Penguin presents the evocative Conversations with Waheeda Rehman By Nasreen Munni Kabir

Waheeda Rehman speaks about her life with refreshing honesty, humour and insight. Nasreen Munni Kabir’s ‘Conversations with Waheeda Rehman’ abounds in anecdotes from the iconic life of one of Indian cinema’s most beautiful women actors. Penguin presents the evocative Conversations with Waheeda Rehman By Nasreen Munni Kabir.

Renowned for her natural talent and haunting beauty, Waheeda Rehman’s career spans an astonishing array of key films in Indian cinema, including Pyaasa, Abhijan, Mujhe Jeene Do, Guide, Teesri Kasam and Rang De Basanti. 

In this engaging book of conversations with Nasreen Munni Kabir, Waheeda Rehman proves to be a lively raconteur, speaking about her life and work with refreshing honesty, humour and insight: from the devastating loss of her parents when she was young to making a life in cinema on her own terms, from insightful accounts of working with extraordinary film practitioners like Guru Dutt, Raj Khosla, Satyajit Ray, Raj Kapoor, Dev Anand and Vijay Anand to her friendship witstars like Nargis and Nanda. 

A slice of cinema history told through compelling anecdotes and astute observations, Conversations with Waheeda Rehman provides a rare view of a much-adored and award-winning actress of Indian cinema.

The Author: Nasreen Munni Kabir is a reputed documentary film-maker and writer on films. Based in London, she has made several programmes on Hindi cinema for Channel 4 TV, UK, including the forty-six-part series Movie Mahal and The Inner/Outer World of Shah Rukh Khan. Her several books are, among others, Guru Dutt: A Life in Cinema, Talking Films and Talking Songs with Javed Akhtar, A.R. Rahman: The Spirit of Music, Lata Mangeshkar: In Her Own Voice and, most recently, In the Company of a Poet, a book of conversations with Gulzar.

Ramesh Deo ~ His Journey from Kolhapur to Mumbai


~ Niilesh A Raje

- Niilesh A Raje

Even at the ripe age of 87 octogenarian Ramesh Deo keeps himself busy and occupied. He hates to sit idle. He leads us to his personal terrace garden and shows us a host of rare plants and bonsai then moves briskly to the kitchen to fetch some upma before we embark on our tete-a-tete. In a career spanning six decades the multifaceted Deo has acted in more than 285 Hindi Films, 190 Marathi Films, 30 Marathi dramas and over 200 stage shows. Apart from being an accomplished actor he has also emerged as a successful producer and director with a host of Feature films, Television Serials and over 250 Ad Films. The Deo family is one classic example where in the whole clan has been part of the Film Fraternity for several decades. Ramesh Deo Production (P) Ltd, established in 1971 is a company promoted by Ramesh Deo and wife Seema Deo along with sons Ajinkya and Abhinay Deo, who are actively involved in the production of Advertising Films, Feature Films, Television Serials, Music Videos, Documentaries and Short Films.

The Odyssey

Not even in his wildest dream he thought he would be a part of a theatre group or the film industry. On the contrary Ramesh Deo had made up his mind to join the Police force. He responded to an advertisement and cleared the aptitude test. For the next round of interview and physical examination he was to report to Mumbai on a Monday. Ramesh Deo started his journey from his hometown Kolhapur and on his way to Mumbai took halt at Pune to meet his brother. Being a Sunday and also the season of horse racing his brother invited him to the race course. It was here that his brother introduced him to veteran Marathi actor and director Rajabhau Paranjpe.

While at the race course on two occasions Rajabhau asked Ramesh Deo to pick the horse which accordingly to him was the best with probability of winning. Ramesh Deo was novice and was not even aware of the terms used in horse racing. He selected two horses at random and both these horses eventually emerged out to be winners and Rajabhau Paranjpe won almost twice the money he charged for direction then. He was very happy and felt Ramesh Deo bought him beginner’s luck in his life. Interestingly, Paranjpe, who was working on his new project, impressed with Ramesh Deo offered him the lead villain’s role. And surprisingly Ramesh Deo accepted it. This way the journey to Mumbai and a career as Sub Inspector was derailed in Pune. But it opened a new chapter in his life taking him to the studios.

Transition to Hindi Cinema

Ramesh Deo says his tryst with Hindi cinema began on an interesting note. “In the 60s myself and Seema had gone to a remote village called Radhanagri along with popular artists like Raja Gosavi, Raja Paranjpe, Padma Chavan, Sharad Talwalkar to stage a play. On the way we halted for a tea break. When tea was served in dirty aluminium glasses Sharad Talwalkar demanded angrily why it was not given in glass tumblers which were kept on a shelf. The boy who served tea replied those were for VIPs who came occasionally. When Sharad told him we were all big film stars. The boy gave a disgusting look and pointing at pictures of Raj Kapoor, Dilip Kumar and Dev Anand, which were displayed in the shop, shot back ‘These are film stars”. That incident literally shook Deo, who realised making it in Hindi cinema was very essential. On reaching Bombay he approached Tarachand Barjatya and fortunately he bagged Rajshri FilmsAarti in 1962. Next he did Mohabbat Isko Kehte Hain and close on the heels came Hrishikesh Mukherjee’s Anand, Rajshri Films Jeevan Mrityu, Gulzar’s Mere Apne, Koshish, L V Prasad’sKhilona and N N Sippy’s Fakira.

The Voice of Experience

His advice to budding actors is that filmdom is not only about glamour and money. “For an outsider it may appear very alluring but in reality most actors go through a lot of mental turmoil and struggle. Actors should be focused and dedicated to their art. Though I was very popular name in Marathi films but when I decided to venture into the Hindi arena I had to face a lot of hardship to create my own identity”, he discloses. The time when he entered the industry it wasn't considered to be a respectable profession. The quantum of money one earned at that point of time was also very low. Today things have changed and the film industry has gained immense popularity. In the same breath he explains that in life when things don't happen as planned then we should start viewing them in a positive way. Life is a circle everything that goes up has to come down one day. Don't get hurt be happy and keep working success will follow.

Awards and Achievements

From 1965 till date Deo has portrayed a wide variety of roles be it hero, villain, father, son or servant. He is amongst the first directors from India to have won the Best Director’s trophy at Film Festivals held in Iran, Iraq and China. He also had the opportunity to work with the leading stars including the Raj Kapoor clan, Rajesh Khanna, Amitabh Bachchan, Dharmendra, Dilip Kumar, Sanjeev Kumar, Shatrugan Sinha, Jeetendra to name a few. He has been conferred with many State and National Awards for his contribution to Indian cinema.

Ramesh Deo believes in maintaining a cordial relationship with whomsoever he interacts. He warns, “Ego can ruin a person”. It is one thing that will only bring disaster in your life. Life is a learning process and its great fun to imbibe new things. As we take leave the phone rings, a visitor is already waiting and wife Seema wants him go through a letter but Ramesh Deo is unperturbed. ‘The show must go on whether at home or studio ‘, he reflects with wide grin.

Singer Shrikant Narayan in Limca Book of Records in Mohammed Rafi’s Honour ~ by : Niilesh A Raje

With a soul devoted to music and singing, when one is bestowed with a voice that resembles and reminiscences with an immortal singer like Mohammed Rafi, he needs to fulfill the memories with lilting tunes bringing the legendary singer to the fore. This exemplary person is none other than gifted singer Shrikant Narayan.

            On the occasion of Mohammed Rafi’s 88^th birth anniversary, Shrikant Narayan paid a rich tribute to the late iconic singer by performing 101 songs for non-stop 12 hours at Mumbai’s Rang Sharda auditorium. The event “Pukarta chala hoon main”, the first-ever of its kind was oragnised by Advocate Ashish Shelar, presented by Prasad Mahadkar of Jeevan Gani and managed by Rajesh Subramanian of Musicolor. Music arrangement was by Avinash Chandrachud and Chirag Panchal with the able support of female singers, Sarita Rajesh and Mona Kamat and 14 brilliant musicians giving a mellifluous support. Shrikant Narayan has recently been awarded National Record 2014 by Limca Book of Records for this melodious marathon feat. 

            The people who thronged around him in his college days for his singing talent asserted that he had the voice as melodious as that of the legend Late Mohammed Rafi. The style is still in vogue although now the singer has matured into creating his own persona in the field of music.

            Shrikant Narayan started more than 2 decades back and the first of his recordings won him a PLATINUM DISC for the Koli song ‘Dol Dotay Varyavar’. One can very well understand the dilemma that he must have gone through when he was adored as a singer who had the voice of Late Rafisaheb. This was a blessing in disguise so to say for the then young singer and he took upon himself to prove his merits. Studying all the songs in great depth, he was prepared for stage shows. At the same time he also appeared in LIVE stage performances under legendary music directors such as O. P. Nayyar, Ravi, Naushad, Khayyam and Laxmikant-Pyerelal duo.

            As a natural reward for his excellent musical presentations, Shrikant Narayan was awarded the coveted Government of Maharashtra award KALA BHUSHAN around a decade ago. He was the first South Indian to receive this award. He was also awarded the JAN PARISHAD AWARD from Madhya Pradesh…

            Music provides us pleasures that are soulful. Shrikant Narayan is one of those singers who has proved that only the dedication is supreme. As he rightly says, “Rafisaab ke jaisa gana mushkil nahi, namumkin hai…”

           

          A great future awaits Shrikant Narayan with more of his upcoming original albums. A musical treat to Thaneites is in the offing on the 21^st February 2014 at Dr.Kashinath Ghanekar Auditoirum, Thane, where Shrikant will perform immortal hits of Mohammed Rafi in WeCare’s upcoming event “Karishma of Kumars - Evergreen hits of Dilip Kumar and Rajendra Kumar”.  

Usha Uthup: The audience to me has changed only cosmetically but their love, care and profound respect towards me is the same as it was before

by : Niilesh A Raje 

In a freewheeling chat with Niilesh A Raje (Editor ; Nosstalgiaaa) Usha Uthup shares her experience and how proud she feels to be part of this vibrant Worli Festival who had been a resident of this Mumbai Suburb, Worli many years ago while she was staying with her parents. Her father was a Senior Police Officer in the Crime Branch.

Usha Uthup mesmerised the audience with her vocals which was set in the heart of Mumbai, the three day Worli Festival. It was indeed a promise of various cultural activities where music and dance enthusiasts got a chance to enjoy various cultural performances by artistes from various parts of the country. The festival took place in two different locations one being the Worli Sea Face promenade and other being RWITC at MahaLaxmi Race Course.

The sexagenarian a popular pop, jazz and playback singer Usha Uthup captivated hearts of the audience on Day One of the Worli Festival and took on the centre-stage with all toe tapping numbers Dum Maro Dum, Doston Se Pyar Kiya, Rambha Ho Ho and Hari Om Hari to name a few.

Excerpts from an interview:

Q: The first thing that registers in my mind when we remember Usha Ji is your signature style your love for Kanjeevaram sarees and coin sized bindis?

A : Yes, I love them. Well, I was born in a middle class Tamil Brahmin family of Vaidyanath Someshwar Sami that hailed from Chennai in Tamil Nadu. And, as we all know that Kanjeevaram sarees are traditionally made by weavers from Kanchipuram located in state where we hailed from. Might be that regional influence as well.

Q: We recall the era where we enjoyed then and even today all your toe tapping numbers Dum Maro Dum, Doston Se Pyar Kiya, Rambha Ho Ho and Hari Om Hari. What has been your experience and pulse with your audience from back and then?

A: [smiles] The audience to me has changed only cosmetically but their love, care and profound respect towards me is the same as it was before. The auditoriums where I had performed would have got new look in terms of new chairs, lights or ambience but all these has not changed my audience at all. The way they respond even today during my live performance is just the same which warms up my heart. It’s only because of their love, blessings and continued support I am still performing for past four decades.      

Q: My observation being there is always a line sung in English in between your Hindi songs. Say for example in Hari Om Hari (Once in every lifetime comes a song like this, I need you you need me, oh my      friends now can’t you see) or Rambho Ho Ho (Living we are living,Dancing ya ya dancing).

A: It’s all about communication and the ability to understand and be understood. Communicating in English to me even then (Early 70’s) came in very naturally and I am thankful to all the individuals with whom I worked who gave me this opportunity for exploring something different. 

Niilesh A Raje (Editor ; Nosstalgiaaa) with Usha Uthup 

Q: What has been your experience working with music director R D Burman who was always known to experiment something new each time?

A: My experience with Rahul Dev Burman was indeed good. He had an open mind and was ready to accept suggestions that came his way. He revolutionized Hindi film music then in 1970’s with special emphasis on rhythm and western beats that people could connect from across the globe.

Q: Today's generation of songs may bore listeners after a week of their production whereas some have been soothing the ears of people for several decades.

A: I think we should give them all some more time. I am positive they all would be music to one’s ears down the line.

How true, she truly lives up to her signature - "I believe in Music". Here’s wishing the Padma Shri award winner with her gifted, velvet, smooth voice Usha Uthup Ji All the Best on her roads to achievements.

Sahir Ludhianvi: The People’s Poet ( Book Preview by Niilesh A Raje )

"Jo Waada Kiya Woh Nibhaana Padega"

(What has been promised ought to be honoured)

by : Niilesh A Raje

Author	Akshay Manwani
Publisher	HarperCollins
Pages	304
Price	Rs 399/-
ISBN	9789350297339

“Jo Waada Kiya Woh Nibhaana Padega, Roke Zamaana Chaahe Roke Khudaayee, Tumako Aana Padega” (What has been promised in the matters of the heart ought to be honoured . . . You will have to come to meet me) a lovely number from the movie “Taj Mahal” (1963 release) has been soothing the ears of the music lover’s even today post five decades of its release. This song of everlasting romance became so popular then and is even today that it fetched the renowned Urdu poet, songwriter and Hindi lyricist Sahir Ludhianvi his first Filmfare Award as the “Best Lyricist”.

The newly released book Sahir Ludhianvi: The People’s Poet by Akshay Manwani HarperCollins Publication is an exhaustive biography that traces the poet’s rich life from his troubled childhood and his equally troubled love relationships and then his rise as one of the pre-eminent personalities of the Progressive Writers Movement and as a lyricist through the golden era of Hindi film music.

Author Akshay Manwani turned to freelance writing after a brief career in the corporate world. His writings on popular Indian culture have appeared in The Caravan, Business Standard, Man's World and Mumbai Mirror. His attempt to profile the life and work of Sahir Ludhianvi stems from the belief that much needs to be done to preserve the legacy of unsung legends. It is also his way of saying thank you to the poet-lyricist who gave him immeasurable joy through his songs. Akshay lives in Mumbai with his wife and daughter.

Born on 8^th March (International Women's Day) Sahir Ludhianvi captivated the hearts of several women during his life time through the power of written words. Sahir fell in love several times and always wrote poems as a tribute to his love. Sahir remained a bachelor all his life.

Sahir (meaning magician) as the name suggests he was truly a magician of words who spent over 30 years of his life associated with Bollywood, wrote over 680 songs for over 100 movies. It is said that while Sahir's heart was more concerned for others, he apparently never paid enough attention to his own life. He believed in the beauty of relations to him those who strike relations for life in his opinion were relations of a higher disposition.

The journey of this legend is covered in the book spread across 14 chapters. One of the chapter’s in this book talks about an often repeated phrase spoken by Sahir Ludhianvi. While any discussions took place between Sahir and Hameed Akhtar directing towards Sahir’s future these words were most heard off, “Bada Songwriter Banoonga” (I will become a prominent songwriter). Sahir’s aplomb in these words were more attributed to his belief in his songwriting skills rather than keeping it restricted to just his dream.

An interesting anecdote is seen in one of the chapters which speaks of “New Peaks, New Associations”. Sahir was known for his exalted ego and when his popularity was at its peak came his temperamental attitude which started rubbing people the wrong way witnessing his relations collapse with industry stalwarts like S. D. Burman as is also seen happening with many in real life for keeping their bloated ego.

Once a film maker said in presence of Sahir and Lata Mangeshkar,“Sahib saab, agar Lata ki awaaz na ho toh aapke geet bejaan hai!”From that point onwards Sahir insisted that Lata would not sing any of his songs while taking up a film. On one hand no one could afford to ignore Lata Mangeshkar while on the other hand no one could even disregard Sahir.

After reading the various defining moments in the life and times of Sahir Ludhianvi in this book one thing is evident that in spite of coming out of the woods of the broken heart Sahir never lingered with one issue for long. Having given the poetic form to the particular episode in his life he felt he had fulfilled his objective. Experience enriched his life so much that Sahir’s poetry was always filled with emotions reflecting his experiences or romantic associations. The chapter “Finding Love in the Shadow of Oedipus” speaks of this.

The author has made detailed efforts to cover the “List of Film Songs”, “Select Bibliography” and “Index of Poems and Film Songs”.

The biography is indeed motivating and sets the reader’s thinking that in spite of so much mental turmoil and bitter experiences in his personal life it did not make Sahir a bitter person. Rather, it transformed his mind to look beyond his personal life. His phrases were simple but always left a profound impact on the minds of the readers. To sum it up in his own words, “Jo mil gaya usi ko muqaddar samajh liya, Jo kho gaya main usko bhulaata chala gaya, Main zindagi ka saath nibhata chala gaya”.

Nosstalgiaaa ~ June 2013

Parveen Babi : The Lonely Star

by: Niilesh A Raje

As our Indian Film Industry celebrates the historic and most glorious moment - 100 Years of Indian Cinema (1913-2013) I take this opportunity to share this piece on The Rise and Fall of Actress Parveen Babi who gave her significant contribution during her times to the industry. She was often cited as one of the most beautiful actresses to have ever appeared in Indian Cinema whose dressing sense was totally westernized at a time when other actress adhered to the regional style.

 

Grace and Glamour

 

 

She completed her Master of Arts in English Literature from St. Xavier's College, Ahmedabad. Parveen Babi was one of the first Indians to be featured on the cover of Time Magazine. It would not have been easy for many to imagine a lady with marble like complexion Parveen Babi smoking Dunhill cigarettes in the 70’s who was often compared with actress Zeenat Aman due to the common image she shared for both being glamorous as well as sex symbol.

 

 

She was known to be very meticulous about her career and had a very efficient management system. She lived life all on her own and was self-dependent. She never interfered with anyone's work and was concerned only with her business.

 

 

Parveen Babi was the 2nd highest paid Hindi actress along with Reena Roy from 1976-80 and the 3rd highest paid Hindi actress along-with Jaya Prada from 1981-83. She was considered to be one of the most successful actresses of her era, along with Hema Malini, Rekha, Zeenat Aman,Jaya Bhaduri, Reena Roy and Raakhee.

 

 

Most remembered for her glamorous roles alongside in blockbusters like Amar Akbar Anthony, Deewar, Namak Halaal, Kaalia and Shaan.

 

 

Personal Side

 

 

The Golden Dragon Chinese restaurant at the Taj, those days, was quite famous for pork delicacies and every time she got a break from shooting, she would rush off to the Golden Dragon to eat pork.

 

She never married but had relationships with many married men including director Mahesh Bhatt, actor Kabir Bedi, Danny Denzongpa and her co-stars of her films. She was always insecure of losing her men.

 

 

The Fear

 

 

Parveen Babi was the same superstar, who once epitomized the bold and the beautiful was reportedly being handcuffed and carried by four policemen from the John F Kennedy International airport in New York to a mental hospital as she refused to go through the customary checks after being uncontrollably hysterical. She had to be kept in a general ward with thirty other mentally disturbed patients.

 

She feared people and never had trust in them not even her doctors. Anybody who suggested her to see a psychiatrist would became her enemy even her mother. If her car started breaking down she felt that someone had deliberately tampered with it. She later even refused to allow anyone xerox her documents fearing that they would be lost and stolen.

 

With passage of time her health detoriated due to her diabetic condition and was confined to wheelchair at home as she had gangrene on her foot. Parveen Babi got fame and success both left her totally despondent and dejected. Rightly said, It is Lonely At The Top and Parveen Babi witnessed it all. Good work done by her in her films can't be forgotten.

 

 

 

Shoot Location : St Pancras Railway Station London, England

by: Niilesh A Raje

About the location :

St Pancras railway station, known as London St Pancras and since 2007 as St Pancras International, is the railway station terminus known for its Victorian Architecture.

Movie shot at this location :

 

Challa song from Jab Tak Hai Jaan
 

Geeta Dutt : The Ethereal Voice

 

by:  Rajesh Subramanian

 

 

 

Geeta Dutt’s voice had a mesmerizing effect. Her songs continue to enthrall listeners even forty years after her death

 

When she rendered ‘Thandi hawa kali ghata’, you could feel the cool breeze caressing your ears. Her nectarous ‘Nanhi pari sone chali’ is undoubtedly the best lullaby in Hindi cinema and when she sang the haunting ‘Koi door se awaaz de’, you definitely get goose bumps. Geeta Dutt or Geeta Roy was endowed with that intrinsic vocal quality that she glided through the tune. Whatever sang appealed to our auditory senses. Film and music critic Subhash K Jha, aptly defined, "Geta Dutt's voice conveys the sweetness of honey and the pain of the bee sting."

 

 

 

 

Born in Faridpur, East Bengal to a wealthy zamindar, Geeta Ghosh Roy Chowdhuri was one of the ten children. After the family shifted to Bombay composer Hanuman Prasad accidentally heard the 12 year old Geeta singing and decided to fine tune her budding talent. In 1946, she got her first break in the mythological film Bhakta Prahlad followed by Raseeli and Nai Maa. However, it was under S D Burman’s baton that her singing matured. Her innate talent was judiciously explored by Dada Burman in songs like Mera sundar sapna beet gaya (Do Bhai ), Tadbir se bigdi hui taqdeer (Baazi ),  Aaj sajan mohe ang lagalo (Pyaasa ), Aan milo aan milo (Devdas) and Waqt ne kiya kya haseen sitam (Kagaz Ke Phool). It was during the recordings of Baazi that she met the upcoming director Guru Dutt and their romance blossomed. It was during this phase that she rendered a spectrum of superlative songs like Babuji dheere chalna, Hoon abhie mein jawan, Yeh lo main haari piya, Sun sun zalima, Jata kahan hai diwane, Jaane kahan mera jigar, Mera naam chin chin, Ae dil hai mushkil, Kaisa jadoo balam with such vivacious verve and velvety swiftness that she created a melodious wave. The sex appeal in her voice and the ease with which she gave a western feel was a commendable feat. If she lent her vocals for S D Burman and O P Nayyar’s classic compositions then there were scores by other composers like Ae dil mujhe bata de (Madan Mohan), Na jaao saiyaan and Piya aiso jiya mein (Hemant Kumar), Mujhe jaan nah kaho meri jaan (Kanu Roy) and Khayalon mein kisi ki (Roshan) that became immensely popular.

By 1957, Geeta and Guru Dutt’s domestic scenario had turned ugly with their marriage running into rough weather. The genius director’s close association with actress Waheeda Rehman led to frequent arguments between the couple and finally their marital relation cracked. It had a drastic effect on Geeta Dutt’s career. She started neglecting her daily riyaz and soon word spread in the industry that she was not easily available for recordings or rehearsals. Music directors who once gave her regular work started distancing themselves once they found alternative singers. This was also the phase when she found solace in alcohol. On October 10^th1964, Guru Dutt died. It was reported that the cause of death was accidental due to an overdose of sleeping pills in his drink. However, the actual reason of his death remains a mystery till date. Geeta was shattered and suffered a nervous breakdown. By the time she recovered she found herself in a financial mayhem. Recording assignments had dwindled drastically. She started doing stage shows. Even acted in a Bengali film Badhu Bharan and recorded a durga pooja album. While her health deteriorated rapidly her dependence on liquor seemed insatiable. On 20^th July 1972, she died of cirrhosis of liver. Her last melodious offering to her fans was from Anubhav in which she sang the captivating ‘Koi Chupke Se Aake’ and ‘Mujhe Jaan Na Kaho meri jaan’

 

She could infuse life and emotion into any composition. Her unique ability to be both sensual yet sensitive gave Geeta Dutt’s voice that extra zing which none of the other crooners had.

 

Film Quiz

Q1. Who directed Dastak starring Sanjeev Kumar and Rehana Sultan?

Q2. Name the editor of Manmohan Desai’s Coolie (1983)?

Q3. Name the film featuring Dharmendra and Hema Malini directed by Basu Chatterjee in 1978?

Q4. Who composed the songs of Tapasya released in the year 1976?

Q5. Who sang the duet ‘Saiyyan bina ghar soona’ from Aangan Ki Kali along with Lata Mangeshkar?

 

 

Voice of the readers is their very own platform for giving feedback or suggestions. 

You can reach us (Rajesh Subramanian and Niilesh A Raje) @   Nosstalgiaaa@gmail.com

The June 2013 Edition