SportsX9 is a milestone in every sense by becoming the go-to sports betting exchange in India. Users receive transparency, speed, and trust all under one roof. From several betting markets to up-to-the-minute updates, have it all at SportsX9.

Well, India's size of the online betting market will increase to $5.7 billion by 2033 with a growth rate of 7.78% from 2025. The reason behind the boom is increased mobile app gaming and love for sports betting. This swift growth has opened the door for intelligent and trustworthy platforms.

SportsX9 stands at the forefront of this amazing transformation. Unlike other traditional bookmakers, this betting exchange site encourages a peer-to-peer betting system. This next-generation betting platform lets players bet against each other rather than the house.

Resultant, there is greater transparency, control, and profitability for the bettors.

As per the SportsX9 spokesperson, “We are one of the popular and biggest Indian betting exchange sites. Our platform is built on the principles of innovation and trust. We wanted to create a space where Indian bettors can bet freely, set their own odds, and experience greater flexibility as in the international sports betting market.”

SportsX9 offers various cricket bets to the Indian players, including over/under bets, handicap bets, team and player bets, winner bets, etc. Also, they can use these bets during the in-play betting options, too.

Key Features That Make SportsX9 Stand Out

SportsX9, an advanced sports betting exchange, integrates cutting-edge technology and an intuitive interface. It makes this betting exchange site highly searched online.

Core features that make this online betting exchange the first choice for Indian players. Firstly, match and live sports odds are available for thousands of active users. Secondly, the platform offers a seamless user experience. Indian players can get mobile responsiveness and a user-friendly dashboard for real-time betting engagement.

Moreover, faster payouts through UPI, e-wallets, debit/credit cards, and bank transfers is another important feature. Also, users can bet on live streaming of matches and change bets whenever the sports odds are competitive.

SSL encryption and advanced payment gateways ensure total protection. The platform also offers awareness tools to stop gambling addiction and encourage mindful gameplay.

“Well, we have ensured that we combine innovation with responsibility. Our advanced technological system makes sure that every transaction is transparent and reliable. We encourage policies that are ethical and pave the way for sustainable betting,” said the SportsX9 spokesperson.

Trusted Sports Betting Exchange and Tech-driven Platform

SportsX9 addresses the long-standing challenge of accountability in the online sports betting community. Now, users get transparent and trusted access to the sports odds. No need to get frustrated by the bookmaker’s malpractices. This online betting exchange site enables players to follow market trends and view open bets and profit margins in real time.

This online betting exchange builds trust through visibility. Bettors can lock in their profits on this sports betting exchange site before the bet ends. Enjoy the strategic and market trading-like experience while betting live.

Moreover, the platform uses a robust technology, leveraging the benefits of modern technologies like AI, VR, and AR. It provides an engaging experience to users. Advanced data analytics deliver accurate predictions, automated settlements, live market updates, and eliminate betting delays.

SportsX9 ensures fairness and trust, whether a user is betting for the first time or a Pro in betting. As per the spokesperson, “We have managed to merge the action and power of betting with the data precision technology. Now, you will receive accurate predictions whenever or wherever you want.”

Every user interaction at this popular betting exchange is designed to be secured, verifiable, and traceable. No hidden malpractices or manipulation of the sports odds. Only plain betting and a winning spree for the players.

Building India’s Most Reliable Sports Betting Exchange

Search Engine results for the most popular Indian betting exchange sites show SportsX9 at the top. This is because the platform has set new standards for the betting exchanges and announced its evolution at a nationwide stage.

The Indian sports economy and betting community are already growing. This betting exchange site has emerged as the leader. From commitment to community to fairness in gambling, it offers everything to the Indian players. The platform follows the compliance and regulations of the gambling authority, which has raised its bar in the iGaming industry.

Moreover, local support and diverse user accessibility across the platform make the platform famous among players. The availability of a unique Cricket Betting ID makes this betting exchange quite popular. The platform offers a dedicated app for mobile betting on Android and iOS devices.

Apart from this, SportsX9 has a special place for its community of bettors. There are community-based strategies and features for shared social interaction. SportsX9 always collaborates with industry leaders and responsible gambling platforms to encourage clean and ethical betting.

This betting exchange is on a mission to build not only a reliable betting exchange but also community support for its bettors. SportsX9 does not want anyone to feel left out. Users get 24*7 multilingual customer support. The platform ensures that they get immediate help through live chat for continuing gaming enjoyment.

Even the platform assists in deposit and withdrawal, providing insight into real-time odds, discussing sports betting, and turning betting into a collaborative experience. Also, registration and sign-ups are easy and quick, so players do not have to wait.

Become a part of India’s most transparent and trusted sports betting exchange site. For more details and to explore the betting exchange site, visit https://sportsx9.info/.

About SportsX9 Betting Exchange

SportsX9 is India’s leading betting exchange site, offering a reliable and technology-driven platform that is setting new premium betting standards. This is the all-in-one place for sports enthusiasts to place and trade bets. It is a next-generation sports betting exchange that empowers both beginner and Pro players. Users can place bets in real-time, check sports odds on live streaming, and maximise their returns from the platform.

For enquiries and customer support, connect with their live chat support present 24*7 or drop an email at sportsx9social@gmail.com.

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Panaji, June 23 (SocialNews.XYZ) Goa Chief Minister Pramod Sawant on Friday co-chaired the first steering Committee Meeting for the 54th International Film Festival of India (IFFI).

The meeting was chaired by Union Minister for Information and Broadcasting, Anurag Thakur, in the presence of other committee members.

Sawant said that discussion regarding the overall preparation for 54th IFFI in Goa was held.

Last year in November, the nine-day gala event featured 280 films from 79 countries.

Thakur had urged people to send suggestions to make the next IFFI (54th edition) more better.

"This is such a destination, that no place can replace Goa (to host IFFI). Goa has made its identity in the film arena of the country and the world," he had said.

National Film Development Corporation (NFDC) in collaboration with the Entertainment Society of Goa (ESG) organises IFFI in Goa.

The IFFI, founded in 1952, was held for the first time in Goa in 2004. The festival has since found a home in the coastal state as in 2014, Goa was declared the permanent venue for this festival.

Source: IANS

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Hyderabad, June 18 (SocialNews.XYZ) Popular Tollywood choreographer Rakesh Master died after a brief illness here on Sunday. He was 53.

The choreographer fell ill while returning to Hyderabad after attending an outdoor shoot in Visakhapatnam a week ago.

As his condition deteriorated, he was admitted to Gandhi Hospital in Hyderabad, where he breathed his last on Sunday evening. According to doctors, he suffered multi-organ failure. He was diabetic and diagnosed with severe metabolic acidosis. His death sent shock waves in the film industry.

Rakesh Master, who began his career with dance reality shows like "Aata" and "Dhee", later entered the film industry. He acted as a choreographer for about 1,500 movies and delivered several hit songs.

Born in Tirupati, his real name was S. Rama Rao. He worked under Master Mukku Raju in Hyderabad for some time before beginning his career as dance master.

He worked with many top actors like Venkatesh, Nagarjuna, Mahesh Babu, Ram Pothineni and Prabhas but had been staying away from the industry for some time.

Some of his interviews on social media had become controversial. In some interviews, he had made allegations against some film personalities for damaging his career.

Top Tollywood choreographer Sekhar Master is also a disciple of Rakesh Master.

Source: IANS

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Mumbai, June 11 (SocialNews.XYZ) Minissha Lamba who made her debut with the film "Yahaan" in 2005 is back after a long gap with Amazon miniTV series "Badtameez Dil". And she says it feels good to be back on the sets for work.

The actress, whose character Muskaan from the film "Well Done Abba", is etched in the hearts of the audience, spoke about her comeback and the show at a special screening held for "Badtameez Dil" in Mumbai.

When asked how it felt to be back after so long, Minissha said: "Being back on the sets makes you feel good about yourself. It gives you a sense of purpose. You wake up in the morning and there is something you look forward to."

Talking about the show, she said: "It is an easy-breezy story about love. Love is the language that everyone understands and everyone wants love. Some people may say they don't want it, but they do seek love. So, everyone should watch this show."

"Badtameez Dil" presents the journey of a young woman who believes in old-school romance and a guy who is an ardent believer of modern-day love. It features Barun Sobti and Ridhi Dogra in lead roles. It also has Minissha Lamba, and Mallika Dua in supporting parts.

Source: IANS

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Mumbai, June 9 (SocialNews.XYZ) The sports enthusiasts will be able to watch the upcoming Asia Cup 2023, which will be held from September 2 to September 17, and ICC Men's Cricket World Cup tournaments, which will be held from October 5 to November 19, for free on their mobile devices. The tournaments will be made available as free-to-view to all mobile phone users accessing Disney+ Hotstar.

The move to lift the paywall for mobile-only viewers of both, the Asia Cup and the ICC Men's Cricket World Cup, is aimed at further democratising the game of cricket. It is also aimed to directly take on OTT platform JioCinema which recently hosted the IPL tournament for its subscribers for free.

Earlier, the streaming rights for IPL were with Disney+ Hotstar. However, it went to JioCinema of the Jio ecosystem after the last bidding of streaming rights.

Asia Cup 2022, ICC Men's T20 World Cup 2022, ICC Women's T20 World Cup 2023, and the recently concluded India vs Sri Lanka, India vs New Zealand as well as India vs Australia tournaments were also streamed on Disney+ Hotstar.

Source: IANS

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By Quaid Najmi

Mumbai, June 4 (SocialNews.XYZ) Veteran actress Sulochana Latkar - who played memorable roles in films in over 250 Hindi and 50-odd Marathi films, and was the screen mother to many top stars - passed away here on Sunday. She was 94.

She breathed her last at a private hospital here this evening, said Bollywood sources.

Sulochana - as she was popular in the film industry - was noted for wide ranging roles, from lead roles supporting characters to a motherly figure, and endeared herself to the viewers for over six decades.

Some of her memorable early performances as the lead heroine were in Marathi films like "Sasurvas", "Vahinichya Bangdya", "Meeth Bhakar", "Sangtye Aika" and "Dhakti Jau" and many more.

Born on July 30, 1928 at Khadaklat village of Belagavi (now in Karnataka), she made her film debut in 1946.

Among her top Bollywood films was in the Bimal Roy classic, "Bandini" (1963), which is remembered even today.

Other Hindi films in which she acted include "Jab Pyar Kisise Hota Hai", "Duniya", "Amir Garib", "Baharon Ke Sapne", "Kati Patang", "Mere Jeevan Saathi", "Pyar Mohabbat", "Duniya", "Johny Mera Naam", "Warrant", "Joshila", "Doli", "Prem Nagar", "Aakraman", "Bhola Bhala", "Tyaag", "Aashiq Hoon Baharaon Ka", "Adhikar", "Nai Roshni", "Aaye Din Bahar Ke", "Aaye Milan Ki Bela", "Ab Dilli Dur Nahin", "Majboor", "Gora Aur Kala", "Devar", "Kahani Kismat Ki", "Talaash" and "Azaad".

Over the years she played the on screen mother to many stars including Dharmendra, Rajesh Khanna, Rishi Kapoor, Amitabh Bachchan, Vinod Khanna, Rajendra Kumar, Sanjeev Kumar, Nutan, Asha Parekh, Waheeda Rehman, Zeenat Aman, Tanuja, et al.

Sulochana was conferred the Padma Shri in 1999, and the Filmfare Lifetime Achievement Award in 2004.

The Maharashtra government bestowed the "Maharashtra Bhushan Award", the highest honour of the state.

A familiar resident of Prabhadevi, she was admitted to the Sushrusha Hospital for old-age related problems, where she passed away peacefully on Sunday evening.

Top leaders including CM Eknath Shinde, Dy CM Devendra Fadnavis, Leader of Opposition in Assembly Ajit Pawar, NCP President Sharad Pawar, Congress State President Nana Patole, Shiv Sena-UBT leaders and other personalities mourned her demise.

Leading Bollywood and Marathi film personalities also took to the social media and grieved the loss of Sulochana, and recalled her immense contribution to the film industry.

Sulochana's mortal remains will be consigned to the flames on Monday with full state honours.

Source: IANS

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Srinagar, June 1 (SocialNews.XYZ) In the breathtaking valley of Kashmir, a new generation of ambitious women is breaking barriers and creating their own paths.

From small-scale businesses to startups, acting, modelling and entrepreneurship, these women are seizing the opportunities and making a mark in a rapidly-changing landscape.

In the wake of the abrogation of Article 370, which granted a special status to the region, Kashmiri women are venturing into Mumbai, the heart of the Hindi film industry, known as Bollywood, to try their luck in acting.

Bollywood has long been associated with nepotism and familial connections, according to insiders. However, Mateena Rajput, a resident of North Kashmir, is poised to make her mark with the highly-anticipated release of her debut Bollywood film 'Welcome to Kashmir'.

Having already worked in the Tamil, Telugu and Marathi film industries, Mateena is ready to make her Bollywood debut.

The budding actress revealed that in the film, she portrays a courageous young woman dedicated to women's empowerment and fighting for justice.

"My character in the movie revolves around my passion for visiting every college and school for girls in our nation, inspiring them with my talks, and providing them with safety advice," Mateena said.

She firmly believes that women are inherently resilient, but often fall prey to societal pressures.

Proud of her Kashmiri heritage, Mateena expressed her gratitude for the opportunities she has had to represent Kashmir on various platforms.

"If we choose to view Kashmir through a positive lens, we'll realise its immense beauty. We need to embrace a positive perspective," she said.

While acknowledging that Kashmir has often been portrayed negatively in Bollywood films, often associated with promoting terrorism, Mateena is committed to showcasing her homeland in a favourable light.

"As a Kashmiri artiste, I understand the weight of my responsibility and always carry the spirit of my homeland with me. Others may have their preferences," she added.

'Welcome to Kashmir' tackles several important issues, including youth's involvement in drug abuse and the empowerment of women. Additionally, the movie highlights the positive aspects of tourism and hospitality.

What sets the film apart is its unique nature as a Bollywood Hindi feature film produced and directed by Kashmiris themselves. The film is a dream venture for its filmmaker, who hails from Sopore.

The film not only marks a significant milestone in Mateena's career, but also showcases the talent and potential of Kashmiri artistes in shaping the narrative of their homeland on a grand stage.

"Mateena Rajput's journey is an inspiration for every woman who dreams of making her mark in the entertainment industry. Through her debut Bollywood film, Mateena is not only entertaining audiences, but also addressing important social issues, making a meaningful impact through her art," said Neha Gupta, a film critic.

"Her ability to bring depth and authenticity to her characters is a testament to her versatility as an actress," she added.

"Mateena Rajput's on-screen charisma is unmatched, leaving audiences spellbound with her magnetic presence and captivating performances," said Maya Kapoor, an entertainment columnist.

Source: IANS

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By Sukant Deepak

New Delhi, May 27 (SocialNews.XYZ) He never expected that the role of 'Hathoda Tyagi' in the 'Paatal Lok' web series to be such a landmark hit considering the character did not speak much and the short screen time it got. However, he clearly remembers "some magic" being created while shooting, not just owing to the controlled rage he managed to convey but also the way the series was shot.

"I fell completely in love with the role, and somewhere in the back of my mind, I knew it had the potential to change my life. Of course, I had no idea that people would probably know me as 'Hathoda Tyagi'. I have to constantly try and do something which is as exciting as Hathoda, which is going to be very difficult," actor Abhishek Banerjee tells IANS.

The actor will soon be seen in the Short 'Sex, Likes and Stories', directed by Keith Gomes on an iPhone, where he plays the character of 'Chokra Boy', hailing from a simple social and economic background who uses the social media to pretend to be someone else and tries to live a completely different life. Banerjee smiles that the character is completely opposite to who he is. "I am who I am. Believe me, I cannot even pretend in an interview with a media person."

Known for his extensive research before playing a character, the actor says the same is always a wise idea and instrumental in bringing forth diverse shades and nuances. Travelling, making extensive notes, and meeting new people is what he does even when he is not preparing for a role. "To form a character in your mind you need to understand space and their backgrounds. Travelling not only allows you to meet new people but also learn about different places, distinct cultures, and diverse societal norms."

Talk to Banerjee about his fascination with Shorts, and the actor, who started his career with this genre when he was not getting any work remembers asking his struggling filmmaker friends to cast him in them. Adding that whenever he wants to "learn" something or needs a break from his usual work, he likes working in that genre, Banerjee says, "Precisely why I did 'Vakil Babu' last year, which revolved around domestic violence. I strongly feel actors and filmmakers should continue to do short films as they are 'quick' and offer a chance to learn about themselves and hone their craft."

Banerjee, who did theatre for several years in Delhi before shifting base to Mumbai feels the medium goes a long way in enhancing. "It is essential that the audience feels exactly what you are trying to portray for them to emotionally connect with the scene, and training in theatre goes a long way in ensuring that."

Remembering that after being cast in comedy roles in 'Stree', 'Bala', and 'Dream Girl 2', he started wondering if he would get a chance in another genre, it was OTT that came to his rescue with roles in 'Mirzapur', 'Paatal Lok', and 'Typewriter'. "I then received offers for films like 'Rashmi Rocket', 'Ankahi Kahaniya' and 'Ajeeb Dastaan' which are completely different from my previous projects."

Banerjee, who goes back a long way with Gomes and attributes his presence in Mumbai to the latter feels shooting a film on a phone has its own advantages and disadvantages. "While the process may turn out to be quick, but sometimes also gets tough to capture a suitable amount of light, sound, etc. "

The actor, who is currently working for films including 'Apurva', 'Stree 2', 'Dream Girl 2', and 'Rana Naidu 2', adds, "I am also going to be part of an action film which I am quite excited about.

(Sukant Deepak can be reached at sukant.d@ians.in)

Source: IANS

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Mumbai, May 18 (SocialNews.XYZ) 'Dasara', starring Telugu superstar Nani and Keerthy Suresh, is ready for a Netflix release in Hindi. The OTT platform released the trailer for the Hindi version on Thursday.

The official handle of Netflix India also shared the release date. It said: "If you thought that the Dhoom Dhaam was done, you're wrong! 'Dasara' is coming to Netflix in Hindi on May 25th."

Written and helmed by debutant Srikanth Odela, the period drama also features Dheekshith Shetty, Shine Tom Chacko, Samuthirakani, Sai Kumar and Poorna in key roles. The gritty film is set in the backdrop of the Singareni coal mines near Godavarikhani, Telangana.

The Telugu original of 'Dasara' was released on March 30 and it received mixed- positive reviews, but it went on to gross Rs 135 crore on a budget of Rs 65 crore.

After the success of 'Dasara', Nani has started work on his next movie, an emotional family drama currently titled NANI30, directed by another debutant filmmaker, Shouryuv. The film will also have Mrunal Thakur, who made her debut in the South with the Dulquer Salmaan-starrer 'Sita Ramam'.

Source: IANS

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Mumbai, May 17 (SocialNews.XYZ) The uncanny similarities between Anand Swarnakar, Vijay Varma's evil character in the web series "Dahaad", and the serial killer notorious as 'Cyanide Mohan' have not escaped people familiar with the real-life story.

What's striking, though, is the silence of the "Dahaad" makers -- Zoya Akhtar and Reema Kagti's Excel Entertainment -- on the inspiration for the show.

Mohan Kumar Vivekanand, aka 'Cyanide Mohan', was a soft-spoken physical education teacher between 1980 and 2003 before his arrest at his home village outside Mangaluru, Karnataka, in 2009. In "Dahaad", Anand Swarnakar teaches Hindi in a women's college in Rajasthan. But that is where the dissimilarities end.

'Cyanide Mohan' was arrested on the charge on marrying women from economically less privileged families, killing them using cyanide-laced contraceptive pills after spending a night with them, and dumping their bodies clad in wedding finery in public toilets. He repeated this crime 20 times. Sounds familiar?

The serial murderer stuck to his modus operandi of making his victims ingest cyanide unknowingly, under the mistaken belief that they were having contraceptive pills, so that their bodies did not have any tell-tale marks to indicate they had died unnatural deaths.

'Cyanide Mohan' was awarded death sentence in four cases and life imprisonment in 15 others. He was last pronounced guilty of raping and murdering a woman from Kerala, his 20th victim, back in 2020.

The life sentence awarded to him in four cases were commuted later to life imprisonment, which he is serving at the Hindalga Central Prison in Belagavi, Karnataka.

If the makers of "Dahaad" have been silent about the most likely inspiration for "Dahaad", there was similar radio silence about the obvious parallels between the lives of the characters in Vikramaditya Motawane's "Jubilee" and the Bombay Talkies founders, Himanshu Roy and Devika Rani, and their star, Ashok Kumar.

Anyone who's seen the web series would know that the three principal characters -- studio mogul Sukant Roy, played by Prosenjit Chatterjee; his actress-wife Sumitra Kumari (Aditi Rao Hydari); and lab assistant Binod Das-turned-leading actor Madan Kumar (Aparshakti Khurana) -- have been inspired by the three leading lights of Bombay Talkies, which launched the careers of Dilip Kumar and Madhubala, apart from Ashok Kumar.

The similarities aren't superficial -- even Devika Rani's torrid romance and subsequent elopement with her "Jeevan Naiya" co-star Najm-ul-Hassan forms the crux of Jubilee's opening episode, with Nandish Sandhu playing Jamshed Khan to Hydari's Sumitra.

Neither Motawane, nor Amazon Prime, the OTT platform where "Jubilee" is streaming, have said a word about the obvious similarities of the two stories.

Source: IANS

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Hyderabad, May 16 (SocialNews.XYZ) Hyderabad had its first ever drag racing speed fest night racing on the city outskirts.

The racing, considered as the world's fastest sport and T20 of motorsports, was held at Narsingi on Telangana State Police Academy (TSPA) service road, Special Chief Secretary, Urban Development, Arvind Kumar, revealed in a tweet on Tuesday.

He promised more such events soon.

India's first-ever drag racing strip is being built in Hyderabad.

A two-lane, one kilometer long drag strip will be built. Out of this stretch, 400 metres will be used as the drag strip while the rest 600 metres will be used as a shutdown area for vehicles to slow down and come to a halt.

Hyderabad hosted the first-ever Formula E race in India in February. The 2023 Hyderabad E-Prix was held at the picturesque Hussain Sagar Lake in the city.

The 2.8-km track, featuring a total of 18 turns, was laid alongside Hussain Sagar Lake, using the existing roads for vehicular traffic.

A total of 11 teams and 22 drivers had participated in the race. All cars were electric and powered by a 250kW battery.

It was the first FIA World Championship event held in India after the last Formula 1 Indian Grand Prix at the Buddh International Circuit in 2013.

Source: IANS

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Guwahati, May 15 (SocialNews.XYZ) Actresses Raima and Riya Sen - the two daughters of Bengal who have always been in the limelight due to their grandmother Suchitra Sen and mother Moon Moon Sen, and later for their own acting skills, have expressed their interest in joining politics - in the future.

While Raima clearly mentioned a timeline for her to jump into the political arena, her younger sister, Riya has not given a clear answer. However, after Riya was seen joining the Bharat Jodo Yatra along with Rahul Gandhi, speculations were rife that she might soon join the Congress.

Speaking to IANS, the Sen sisters, though they avoided revealing their political affiliations, conveyed their desire to be future politicians.

Raima said: "As of now, I am not joining politics and concentrating on my acting career, but yes, within the next 5 years, I have a wish to try my luck in politics too."

Their mother, Moonmoon Sen, won from West Bengal's Bankura Lok Sabha seat in 2014, but lost from Asansol in 2019 to Babul Supriyo, who incidentally later switched sides and joined the Trinamool Congress to become a minister in Mamata Banerjee-led West Bengal government.

"My mother suggested I enjoy acting for a few more years and then join politics," Raima said.

Meanwhile, when Riya joined the Bharat Jodo Yatra with Rahul Gandhi in November last year, the buzz in the political spectrum was that she would join the Congress soon. Raima was also scheduled to take part in Bharat Jodo, but due to her shooting, she could not join the yatra.

"I have not seen the Bharat Jodo as a political one. It was something to unite the whole country. That is why I joined the yatra," the younger Sen sister said.

"I also have an interest in politics but can't say when and how things will happen."

Raima and Riya refused to comment on their probability of joining Mamata Banerjee's fold like their mother.

"Let us see how the situation unfolds," Raima said.

Their father, Bharat Dev Varma, belongs to the royal family of Tripura. Another royal family scion and Tipra Motha party head Pradyot Bikram Manikya has been demanding a greater Tipraland for the indigenous people of Tripura.

Raima said, "We have heard about these political developments, but as we have little connection with Tripura currently, I cannot comment anything on this issue."

On the work front, Raima is doing films and web series simultaneously. Apart from Kolkata, she has been busy working in Mumbai as well.

"I am doing more work in Mumbai now, but yes, Kolkata is my home, and whenever I get something exciting, I always look forward to acting in Tollywood," she said.

On the other hand, Riya is doing movie "Death Tale" under Shawn Arranha's direction, and it is scheduled to release on July 1.

Source: IANS

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By Vikas Datta

A ubiquitous presence in Hindi films for over three decades in various roles, his avuncular appearance made him an ideal parental figure. Nazir Hussain, by the time he turned 50, had the distinction of being the only actor to play the father (or father-in-law) of the trio of Dilip Kumar, Raj Kapoor, and Dev Anand, as well as Shammi Kapoor, Dharmendra, and heroines from Meena Kumari to Hema Malini.

But playing an entire gamut of fathers -- helpless (Gurcharandas of "Parineeta", 1953), imperious (Lala Daulatram Khanna of "New Delhi", 1956), provoked (Mr Khanna of "Leader", 1964), disappointed (Gen. Durgaprasad Bakshi, retd, of "Prem Pujari", 1970) -- was not Hussain's only acting strength, despite his 400-odd screen appearances.

With his imposing physique, bluff features, and an air of worldliness, which he could transform into despair or authority, he could pull off roles of rickshaw-pullers or village postmasters with the same aplomb as those of rich landlords or industrialists.

He was frequently roped in to play policemen -- the Police Superintendent in "Ganga Jumna" (1961) or the Commissioner of Police in "Jewel Thief" (1967) -- and army officers (Colonel Choudhury in "Lalkar", 1972), but he also found a special niche in playing priests, especially Catholic. Remember him as Father Gonsalves of "Amar Akbar Anthony" (1977), where he went on to play foster father to Amitabh Bachchan, or before that, Father Joseph of "Sharmeelee" (1970)?

Hussain's talent of playing this disparate group of characters came from his equally eventful life. At this point, though, it is important to distinguish Nazir Hussain from filmmaker Nasir Hussain, Aamir Khan's uncle and also the creator of the modern Indian musical ("Jab Pyar Kisi Se Hota Hai", 1961; "Teesri Manzil", 1966; "Yaadon Ki Baraat", 1973, et al).

Born on this day (May 15) in 1922 at Usia village in the Ghazipur district of the then United Provinces, Nazir Hussain was the son of railway guard Shahabzad Khan and followed his father into the railways as a fireman.

He subsequently enlisted in the British Indian Army when World War II broke out and was posted to Southeast Asia, where he was captured by the Japanese. At the PoW camp, he got influenced by Netaji Subhas Chandra Bose and signed up for the Indian National Army.

His war record was not eventful, but the INA tag - like for many others - created for him its own set of problems after he was drummed out of the army. He found it hard to get gainful employmentr (though he was later granted the status of a freedom fighter, which entitled him to free railway travel).

Hussain drifted into theatre, where he did bit roles before coming to the notice of the legendary B.N. Sircar and was invited to join New Theatres in Calcutta.

Here he made the acquaintance of Bimal Roy -- and this would prove to be game-changing. Roy was impressed by his INA background and they collaborated on the film "Pehla Aadmi" (1950), usually described as a tragic love story set against the backdrop of World War II and the formation of the INA.

Unfortunately, little is known about this film, which is supposed to be the first to represent Netaji. Hussain, apart from acting in it, furnished the screenplay and the dialogues.

Hussain would go on to become a fixture in most of Bimal Roy's films, including "Parineeta" and "Do Bigha Zamin" (both 1953) -- where he is the rickshaw-puller who befriends Balraj Sahni and teaches him the art; "Devdas" (1955), "Yahudi" (1958) -- a rare outing for him as a merciless and manipulative villain, and the fantastic but not that well-known "Parakh" (1960), which could serve as a parable on Indian politics.

He was also present in many outstanding films of many other leading filmmakers, notably B.R. Chopra's "Naya Daur" (1957) and "The Burning Train" (1980), Hrishikesh Mukherjee's debut "Musafir" (1957) and "Anuradha" (1960), Raj Khosla's "Kalapani" (1958) and "Bombai ka Babu" (1960), Guru Dutt's "Sahib Bibi Aur Ghulam" (1962), Mohan Kumar's "Anpadh" (1962), Shakti Samanta's "Kashmir ki Kali" (1964) and "Kati Patang" (1971), Ramanand Sagar's "Aarzo" (1965) and spy flick "Aankhen" (1968), Asit Sen's "Khamoshi" (1972), Feroz Khan's "Godfather" rip-off "Dharmatma" (1975), Manmohan Desai's "Amar, Akbar, Anthony" (1977), and many more.

Yet, what was Hussain's most abiding contribution to Indian cinema was his pioneering role in the genesis, rise, and development of Bhojpuri cinema.

As the story goes, he met India's first President Rajendra Prasad, possibly at a screening of "Ganga Jumna" (1961), and they started conversing in their common language, Bhojpuri. It was then that Prasad urged him to look at the possibility of Bhojpuri films and Hussain took it up as a personal responsibility.

"Ganga Maiyya Tohe Piyari Chadhaibo" (1963), written by Hussain and also featuring him, though again in a character role, became India's first Bhojpuri film. More followed -- they were not merely entertainers in a rustic setting, but dealt with prevailing social issues.

In the 1970s, when action became the rage in Indian cinema, Hussain went on to revive Bhojpuri films with another hit "Balam Pardesia" (1979).

By the early 1980s, Hussain had begun to cut down on work and his last major film was B.R. Chopra's "Mazdoor" (1983), while his last onscreen appearance was in K. Asif's incomplete, long-delayed, and posthumously released "Love and God" (1986).

Nazir Hussain passed away in October 1987, aged just 65, after a stellar career where he had featured with almost all the actors and actresses of his period.

(Vikas Datta can be contacted at vikas.d@ians.in)

Source: IANS

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By Sukant Deepak

New Delhi, May 12 (SocialNews.XYZ) One of the few mainstream Hindi film actors of his generation to constantly plunge himself into uncharted territory, and opt for unconventional roles -- like in 'Omkara', 'Go Goa Gone', 'Parineeta', 'Sacred Games' and 'Laal Kaptaan' among others, Saif Ali Khan says while at one point, he wanted to play it safe and survive, but soon realised the importance of trying new things and offering something novel to the audience.

"If you are having fun playing such roles, chances are the audience will enjoy watching you too. In the case of 'Omkara' and 'Go Goa Gone', I agreed to essay the roles which many people did not want to. For me, the idea is always to do something new each time," he tells IANS.

Stressing that the OTT allows for much space to experiment, Khan opines that when it comes to making content for the digital medium, it is important to be completely honest about contemporary realities and human conditions, and then dramatise the situations. "Only then will you be able to move people. Let us not forget that whatever we make for this medium is immediately compared to international work."

Even as he agrees with the evolution of content and treatment with the advent of OTT, the actor maintains that it would not really have an impact on how mainstream cinema in terms of storytelling. "Though mindsets are bound to change, I am unsure of the actual impact as it depends on how much of a chance mainstream is willing to take in terms of evolving scripts and not playing it very safe."

He may have worked with a diverse set of directors, but now he does not really think on terms of script or the person behind the camera. "I now approach work as a producer. My thought process is -- what kind of movies I would like to make?"

When it comes to signing the dotted line, it is about how he feels at that moment in time. "It has to be instinctive. Your gut tells you if it is worth the time and energy. Now, I prefer the comfort of home, so, if the project is going to take me away to a hotel room for weeks, it has to be worthwhile in every way, otherwise, I might not want to do it. It has to be something that I would want to be part of my history."

Believing that making movies is an art, and not just about money, the actor feels it is about putting the right people together, marketing, and creative packaging.

The actor, who is the first-ever brand ambassador for Lay's Gourmet and was associated with the brand for several years, says he is thrilled to rejoin the Lay's family. "I am a firm believer in freedom of choice and believe all things in moderation are fine. And if it's legal and I am fond of it too, I will endorse it," says the actor who is currently working on a romantic comedy titled 'No Kids'.

"I am also shooting for a big action-packed South Indian movie. Besides that, a film for Siddharth Anand's production which is a Netflix original. So, there are a lot of things in the pipeline," he concludes.

(Sukant Deepak can be contacted at sukant.d@ians.in)

Source: IANS

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Imphal, May 6 (SocialNews.XYZ) The restored version of the 1990 Manipuri film 'Ishanou', directed by renowned filmmaker Aribam Syam Sharma, is set to premiere at the Cannes Film Festival to be held from May 16-27.

The film, which stars Anoubam Kiranmala and Kangjam Tomba and deals with the Maibi culture of Manipur, has been recognised as World Classic and will be screened in the Cannes Classic section, said officials of the Manipur State Film Development Society (MSFDS).

Produced in 1990, the 91-minute film was previously an official entry to the Un Certain Regard section of Cannes in 1991.

The MSFDS initiated the ambitious restoration project of 'Ishanou' in association with the Film Heritage Foundation, Mumbai, and director Aribam Syam Sharma.

'Ishanou' is only the second celluloid Manipuri feature film that the SN Chand Cine Archive and the Museum of MSFDS has digitised, and the first film to have been restored.

The Chairman of Film Forum Manipur (FFM), Laimayum Surjakanta Sharma, said that Syam Sharma is the ground-breaking doyen of Manipuri cinema who has been working relentlessly in portraying the cultural and emotional nuances of the state and its people with a humanitarian vision through cinematic storytelling with utmost simplicity and distinctive artistic signature.

Various film-related organisations in Manipur had urged the Information and Broadcasting Ministry last year to confer Dadasaheb Phalke Award upon Syam Sharma.

In the 53rd edition of the International Film Festival of India (IFFI) held in Goa in November last year, Manipuri films were screened under the special Manipuri cinema section titled 'Golden Jubilee of Manipuri Cinema'.

Source: IANS

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Mumbai, April 27 (SocialNews.XYZ) The upcoming show 'Baghin', which stars actress Aneri Vajani of 'Anupamaa' fame and Zeeshan Khan of 'Kumkum Bhagya' fame, saw a leopard visiting its sets in the city.

The show follows the story of its female lead possessed by the spirit of a tigress and shows the man and the beast.

While shooting a crucial scene at Mumbai's Film City, actor Ansh Bagri along with his other cast and crew were paid a visit a by a guest - a leopard. The leopard strolled in, gave a look around and peacefully walked out, leaving everybody surprised.

Sharing his experience, Ansh Bagri said: "We were shooting in Film City in Mumbai for our show and we were shooting a scene where Gauri (Aneri Vajani) was supposed to turn into a Baghin (tigress) for the first time. In the scene we were showing how a tiger comes in front of Gauri and then she transforms herself. Exactly at that moment, a leopard suddenly appeared in front of us, looked around and just passed by."

He further mentioned: "We are sure this is some kind of divine blessing as we were showcasing a Tiger in reel scene while a leopard appeared on the sets in real life. This is one of the most magical moments I have ever witnessed in my life. We were lucky as the leopard was peaceful and did not harm any of the crew, it just came, saw us and left peacefully."

The Film City, which was built in 1977 by the state government of Maharashtra, borders the eco-sensitive zone of the Sanjay Gandhi National Park, which is the world's only National Park within the city limits.

'Baghin' will be out on Atrangii OTT and TV in 2023.

Source: IANS

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New York, April 25 (SocialNews.XYZ) Singer, actor, producer and activist Harry Belafonte, who spawned a calypso craze in the U.S. with his music and blazed new trails for African-American performers, has died of congestive heart failure at his Manhattan home, reports 'Variety'. He was 96.

An award-winning Broadway performer and a versatile recording and concert star of the 1950s, notes 'Variety', the lithe, handsome Harold George Belafonte, who grew up in New York and Jamaica, became one of the first black leading men in Hollywood. He later branched into production work on theatrical films and telepics.

He'll be remembered forever for his ageless 'Banana Boat Song (Day-O)', which Tim Burton employed to bright effect in his 1988 comedy 'Beetlejuice', reports 'Variety'. And Belafonte also provided early employment to a future folk icon: His 1962 album 'Midnight Special' featured harmonica work by Bob Dylan.

Among the most honoured artistes of his era, Belafonte won two Grammys (and the Recording Academy's Lifetime Achievement Award in 2000), a Tony and an Emmy (he was the first Black performer to get one).

As his career stretched into the new millennium, his commitment to social causes never took a back seat to his professional work.

An intimate of Dr Martin Luther King Jr, he was an important voice in the civil rights movement that swept 1960s America, and he later embarked on charitable activities on behalf of underdeveloped African nations. He was also an outspoken opponent of South Africa's apartheid policies, adds 'Variety'.

Closely associated with King, Belafonte provided financial support to the civil rights leader and his family, and also funded the Freedom Riders and the Student Non-Violent Coordinating Committee. He was a key figure in the organisation of the historic March on Washington of August 1963.

The racial tumult of the 1960s, says 'Variety', hit close to home: In 1968 Belafonte became the centre of a furore when he appeared as a guest star on an NBC special hosted by British pop singer Petula Clark.

During a performance of an anti-war ballad, Clark clutched Belafonte's arm. Doyle Lott, VP for sponsor Chrysler-Plymouth, was present at the taping and demanded the number be excised, saying the "interracial touching" might offend Southern viewers. But Clark, who owned the show, put her foot down and the show aired as recorded; Lott was fired by the automaker.

Source: IANS

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By Sukant Deepak

New Delhi, April 23 (SocialNews.XYZ) Believing that Bengali is one of the world's most beautiful and revered languages, Bangladeshi actor Nusraat Faria says that Indo-Bangla partnership is important for putting the language on the world map.

"We live in the time of globalisation. This is an era when geographical boundaries are redundant. The two nations must keep collaborating in the field of cinema. I have had the privilege of working in nine Indo-Bangla productions, and the experience has been unforgettable," she asserts.

Faria will be seen in Shyam Benegal's 'Bongobondhu', in which she essays the role of Sheikh Hasina, Bangladesh's Prime Minister.

An actor, singer, RJ and reality show host, Faria stresses that she thinks of herself as an entertainer and enjoys everything to do with the arts. "Going with the flow is my thing," she says.

All praise for new age Bangladeshi directors, the actor asserts they boast of fresh perspectives, bring forth novel concepts, and a peculiar technical style. "Best part being, they have the right attitude and know what to do. Take the Bangladeshi Hoichoi platform that produces excellent television shows and films. This gives us the opportunity to be proud of ourselves and gives Bangladeshi cinema a critical boost at this crucial juncture."

Faria, whose single, SVF Music's 'Bujhina Toh Tai' with Mumzy Stranger was released on Eid says she has high expectations from the single. For someone who has already released several singles with SVF -- 'Pataka', 'Ami Chai Thakte' and 'Habibi', she adds, "It is a significant role, and as a producer, I like the way they have approached it from my perspective. I have given my best to the latest song and set the bar high."

Someone who frequently works in Kolkata and not just Indo-Bangla productions, Faria says she has a busy year ahead with upcoming films like 'Abar Bibaho Obhijaan' and 'Patalghor'.

Not really missing formal education in acting, for Faria, personal experiences go a long way in acquainting oneself with the craft. "The best education is encountered on the path of self-learning. I may not be the best, but I am improving, and learning everyday from my co-stars, directors and instincts," she concludes.

Source: IANS

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New Delhi, April 21 (SocialNews.XYZ) So, did the hyper-real prosthetics in films like Tumbbad, 'Ghoul', Sonchiriya, Raaz 3, 'Darr at the Mall' and '72 hours' impress you? Well, they were all made not in a fancy studio in Mumbai but in a small one on the outskirts of Chandigarh.

Gurpreet Dhuri, who has worked for some major names including Anand Gandhi, Anurag Kashyap, Dibakar Banerjee, and Rahi Anil Barve started off with Kashyap's 'Gangs of Wasseypur' and there has been a steady stream of work, especially from independent filmmakers.

A pass-out from Chandigarh's Government College of Art, Dhuri, a specialist in creating hyper-realistic sculptures and characters boasts of having the only studio in the region offering FX and hyperrealism in sculpture. All the team members are from the College of Art here.

"Several years back, when I was visiting Pune, a friend working with Anurag Kashyap got me to do some prosthetic work in his film. Once the industry people saw my work in 'Gangs', there has been no looking back," says the artist whose sculptures are installed at important places including Jantar Mantar and Hawa Mahal in Jaipur, Bikaner Museum, Sadda Pind in Amritsar, Rock Garden in Chandigarh, Ajmer Museum, Bhagat Singh Museum in Khatkar Kalan, Fateh Prakash Palace Museum in Chittorgarh, Darshan Museum in Pune, Swami Chinmayanand Ashram in Powai and T2 International Airport in Mumbai. Between 2014 and 2018, Gurpreet's sculptures were also featured at the Birsa Munda Museum and the Attari-Wagah Joint Checkpost (JCP) as relief sculptures.

Stressing that the work he did in the internationally acclaimed film 'Tumbbad' was most challenging, Dhuri recalls, "We had to pay a lot of attention to detail, and there were a lot of prosthetics and characters involved. It is not every day that one gets to work in a film like that. It was a very special experience," he tells IANS.

Despite not being based in Mumbai, the artist is consistently approached by filmmakers in Mumbai. Adding that his work can be easily done remotely, he says, "Unlike the make-up department, we do not need to be on the spot. Also, when people see your work and appreciate it, they tend to reach out," says the Dhuri who makes sculptures with silicone and bronze, besides other metals as well.

And it is the need for realism that has made his work almost indispensable, especially for independent filmmakers. "These directors realize that the audience cannot be taken for granted. For example, painting as splash of blood will no longer suffice. In order to give the audiences a more authentic experience, they approach us. I feel there is a certain honesty and 'truth' they strive for in their work and are willing to go the extra mile for that."

Inspired by Stan Winston, the pioneer of modern special effects, Dhuri says it is important for him to constantly experiment and reinvent himself. "The audience is extremely demanding and has a short attention span. In order to stay relevant, our team is constantly working with new materials and using diverse approaches."

Talk to him about his process, and Dhuri says that he always needs more than a brief. He prefers to study the character in depth in order to do justice. "When I design a character, I always keep in mind the story it is meant to tell. The character should not only look good but also evoke the right emotions in the audience. Studying the subjects/characters ensures that the sculptures/prosthetics are as accurate as possible. I make a lot of drawing to get things right," concludes the artist who recently made a hyper-realistic sculpture of slain singer Sidhu Moose Wala.

Source: IANS

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Kochi, April 18 (SocialNews.XYZ) A new controversy has broken out in the Malayalam film industry as the Film Employees Federation of Kerala (FEFKA) on Tuesday expressed its displeasure over the way "some" of the actors behave.

The FEFKA is the apex body of 19 different organisations that include drivers to directors and its General Secretary, director B. Unnikrishnan said things are reaching a point of difficulty over the way some actors are behaving.

"Before every film starts, the actors have to ink an agreement which has been cleared by the AMMA (Association of Malayalam Movie Artistes), but it has now come to notice that it's not being done. The problem now is certain actors are giving same dates and time to different directors and producers and if they sign the agreement, they know they will be in trouble and hence, they don't do it," he said.

"Another new problem that has now surfaced is some actors insist they be called when the film editing is being done and also others, who the actors say, also should be allowed to see the editing," Unnikrishnan added.

Even though he did not name these "trouble-makers", he dropped enough hints by saying that not all actors are acting so, but some of them.

According to those in the know of things, the trouble makers are a few of the new generation actors.

Now with the FEFKA firing the first salvo, all eyes are on the superstar Mohanlal- headed AMMA on how they respond to the charges.

Source: IANS

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By Vikas Datta

Nearly four decades before Madhuri Dixit (courtesy Alka Yagnik) in "Tezaab" (1988), she had already made the nation count "Ek do teen..." in Raj Kapoor's "Awara" (1951) at her career's high point, when she was eagerly sought by both established and new composers. Yet, as the 1960s began, Shamshad Begum's robust and crystal-clear voice had largely disappeared from the film world.

The first female playback superstar of Hindi films, Shamshad Begum not only held her own against existing singers like Ameerbai Karnataki and Zohrabai Ambalewali and new singing-actresses like Noor Jehan and Suraiya, but also boosted the prospects of emerging music composers like Naushad, S.D. Burman, C. Ramchandra, and O.P. Nayyar. She also prophesied a bright future ahead for Madan Mohan and Kishore Kumar, who began as chorus singers for her songs.

Sung with gusto and a sense of abandon, her songs like "Naina bhar aye neer" ("Humayun", 1945), "Jab usne gesu bikhraye" ("Shahjehan", 1946), "Na bol pee pee more aangna" ("Dulari", 1949) , "Mere piya gaye Rangoon" ("Patanga", 1949), "Chod Babul ka ghar" and "Milte hi aankhen dil hua" ("Babul", 1950), "Saiyan dil mein aana re" ("Bahar", 1951), "Door koi gaye" ("Baiju Bawra, 1952), "Kabhi aar kabhi paar" ("Aar Paar", 1954), "Leke pehla pehla pyar", "Kahin pe nigahen kahin pe nishana", and "Boojh mera kya naam re" ("CID", 1956) became immensely popular - and still strike a chord, including for remix artistes.

Born in Lahore on this day (April 14, 1919) in a conservative family of modest means, Shamshad Begum's musical abilities were recognised early - at school, where her principal made the five-year-old lead the class prayers. She sang at religious and family functions, though her family was not very keen on her "hobby".

"In those days, a girl singing a song was not really a good thing," Shamshad Begum's sole daughter Usha Ratra had told IANS in an interview soon after her mother's demise in 2013.

However, in 1931, her uncle, who was fond of music, clandestinely took her to an audition with Lahore-based music composer Ghulam Haider, who was so impressed with her that he gave her a contract for a dozen songs with the same terms as for top singers. The uncle then convinced her father to let her sing, and he eventually agreed, though he imposed two conditions - that she would record in a burka and not be photographed.

However, this contract, which was with a gramophone company, only brought her restricted fame.

"Whatever she used to sing was famous only among rich people. Gramophones used to come for Rs 250 and one record for around Rs 2, which was very expensive at that point of time. Only rich people used to hear them. She was well-known among the rich," her daughter recalled.

Even as she continued her music career, a teenaged Shamshad Begum took another major decision in her life - she fell in love with law student Ganpat Lal Batto and married him in 1934, despite her family's objection.

Her career took a new turn in 1937 when she was chosen to sing on All India Radio (AIR) in Peshawar and Lahore. A producer wanted her to act as well and she was willing, but her father flatly forbade her. She promised him that she would never appear before the camera - and kept her word so strictly that for the next three decades, many of her admirers didn't even see a photograph of her.

It was legendary filmmaker Mehboob Khan, who convinced her family to let her move to Bombay and sing for films.

"Mehboob sahab told my father, 'I will take her to Mumbai and give her a flat, car, conveyance and even if four to six people accompany her, it's fine. Please let her come to Bombay'. My nana was not convinced but he had to give in because my mom wanted to go," Usha Ratra recalled.

Shamshad Begum hit it big with her very first film - murder mystery "Khazanchi" (1941), the biggest hit of the year and where she rendered eight songs, and then, "Taqdeer" (1943), which marked the debut of Nargis.

She was eagerly sought after since then and composers, especially Naushad and Nayyar - who likened her voice to the "peal of a temple bell" for clarity - acknowledged how her readiness to sing for them helped their rise.

However, in the 1950s, younger singers like Lata Mangeshkar, Asha Bhosle, Geeta Datt, et all were rising and while Shamshad Begum maintained her position, the death of her husband in an accident in 1955 led her to temporarily withdraw from work.

Naushad and Nayyar did manage to coax her back for songs in several iconic films, including "Holi aayee re Kanhaai" ("Mother India", 1956), "Reshmi salwar kurta jaali Da" ("Naya Daur", 1957) and "Teri mehfil mein qismat" ("Mughal-e-Azam", 1960), but after 1960, she more or less withdrew fully - only making a brief comeback to render "Kajra mohabbatwala" ("Kismat", 1968), a duet with Asha Bhosle where she proved her voice had not lost any vigour.

Shamshad Begum spent the rest of her life with her daughter and her family, coming back into the limelight again in 2004 when there were erroneous reports of her demise. She was conferred the Padma Bhushan in 2009, and died in 2013, a few days after her 94th birthday.

According to her daughter, Shamshad Begum had no regrets.

"She earned respect and affection from the people because of her hard work and dedication... She helped everyone, but later people just took advantage of it and used her...

"... She used to say, 'Whatever I have got, I have got from my god; I am not going to take anything with me. And the law of life is whoever goes up and tastes fame and name has to come down today or tomorrow. So I have tasted success and I am happy about that and I am prepared for everything'," Usha Ratra had told IANS in 2013.

(Vikas Datta can be contacted at vikas.d@ians.in)

Source: IANS

The post ‘Boojh mera kya naam re’: Shamshad Begum and her eclipsed career appeared first on Social News XYZ.

By Vikas Datta

However, Saigal, if not forgotten, apart from a group of devoted aficionados (who somehow keep getting replenished), is miscast and mocked as a paragon of "old-style", pathos-laden songs, especially his swan song "Jab dil hi toot gaya".

A little more research might lead viewers to the upbeat and breezy "Mere Sapnon ki Rani" - where Rafi debuted as a chorus singer, from the same film "Shahjehan" (1946) - where he did not play the title role! Then, there is "Hum Apna Unhein Bana Na Sake" from "Bhanwara" (1944) where he actually laughs too.

But, then the issue is also of receptiveness - Saigal, as all those who have written on him, maintain is one who speaks to both to the listener's head and heart and requires a mellow outlook to appreciate. He is not mere dazzle but one who slowly immerses you in the magic of his intensity and intricate art with his baritone/tenor mix with a slight nasal twang.

Born on this day (April 11 - as per a tribute to him in then leading film magazine FilmIndia after his death, though some experts say April 4 and some even April 14) in Jammu in 1904, Saigal was the son of Amarchand, a tehsildar in the service of the Maharaja of Jammu and Kashmir. It was from his mother Kesarbhai, who was deeply religious, that he inherited a love of music as he used to accompany her to gatherings and hear bhajans, kirtans, and shabads.

A young Saigal participated in Ramlilas in Jammu and is said to have performed in the Maharaja's court where his rendition of Meera's bhajans left everyone spellbound.

However, a crisis occurred when at the dawn of adolescence at 12, his voice began to crack, ending the clear soprano. His mother then took him to her Pir Salman Yousuf, who counselled the distraught youth not to lose heart, stop singing for two years, and undertake 'zikr' (meditation) and 'riaz' (practice) secretly, prophesying that this break would prove to be a "rebirth" for him.

On the other hand, his father, who had retired and moved back to the family home at Jalandhar, was not happy at his son's dropping out of school and not taking up a proper job. Eventually, Saigal left home, taking up a variety of jobs across Lahore, Kanpur, Bareilly, Moradabad, Simla, and Delhi - as a timekeeper in the Railways, a Remington typewriter salesman, and as hotel manager, while entrancing people with his singing.

Eventually, he landed up in Calcutta in the early 1930s, where the advent of sound had revolutionised films. There are three versions of how he met New Theatres' B.N. Sircar - with Pankaj Mullick, R.C. Boral, and a company employee cited as the conduits, while Sircar later also claimed credit.

While his initial films - debut "Mohabbat Ke Ansu" (1932) and two others did not make much waves - nor does their music survive, it was "Yahudi ki Ladki" (1933) that proved to be his first hit, while the religious themed "Puran Bhagat" (1933) and "Chandidas" (1934) made his name.

His role as "Devdas" in the epic novel's Hindi version (1935) made him a megastar - especially with songs like "Dukh Ke Ab Din Beetat Nahin" and made a template for the character. (He also did a cameo role in the Bengali version).

Saigal was now a superstar to contend with - while the films he did the rest of the decade may not strike a chord, their songs certainly do - "Ek bangla bane nyara" ("President", 1937), "Babul mora" ("Street Singer",1937), "Karoon kya aas niras bhayi" ("Dushman", 1939), "So ja Rajkumari so ja" ("Zindagi", 1940), and "Ae qatib-e-taqdeer" and "Do naina matware tihare" ("My Sister", 1943), among others.

Take "Mai kya janoon kya jadoo hai" ("Zindagi") - and see how difficult it is to express the second 'kya'.

Kanan Devi, who was a co-star, recalled that Saigal had a perfect sense for the right pitch and did not need an instrument to set it - in fact, he would sing out a note and musicians would set their instruments accordingly!

In 1941-42, Saigal, along with many others, moved to Bombay and went on to strike further milestones there right from his first film "Bhakta Surdas" (1942), known for "Madhukar Shyam hamare chor", and then "Tansen" (1943) where "Diya Jalao" shows him as a sterling actor too - the point where he seems a bit unsure of the raga's effect and closes his eyes mid-sentence, and then finally, "Shahjehan".

However, his liquor habit had impacted his health - though he was not a heavy drinker and it only made his voice more mellow. His health worsened in December 1946, and he moved to hometown Jalandhar but passed away on January 18, 1947. Such was the respect he was held in that the Muslim League and others called off their agitations on the day of his last rites.

In all, Saigal acted in 36 films - 28 Hindi, 7 Bengali, and one Tamil, and sang 185 songs, including non-film, in Hindustani, Bengali, Punjabi, Tamil, as well as Persian and Pashto.

There are so many stories about his virtuosity, humility, and generosity, but its Naushad, his composer for 'Shahjehan', who penned the perfect epitaph: "Aisa koi fankar-e-mukammal nahi aaya/Naghmon ka barasta badal nahi aaya/Mausiqi ke maahir bahut aae lekin/Duniya mein koi doosra Saigal nahi aaya".

(Vikas Datta can be contacted at vikas.d@ians.in)

Source: IANS

The post ‘Layi hayat aaye qaza le chali chale’: The life and legend of K.L. Saigal appeared first on Social News XYZ.

By Vikas Datta

In a career that lasted just a decade (1973-83) or so, Parveen Babi, who was born on this day (April 4) in 1954, did it all - 'masala' potboilers, as well as 'art' films, social comedies, 'disaster' thrillers, crime capers, costumed swashbucklers, grand historic epics - opposite all lead actors of her time from Amitabh Bachchan to Feroz Khan, Dev Anand to Dharmendra, Shashi Kapoor to Shatrughan Sinha, and Rajesh Khanna to Vinod Khanna.

While "Amar Akbar Anthony" (1977), "Kaala Patthar", "Suhaag" (both 1979), "Do Aur Do Paanch", "The Burning Train", "Shaan" (all 1980), "Kranti", (1981), "Namak Halaal", "Ashanti" - a desi version of "Charlie's Angels" with Zeenat Aman and Shabani Azmi the others of the trio, "Khud-Daar", "Yeh Nazdeekiyan" (all 1982), and "Mahaan" (1983) are enough to keep her in mind of Bollywood films fans of the era, three stand out.

One is "Kaalia" - especially for that splendid mime scene where Amitabh is trying to tell her how to break an egg, "Rang Birangi" - where she convincingly shed her glamorous image to play the archetypal saree-clad house-wife in a role that was the reverse of her cameo in "Pati, Patni, aur Woh" (1978), and "Razia Sultan" - where she pulled off a classy homoerotic scene with Hema Malini.

On the other hand, she was tipped to be part of Yash Chopra's "Kabhi Kabhie" and "Silsila" but was replaced, though the filmmaker made up for it with other roles in his films.

Parveen had quite a unique life - born in Junagadh to former princely state's official Vali Mohammed Khan Babi and Jamal Bakhte Babi - 14 years after their marriage when they had despaired of ever having children, she had a fairly comfortable childhood. However, the parents' advanced ages - and her father's death when she was six - meant that she never had a close relationship with them.

Doing her BA in English from St. Xavier's College in Ahmedabad, she was supposed to marry after her graduation. A prospective bridegroom was also selected - a Babi kinsman in Karachi, working as a PIA pilot, and they had got engaged too but worsening relations between the countries, culminating in the 1971 war, scuppered the union.

Meanwhile, she did a couple of theatre plays and also some modelling - and these would lead her eventually to Bollywood - after a string of arguments with her mother. While a co-model - the daughter of veteran actor turned producer-director Kishore Sahu - recommended her to her father, another Bollywood director B.R. Ishara had come across her while shooting in Ahmedabad, signed her up, but then forgot about her.

When Sahu announced her, Ishara suddenly recalled her and took credit for her 'discovery'. However, Sahu and Ishara met and settled the matter amicably. As it happened, it was Ishara's "Charitra" (1973), where Parveen was paired with dashing cricketer Salim Durrani, that became her debut. Sahu's "Dhuen Ki Lakeer" came out next year.

While both these sank without a trace, it was her role - the first opposite Amitabh Bachchan - in thriller "Majboor" (1974) that brought her to notice of filmgoers, and her role in "Deewar" cemented it.

On the other hand, her personal life was getting complicated - Parveen, on moving to Bombay, had joined a group of young bohemian actors and it was among this, she had three affairs consecutively - with Danny Denzongpa, Kabir Bedi, and then, Mahesh Bhatt. In fact, amid her liaison with Bedi, she left India - and the industry - with him when he got the chance to play 'Sandokan' in Italy. However, her absence did not last long as she realised that he was the star and she was not getting many chances.

She came back to India and her career picked up again. But handicapped by alienation and lack of family support, a string of failed romances, and a slowly increasing mental ailment - which few of those around her could identify, let alone make arrangements for treatment - was forced to take a break in mid-1979 that could have spelled a premature end to her stint.

While some producers, who had shot extensively with her, did wait -for her , some went to replace her - she lost her role in "Laawaris" to Zeenat Aman, in "Naseeb" to Reena Roy, and so on. She was retained by an irate Prakash Mehra in "Namak Halaal" - but in a severely reduced role - two songs and 20 minutes screen time, while the original plan was to put her in the role played by Smita Patil.

However, while Parveen did her best to complete her work, her mental status was getting precarious as her schizophrenia advanced, which made her literally flee India in mid-1983, irrevocably sundering her association with Bollywood.

She did return home in 1989 but the rest of her life - periods of sanity interspersed with periods of paranoia where she claimed persecution by leading Bollywood figures and old friends distanced themselves - was a travesty before death liberated her in January 2005.

(Vikas Datta can be contacted at vikas.d@ians,in)

Source: IANS

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Hyderabad, April 2 (SocialNews.XYZ) Tollywood actor NTR Jr has begun shooting for his upcoming project 'NTR 30', directed by Koratala Siva. The film also marks Janhvi Kapoor's Telugu debut.

In a video shared on Twitter, the actor offered a brief glimpse of him arriving on the 'NTR 30' sets and chatting with his director. The actor captioned the video with the words: "Great to be on sets again with Koratala Siva!"

The video begins with the actor voicing the words: "Aa Raha Hoon Main (I am coming)."

'NTR 30' is a high-octane action drama directed by Koratala Siva set in the forgotten coastal parts of India. It will see the coming together of top technicians from the industry.

The film is being produced by Hari Krishna K. of NTR Arts and Sudhakar Mikkilineni of Yuvasudha Arts and will hit the screens on April 5, 2024.

Source: IANS

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Kochi, March 27 (SocialNews.XYZ) Loved and adored by one and all, the radiant and innocent smile of one of Kerala's most popular film actors Innocent, will now be immortalised through the more than 700 films that he acted in a career that spanned over 50 years.

Seventy-five year-old Innocent, who won millions of hearts with his comedic style, was never tied down due to his deficiencies. He often took pride in his educational career, which got over in Class 8 and every time he spoke about it, ripples of laughter ran through the crowd.

He often said it was because of his brief stint as a student, that he was able to win the 2014 Lok Sabha elections from his home constituency Chalakudy in Thrissur district trouncing veteran Congress law-maker P.C.Chacko.

Soon after winning the elections, he was felicitated at a school in his hometown-Irinjalakuda. "If you want to become an MP or MLA, you should study in the same class for at least a few years. I owe my victory to the half a dozen schools where I studied and sat in every class for two or three years and hence all my classmates voted for me, as they know me very well," he said, evoking laughter among the students.

Another memorable speech that always made the audience laugh out loud was his hilarious account of how the then Lok Sabha Speaker Sumitra Mahajan liked him a lot, while that was not the case with M.B.Rajesh (the present Kerala State Minister for Local Self Govt).

"She was extremely fond of me as I never uttered a word in the House because I had no clue of what to speak as I did not know Hindi, while Rajesh used to speak a lot," he would say.

However, in 2019, he could not repeat the winning formula and lost to Congress leader Benny Behanan.

Even the diagnosis of cancer in 2014 could not dampen his spirit and he fought the disease bravely only to return to his passion --acting for sometine. Though he had a relapse, he out-lived that too and returned to acting in 2020.

The role that he found more challenging than his stint as an MP was being the president of the Association of Malayalam Movies (AMMA) for an uninterrupted term of 18 years. Handling actors and actresses (known for their massive egoes) was never but he his amazing sense of humour always came to his rescue. "I had the knack of lacing the most serious and at times not-so-pleasant decisions with humour, which many a times saved the situation from turing ugly and explosive," he would say.

That he was so much loved and adored by his colleagues was established by the tearful farewell by his colleagues at an Indoor stadium where his body has been kept.

Big and small stars are all making a bee line to bid goodbye to perhaps the most- loved actor.

While superstar Mammootty was at the hospital, the whole of Sunday on hearing that Innocent was sinking, Mohanlal, presently shooting in Rajasthan, is scheduled to arrive later in the day to bid him goodbye.

He often used to say he was never ever born with a silver spoon, but started his film career with a remuneration of a mere Rs 15 at the then Madras, which was the capital city of Malayalam cinema and there were times he felt he might not make it and one occasion returned back, but only to go back again.

But his perseverance paid off and at times he used to say that in those hard times, when he used to see actor Sukumaran (father of popular star Prithviraj and Indrajeeth) arrive on an ambassador car, will he also own one.

Ever since the tragic news of his passing broke out late Sunday night, all roads in Kerala now lead to Kochi and then to Irinjalakuda, where the funeral will be held on Tuesday at his family Church.

Condolences have also started to pour in and practically every political leader who matters in Kerala have either sent their condolences or personally paid tributes to him with their presence.

The very fact that several have shared their loving actor's picture on their status in mobile phones reflects how Innocent had made a place in the people's hearts through his impeccable acting skill and a radiant smile.

Source: IANS

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By Vikas Datta

Much before Majrooh Sultanpuri, Sahir Ludhianvi, or Shakeel Badayuni became known, he was crafting lyrics for Indian cinema's first superstars -- K.L. Saigal ("Karun kya aas niras bhayi" from "Dushman", 1939) and Kanan Devi ("Lachmi murat daras dikhaye" from "Street Singer", 1938) as well as for emerging stars like Madhubala ("Aayi Bhor Suhani" from "Beqasoor", 1950), and more.

An outstanding standard-bearer of 'Dabistan-e-Lakhnau' or the Lucknow School of Urdu poetry, Syed Anwar Hussain 'Arzoo Lakhnavi' (February 16, 1873 to April 16, 1951) seemed destined to be a poet.

Both his father Mir Zakir Hussain 'Yas' and elder brother Mir Yusuf Hussain 'Qayas' were poets, his mother Amna Begum also belonged to a scholarly and literary family, and he took to poetry from a young age with gusto. Like his father, he was a 'shagird' of Syed Zaman Ali 'Jalal Lakhnavi' (1831-1909), showing his prowess then only, going to guide the other disciples during his mentor's lifetime and becoming their 'ustad' after his death.

But, he also struck out on his own path -- while retaining the tradition's motifs and focus, he chose a straighter style over its intricate flourishes, and to use only Urdu without recourse to Arabic or Persian -- despite his considerable knowledge of both languages.

And while he exhibited his talent in all genres of poetry -- geets, masnavis, rubai, as well as marsiyas, naats, salams, and qasidas, and also wrote stage plays and dialogues, and songs for over two dozen films, it is his ghazal-goi that he is most known for.

'Arzoo' acknowledged his work was reminiscent of his illustrious predecessors Mir and Ghalib but also contained his desire of being different from them or his contemporaries like Dagh Dehlvi and others.

As his work shows, he did succeed in striking his own distinctive course -- take the opening lines of his collection "Sureeli Bansuri" which are one of his most famous: "Jis ne banayi bansuri, geet usi ke gaaye jaa/Saans jab tak aaye jaaye, ek hi dhun bajaaye jaa".

As a prominent critic pointed out, 'Arzoo' "by bringing the language of ghazal closer to the language of conversation, made it clear that the language of poetry is not different from the language of the world, nor is it always captive in the captivity of ancient traditions".

Even when dealing with beauty, love and courtship -- a staple though not the sole focus of the Lucknow School or the whole tradition itself, 'Arzoo' could be different: "Dafattan tarq-e-taaluq mein bhi rusvaai hai / Uljhe daman ko churhate nahi jhatka de kar", or, "Kis ne bheegi huye baalon se jhatka pani / Jhoom ke aayi ghata, toot ke barsa paani" or even "Allah Allah husn ke ye parda-daari dekhiye / Bhed jis ne kholna chaha voh deewana huya".

'Arzoo' could also create some unique imagery in those familiar settings, be it the tavern: "Haath se kisi ne saghir patka mausam ki be-kaifi par / Toot ke itna barsa badal dhoob chala maikhana bhi" or the mehfil: "Awwal-e-shab voh bazm ki raunaq shama bhi parvana bhi / Raat ke akhi hote hote khatam tha yeh afsana bhi", or even encounters: "Baat karne mein vo un aankhon se amrit tapka / 'Arzoo' dekhte hi munh mein bhar aaya paani".

And then, he had the playfulness of the Lucknow school and was deft in changing the mood in succeeding couplets. Take: "Zamana yaad tera ai dil-e-naakaam aata hai / tapak padhte hai aansu jab wafa ka naam aata hai", go on to "Wafa tum se karenge dukh sahenge naaz uthayenge / Jise aata hai dil dena use har kaam aata hai" and end "Haseenon mein basar kar di jawaani 'Arzoo' ham ne / Lagaana dil ka seekhe hain yahi ek kaam aata hai".

But his verse didn't have these pleasant diversions only and like Mir, he could strike a melancholic touch too: "Dil hai voh ujda huya ghar bujh chuka jis ka chiragh / Aankhen kuch dekhen to batlayen ke kya kya lut gaya" or "Jab koyal kook sunaati hai to pati pati lahrati hai / Ham kisi se kahen aur kaun sune, hamdard hamara koi nahi".

This could also extend to a sort of hopelessness towards life and its purpose: "Hamari zindagi to ek guzar gah havadis hai / Ajab hai shamaa ka aandhi ke jhonkon main basar karna" or: "Har gul ko is chaman mein kya zarq barq paya / Dekha to ek jana sungha to farq paya" and "Koi hasrat mein dil ka sarmaya / Kuch kahi kuch kahi padha paya" or even maybe: "Hasti ki haqeeqat ko gar bad fanaa jaana / Ab soche to kya soche ab jaana to kya jaana".

There is all this and much more in the 25,000 ghazals attributed to him and collected in seven 'divans' ,

In his film career, he was as versatile. If in Saigal's "Street Singer", he could pen "Jeevan been madhur na baaje jhoote padh gaye taar / Bigde kaath se kaam bane kya megh baje na malware", he could also compose the ghazal "Sukoon dil ko mayassar gul-o-samar mein nahi / Jo aashiyaan mein hai apne vah bagh bhar men nahi".

Conferred the title of 'Allama' -- restricted to less than half-a-dozen literary giants of the modern age, Arzoo and his poetry epitomise how Urdu ghazal and other forms of poetry is intricately linked with the Indian ethos, whose essence is a vibrant diversity, not a stagnant uniformity. That is cause enough to remember him.

(Vikas Datta can be contacted at vikas.d@ians.in)

Source: IANS

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By Vikas Datta

Though he first appeared on screen as a child artiste in "Bachpan" (1945), he became more known as the young version of Raj Kapoor in his elder brother's directorial debut "Aag" (1948) and the more acclaimed "Awara" (1951), and also worked with Ashok Kumar in blockbusters such as "Sangram" (1950) and "Samadhi" (1950).

His first lead role was as a hardcore fanatic in Yash Chopra's bold "Dharmputra" (1961), but this happened to be a one-off as Shashi was more suitable as a lover-boy who always got the girl -- eventually. In this avatar, he once even pipped Amitabh Bachchan -- in "Kabhi Kabhie" (1976).

Shashi Kapoor was also famous as a reasonable foil to the 'Angry Young Man' in a dozen films, from "Roti Kapda Aur Makaan" (1974) to "Akayla" (1991), and including classics like "Trishul" (1978), "Shaan" (1980), "Silsila" (1981), "Namak Halaal" (1982). It was in one of these roles where he once spoke the four most iconic and immortal words in Bollywood's history - "Mere paas Ma hai" in "Deewar" (1975).

However, he did not rest on his laurels but also went on to become India's first international star, starring in several acclaimed Ivory-Merchant films, among others.

In these he was not only cast in predictable roles -- a decadent nawab ("Heat and Dust", 1982), a prince-turned-ascetic ("Siddhartha", 1972) or a devious local noble with a hidden murderous side (in "The Deceivers", 1988 opposite Pierce Brosnan) -- but also in more realistic, nuanced ones -- a lower middle-class teacher coming to grips with marital life ("The Householder", 1963), a flamboyant Bollywood star ("Bombay Talkies", 1970), the straight-laced 'desi' father in "Sammy and Rosie Get Laid" (1988), and a poet in the twilight of life and reputation ("Muhafiz"/"In Custody").

He also went on to play the angel narrator of Mohammad Ali Jinnah's life in "Jinnah" (1988).

But Shashi, for all his international prowess, did not neglect the Hindi film industry with appearances in 148 films between 1945 and 1998, in which he was the sole hero in 61 and a lead hero in 53 multi-starrers, supporting actor in 21, while also clocking seven guest appearances and some child artiste roles.

His filmography include such evergreen hits such as B.R. Chopra's "Waqt" (1965), where he again happened to be the youngest brother to flamboyant elder siblings Raj Kumar and Sunil Dutt, "Jab Jab Phool Khile" (1965), opposite Nanda, the madcap "Pyar Kiye Jaa" (1966) -- which happens to be among the funniest movies made in Bollywood; "Sharmeelee" (1971), opposite Rakhee, "Fakira" (1976), "Rahu Ketu" (1978), "Kaala Patthar" (1979) -- where he held his own against Amitabh and Shatrughan Sinha, comic crime caper "Do Aur Do Paanch" (1980), and the gritty "New Delhi Times" (1986), where he played a crusading newspaper editor.

Then, there were some grey roles in films like "Roti Kapada Aur Makaan" (1974), "Satyam Shivam Sundaram" (1978), where he plays a man who succumbs to form over spirit, "Kalyug" (1981) -- a contemporary retelling of the Mahabharata in which his character is named Karan, and is totally like his mythological namesake, including in the manner of death.

This was still not the entirety of his contribution.

In 1980, he started his own film company, using his Bollywood earnings into making films with the likes of Shyam Bengal and Aparna Sen. These included gems like "Junoon" (1978), "36 Chowringee Lane" (1981), which saw his wife, veteran theatre actor Jennifer Kendall as an aging teacher in a changing, oblivious world, "Vijeta" (1982) - a paean to the Indian Air Force, and "Utsav" (1984).

He also had acclaimed performances in some of them, particularly the 1857 revolt drama "Junoon" where it takes a stern Naseeruddin Shah to remind him of his duty, and "Utsav".

His contribution was recognised with the Filmfare Lifetime Achievement award in 2010 and the highest accolade - the Dadasahab Phalke Award in 2015, which came just in time before his death on December 4, 2017.

In his life too, he played several roles -- a member of an already famous film clan, marrying into another performance-inclined family, the Kendalls, but after a difficult romance, a producer who backed some of the best independent movies in India in the 1970s and 1980s, a theatre enthusiast, the family man who did all he could to support his household, even if it meant acting in a few rather terrible (but well-paying) movies, but above all, an eminently likeable person as all his contemporaries and co-stars can attest.

(Vikas Datta can be contacted at vikas.d@ians.in)

Source: IANS

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By Sukant Deepak

New Delhi, March 18 (SocialNews.XYZ) He says playing the drums requires all four limbs to work together in synchronicity, creating a unique voice that is specific to the individual. That when one is on the drums, it is all about surrendering control and becoming a physical vehicle for the instrument to play through the person.

Adding that one develops a relationship with the drums, and "if you have a good enough connection, they will treat you well, but if not, they may not talk to you", Ranit Barot, one of India's best-known percussionists says, "When every day I look at my drums before playing them, it encourages me to play more. You believe that each drum has a unique sonic marker that you absorb into your brain, and that you spend your whole life chasing the sound you hear in your mind, which is why you keep playing.

"Overall, it seems like I have a deep respect and reverence for the drums and the art of drumming. Playing the drums is not just about technique, but also about developing a relationship and connection with the instrument. I did not necessarily find the drums, but rather they found me."

Festival Curator of the one-day 'Mahindra Percussion Festival' held in Bangalore on March 18, Barot, who guitar legend John McLaughlin calls as "one of the leading edges in drumming", feels it (the festival) has the potential to showcase the diverse range of drumming and musicianship in India and beyond, including folk, tribal, and contemporary styles. "By highlighting these traditions, the festival can shed a spotlight on indigenous cultures from Latin America and even Native American Indian cultures."

Talking about bringing together Western and Indian sensibilities to his work, he opines that as a musician one may feel they compete with each other at times. However, ultimately, these cultural differences become superficial, and the music transcends all of them.

Stressing that after reaching a point where all the cultural differences disappear, one is in a place that has no nationality, no color, and no face, he says, "It is a place where everyone is resonating at the same frequency, and it's just bouncing ideas off to each other. It's amazing how music can bring people from different parts of the world together, regardless of their background or culture. It's a tool that helps us transcend our human limitations and connect with each other on a deeper level. So, in the end, music trumps all music, and it's something that we can all enjoy and appreciate regardless of our differences."

Optimistic about the contemporary independent music scene in the country, the musician who has worked extensively in the film industry believes it to the music industry what independent films are to the movie industry. "OTT platforms are getting a lot of good content, just as indie musicians are talking about real-life stories that resonate with audiences, particularly younger listeners.

There are many indie artists out there, and I've seen my daughter perform in front of crowds of 8,000 to 12,000 people, which is a testament to the growing attraction of original music that's not driven by glamor or flash. I've been playing drums for over 45 years, but I know that it's not just me that's drawing such big crowds."

Also, a film score music composer and a longtime associate of A.R. Rahman, the musician, who is legendary dancer Sitara Devi's son asserts he never felt any pressure from her to pursue a career in music, in fact, she wanted him to become a doctor. "My mother's attitude, desire, and relentless nature to be the best influenced me the most. Her name didn't get me the job; it was my merit that got me where I am today. I attribute my success and my hard work to my mother's influence."

Working with John McLaughlin was a life-changing experience for Barot as it refined him as a musician and gave him immense confidence. Adding that it taught him how to approach the drum set in ensemble playing and how to write for Indian musicians, he says, "Indian music is ragga-driven, and when you combine it with the Western harmony, it takes a lot of knowledge to make the two worlds meet seamlessly. John McLaughlin and the 4th Dimension gave me the best education I could get in this regard. Gary Husband and Etienne Mbappe, the other two members of the band, also informed me equally about all aspects of being in a rhythm section and soloing."

"It was a complete experience that taught me how to be complete without having to play too much or have any excess baggage. Everything I am today would not have happened if I had not been part of that band," he concludes.

(Sukant Deepak can be reached at sukant.d@ians.in)

Source: IANS

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Mumbai, March 15 (SocialNews.XYZ) Veteran theatre, television and film actor Sameer Khakhar - who is remembered for his rib-tickler performance as 'Khopdi' in the teleserial 'Nukkad' passed away here on Wednesday. He was 70.

A family member said that Khakhar was ailing for long and succumbed to multiple organ failure at a private hospital in Borivali suburb early today.

His funeral is scheduled later today at the Vaziranaka Crematorium in Borivali west.

Blessed with a roly-poly personality, large eyes on a roundish face, Khakhar is best known for his role of a drunkard in the popular comedy-serial, 'Nukkad' directed by Kundan Shah-Saeed Mirza that was telecast on Doordarshan in 1986-1987.

He also played big and small roles in over 40 Bollywood films, Gujarati theatre plays, half a dozen teleserials including 'Naya Nukkad' and the latest a web-series 'Sunflower' (2021), working with the top directors and actors of the day.

Source: IANS

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Chennai, March 14 (SocialNews.XYZ) A large number of tourists keen to see the elephants Raghu and Ammu, who have become famous after the documentary short film, 'The Elephant Whisperers', won an Oscar at the 95th Academy Awards.

The film, helmed by Kartika Gonsalves, revolves around two Kattunaiyakan tribe members, Bomman and Bellie, who nurture and bring up the orphaned elephant calves. Bomman and Bellie even got married while the film was being shot.

Sukumaran Nair from Thiruvananthapuram is visiting the Theppakadu Elephant Camp for the first time. The camp is located deep inside the Mudumalai National Park in the Nilgiris, Tamil Nadu. It was set up in 1917 for timber loggers.

Nair, a retired Kerala water works department engineer, said during a conversation with IANS: "This is the first time I am paying a visit to the camp. The only idea is to meet the elephants Reghu and Ammu and if possible have a chat with Bomman and Bellie."

Nair and his wife Indira Devi are both retired. When they learnt about film getting an Oscar, they left Thiruvananthapuram in a cab to reach Theppakadu by the evening on Monday. They now hope to have a chat with both Bomman and Bellie, though Bomman is away in Salem to bring back an injured elephant.

The retired engineer said he would stay back at Theppakadu for a couple of days more and try to understand the bonding between the elephants and their mahouts.

Umesh Singh is another tourist who reached Theppakadu in the morning on Tuesday. He told IANS that he was from Delhi and was travelling across the South over the past two weeks. After hearing the news about the Oscar for 'The Elephant Whisperers', he left for Theppakadu to have a glimpse of the elephants Raghu and Ammu.

The camp officials said a few foreign tourists were also there because they wanted to meet the elephants as well as their mahouts.

Theppakadu Elephant now houses 28 elephants who were captured while they were wild tuskers creating problems for local villagers. These jumbos are tamed at this camp and trained to become 'kumki' elephants meant to help in the capture of wild elephants.

Source: IANS

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New Delhi, March 11 (SocialNews.XYZ) Stage, film and television actor Sushma Seth will be conferred with the Mahindra Excellence in Theatre Awards (META) 2023 Lifetime Achievement Award. She will be felicitated during the award ceremony on March 29 at Kamani Auditorium in the national capital.

Teamwork Arts and Mahindra Group have also announced the jury members -- theatre director Amal Allana; theatre and film actress Arundhati Nag; award-winning theatre director Bruce Guthrie; theatre director Neelam Mansingh Chowdhry; Sangeet Natak Akademi Award recipient actor Mohan Agashe; award-winning theatre artist and actor Shernaz Patel; and Director of India Habitat Centre and President of the Delhi Music Society Sunit Tandon.

The announcements come ahead of the week-long META and Festival to be held from March 23 to 28 in the Capital, during which ten-shortlisted plays will be performed.

Over 400 entries representing languages like Assamese, English, Hindi, Kannada, Malayalam, Marathi, Marwari, and Tamil were received.

This year's Lifetime Awardee, Sushma Seth started her career in the 1950s, and was a founder member of the Delhi-based theatre group Yatrik. Her first movie was 'Junoon' (1978) and is known for her role as 'dadi' in the TV soap 'Hum Log' that aired in the 1980s.

Jay Shah, Head, Cultural Outreach, Mahindra & Mahindra Ltd, said, "We are thrilled to confer the META 2023 Lifetime Achievement Award on Sushma Seth, a veteran of the stage who understands the complexity and nuances of theatre and has in fact lived the craft fully through her vast body of work."

Sanjoy K. Roy, Managing Director, Teamwork Arts & Festival Producer, added, "META 2023 will present awards in 14 categories including the Lifetime Achievement Award. The 13 competitive categories are for Best Play, Best Director, Best Stage Design, Best Light Design, Best Innovative Sound Design, Best Costume Design, Best Actor in a Lead Role (Male), Best Actor in a Lead Role (Female), Best Actor in a Supporting Role (Male), Best Actor in a Supporting Role (Female), Best Original Script, Best Ensemble and Best Choreographer."

Source: IANS

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By Vikas Datta

That was the talent of music composer Ravi, whose contributions went beyond providing enthralling music in films such as "Chaudhvin ka Chand" (1960), "Gharana" (1961), "Waqt" (1965), "Do Badan" (1966), and "Hamraaz" (1967).

To Ravi also goes credit for giving Asha Bhosle a prominent place in playback with songs ranging from playful "C A T cat, cat maane billii" ("Dilli ka Thug", 1958) to wistfully romantic "Jab chali thandi hawa" ("Do Badan") to the entrancingly philosophical "Aage bhi na jaane tu" ("Waqt"), as well helping Mahendra Kapoor evolve from yet another Mohd Rafi clone, and setting Shammi Kapoor on his rollicking career with songs like "Baar baar dekho" ("China Town", 1962).

Born in Delhi on this day (March 3) in 1926, Ravi Shankar Sharma, or Ravi as he became known in the film industry, was interested in music from his childhood but received no formal training in it, picking up its nuances from hearing his father sing bhajans.

He also picked up prowess in various instruments on his own. Beginning his career as an electrician in the Post and Telegraph Department in Delhi, where he worked 1945-50, he used to occasionally sing on AIR.

He moved to Bombay in 1950 to become a singer in the film industry but found the going tough. While he used to sleep at railway platforms and outside shops, Ravi sustained himself with his skills as an electrician.

In an interview, he revealed he used to clean ceiling fans and get Rs 2 per piece and paid off loans from various people by repairing their electrical appliances!

However, he did not have to wait long, getting his first chance when S.D. Burman selected him for the chorus for a song ("Jhanak jhanak jhan jhan na..) in "Naujwan" (1951) and then, Hemant Kumar first used him in the chorus of the iconic "Vande Mataram" in "Ananda Math" (1952), and then, made him his assistant.

Ravi went on to help Hemant Kumar in films like "Shart", "Jagriti", and above all, "Nagin" (all 1954) - where he later revealed the iconic 'been' music in "Man dole mera tan dola" was derived from the music for the already recorded "Mera dil yeh pukare aaja.."

Ravi got his first break as an independent music composer with "Vachan" (1955) - where he also wrote the lyrics for "Chandamama door ke.." and also sang a duet with Asha Bhosle ("Yun Hi Chupke Chupke").

He went on to get more films in the rest of the decade but the next notable one was "Dilli Ka Thug", where apart from the 'cat song', he provided Kishore Kumar the perfect opportunity to showcase his zany side in "Ham to mohabbat karega".

However, it was Guru Dutt's "Chaudhvin Ka Chand" that enabled him to stand out.

Ravi, in a television interview, revealed that it took him "just 5 to 7 minutes" to fashion the music for the iconic title track, and that too, as he was returning home from work. He said he was thinking of the trend then to have one song use the film's name when the tune came into his head and he called up lyricist Shakeel Badayuni and told him his idea.

As Ravi recited the beginning "Chaudvin ka chand ho...", Shakeel added after a minute: "Ya aftaab ho.." and after another couple of minutes, completed it with "Jo bhi ho tum khuda ki kasam, laajawab ho".

"Chaudvin ka Chand" proved to be a pace-setter for Ravi, in more way than one -- for while it made his name in the Hindi film industry, it also brought him to the attention of southern producers. In the 1960s, he went on to score for many top movies, especially of B.R. Chopra.

While "Ae meri zohra jabeen..", influenced by an Afghan folk song, and other songs of "Waqt", the uplifting "Neele gagan ke tale", "Na munh chupa ke jiyo", and "Tum agar saath dene ka vada karo" in "Hamraaz", and the Arabian-themed "Ghairon pe karam, apno pe sitam" in spy flick "Aankhen" (1968) still strike a chord, there are many more evergreen songs to his name.

Take the pensive "Chalo ik baar phir se, ajanabi ban jaaye" ("Gumrah"), the heartening "Ae mere dil-e-naadan, tu gham se na ghabrana" ("Tower House", 1962), "Chhu lene do naazuk honthon ko" ("Kaajal", 1965), bhajans "Jai Raghunandan jai Siyaram" ("Gharana", 1961) and "Badi der bhayi Nandlala" ("Khandaan", 1965), the "Garebon ki suno" ("Dus Lakh", 1965), the philosophical "Sansar ki har shai ka itna hi fasaana hai" ('Dhund", 1973), "Tumhari nazar kyon khafa ho gayi" ("Do Kaliyaan", 1968) and many more from his 100-odd films,

What distinguished Ravi's music was how it could be simple, smooth yet profound simultaneously while he admitted that his aim was never to dictate to the lyricists, or drown the singer's voice. Also, he never used Western musical instruments, confining himself to classical santoor, sitar, shehnai, and others.

Modest and self-effacing and well liked by all those he worked with, he never reached the height of his peers -- or more importantly, seemed to aspire to these goals.

He only worked sporadically in the 1970s before making his comeback with "Nikaah" (1982) and then went to reinvent himself as a music composer for Malayalam films, ostensibly at the urging of singer Hariharan. He did some 15-odd films between 1986 and 2005, of which at least 10 were super hits.

Ravi spent his last years in contented retirement before passing away a few days after his 86th birthday in 2012, but remains firmly ensconsced in the hearts of music lovers since "Beete huye lamhon ki kasak saath to hogi"!

(Vikas Datta can be contacted at vikas.d@ians.in)

Source: IANS

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By Vikas Datta

Whenever Hindi filmmakers needed a canny yet commanding police officer who could devise strategies to outsmart criminals, tackle emotional subordinates, or just serve as a reasonable authority figure, there was one man they could rely on. Iftekhar, with his chiselled features (including prominent cheekbones), air of authority, and measured voice, verging on curt when required, was an obvious choice.

"Bhagne ki koshish mat karna. Humne tumhe chaaron taraf se gher liya hai. Bhalai isi mein hai ke tum apne aap ko kanoon ke hawaale kar do," or its near variants, became the template for the denouement of scores of action Hindi films from the 1950s to the 1980s, as a pistol-toting Iftekhar, usually accompanied by a squad of policemen, reached the spot to rescue the hero and heroine and/or round up the villains.

While his near-contemporary Jagdish Raj (Khurana) holds the record of maximum outings as a police officer in Hindi films (144), Iftekhar was not far behind with 75-odd such roles, playing an Inspector/DSP/SP/Commissioner in top films like "Ab Dilli Dur Nahin" (1957), "Guide" (1965), "Teesri Manzil" (1966), "Do Dooni Char" (1968), "Ittefaq" (1969), "Johny Mera Naam" (1970), "Hare Rama Hare Krishna" (1971), "Zanjeer" (1973), "Majboor" (1974), "Fakira" (1976), "Don" (1978) and "Krodhi" (1981), among others.

His performances were so convincing that several times, he was saluted by policemen on the road and even his traffic violations ignored!

Apart from khaki, he was equally at home in military uniform, playing an IAF officer in Raj Kapoor's "Sangam" (1964), an Army officer in Dev Anand's "Prem Pujari" (1970), as well as in "Sharmeelee" (1971), and crime thriller "Achanak" (1973) and then a retired one - with still stringent standards on duty, responsibility, and moral fibre - in "Kaala Patthar".

Iftekhar could also don the white coat of medical professionals in films like "Cha Cha Cha" (1964), "Khamoshi" (1970), and "Karz" (1980), and more, and the black coat of the legal fraternity, usually the prosecution side, in "Apne Huye Paraye" (1964), Manoj Kumar's "Shaheed" (1965), "Safar" (1970) or "Dostana" (1980) and others.

But all these do not reveal the multi-facetted talent of Iftikhar - a good singer, a talented artist - whose sketches were commissioned for the casting credits of a film too, a fluent French speaker, and skilled chess player, apart from being Bollywood's favourite policeman.

Born Sayedna Iftekhar Ahmad Sharif in Jullundur on this day (February 22) in 1920 in an affluent family, he was not interested in the family businessman and went to study fine arts in Lucknow. A good singer, following the styles of his favourites K.L. Saigal and Pankaj Mullick, the just-over-20 Iftekhar, at the insistence of his friends, went to Calcutta to audition for a singing career. There, he so impressed music director Kamal Dasgupta, who not only cut two records for him for HMV but also recommended him for acting roles.

Iftekhar went on to star in half-a-dozen odd films, opposite such top stars of the time such as Kanan Devi, Jamuna Devi and Paro Devi, before Partition ended the first phase of his film career.

While his parents and all his siblings crossed over to Pakistan, Iftekhar, his wife and two daughters, decided to stay back in India. However, given the circumstances and charged atmosphere, Calcutta was not safe and he was advised to shift to Bombay. Like for many other transplanted actors, the transition proved difficult initially.

"I didn't know anyone in Bombay and started with a small part of an old man in filmmaker H.S. Rawail's 'Jhoothi Kasmein' (1948). Look how times change - from a lead actor, I was relegated to an extra!" Iftekhar said in an article he wrote for Urdu film magazine 'Shama' in April 1976 (as translated by Yasir Abbasi for his book "Yeh Un Dinon Ki Baat Hai: Urdu Memoirs of Cinema Legends").

However, this would be an uncredited appearance, as most records identify Iftekhar's first role in independent India as a gardener in Rawail's "Patanga" (1949).

It was then that he met Ashok Kumar, who proved to be of much help in getting him established in the Bombay film industry, and also became a lifelong friend. In fact, Iftekhar also revealed that it was he who popularised the name 'Dadamoni' for the veteran actor as this was only used by his family members while the industry called him "Mr Ashok" or "Mr Ganguly".

He also taught Ashok Kumar French and chess and encouraged him to take up painting too.

However, Iftekhar was now slotted as a supporting artiste. One of his earliest prominent roles was Emperor Bahadur Shah Zafar in "Mirza Ghalib" (1954), where he, aged only in his early 30s, played a septuagenarian with aplomb.

It was in Raj Kapoor's "Shree 420" (1955) that he first played a policeman - and this would become a familiar role till the end of the 1980s. And while he was mostly cast in roles of urban professionals in his 350-odd screen appearances, he could do all shades of rural characters too.

He was not downcast over the change in his film status, observing in the 'Shama' article that "character artistes are the real pillars of films. The hero and heroine are too busy with romance and singing songs while we supporting artistes end up solving the troubles, turmoil, and twists created by them on screen".

But, Iftekhar, despite playing the forces of law and order and other sympathetic roles, including the heroine's father in films like "Sholay" (1975), "Saath Saath" (1982), "Kabhi Ajnabee The" (1985) - starring cricketer Sandeep Patil with Syed Kirmani as the villain, and of the hero too in "Kabhi Kabhie" (1976) and "Kaala Patthar" (1979), among others, was not always the good man onscreen.

Films like "Jagte Raho" (1956), "Bandini" (1963), "Teesri Kasam" (1966), "Deewar" (1975), "Dharmatma" (1975) and "Khel Khel Mein" (1975) had him in various shades of gray and to the deepest black (as a criminal called 'Black Cobra!).

Iftekhar continued acting till the last - but was much affected by his daughter's death in 1995. He passed away a few days after his 75th birthday.

(Vikas Datta can be contacted at vikas.d@ians.in)

Source: IANS

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Hyderabad, Feb 18 (SocialNews.XYZ) Well-known filmmaker S.S. Rajamouli has said that he is not sure if he would direct a film on Rashtriya Swayamsevak Sangh (RSS), the script of which has been penned by his father and Rajya Sabha MP, Vijayendra Prasad.

In an interview to an international publication, the 'RRR' and 'Baahubali' director said while he would be honoured to direct the story, he is not sure if his father had written this script for some other organisation or producer.

Terming the story as a beautiful, human and emotional drama, Rajamouli also revealed that he cried many times while reading it.

Vijayendra Prasad, who had written the stories for the blockbusters 'RRR' and 'Baahubali', is currently working on a film about the RSS.

Prasad, who is a member of Rajya Sabha, had said in August last year that that he was going to helm both a film and a web series glorifying the RSS.

The screenwriter heaped praise on the RSS, and said that his formerly negative opinion about the organisation had changed since he was roped in to write a film on it.

Rajamouli, however, said in the interview that he is not too aware of the RSS.

"I have obviously heard of the organisation, but I don't know how it was formed, what its exact beliefs are, how it has developed and all that," he said.

The filmmaker, however, said that he read his father's script.

"It is extremely emotional. I cried many times while reading that script. The script's drama made me cry, but that reaction has got nothing to do with the history part of the story," he said.

When asked if he would direct the movie, he said he is not sure.

Rajamouli said: "First of all, I don't know whether that would be possible, because I don't know if my father has written this script for some other organisation, people, or producer.

"Still, as for the question, I don't have a definite answer. I would be honoured to direct the story, because it's such a beautiful, human, and emotional drama. But I'm not sure about the script's implications. I'm not saying that it would cause either a negative or a positive impact. For the first time, I'm not sure."

It was in 2018 that there were reports about Vijayendra Prasad writing a film on RSS. It was reported that the film will highlight the contributions made by K.B. Hedgewar, M.S. Golwalkar, Veer Savarkar, K.S. Sudarshan and Mohan Bhagwat to the organisation.

At a book launch event of RSS leader Ram Madhav in Vijayawada on August 16, 2022, Prasad had confessed that until three or four years ago, he did not know much about the RSS and that like many others, he believed that they killed Mahatma Gandhi.

Prasad had said: "But four years ago, they asked me to write a film on RSS. As I was being paid for it, I went to Nagpur and met Mohan Bhagwat. I stayed there for a day and understood for the first time what RSS is. I felt a lot of remorse that I wasn't aware of such a great organisation for so long."

In July last year, Prasad was nominated to Rajya Sabha. The BJP-led government said that he has been instrumental in instilling cultural pride and nationalistic spirit through cinema.

Hailing from Andhra Pradesh, Prasad has written stories for many Telugu and Hindi movies.

His notable works include some of the highest-grossing Indian movies such as 'Baahubali' series, 'RRR' and 'Bajrangi Bhaijaan'.

Source: IANS

The post Rajamouli not sure if he would helm film on RSS scripted by his dad appeared first on Social News XYZ.

By Vikas Datta

While she is imprinted in the hearts and minds of film-watchers as the winsome, entrancing but star-crossed Anarkali of "Mughal-e-Azam" (1960), as the entrancing nightclub singer in "Howrah Bridge", and for her exuberant, effusive, and elfin charm in romantic comedies "Chalti Ka Naam Gaadi" (1958), "Jhumroo" (1961) and "Half Ticket" (1962), she left her mark across film genres from ghost/gothic stories to comic crime capers to film noir, beyond the usual romantic dramas in a relatively short career.

Born on this day (February 14) in Delhi in 1933 to an ethnic Pashtun family as Mumtaz Jahan Begum, Madhubala lived a restricted childhood in line with her orthodox family background. However, aged seven, she was cast into earning for the family when her father lost his job with Imperial Tobacco. She began singing on AIR for music virtuoso Khwaja Khurshid Anwar and began her foray into films from 1941 when the family moved to Bombay to better cash in on her talents.

This family control - by her father - robbed Madhubala of an independent life and would go on to destroy a fledgling romance too - as became evident later.

Debuting with an uncredited role in "Bahar" (1942), a bold film for its time in depicting a woman working for her living after being abandoned by her husband, she went on to do half a dozen odd more films as a child artiste before coming to notice with the costume drama "Neel Kamal" (1947), which represented the first lead role for Raj Kapoor too. It was after this that Devika Rani - who was responsible for naming Ashok Kumar and Dilip Kumar - suggested that she take the screen name Madhubala.

Madhubala starred in another seven or eight films - most of them now lost - in 1947 and 1948, before hitting the big time with the spooky "Mahal" (1949) - where her out-of-world signature song "Aayega Aanewala" also introduced India to the voice of Lata Mangeshkar. Another hit of her the same year was "Dulari" - where she played the eponymous role of a rich heiress kidnapped in her childhood and raised by gypsies.

In 1950, she did films with all the top heroes of the time - opposite Ashok Kumar in "Nishana", Dev Anand in "Nirala", Motilal in "Hanste Aansoo" - the first film to be bear the 'A' certificate, Ajit (then still doing hero roles) in "Beqasoor", Dev Anand again in "Madhubala" (named after her) and Rehman in "Pardes".

"Tarana" (1951), known for the soulful duet "Seene mein sulagte hai arman" was Madhubala's first opposite Dilip Kumar, and saw kindling of their romance which lasted till the "Naya Daur" controversy, where she was sued for walking out of the picture and he testified against her. Then, they subsequently went on to work together in "Sangdil" (1952) and "Amar" (1954) before K. Asif's magnum opus "Mughal-e-Azam".

Madhubala, however, did not remain typecast - she worked in offbeat romance "Nazneen" (1951), treasure hunt adventure "Khazana" (1951) - where she became possibly the first Indian heroine to sport trousers onscreen and went on to make it a regular habit on an off screen! - the Arabian Nights influenced "Saqi" (1952) and urban romantic drama "Rail Ka Dibba" (1953), where she bowled over her co-star, Shammi Kapoor, who even after six decades, could not get her out of his mind.

"I can swear that I have never seen a more beautiful woman. Add to that her sharp intellect, maturity, poise and sensitivity... When I think of her even now, after six decades, my heart misses a beat. My God, what beauty, what presence," he recalled in a 2011 interview.

She went on to show her prowess in comedy with "Mr and Mrs 55" (1955) opposite Guru Dutt and noirish adventure in "Gateway of India" (1957), featuring an ensemble cast, and remarkable for being the first picture to show the heroine running after the hero to propose to him!

And, one of her best performances was in "Muslim social" "Barsaat Ki Raat" (1960), where she virtually held a masterclass in effortless emoting, showcasing vulnerability, longing, and resolve, among others.

While her performances in 70-odd films made her legions of fans in India and outside - she had a considerable fan following in most of Southeast Asia and East Africa, as well as Greece - where popular singer Stelios Kazantzidis produced the song "Mandoubala" as a tribute to her after her passing away - and this was played at the closing ceremony of the 2004 Athens Olympics.

Madhubala was also compared to near contemporary Marilyn Monroe - the two would pass away within a few years of each other, aged 36 each - but she was not very happy at this as she did not think of herself as a sex symbol like her American counterpart.

However, her personal life was not so happy - she was born with a congenital heart issue of a ventricular septal defect, which leads to mixing of oxygenated and de-oxygenated blood leaving the patient breathless and weak. At that time, there was no surgical cure and her condition only exacerbated through her life, and incapacitated her for the last few years of her life before claiming her.

On the other hand, after the fiasco of her relationship with Dilip Kumar - who has given his side of the story in his autobiography, blaming her father for making it more of business proposition than a social relation - Madhubala was reportedly wooed by most top actors, including married ones, throughout the 1950s but did not accept any. She finally married Kishore Kumar in 1960, but her condition did not make for a very happy marital life, before she passed away in 1969.

(Vikas Datta can be contacted at vikas.d@ians.in)

Source: IANS

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