Three Khans and the Emergence of New India

The first movie I ever watched in a theatre was Kuch Kuch Hota Hai. I was 5, I had no idea what was happening in the movie, and I’ve been told I cried through it. I remember being excited to go watch Kuch Kuch Hota Hai though. Even at 5, I was in love with Shahrukh.

I was in no way an anomaly. Everyone in the late 90s was obsessed with Shahrukh (and Aamir and Salman). I have often wondered what it was about them that captured the nation’s imagination, and I have tried to read as many books, articles, and interviews on this topic as I possibly can.

That’s why Kaveree Bamzai’s The Three Khans and the Emergence of New India was on my TBR since it released a couple of months back. A veteran film journalist, Bamzai explores the rise and success of the Khans and juxtaposes it with a changing India in the late 80s and 90s. The book shifts seamlessly between Bandra and Lutyens’ Delhi, highlighting the significant moments of the time. Extensively researched, the book makes use of old interviews, reviews, film magazines and books, and the author’s own interaction with the trio to make its point.

“The 90s hero was from everywhere and nowhere- as screenplay writer/lyricist Javed Akhtar said perceptively to Nasreen Munni Kabir (Talking Movies)...

With undivided family, big brands emblazoned on his chest, a composite romantic world that often excluded the Indian outdoors with songs shot in exotic locations such as Mauritius and Switzerland, the 90s hero was a product of confused times, the personification, as Akhtar noted, of contemporary morality.”

Bamzai explores the change in the look and feel of the Hindi film hero from 50s Raj Kapoor- Dilip Kumar- Dev Anand, through Rajesh Khanna and Amitabh Bachchan to the 3 Khans. She doesn't stop there- she looks at the stars that have come after- Hrithik Roshan, Ranbir Kapoor, Ranveer Singh, and tries to see what really set the 3 Khans apart. She also questions if India will ever see cultural icons like than Khans- 3 Muslim men ruling over public emotion and imagination doesn't seem to be possible anymore, in today's India, she suggests.

What I loved about the book were the simple anecdotes- Aamir at a protest, Shahrukh in a film magazine's office, Salman speaking to the writer in his Galaxy Apartments flat. In fact, I wish the book had more personal anecdotes and personal insights, at certain points, it felt that the writer was just giving a summary of their careers and not making a bigger point. I also wish there was more effort put in copy editing and fact checking this book.

Bollywood as an industry has managed to make a personal connection with so many Indians. For people in their 20s and early 30s, that personal connect was mainly through the Khans- their aspirations, their coolness, their charm, their hard work, their perfectionism. How can you not like a book that explores this very notion of how they characterized a changing nation, and how their lives and careers, in turn, were shaped by it.

[indizombie]

In all public meetings, Dilip Saheb insisted that reservation should not be seen as a religious issue, in case of Pasmandas, but rather as a social means that is required for the upliftment of this socially and educationally backward community, which simply happens to be Muslims. He stressed that Pasmandas have suffered from caste marginalization. Due to the discriminatory categorization into occupational biradaries, they are restricted in economic mobility and social development. Therefore, reservation is a constitutional process and the marginalized communities should use the opportunity for social-economic upliftment. Dilip Saheb helped people to get organized, made them understand the idea of reservation, and tried to bring people to organize and agitate from a common platform. He became a medium to spread the voices that were unheard till then.

Abhijit Anand, ‘Dilip Kumar: A Baghbaan of Pasmanda Movement’, Round Table India