HAPPY BIRTHDAY AMITABH BACHCHAN..MY ASSOCIATION AS A FAN

HAPPY BIRTHDAY AMIT JI

A HEARTFELT ASSOCIATION WITH YOU

ALERT : Very Long Post 

It's 11th October. Amitabh Bachchan completes 84 years and 57 years of entertaining us. It was 1969 he made his debut. I was just 5 years old. In 1970 we left for Brighton England for my Fathers doctorate, ( before which in 1969 a superstar came on the horizon in form of Rajesh Khanna I remember the last movie we saw before leaving India was Aradhana). We were in England for almost 4 years. So I missed the phenomena of Rajesh Khanna and the blooming of Amitabh Bachchan. I remember the first movie I saw was Roti Kapada aur Makaan it was 1974 at Heer Palace Kanpur. I fell in love with the charismatic character of Vijay .

The second movie I remember was Benaam. A suspense thriller and my admiration for him increased. This was followed by Majboor and reruns of Anand Namak Haraam and Abhimaan.

I used to ask my parents to take me to see his releases.We had to try thrice before we could see Deewar and Sholay both released in the year of emergency 1975. Faraar, Chupke Chupke and Mili were the first movies I saw more than once in those days as a 11 year old. .

After almost 2and half months during my Diwali Vacation of 1975, we finally got tickets to Sholay. The movie then was ruthlessly edited with Asranis scenes as also Jayas Holi Scenes being cut . But that movie had a great impact on me, esp the character of Jai.

It was later in 1976 in its Golden Jubilee week we saw Deewaar.

After Deewar I was totally smitten with Amitji, I used to tie a knot on my shirt like he did. Since then somehow or the other I saw every movie released.

In 1979 in 9th Standard I bunked school and went to see The Great Gambler ( which my parents would not allow as it was for Adults ). In Pune I understood the concept of Advance Booking, where bookings for a movie used to open on Monday and if one wished to see a film First day then that booking needed to be done. I remember that I saw Muqaddar Ka Sikander 4 times on the trot in 4 days.

 Sholay I saw there 5 times in a week, this was thankfully the uncut version .

It is a well-known chapter of Indian film history beginning with the release of Prakash Mehra’s Zanjeer in 1973 which turned Amitabh into a goldmine—.

This movie I finally got to see first on DD and in the theatre as late as 1980 during a re-run. Smouldering in the Salim-Javed dialogues and refracted through the Amitabh flamboyance fired the imagination of a whole nation as nothing had ever done before a trend which was carried ahead in Deewar, Sholay,Trishul, Don, Kaala Pathhar, Shaan, Shakti.

Standing in the Advance Booking Queues from 7am on the Monday of the release week that's another experience.

From Pune used to go for Summer Vacations to Mumbai and saw many movies there. Namak Halaal, Dostana, Desh Premee, Mahaan were all seen there.

Once I decided to go and visit his house, then Prateeksha. I had gone alone and after I reached just looked at the house in awe.

I always used to think if I could ever meet him, see him.

Thats a long story and long time ahead.

One incident I remember that in 1991, my father was travelling from Delhi to Mumbai,( and from Mumbai to Pune by road, as Pune airport was not functional then). On reaching home he asked me during dinner , guess who was next to me on the flight ( He was eligible for Business Class then ). I couldn’t guess and he told me, your favourite Amitabh Bachchan. I was zapped, I said Dad did you get his autograph ? Dad replied, “why should I , Iam not his fan, when you meet him, take it"

Cut to 1994 , I had won the All India award for Best Sales performance and the award was to be given at Mumbai. We were invited to Mumbai and put up at Ajantha Ambassador hotel. As I reached the Hotel, I saw a Mercedes Van coming out of the gate, I wowed it and came to the reception where my colleague told me “You should have come a bit earlier, Amitabh Bachchan was in the lobby to pick up Jaya Ji {who had her office on the second floor ( Saraswati Audiovisuals, the makers of the TV hit series Dekh Bhai Dekh). So I Mercedes I saw was his 

The Journey moved on..

Insipte of the ups and downs, odds and evens Amitabh’s box-office records can be described only in superlatives. Producers and distributors seemed to believe still that “even a flop with Amitabh’s name on the marquee is a good enough grosser”, which was proved by the trade.

His image of the “angry young man” had viewers reeling under the magic of neorealism, where dream and daydream coalesced in a brave new world. The myriad manifestations of Amitabh’s no-holds-barred rebellion offered a blissful release to the repressions of a whole generation. The star became a cult figure of radical dynamism, of iconoclastic change. The Amitabh archetype continues to reflect variations on a simplistic mould, magnified to a brilliant potency; it has now become part of the collective psyche of a nation of filmgoers. Amitabh individuates his roles with the utmost confidence and conviction. He makes the unsubtle seem subtle, touches the crass with class, makes melodrama credible. Certainly, no other Indian actor had the speaking eyes and spellbinding voice to infuse nuanced suggestivity into stereotypical situations. His finesse did not alienate his characters from the masses.

In the mid 90s he moved towards central Character roles .

Then in 2000 came the super hit T.V. show ‘Kaun Banega Carorepati’ anchored by Amitabh. It gave an entire new life to his career which was under the dark shadow.

Finally out of the blue came the date, 12thNovember 2018.

The prelude to this date was the fact that I had connected to Amitji on all his social media accounts , also my senior colleague Dr Manoj DrManoj Mehta who was an active participant of ABEF ( Amitabh Bachchan extended Family ), offered us a chance to be a spectator at the KBC show , we ( My friend / ex senior from Godrej Sanjay Pandey , and current colleague Kapil Sharma ) . The date was 12th November. It was the last week of shooting of that season. We reached the sets at Film City at 2 pm sharp but had a long wait till 8pm till we were finally seated, alas in the third row. It was another wait for an hour before the shoot began. Finally at @ 9.00pm he came in a Maroon Suit, seeing him I froze.. There he was some 25 feet away from me. Very interactive with the crowd, very sportive, responding to our comments and jokes. How almost 4 hours past, and it was well after 12am that the photos he has with the audience started and well after 1 am that he left. Look at his dedication reached the sets at 9 am completed 2 episode shoots and left at 1 am. He had just turned 76 then. I had finally seen with my eyes, my hero , my idol, or even if I may say My god.

But better things were ahead, The 2019 edition of KBC started in August 2019.

We had epressed our wish to be a participant again. It was 18th July, at 7.12 pm got a message from Dr Manoj that we could attend the shoot on 6thAugust as the show restarted on 5th August. This time the procedure was different. There was an online procedure which need to be followed up with the invite.

We did that. But July end, rains started in Mumbai and Pune, everywhere there were spells of flooding, roads closed. Sanjay and Myself were the only two left from Pune and a friend of Sanjay, Kailash Agarwal was to jpin us at Mumbai.

The forecast was rains, we debated till late evening weather to go or quit, but the urge of seeing him was so much that we decided to take the risk.

We reached at 3 pm sharp , but this time there wasn’t a long wait. We enrolled ourselves and it was an hour and half later that we were inside. This time being enrolled from the ABEF , we got privileged entry, and were in the first row.

Oh what a feeling it was !! Another hour Later Big B made his majestic entry. Again he was interactive with the crowd, and the shooting ended at 8.30 pm.

Then the photographs moments came. Finally he was in front of me, I had taken a token gift for him, which he accepted. Took his Biography along which he autographed. I was trembling in joy as I shook hands with him, talked to him, it lasted a minute but the emotions were beyond eternity.

Finally at the age of 55 and 45 years of being his devoted fan later I got to meet him.

This was repeated after COVID in 2022, where I had the opportunity to attend thrice in September, November and December.

What made the last two appearances memorable were that my interaction with him was recorded and kept in the final edit which was broadcasted.

Nobody else ever had this deadly combination of unmatched talent and charisma and nobody else will ever have it in future. Then there was style, polish and a great deal of seclusion encouraging rumours and augmenting the aura. Anyway one looked at it, the man radiates power. To recapitulate there has only been one super star in India, and that is Amitabh Bachchan.

I have shared my experience of Amitji with the group and would like this hear of your experiences.

Thank You for reading and for your patience 🙏

RIP NANA PATEKAR

NANA PATEKAR — AN ACTOR WHO NEVER NEEDED TO BE A STAR..THE MAN WHO MADE INTENSITY AN ART

RIP Nana Patekar (1951–2026). 

From Gaman (1978) and early Marathi films like Sinhasan and Bhaloo, Nana Patekar carved his own path in Indian cinema.

His breakthrough came with N. Chandra's Ankush. As Ravindra, one of four unemployed young men in Mumbai, Nana delivered a raw, unforgettable performance. He even mortgaged his house for ₹2 lakh to help finance the film. When Ankush became a surprise success, Chandra returned his money and gifted him a scooter.

What followed was a remarkable career — Parinda, Prahaar, Krantiveer, Agni Sakshi, Khamoshi, Ab Tak Chhappan, Welcome, Raajneeti and Natsamrat.

He could be terrifying as Anna, explosive as Pratap, hilarious as Uday Shetty, and heartbreaking as Ganpatrao Belwalkar.

Nana never needed to be a conventional hero. His intensity, voice and sheer presence were enough.

An extraordinary actor leaves behind an extraordinary legacy.

The actor is gone. The characters will live forever.

Usha Khanna and Dil Deke Dekho

DIL DEKE DEKHO — 67 YEARS OF THE MUSICAL LEGACY OF USHA KHANNA

Usha Khanna who turns 85 today made her debut in Nasir Hussain's Dil Deke Dekho.

DIL DEKE DEKHO a film that today stands as a musical landmark in the evolution of the youthful, melodious Hindi cinema of the late 1950s.

Released on 2nd October 1959 at Novelty & Broadway.

Some films are remembered for their stars. Some for their stories. And some for the music that seems to transport us straight back to an era.

For Nasir Hussain, this was only his second directorial venture, after Tumsa Nahin Dekha. Yet the ingredients that would eventually become synonymous with the Nasir Hussain brand of cinema were already taking shape.

For Asha Parekh, it was a defining beginning.

For Usha Khanna, it was an extraordinary debut.

Usha Khanna — a young woman entering a musical world dominated by men.

At just the beginning of her career, Usha Khanna's music in Dil Deke Dekho carried the unmistakable flavour of the musical idiom popularised by O.P. Nayyar..the infectious rhythm, Western-influenced orchestration, lively percussion, breezy arrangements and that unmistakable sense of movement.

But it wasn't merely an imitation. It was the musical language of the times that Usha Khanna absorbed and then gradually made her own. Dil Deke Dekho became the first glimpse of a composer who would go on to carve out her own identity over the decades.

And what a soundtrack she created!

10 songs — all sung by Mohammed Rafi Sahab

6 solos + 4 duets with Asha Bhosle.

The title song “Dil Deke Dekho”, the mischievous “Bade Hain Dil Ke Kaale”, and the wonderfully buoyant “Yaar Chulbula Hai” immediately established the film's youthful musical personality.

There is something wonderfully nostalgic about listening to these songs today. You can almost see the black-and-white frames, the stylish young faces, the orchestral interludes, the swinging rhythms.

And behind it all was Mohammed Rafi, giving Usha Khanna's compositions the effortless charm and youthful energy they demanded.

Dil Deke Dekho became a Silver Jubilee success. More importantly, its basic narrative structure and entertainment formula became almost a template on which Nasir Hussain would build several of his later films.

And we hear a young Usha Khanna announcing herself in a man's world, initially echoing the rhythmic magic of O.P. Nayyar, before embarking on a long and distinctive musical journey of her own.

Happy 85th Birthday, Usha Khanna ji.

Thank you for giving Hindi cinema melodies that still carry the freshness, rhythm and innocence of an era that can never return.

REMEMBERING VINOD KHANNA .. A STAR WITH AN AURA OF HIS OWN

Remembering Vinod Khanna on his Birth Anniversary today is remembering an era of Hindi cinema when screen presence was everything.Tall, handsome, intense and effortlessly elegance Personified, Vinod Khanna started as an antagonist moved on as a Supporting actor then , a hero, an action star or a deeply layered character and made each role his own.His journey started from his debut in Man Ka Meet , Soon Vinod Khanna started starring in many muti star movies of all the commercial directors; Notable among them are ‘Aan Milo Sajna’, ‘Sachcha Jutha’, ‘Purab aur Pachim’,to 'Mere Apne' ,'Mera Gaon Mera Desh' to 'Achanak',  'Inkaar',  'Qurbani', The Burning Train, 'Dayavan' and 'Chandni' is a remarkable chapter in Bollywood history.His pairing with Amitabh Bachchan remains particularly memorable. Starting with Zameer, followed by Hera Pheri, Khoon Pasina, Amar Akbar Anthony, Parvarish and Muqaddar Ka Sikandar, the two created an extraordinary screen chemistry. Amitabh had his towering intensity; Vinod had his own effortless magnetism. He could stand beside Amitabh and still command the frame.His collaborations with Prakash Mehra, Gulzar brought some unforgettable films, while his pairings with heroines like Hema Malini, Rekha, Shabana Azmi, Parveen Babi, Dimple Kapadia and Amrita Singh revealed different shades of his screen persona.And then, at the height of his stardom, Vinod Khanna did something few stars would dare he walked away from the film world to pursue spirituality. When he returned, cinema had changed, but his charisma had not.Insaaf, Satyamev Jayate proved this .Later he moved to Production to launch his son Akshaye with Himalyputra.That is perhaps what makes him so memorable.Some actors are remembered for their performances. Some for their films. Vinod Khanna is remembered for his presence.

In Loving Memory of Chotu Mama

Chotu Bhaiya / Mama /Kaka

Some people remain close to us not merely because they are family, but because of the warmth, affection and ease with which they become an inseparable part of our lives. S. G. Varkhedkar ..our beloved Chotu Bhaiya, Mama and Kaka.. was one such person.

My memories of him go back to 1973, when our D. N. Dhanagare family returned from London and, on our arrival, stayed with Chotu Kaka and Manda Atya. That was the beginning of memories that have remained deeply cherished.

Chotu Kaka was an exceptionally affectionate person, yet what always struck me was how contemporary and progressive he remained. I never felt a generation gap while talking to him. He was always up to the times, interested in people and life, and had a wonderful ability to make conversation easy and comforting.

My admiration and affinity for him were strengthened during our time in England. Through his close friendship with Ajit Wadekar, then captain of the Indian cricket team, we had the extraordinary opportunity to meet the entire Indian team in 1971 at the Sussex County Ground. For me, that remains a very special memory and one of the many ways in which Chotu Kaka opened doors to experiences that stayed with us for life.

His friendships extended across every sphere. He had friends in the film industry, including Sudhir Dalvi, and connections with the Date family, associated with the legendary singer Arun Date. He seemed to know people everywhere, but more importantly, he valued those relationships.

He was also one of the closest people to my late father. Their bond was special. They shared their joys, their sorrows, their irritations, their opinions and their little peeves. They could talk freely and understood each other. Their friendship was one of those relationships that needed no explanation.

Living at Sunny Side in the prime area of Matunga, Chotu Kaka was, without doubt, possibly the most handsome person in our family. But his real charm went far beyond appearances. He was always ready to advise, help or simply listen.

For me personally, talking to him was therapeutic. A conversation with Chotu Kaka could make me feel lighter and de-stressed. There was a reassuring quality about him — an affection and familiarity that made you feel that things would somehow be all right.

I last met him in November 2024. He had been battling health issues since 2025, and during this difficult period, my cousin Janhavi and her daughter Tanvi were physically there with him and Manda Atya, both of them being over 80. Pallavi, despite being far away in Canada, was always there with her support and concern.

Chotu Kaka and Manda Atya shared almost 58 years of togetherness. Their journey together was long, rich and filled with the experiences that make a marriage a life partnership. I am sure that Manda Atya will be the one who misses him the most.

It took me some time to come to terms with the news of his passing. Perhaps because some relationships are so deeply woven into our memories that accepting their absence takes time.

But, as life moves on, memories remain.

And my memories of Chotu Kaka will remain forever nostalgic, affectionate and filled with gratitude for the love, friendship, guidance and countless moments he gave us.

Farewell, Chotu Kaka.

You were not just an uncle by relationship.

You were a friend, a confidant, a guide and a very special part of our family.

You will be deeply missed, but never forgotten.

CHARITRAHEEN (1974): A Different Shade of Shakti Samanta

Producer Debesh Ghosh released his films under the banner of Shri Lokenath Chitramandir, and his first Hindi production under this banner was CHARITRAHEEN, released on 20 December 1974 at NAAZ, Barkha, Bandra Talkies and several other cinemas. Directed by Shakti Samanta, the film starred Sharmila Tagore, Sanjeev Kumar and Yogeeta Bali, with music by R. D. Burman and lyrics by Anand Bakshi.

Charitraheen may appear routine today, but in 1974 it was a fairly bold subject. In many ways, it carries the emotional flavour of Shakti Samanta's post-Amar Prem cinema—a story of love, social stigma, sacrifice and a woman being judged by society though presented through a more dramatic and melodramatic narrative.

The story revolves around Rama (Sharmila Tagore) and Indrajeet (Sanjeev Kumar), who fall in love but are separated because of family circumstances. Rama is married off to a drunken, womanising goon. Years later, she encounters Indrajeet again under tragic circumstances. By then, she has endured humiliation and hardship and is eventually forced into becoming an escort. Indrajeet, now a successful businessman, wants to help her, but circumstances create misunderstandings between him and his wife Kamala (Yogeeta Bali).

The film eventually moves into courtroom territory, with Utpal Dutt as the prosecutor and Raza Murad representing the defence. The mystery surrounding Indrajeet's character and Rama's past leads to a predictable but emotionally satisfying conclusion, where Rama herself becomes instrumental in proving his innocence.

Sharmila Tagore is remarkable. The role demands a complete transformation—from an innocent young woman in love to a woman hardened by circumstances. She brings dignity and vulnerability to Rama without allowing the character to become merely a victim. Sanjeev Kumar, as always, is wonderfully controlled, giving Indrajeet the maturity and restraint the role requires.

The supporting cast—including Anita Guha, Manmohan, Asrani, Madan Puri, Utpal Dutt and Raza Murad—adds considerable weight to the melodrama.

But the real evergreen element of Charitraheen is its music. R. D. Burman's score is one of the film's strongest assets. Dil Se Dil Milne Ka Koi Kaaran Hoga remains the best-known song, beautifully capturing the romance through its melody, instrumentation and picturesque locations. Even today, one can close one's eyes while listening to it and almost visualise the hills, misty winding roads and flower-filled landscapes.

Personally, however, my favourite is the lovely Lata Mangeshkar solo, Chhota Sa Ghar Apna, Apne Jeevan Ka Sapna, picturised on Yogeeta Bali. The soundtrack also benefits from the presence of both Lata Mangeshkar and Asha Bhosle.

the film had completed roughly ten weeks at Naaz and had been shifted to matinee screenings. That experience also underlines an interesting aspect of Mumbai's film culture. A movie that did not make a major impact across India could still find an audience in Bombay through individual cinemas and sustained runs.

Today, Charitraheen may seem like a product of its era, but that is precisely what makes it interesting. It is a film where Shakti Samanta's melodramatic sensibility, Sanjeev Kumar's effortless acting, Sharmila Tagore's transformation and R. D. Burman's unforgettable music come together.

Nazia Hassan: A Tribute on her Death Anniversary

Today, 13 August, is the death anniversary of Nazia Hassan, my school and college-days crush and perhaps the softest crooner of her generation.

Born on 3 April 1965, Nazia became the Queen of South Asian Pop with her fresh voice, innocent charm and unforgettable melodies. At just 15, she made her Bollywood debut with “Aap Jaisa Koi” from Qurbani, winning the Filmfare Award for Best Female Playback Singer and becoming the youngest and first Pakistani recipient of the award.

Her 1981 album Disco Deewane, created with her brother Zoheb and Biddu, became an international sensation. Boom Boom, Young Tarang and Hotline followed, producing songs that remain popular even today.

But Nazia was much more than a singer. An accomplished student and philanthropist, she worked for underprivileged women and children and used her fame for social causes.

Her personal life was far less happy. Diagnosed with lung cancer, she passed away in London on 13 August 2000, at the tender age of just 35.

Twenty-six years later, her voice still carries the same innocence and magic. For those of us who grew up listening to her, Nazia Hassan remains not just a pop icon, but a beautiful memory of our youth.

I dedicate her own words to her:

“Ye dil tere liye hai, ye jaan tere liye hai,

Mere liye tere siwa, jaane jaan,

Koi nahi… koi nahi… koi nahi.”

Gone too soon, but never forgotten.

Nazia Hassan .. forever young, forever beautiful, forever in our hearts.