Lifetime achievement award honour for Super Star Rajesh Khanna at IIFA 2009

The first superstar of Hindi cinema, actor turned politician Rajesh Khanna will be honoured with the Lifetime Achievement Award at the Videocon IIFA Weekend, which will be held at The Venetian Macao-Resort-Hotel from June 11 to 13, 2009 in Macau.

Each year, IIFA 2009 honours a member of the Indian Film Fraternity w

ith the Lifetime Achievement Award who has made innumerable contributions to Indian cinema, our sources reveal, keeping this in mind, the IIFA Advisory Board and the IIFA Management have zeroed down on Super Star Rajesh Khanna's name for the tenth IIFA to be held at Macao.

Super Star Rajesh Khanna's rise to stardom is considered phenomenal. One can recollect, from 1969 to 2009 (even today), the Super Star Rajesh Khanna phenomenon swept Indian cinema off its feet and the hysteria he generated was unlike anything seen before or even today, Super Star Rajesh Khanna made his Bollywood debut with the 1966 film Aakhri Khat, followed by Raaz and Baharon Ke Sapne. But his act in films like Aurat, Khamoshi and Aradhana cemented his status as the new super talent par excellence in the Indian film industry. In 1983, Super Star Rajesh Khanna displayed a spectacular performance with his role in Avtaar. After establishing his mega star status, blockbuster films followed one after another, and women all over the country swooned over him and the men aped him.

Kaka as he is popularly known as, is still adored and fondly remembered by the masses and songs from his popular films are still loved even today. The previous recipients of this award were Lata Mangeshkar (2000), Waheeda Rehman (2001), Yash Chopra (2002), Dev Anand (2003), Yash Johar (2004), V.K. Murthy (2005), Asha Parekh (2006), Dharmendra (2007) and Mumtaz (2008).

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By V Manohar – June 3, 2009

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Phir Wohi Raat - 1981

Phir Wohi Raat (1981)
Starring: Super Star Rajesh Khanna, Kim, Danny, Aruna Irani & Shashikala as Pagal Aunty
Director: Danny Denzongpa
Synopsis: Well mounted chiller has a great first half, then it all goes woefully wrong
Reviewed by: Omar Khan

Asha (Kim) suffers from recurring nightmares where after walking through several corridors and various stairways she finds herself trapped inside a dungeon with a witchlike cackling woman as her companion. As the dream witch (Shashikala) advances towards Kim with arms menacingly outstretched, Kim awakens with a loud scream much to the disgust of her fellow college companions who are utterly sick of having to spend sleepless nights due to Kim’s neurosis. The convent girls take their complaints to the administration and soon Kim is pressurized to leave the institution. Meanwhile she is recommended psychological therapy and somebody suggests the name of Dr Vijay (Super Star Rajesh Khanna) who is a well renowned master of psychology.

The murderous bloodthirsty Pagal Aunty played by legendary vamp Shashikala

IIn scenes reminiscent of The Heretic; Exorcist 2, Kim is induced into a hypnotic dream world where she is made to confront her fears. She slips into a trance as Khanna asks her to “go deep deep” then she finds herself walking down the same familiar corridors of her dream and descending the steps to arrive at the dungeon where the Pagal Aunty awaits. This time Khanna is able to allow her to discover more about her dream and she finds that her irrational fears and recurring nightmare is due to the trauma of having witnessed her mothers’ murder at the hands of the crazed Pagal Aunty. Though it seems that Khanna is well on the way to curing his patient cum girlfriend it is agreed that it in order to truly exorcise Kim’s demons it would be best to return to the old Haveli which is the scene of her nightmares and to see for herself that there is nothing left to fear.

At first Kim appears quite happy at the old Haveli with sidekick Aruna for company but then the nightmares and hallucinations start to take over and seem more real than ever before. Kim summons Khanna to stay with her and Aruna and newly arrived cousin Danny at the haveli just in case she needs his help with the constant hallucinatory lapses. Kim’s nightmares return with a vengeance and but this time the strange thing is instead of Pagal Aunty we have another equally insane looking scarred woman menacing poor pathetic Kim who then goes whining to Khanna - who promises to help her get a grip. Yet just days later on her birthday party in a house full of celebrating guests, Kim starts to have her visions and has a major panic attack which ends up with her plunging the cake knife into an advancing guest who she thought was the woman of her dreams. The stabbed woman happens to be the wife Danny (Kim’s cousin) wanted to get rid of, and then we discover that Aruna, the faithful sidekick is not quite the goody-two-shoes she makes herself out to be.

promised so much and yet delivers a hollow punch!

The plot thickens nicely but just at the moment when the director needed to turn the screws and increase the tension leading to the climax, he does precisely the opposite by introducing the obligatory scourge of Bollywood horror-comedy, the insufferable Jagdeep and his painful bagful of dead stale antics. Just when the pace of the film needed to be upped as it approached the final reels, instead it goes for a serious meandering session which it never recovers from. There are several good sequences during the film but they almost all come from the first half of this totally uneven experience. The dream sequences are excellent with brilliant background music and weird lighting and frenetic camerawork all evoking a suitably nightmarish scenario. Shashikala is stunning as Pagal Aunty in a brief but memorable role but Kim who was the director Danny’s girlfriend at the time the film was made is as duller than ditchwater. Danny scowls a lot and looks menacing doing his usual thing and Aruna Irani lends solid support.

What a pity that the film ran out of steam so disastrously having set a crackling pace in the first half. The first hour promises so much and yet the second half fails resoundingly to deliver the goods leaving the movie doubly frustrating for this reason. Danny shows flashes of visual flair though the failure of this film chastened him into not trying his hand at direction again. There is much that is good about this little horror-mystery-thriller yet unfortunately it loses its way so badly that as the second half progresses there is little prospect of recovery. Overall the movie is very good.

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By V Manohar – June 3, 2009

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The Train - 1970 (II)

The Train (1970)

By memsaab

So stylish! So much of eye candy! One of those rare films to make Excellent Use of Helen (and inspiring me to add a category here), The Train is oodles of filmi noir crime-fighting fun. It also has one of the best RD Burman background scores EVER, with RD himself adding vocals. Just listen to this!

It stars a young, very handsome Rajesh Khanna *sigh* and one of my favorite heroines, Nanda, along with an absolutely hilarious Rajendranath; Madan Puri and Shetty provide the villainy. Despite an extremely silly plot with gaping holes and mind-boggling suspension of disbelief requirements (especially at the end) it is well worth the time spent watching?and I have lots of screen caps to prove it!

A gang is robbing jewelers of their diamonds and money on the Calcutta Express train, murdering them in their sleep and then leaping off the train from a bridge. They also steal a diamond from a local jeweler named Hiralal (Sunder) by paying with a cheque written in disappearing ink. Fab!

They use a car with license plates matching those of CID Inspector Shyam (Rajesh Khanna). Shyam is in love with Neeta (Nanda), and romances her with the first of the great songs in this "Gulabi Aankhen." Rajesh is forced to imitate Shammi Kapoor's style, which he does uncomfortably, but Nanda looks gorgeous in her purple churidar and I like their chemistry together.

Neeta clearly loves Shyam too, although she balks a little when he proposes that he talk to her mother about their marriage.At the police station, Number One (Madan Puri) calls in to threaten Shyam should he try to catch them (which of course, he will). Police Commissioner Iftekhar (!) is enraged.

Shyam listens to the recording of the threatening call and somehow decides that the gang is operating from the Hilltop Hotel. I've watched the scene several times and can't figure out how he reaches that conclusion, but luckily for us the Hilltop Hotel has a cabaret dancer named Lily (Helen). There is much skulking and puffing of cigarette smoke on the parts of Shyam and Number One, while Shetty lurks menacingly and Helen shakes her booty with this guy.

Can anyone identify him for me? Is he Oscar or Vijay of the choreography team? Or are these guys?

He gets to "sing" in RD's voice to "O Meri Jaan Maine Kaha." It's a cracktastic dance number and Helen is at her very best!

You really are!!!!

It transpires that Lily and Shyam are old friends from college, where Lily had an unrequited crush on Shyam. Number One meanwhile puts in a call to the Boss, letting him know that Shyam is onto them and that he has given Lily the task of distracting him. The Boss urges caution.

Shyam is not above using Lily to find out more about his quarry, either!

Meanwhile at home, Neeta sings (the lovely "Kis Liye Maine Pyar Kiya") and waits for Shyam to come and see her mother (Mumtaz Begum). We discover why she has been hesitant about marriage.

Neeta's father Ramdev is in prison for murdering his boss?Neeta and her mother are convinced that he is innocent. The evidence against him is the typically flimsy "he was standing next to the body, covered in blood with the dagger in his hands." Shyam overhears their discussion as he approaches the house?and then, in an amazing display of bad kismat, Ramdev himself arrives at their door, having escaped from jail.

He dramatically threatens to kill himself so that we know how very very much he doesn't want to go back there, and then Shyam enters the house.

Despite Neeta's tearful pleas and Ramdev's further threats to kill himself, Shyam arrests him and sends him back to jail?it is his duty, after all.

Neeta tells Shyam to get lost and boots him out of the house. Lily meanwhile has been following Shyam around, and she is hauled in to see the Boss by a suspicious Number One. The Boss is pleased with her nefarious scheme though. And I like his lair, especially the statue of an ancient Chinese man (and of course the many telephones?symbol of a busy, busy man).

Number One goes to visit hapless Neeta and her mother and pretends to be an old friend of Ramdev's. She asks him to help Neeta get a job?her search thus far has been fruitless since she feels compelled to tell every prospective employer that her dad is a murderer. Number One gives her a job as receptionist at?yes, the Hilltop Hotel.

This, by the way, is one of my favorite Hinglish quirks: "explain her" rather than "explain to her." Very different meanings in English!

But I digress. Now we discover how Number One and Shetty have managed to kill the jewelers aboard the Calcutta Express without being caught. Another arrives at the hotel and sells some diamonds to Hiralal, then books his return trip on the Express from the hotel. Sharing the jeweler's train compartment is the gaudily dressed Pyarelal (Rajendranath) and Neeta! She flirts with Pyarelal and convinces him easily to step down at Igatpuri station for some dinner.

Suhan, with whom I was doing a watchalong, informed me that the waiter in the scene above is Gurnam?Rajesh Khanna's secretary at the time. I've seen him in lots of things and was very happy to put the face with a name at long last!

Neeta keeps Pyare distracted until the Calcutta Express pulls out of the station, causing him to miss it and the jeweler to be left alone in the compartment with his briefcase containing 1 lakh rupees. Shetty has hidden himself aboard and kills the jeweler.

Then he jumps off the train (with the briefcase) into the river, and is picked up by Number One. Meanwhile, a very unhappy Pyarelal has been left sitting at the Igatpuri station waiting for the next train to reunite him with his luggage at the next stop, Nasik. But at Nasik when the porter goes to retrieve Pyare's luggage, he finds the murdered jeweler and the police are called in.

They track down the unfortunate Pyare at Igatpuri and Shyam questions him. Convinced that he had nothing to do with the crime, he needs Pyare to help him find the girl?named Geeta?whom he is sure was an accomplice.

Will Pyarelal recognize Neeta/Geeta as the girl who tricked him? Will Shyam believe her capable of aiding and abetting murder? IS she? Will he be able to stop the gang? And the main Boss? Can Neeta ever forgive him? Can he save her father from further jail time? And what will happen to Lily?

For the answers to all these burning questions, watch The Train. And more than that (because it is a very very silly plot, verging on stupid even), watch it for all the chhote chhote things that make it so much fun. Rajesh and Nanda have great chemistry, although their songs together are extremely awkwardly choreographed. Nanda looks cute as a button in her churidar outfits, chiffon saris, piles of Spare Hair and little go-go dresses (her Geeta avatar is very naughty!). Rajendranath is at his side-splitting best as well.

Plus: a nice dance courtesy of Aruna Irani:

Some fun with Tun Tun!

A guest turn by actress Shammi as a hostel manager trying to help track down the mysterious "Geeta":

There is plenty more Excellent Use of Helen, including a final song in a peacock gown with fab earrings!

Not to forget the most excellent music by RD Burman.

The bad story and occasionally iffy acting just don't matter somehow. It's one of the great things about Hindi movies?there's almost always plenty to entertain no matter what!

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By V Manohar – May 18, 2009

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The Train - Super Star Rajesh Khanna

The Train: Rajesh Khanna plays yet another jerk - but, man, does the soundtrack rock!

I think my title sums it up. I loved so much about The Train that I couldn’t help but wish it had been tweaked by O.P. Ralhan to fit my moral views better. At the very least, I wish a more charismatic actor had played the lead - like Shashi in full SPARKLE mode or perhaps a smarmy Vinod Khanna with his rugged masculinity.

As it is, The Train is the story of the world’s dullest policeman - Shyam (Rajesh Khanna). Shyam has been dating a woman, Neeta (Nanda - not one of my favorite actresses), for some time, at least as demonstrated in the opening number Gulabi Aanke Jo Teri Dekhi. Neeta and Shyam romp like a couple of Young People who have known one another a while. Meanwhile, in another part of town, a robbery goes down and the criminals use Shyam’s license plate numbers on the get-away gaari! Sneaky! or is it….!?!

This particular band of criminals consists of Madan Puri and Helen, who is the brains behind the operation. The whole operation has one purpose: to allow Helen to canoodle with Rajesh Khanna. Otherwise, why on earth would the gang want to tease Shyam with the license plate ruse? Why not just get some sucker to take the fall? It’s not like the police care if the accused is innocent or guilty as long as they are arresting somebody. RIGHT, RAJESH KHANNA?

Once his cunning “art student” disguise had fallen through, Shyam revealed his true job to Neeta. And for her part, Neeta was rightly concerned that one Sri Shyam “Regressive Social Values” Kumar could never love a woman who … had a father in jail!

And, to make things even better, on the night that Shyam is going to come over to Neeta’s house for dinner for the first time, Neeta’s father appears! He ran away from jail because he is innocent. Understandably, Neeta’s Pop was tired of being kicked around by the justice system. I’m sure that Shyam will be understanding, right? Of course he wants to work for the side of justice? Right?

Alas, in a scene so tragically funny that I may have had to watch it twice, Shyam hides outside the window long enough to eavesdrop that Neeta’s father is a) in jail for a crime he didn’t commit and b) home. Shyam then calls the police on his wanna-be future father-in-law. Yes. No wonder Neeta’s father zung Shyam hard-core with his line: “Your law is blind and merciless.” Preach it, brother! And Shyam never learns his lesson.

So, after this, Neeta never wants to see Shyam again. Shyam then takes up with the lovely Miss Lily (Helen), who is the brains behind this whole operation.

(She also looks great in a faux-Arabian outfit.)

(And out of it!)

Shyam, in his second major jerk move, totally plays along with Miss Lily’s seduction game. The direction totally hints that they, you know, do…it, which is really sleazy on his part and naive on hers. Oh, poor Miss Lily! I know you’re not bad - you’re just drawn that way.

Meanwhile, Neeta gets a job at the same hotel where Miss Lily’s gang of criminals works!!

And she mysteriously appears on A TRAIN and is then involved in MURDER all while doing her best HELEN impression!!

This leads to two things - the first is an awesome item song featuring Aruna Irani and a band of gypsy girls.

The second is a tedious subplot starring Rajendra Nath. (He’s like a tedious Prem Nath!) Oh, how I wished for something - anything - to happen during Rajesh Khanna and Rajendra Nath’s scenes together. Acres of boredom broken by -

Oh, look! It’s TUN TUN! Save me, Tun Tun!

Things perk up a bit when Miss Lily returns wearing the best dancing gown in the entire world. (I’m not exaggerating.)

Peacock!

Still a massive jerk!

Neeta thinks so, too. And I’m going to need this image on a t-shirt or something. And warning *SPOILERS FOR THE ENTIRE FILM BELOW*

Still reading?

Now?

Okay - so, as a final crazy caper Shyam and Rajendra’s sidekick character get decked out in fancy disguises and try to bait Miss Lily’s Gang into “robbing” them.

Neeta-acting-like-Helen shows up! And fails to recognize Shyam in his genius disguise as “Carnaby Street Fashion Plate.” OR DOES SHE?!

I won’t give away the final ending, but I will say that Shyam remains a jerk up and until the end. Here he has his beloved cradled in his arms. She’s dying and all he can say is, “Well, a criminal’s daughter is sure to be a criminal, too.”

Le sigh.

In short, Rajesh Khanna refuses to believe what O.P. Ralhan always tells us - criminals are made by society; not born. Miss Lily turns to crime because she had no money and no way to support herself and pay her family’s debts. Neeta’s father is sent to jail for a crime he didn’t commit and yet the taint remains on her. Who would blame her for taking a job in Miss Lily’s hotel when nobody else will hire her?

If you can stomach Rajesh Khanna is full-on bland mode, then The Train is really worth your time for the soundtrack (KILLER), the direction (TRIPPY), and the always lovely Helen in a starring role.b

Reviewed by :

http://filmi-girl.livejournal.com/139737.html

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By V Manohar – April 30, 2009

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Safar of Super Star Rajesh Khanna

Safar (1970)

By memsaab

Or: Life Goes On And On And On

Oh so unfair! This film beguiled me at the beginning with its humor, pretty songs, and lovely characters, and then sucker-punched me: ka-POW! It turns dark and depressing, full of tragic misunderstandings and a fatal lack of communication. The final message that I got out of it made me want to stick needles in my eyes (there are spoilers towards the end), although I'm pretty sure that's not what the makers intended.

We meet gorgeous Neela (Sharmila Tagore) and painter Avinash (Rajesh Khanna) in their class at medical school. Avinash gets in trouble when the professor, Dr. Chandra (Ashok Kumar) catches him sketching Neela instead of paying attention to Chandra's lecture. Neela and Avinash discover that they are neighbors and a friendship is quickly formed, especially when Neela discovers that Avinash isn't well.

Neela lives with her brother, an aspiring but not very talented playwright named Kalidas (IS Johar) and sister-in-law Laxmi (Aruna Irani), and it's not long before Avinash is making himself at home with them and vice versa.

I love the constant bantering and teasing that goes on between these four, with Avinash the main instigator. Even with bad subtitling it makes me laugh along with them.

Although medical school appears to be something that you can attend at will, Dr. Chandra is very fond of his young protege Neela. He gets her a job tutoring the younger brother, Monto (Mahesh Kothari), of a wealthy friend of his. Monto is not fond of studying and has managed to fail his exams spectacularly several times.

Monto is quickly won over by sweet Neela, and when his older brother Shekhar (Feroz Khan) gets a look at her, he is smitten immediately.

Avinash doesn't go to class at all as far as I can tell, preferring to spend his time painting portraits of Neela, singing beautiful songs by Kalyanji Anandji and teasing his neighbors mercilessly. There is sadness hanging over his head though, and we find out what it is when he goes to see Dr. Chandra.

Nooooo!!!!! May I say that I am delighted to see Nadira as Shekhar's mother although she isn't very nice to poor Neela and thoroughly disapproves of Shekhar's obvious feelings.

I read somewhere that at the premiere of this film Meena Kumari remarked on the fact that Rajesh Khanna looked awfully healthy for a cancer patient, a comment which Nadira promptly took back to Rajesh! Love her.

Nevertheless, Shekhar is determined to marry Neela, and talks to Chandra about it; Chandra advises him to see Neela's brother and also Avinash. When Shekhar approaches Kalidas with his proposal, Kalidas himself tells him to take it to Avinash.

Shekhar does so, and Avinash promises to speak with Neela on his behalf. He shows her his medical report and tells her that he wants her to marry Shekhar and embrace life instead of waiting for death with him. She protests, but he refuses to listen and she finally relents.

Kalidas shows up at the wedding eventually but Avinash does not, which puzzles Shekhar?and makes him a little suspicious.

Avinash stays at home in the dark and as the sun rises we hear a train pulling out of the station. So much of symbolism in this film!

As the days pass, Neela grows fond of her new husband but the little seed of suspicion planted at the wedding itself grows quickly into a prickly bush as Shekhar sees how much time Neela spends with Avinash (Neela of course is worried about his health). Since they don't talk to each other about the issue, it just gets worse. Then Shekhar's business goes bankrupt (he doesn't tell Neela about that either?although to be fair, it is in the news) and he finds what he thinks is "proof" of Neela's love for Avinash. This leads to a final confrontation between him and Neela.

What happens next? I'll give you a clue: nothing very happy.

One of the best songs is pictured on a bunch of boats with boatmen singing about the river flowing with the tide and the film's general (supposed) philosophy:

It's even repeated early on in Neela and Shekhar's marriage.

SPOILERS BELOW

My main problem with this film is that Neela doesn't actually keep on moving (the story is told in flashback from a gray-haired Neela's point of view). After Shekhar's death, she retreats into a life of medicine and saving others?but she gives up on any chance for love and happiness in her own life. This seems to win her universal approval (I guess she's behaving like a proper widow should) but it just makes me mad to see someone so young, vibrant, beautiful and intelligent give up on the things that make life worth living. She doesn't even see Avinash before he dies. I want to scream at her: "Stop with the self-sacrifice already!" Sigh. It's really my biggest cross to bear with Hindi films.

END SPOILERS

In all, it was a bit of a mixed blessing for me. The characters were flawed but likable, and there was a great deal of humor. All the actors were up to the mark; there was no scenery chewing, although there was certainly scope for it. It wasn't melodramatic. The songs, as I said already, were lovely too. I just wish it had played out differently for Neela, and in general it felt a little rushed through the second half. But the film's charms compensate for its bad points, and it was nice to spend some time with Feroz. What a man!

Reviewed by Memsaabstory :

http://memsaabstory.wordpress.com/2009/04/28/safar-1970/#comment-8905

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By V Manohar – April 29, 2009

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Rajesh Khanna: The first superstar

LEGENDS

Rajesh Khanna: The first superstar

RajiV Vijayakar follows the trail of actor Rajesh Khanna the highs, the lows and everything else in between.

They are the living legends, the superstars who took Hindi cinema to towering heights long before NRI markets opened, with their mesmerising mix of looks, persona, talent and charisma. This time we look at Rajesh Khanna, labelled by the Indian media and his PR machinery as the 'First Superstar Of Hindi Cinema' or simply, 'The Phenomenon'.

Born Jatin, the young orphan was adopted by a doting and wealthy couple named Khanna. And though he stayed in a lower middle-class apartment in downtown Mumbai, he became the first struggler to do the rounds of producers in his own imported MG sports car ? an industry first: his foster-parents, albeit apprehensively, had allowed him to try his hand at acting.

It was somewhere in late 1966 and early 1967 that two films called Raaz and Aakhri Khat released ? and flopped. The common hero was called Rajesh Khanna and the films a part of his prize for winning the All-India United Producers' Talent Competition.

Khanna had a rudimentary theatrical experience, and despite these flops, on the strength of his talent and that mysterious charisma, he had been signed by biggies Shakti Samanta, Raj Khosla, Asit Sen, A Subba Rao and finally B R Chopra. And so it was that when destiny engineered the back-to-back releases of these five films within the last three months of 1969.

Leading the parade was Shakti Samanta's Aradhana, the musical sensation that clinched Khanna's long link with the filmmaker and Sharmila Tagore, and Khosla's Do Raaste that set off the much more successful Mumtaz-Rajesh Khanna pair.

And if Aradhana consolidated his friendship with associate music director R D Burman and Do Raaste with Laxmikant-Pyarelal, both films established the bond with Kishore Kumar and lyricist Anand Bakshi, with all of them becoming the bulwark of the star's solidly-musical reputation.

A lot has been written and said even now about his music sense. If Laxmikant-Pyarelal and R D Burman dominated his music, Kalyanji-Anandji, S D Burman, Shankar Jaikishan and so many other composers also gave him instant but enduring chartbusters. And film-lore has it that all of this was not explained by these humongous music talents and melody-savvy filmmakers alone. Khanna would listen to a song, ruminate on it (without a physical copy with him) and would clear it only if he still recalled it easily days later

But what stood out was the emergence of a young sensation who commanded unprecedented hysteria. If men turned wannabe Khannas and imitated his hairstyle, his guru-kurta and also his stock mannerisms, girls swooned at his sight, wrote letters in blood and went ballistic over the bent head, the crinkling of his eyes and that dreamy smile.

And perhaps the adage "It never rains but it pours" was created for Kaka, as he was affectionately named.

Through the successive hits that followed (for five years, if you ignored the occasional exceptions) Rajesh Khanna could do no wrong.

His girlfriend and early support system Anju Mahendroo was the first to get the taste of the flipside of his superstardom and the accoutrements that Khanna willingly allowed ? opportunistic hangers-on, ego-boosting acolytes and a coterie that alienated true well-wishers and friends. In a shocking development, Khanna dumped her and married Dimple Bobby Kapadia weeks before the release of her debut film Bobby in 1973.

But if 1969 was the year that made the Phenomenon, 1973 proved a watershed. The marriage soon went on the rocks, and the couple split, but not before two kids, now known as Twinkle and Rinke Khanna, and endless acrimony happened. Simultaneously, rival lover-boy Rishi Kapoor arrived as Dimple's Bobby co-star, as did the man who by his sheer force of persona and disciplined professionalism proved to be Khanna's nemesis ?
Amitabh Bachchan. Khanna's commercial downfall came as swiftly as a thunderbolt despite his continued hits and evergreen chartbusters.

As a star he continued doling out the occasional hit all the way to the 80s, and as always never shirked from experiment. If his peak saw him take up Khamoshi, Anand, Aap Ki Kasam and Aakraman, he still dared to essay a psychopath in Red Rose, a philanderer in Dhanwan and a politician in Aaj Ka MLA Ram Avtar.

The magic, however, had waned. Even a political career proved uneventful and he turned producer officially with two films that went nowhere. Khanna tried his hands playing screen father, made friends with his estranged wife and even tried acting in a tele-film and in a serial or two. He publicly admitted to the mistakes he had made in the first heady flush of stardom, but the desperation (as proved by his recent skin-flick Wafaa) and ego-centric inaccessibility remained.

But Khanna is not so much about the wrongs he did but about his awesome achievements that form a historic chapter in Indian cinema. As Mumtaz puts it, "I think no one has seen the success the guy has seen in his time."

http://www.deccanherald.com/Content/Apr192009/enter20090418130986.asp

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By V Manohar – April 21, 2009

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(Super Star Rajesh Khanna) Kaka’s Aashirwad to be his museum

Remember Rajesh Khanna's sea-facing bungalow Aashirwad on Carter Road, Bandra west?

Rajesh Khanna

The residence of the 70s' superstar is a landmark that GenNow just zips past in its fast cars and superbikes without a second glance. The actor himself, despite a messy attempt at making a comeback this year with the disatrous film Wafaa, is in the wilderness for close to 25 years. But, the buzz is that Aashirwad is being readied by 'Kaka' to be the 'Rajesh Khanna Museum' very soon.

The former superstar is in the news this week for turning out to be a higher taxpayer the last financial year at Rs 6.87 crore than Bollywood's current heartthrobs Aishwarya Rai Bachchan (Rs 4.7cr), Kareena Kapoor (Rs 3.6cr) and even one-time arch rival Amitabh Bachchan (Rs 1.25cr). This is a mystery, given Kaka's dubious history with the tax man, that is explained by a close friend who said Kaka is worth over Rs 100 crore because he has sizeable assets in the form of property in Mumbai and Chennai, some of which he sold recently.

But what is more interesting is that Aashirwad, which at one time was reported to be attached by the IT Department because Kaka had defaulted on his taxes, is likely to be converted into a museum. Time was when this bungalow was the nerve centre of Bollywood. Filmmaker Subhash Ghai says, "I have seen legendary filmmakers like Shakti Samanta and Manmohan Desai be a part of Khanna's coterie here.'' Apparently renovation is on at Aashirwad and people speculate that Kaka's son-in-law Akshay Kumar will inherit this property someday.

The former actor, who has a battery of cars, shelves of trophies of his hits films, artefacts and several other valuables inside Aashirwad that are meticulously maintained by a retinue of servants, told BT from Delhi, "Yes, I'm planning to open India's first star museum here. By the grace of the Almighty, my daughters Twinkle and Rinke are married, settled and have huge houses themselves. They don't need my property.'' Then, with some of his old flamboyance, he added, "Aashirwad is the home of the first superstar of Bollywood, and I would like it to remain that way. Of course, my daughters will take the final decision because it will be their inheritance in the future.''

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By V Manohar – April 17, 2009

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Legendary producer-director Shakti Samanta passes away

Legendary producer-director Shakti Samanta passes away

Mumbai, April 10: Noted filmmaker Shakti Samanta, who made superhit movies for Super Star Rajesh Khanna died here on Thursday ( 09-04-2009) after a brief illness.

He was 83 and is survived by wife, two sons and two grandsons.

“He passed away at around 5 pm at his suburban Santacruz residence. He was recovering from a stroke which he suffered over two months ago,” a family member told reporters.

“Samanta was discharged two weeks ago from Jaslok Hospital where he was treated for two months. He was slightly paralysed and was recovering slowly,” Ashim Samanta, son of the filmmaker, told reporters.

“However, his health deteriorated today,” said Ashim, also a film director.

Samanta’s funeral would be held at Santacruz crematorium at 11 am on 10-4-2009, the family member said.

The Shakthi Samanta-Super Star Rajesh Khanna pair was responsible for some of Bollywood’s memorable classics like Aradhana - 1969, Kati Patang - 1970, Amar Prem - 1971, Anuraag - 1972, Ajanabee - 1974, Mehbooba - 1976, Anurodh - 1977, Ayash - 1982, Awaaz - 1984, Alag Alag - 1985 & Dushman - 1990. All movies with Super Star Rajesh Khanna is super hit for ever.

‘Samanta magic’ with Rajesh Khanna didn’t work with Bachchan

Samanta, a former president of Indian Motion Pictures Association of India (IMPAA), directed 43 feature films, including 37 Hindi and 6 Bengali films.

Shakti Samanta directed his first feature film, ‘Bahu’ in 1954. After the success of his next few films like ‘Inspector’ (1956), ‘Sheroo’ (1956), ‘Detective’ (1957), Samanta started his own film production house.

Apart from his movies, the director is remembered for introducing actress Sharmila Tagore in Kashmir Ki Kali , who went on to form a legendary pair with Samanta’s blue-eyed boy Super Star Rajesh Khanna.

Samantha was never cheap. There is something to be said for a filmmaker who helmed movies which in many ways defined the core character of Hindi cinema in the 1960s and 70s. Apart from everything else Samantha will be remembered for creating all of Super Star Rajesh Khanna's films Super Hit from Aradhana to Dushman which were all super hit.Quite easily one of the last giant names of that period, Samatha's passing ought to mean a great loss for bollywood cinema.

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By V Manohar – April 11, 2009

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Mohammed Rafi and Super Star Rajesh Khanna

Rafi sang for Romantic Icon Rajesh Khanna Akele Hai Chali Aao Jaha Hoo ..
Kaha Aawaz De Tumko Kaha Hoo .

This article is compiled by Mr. Biman Baruah, Finance & Accounts Officer, ONGC Ltd., Sivasagar.

Rajesh Khanna

Rafi Sahab was the voice of first Indian superstar Rajesh Khanna in this mind-boggling hunting song from G.P.Sippy's suspense thriller RAAZ (1967) was directed by Ravindra Dave, which may also be considered the first notable film of the superstar. The young Rajesh Khanna was looking very smart, handsome and charming in the song with the magic voice of Mohd. Rafi. The song was two times in the film: first time in female voice by Lata Mangeshkar and second time in male voice by Mohammed Rafi that was picturised on Babita Shivadasani and Rajesh Khanna respectively.

Another Rafi-Lata duet from the film "Sochta Hoo Ke Tumhe Maine Kahi Dekha Hai Yaad Karta Hoo Magar Yaad Aata Nahin Hai" was also picturised on them. The music of the film was penned by Kalyanji-Anandji and lyrics of the song by Shamim Jaipuri. Thus, Rajesh Khanna started his career with the golden voice of Mohd. Rafi like Manoj Kumar (Shaheed, Do Badan) and Feroz Khan(Oonche Log, Ek Sapera Ek Lootera), though later on Kishore Kumar was recognised the voice of Rajesh Khanna and Mukesh Saheb was recognised the voice of Manoj Kumar and Feroz Khan.

Jatin Khanna joined Hindi Film Industry with screen name Rajesh Khanna in 1966 after winning an All India Talent Contest jointly organized by United Producers and Filmfare under selection by Panel of Judges: Bimal Roy, Chetan Anand, G.P.Sippy, Shakti Samanta and B.R.Chopra. His first film appearance in Chetan Anand's "Aakhri Khat" (1966) was unnoticed. In next two years he appeared in few films but did not get any recognition. In 1969, Shakti Samanta produced Aradhana with Rajesh Khanna where he played double role of father and son, both as Air Force pilots. The film became a golden jubilee hit, which made Rajesh Khanna a star. Kishore Kumar's songs for Rajesh in the film, "Mere Sapnon Ki Rani Kab Ayegi Tu", "Roop Tera Mastana Pyar Mera Diwana" and "Kora Kagaz Tha Yeh Man Mera" proved super duper hits overriding the Rafi numbers "Gun Guna Rahe Hain Bhawarein" and "Baaghon Mein Bahar Hai" which also made Kishore Kumar the top playback singer of Hindi Cinema keeping Rafi Sahab in second row. Kishore Kumar was also recognised as the voice of romantic icon Rajesh Khanna after debonair Dev Anand. Thus Rajesh Khanna's superstardom meant a curtailment of work for Mohammed Rafi to some extent after Aradhana due to Kishore Kumar's fascination.

Rafi-Rajesh Khanna and composer Kalyanji-Anandji:-

Kalyanji-Anandji composed music for Rajesh's debut film RAAZ and SACHAA JHUTHA (1970). The music of RAAZ was penned by Kalyanji-Anandji and lyrics by Raja Mehdi Ali Khan, Qumar Jalalabadi, Gulshan Bawara, Shamim Jaipuri, Akhtar Romani & Noor Dewasi. In addition to the hunting Rafi number "Akele Hai Chali Aao Jaha Ho", the other popular track from the film: "Sochta Hoo Ke Tumhe Maine Kahi Dekha Hai Yaad Karta Hoo Magar Yaad Aata Nahin Hai" by Rafi-Lata, "Dil Sambhale Sambhalta Nahin Aaj Tu Paas Aane Ki Dedo Izazat Hamein" by Mukesh-Lata was picturised on Rajesh Khanna and Babita.

The Rafi-Lata duet from Sachaa Jhutha "Yunhi Tum Mujhse Baat Karti Ho Ya Koi Pyar Ka Irada Hai" was picturised on Rajesh Khanna & Mumtaz. The other popular track of the film "Dil Ko Dekho Chehra Na Dekho, Chehere Ne Lakho Ko Luta", "Meri Pyari Bahenian Banegee Dulhaniya" was sung by Kishore Kumar. Rajesh played dual role in Sachaa Jhutha under direction of Monmohan Desai for which he got his first Filmfare Best Actor Award in 1971 and the film was reprise in early 1990s as AFLATOON under direction of Gudu Dhanoa with his real life son-in-law Akshay Kumar.

Rafi-Rajesh Khanna and composer Laxmikant-Pyarelal:-

Laxmikant-Pyarelal had composed music in the lyric of Anand Bakshi for this combination in the films: DO RAASTE (1969), AAN MILO SAJANA (1970), MEHBOOB KI MEHNDI (1971) and HAATHI MERE SAATHI (1971). Raj Khosla's golden jubilee hit Do Raaste was a great musical of HFM, which was released in December 1969 and run in theatres with Aradhana simultaneously. The songs of the film "Yeh Reshmi Zulfen Yeh Sharbati Aakhen" by Rafi, "Dil Ne Dil Ko Pukara Mulakath Ho Gayee" by Rafi-Lata was so popular which were picturised on Rajesh Khanna & Mumtaz, one of the best popular pair of Hindi Cinema.

Laxmikant, Pyarelal

The title song of film Aan Milo Sajana, "Rang Rang Ke Phool Khile Mauhe Bhai Mere Angana, Aab Aan Milo Sajana" by Rafi-Lata was picturised on Rajesh Khanna and Asha Parekh and the solo by Rafi "Koi Nazrana Lekar Aaye Hoon Main Deewana Tere Liye" is one the best and deliberate party song of Hindi Film Music. The other popular track of the film, "Achha Tu Hum Chalte Hain" and "Jawani O Diwani Tu Zindabad" was sung by Lata-Kishore & Kishore Kumar respectively.

The songs of Mehboob Ki Mehndi, "Yeh Jo Chilman Hai Dushman Hamari, Kitni Sharmilee Dulhan Hamari", "Pasand Aa Gayee Hai Ek Kafir Hasia Umar Uski Soolah Baras Aur Say Mahina" solos by Rafi and "Itna To Yaad Hai Mujhe Ki Yunse Mulakat Huee" a duet by Rafi-Lata was also popular which were picturised on a rare pair of Hindi Cinema, Rajesh Khanna and Leena Chandravarkar, again they will set to pair up in a TV serial "Bhabhima". The other popular track of the film "Mere Diwanepan Ki Bhi Dawa Nahin" and "Jane Kyon Log Mohabbat Kiya Karte Hain" was sung by Kishore Kumar & Lata Mangeshkar respectively.

Above all the stand out high pitch song "NAFRAT KI DUNIYA KO CHOD KAR PYAR KI DUNIYA MEIN KHUSH REHNA MERE YAAR" from Haathi Mere Saathi which totally supersedes all lovely Kishore numbers from the film with emotional singing by our all time great Mohammed Rafi Sahab. It was one of the best background songs of HFM in the climax of the film which was picturised on superstar Rajesh Khanna after killing of his elephant by villains which was the central character of the film.

Rafi-Rajesh Khanna and composer S.D.Burman:-

Dada Burman had composed music for this combination in only one film that is Rajesh's first hit "ARADHANA" which made him a star. After recordings of two duets, S.D. Burman became ill and his real life son and assistant, R.D. Burman took over the charge of recordings who hired his friend Kishore Kumar to sing the two solos "Mere Sapnon Ki Rani Kab Aayegee Tu" and "Roop Tera Mastana Pyar Mera Deewana" which led to Kishore's credentials. The two popular Rafi-Lata duets from the film, "Gun Guna Rahe Hain Bhawarein" and "Baaghon Mein Bahar Hai" were picturised on Rajesh Khanna & Sharmila Tagore & Rajesh Khanna & Farida Jalal respectively. The theme song of the film, "Sapna Hogi Teri Aradhana" was sung by S.D. Burman himself which was in background.

Mohd Rafi with S.D.Burman, Hasrat and Vijay Anand

Rafi-Rajesh Khanna and composer R.D.Burman

R. D. Burman had composed music for this combination in the films: BAHARON KE SAPNE (1967), THE TRAIN (1970), SHEHZADA (1972), HUMSHAKAL (1974), BANDALBAAZ (1977), and PHIR WOHI RAAT (1980).

The theme song "Zamane Ne Mare Jawan Kaise Kaise" from Baharon Ke Sapne is the beginning of Rafi-Rajesh-R.D.Burman combination which ends with the song "Aa Gaye Yaro Jeene Ke Din, Khele Khane Pene Ke Din" from Phir Wahi Raat.

Rose Movies's The Train is the best film of this combination and romantic number "Gulabi Ankhen Jo Teri Dekha Sharabi Yeh Dil Ho Gaya" by Rafi & "Mujhse Bhala Yeh Kajal Tera Nain Base Din Rain" by Rafi-Lata was so popular, which were picturised on one time pair Rajesh Khanna and Nanda.

The Rafi-Lata duet "Kahe Ko Bulaya Mujhe Balama Pyar Mein Naam Se" from Humshakal was superb. Rafi Saheb was also the voice of Rajesh Khanna in the duet with Lata "Naghma Hamara" from the film Bundalbaaz, the only other film directed by Rebel Star Shammi Kapoor after Manoranjan.

Rafi-Rajesh Khanna and composer Ravi:-

Ravi composed music for Bahar Film Combined's DOLI (1969) starring Rajesh Khanna and Babita in the lyrics of Rajinder Krishan. The Rafi-Asha Bhosle duet "Sajna Saath Nibhana" was picturised on Rajesh Khanna, Babita & Prem Chopra and solo by Rafi "Danton Tale Dabakar Hooth Aakhen Karke Bari Bari Kha Jayeegi Mujko Aise Dekh Rahi Hai Khadi Khadi" was picturised on Rajesh & Babita. Mahendra Kapoor sang the title song of the film "Doli Chadh Ke Dulhan Sasural Chali" and "Aaj Pila De Saqi".

Mohd Rafi with Shakeel and Ravi

Rafi-Rajesh Khanna and composer Naushad :-

Naushad used the voice of Rafi to playback for Rajesh Khanna in Sultan Ahmed's multicast film DHARAM KANTA (1981) starring Raaj Kumar, Waheeda Rahman, Rajesh Khanna, Reena Roy, Jeetendra, Sulachana Pandit and Amjad Khan in dual role. The songs from the film: "Yeh Gotey Dar Lahenga Nikele Jaab Chaal Se" by Rafi-Asha was picturised on Rajesh Khanna & Reena Roy in a train and "Duniya Chhoote Yaar Na Chhote Dil Ki Dharam Kante Par Dekha Pyar Ka Palla Bhari Hai" by Mohd. Rafi & Bhupinder was picturised on Rajesh Khanna & Jeetendra riding horse. Another Rafi-Asha duet from the film "Tera Naam Liya Dil Tham Liya" was picturised on Jeetendra & Sulachana Pandit. The lyric of the songs was penned by all time favourite lyricists Majrooh Sultanpuri. It was the last notable film of the composer Naushad and Naushad-Rafi matchless combination which was started with film the Pehle Aap (1944) and perhaps of the Rafi-Rajesh combination.

Rafi-Rajesh Khanna and composer Bappi Lahiri:-

Bappi Lahiri had also used the golden voice of Rafi Sahab for Rajesh Khanna in a qawwali in the film Suraag (1980).

An account of popular Rafi gems from different films picturised on Rajesh Khanna: -

SL No.	Year	Film	Song	Music	Lyrics
1	1967	Raaz	Akele Hain Chale Aao	Kalyanji Anandji	Shamim Jaipuri
2	1969	Do Raaste	Yeh Reshmi Zulfen	Laxmikant Pyarelal	Anand Bakshi
3	1969	Doli	Danton Tale Dabakar Hooth	Ravi	Rajinder Krishan
4	1969	Aradhana	Gunguna Rahi Hain Bhanvre	S.D. Burman	Anand Bakshi
5	1970	Sachaa Jhutha	Yunhi Tum Mujhse Baat Karti Ho	Kalyanji Anandji	Indeevar
6	1970	The Train	Gulabi Ankhen Jo Teri Dekha	R.D. Burman	Anand Bakshi
7	1970	Aan Milo Sajna	Koye Nazrana Lekar Aaya Hoon Main Deewana Tere Liye	Laxmikant Pyarelal	Anand Bakshi
8	1971	Mehboob Ki Mehndi	Yeh Jo Chilman Hai	Laxmikant Pyarelal	Anand Bakshi
9	1974	Humshakal	Kahe Ko Bulaya	R.D. Burman	Anand Bakshi
10	1982	Dharam Kanta	Yeh Gotey Dar Lahenga	Naushad	Majrooh Sultanpuri

Mohammed Rafi and Rajesh Khanna both were the ICONS of Hindi Cinema born in Punjab, former one was the first recognised playback singer of Hindi Cinema who dominated HFM from 1949 to 1969 and then to 1980 in second rank after popularity and emerging of Kishore Kumar in early 1970s and later one was the first officially declared superstar of Hindi Cinema who had 15 consecutive hit films in 5 years from 1969 to 1973. Recently, Rajesh Khanna got the "Phalke Legend Actor Award" on 139th birth Anniversary of Dhundi Raj Govind Phalke, the father of Indian Cinema, popularly known as Dada Saheb Phalke. Rafi Sahab playback for Rajesh Khanna in countable songs with limited films: Raaz, Baharon Ke Sapne, Do Raaste, Doli, Aradhana, Sachaa Jhutha, The Train, Aan Milo Sajna, Mehboob Ki Mehndi, Shehzada, Humshakal, Bandalbaaz, Phir Wohi Raat, Suraag and Dharam Kanta. Though Rafi-Rajesh Khanna permutation is very little but too rich and wealthy in regards to piece of music and the work of composers like Kalyanji-Anandji, Laxmikant-Pyarelal, S.D.Burman, R.D.Burman, Ravi, Bappi Lahiri and Naushad are everlasting.

Rajesh Khanna

Even though several of the popular songs picturized on Rajesh Khanna were sung by Kishore Kumar, the songs like "Yeh Reshmi Zulfe Yeh Sharbati Aakhen" from DO RAASTE, "Gulabi Aakhen Jo Teri Dekha Sharabi Yeh Dil Ho Gaya" from THE TRAIN, "Koyi Nazrana Lekar Aaya Dewana Tere Liye" from AAN MILO SAJNA and "Yeh Jo Chilman Hai" from MEHBOOB KI MEHNDI sung by Rafi Saheb for romantic icon Rajesh Khanna are real diamonds with ceremonial melody and which are still popular and long lasting.

The last popular song of the Naushad-Rafi matchless combination from Dharam Kanta which was picturised on Rajesh Khanna and Reena Roy: -

Asha: Yeh Gotey Dar Lahenga Niklu Jaab Daal Ke 3

Churiya Chal Jayee Meri Matwali Chaal Pe 2

Rafi: Jalwaee Phir Dekh Gori Meri Bhi Chaal Ke 2

Sunri Baan Jayee Teri Mere Rumal Se 2

Asha: Deerdar Deerdar

Ek Tu Babu Shishe Jaise Chikni Meri Jawani, Dooji Umar Mastani 2

Ho . Meri Badan Par Aise Phisle Teri Nazar Deewani, Jaise Jhalakta

Pani Pani

Aankhiya Milana Humse, Chalia Sambhal Ke 2

Churiya Chal Jayee Meri Matwali Chal Pe

Rafi: Chunri Baan Jayee Teri Mere Rumal Se

Rafi: Aaj Hamari Ek Nazar Ne Kiya Aafat Kar Dali Dekh Zara Matwali 2

Kaha Kaha Se Masti Teri Kurti Reshamwali, Jhalake Badan Ki Lali Lali

Tu Bhi Kamal Ki Hai Hum Bhi Kamal Ke 2

Chunri Ban Jayee Teri Mere Roomal Se

Asha: Churiya Chal Jayee Meri Matwali Chaal Pe

Asha: Dirdar Dirdar .

Maan Ke Chor Nahin Chal Ne Du, Aaj Tuhmari Chori, Main Albeli Chodi 2

Rafi: Main Tu Udanlu Aankhon Se Kajal, Kahe Khuli Ho Gori, Dono Aankhiyan Tori 2

Asha: Aise Ko Rakhti Hoon Main Shishoo Mein Daal Ke 2

Churiya Chal Jayee Meri Matwali Chaal Pe

Rafi: Chunri Baan Jayee Teri Mere Rumal Se .

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By V Manohar – April 1, 2009

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NOSTALGIA'XIII Rajesh Khanna.

NOSTALGIA'XIII Rajesh Khanna. Author: Jatinder Pal Singh Broca Jan 27

NOSTALGIA

Today I shall discuss a subject matter related to the super star of 70s and 80s-RAJESH KHANNA. STAR & STYLE Magazine had come out with a topic for controversy (Controversy NO:5) requesting its readers to submit their entries on the following topic:

"IF HE HADN'T MARRIED DIMPLE ,DO YOU THINK RAJESH KHANNA WOULD HAVE LASTED LONGER AS THE SUPER STAR ?"

rajesh dimple marriage

As usual,I had submitted my entry to the magazine on 15th April 1980 ( 29 years ago ).This is what I had written then:

Rajesh Khanna came with assets like a strong emotional appeal,an enigmatic smile,a romantic image and a sense of total involvement in his portrayals.His un-photogenic face and common place looks were his liabilities but they won him masses of fans,who identified themselves in him.Success of 'Aradhana',' Amar Prem,' Kati Patang',’Ittefaq',’Namak Haram',’Haathi Mere Saathi', earned him epithets like "The Phenomenon","The Super Star".

Having ridden the popularity horse,he turned egoistic and the horde of 'yes-men' made him their meal-ticket."Kaka",then a "somebody" ditched "Anju Mahendru" an insignificant starlet'a 'nobody'.All sympathy was with her,who had been his source of hope and inspiration during his lean days of "Raaz","Akhri Khat","Baharon Ke Sapne".

Dimple-Rajesh marriage was a " she came,he saw, they conquered " affair ! Dimple thought herself lucky to have hooked the darling of scores of female fans.Rajesh thought the marriage would give an upward boost to his sagging career,However,no miracles took place."Anurodh","Mehbooba" etc bombed at the box-office.

In the long run,on self-analysis ,Rajesh realized that his own follies like irresponsibility,indifferent behavior,frequent flare-ups with Dimple and failure to compromise with changing trends of film-making ( eg multi-starrers) were solely responsible for this set back.

Thus,his marriage with Dimple has got nothing to do with his rise and fall from super-stardom.On the other hand,I feel if Dimple had not married at all,she would have emerged as the sensational super-star of the seventies.In short,the situation is best described as under: (with apologies to Humpty Dumpty)

"Rajesh Khanna sat on the wall,
Rajesh Khanna had a great fall,
His marriage with Dimple,and all his "yes-men",
Couldn't put "Kaka" on the pedestal again ! "

Rajesh has also realized this and seems to have come to terms with realities.There's a tough task ahead of him,if he hopes to re-capture his ex-status.Best of Luck to him.

J S BROCA
Baroda
?????????
Dear readers, the above letter was not published by the magazine,probably because I had called a spade a spade and the magazine probably did not wish to attract his wrath !

Readers will recall that very recently,Rajesh Khanna had tried to make a come back with a movie titled :"Wafa- A deadly love story'.It was a dud ! Rajesh looked washed, puffy,paunchy and a mis fit.His effort to comeback has failed miserably.He should realise that he has lost his charisma and his name will not fetch any returns to the producers.He should think of an alternative career'say becoming a professor/faculty member in any acting academy and teach (?) acting to aspirants.
Readers would like to know that Rajesh had married Dimple in 1973.He was 32,she was 16 .The marriage had been termed as ' cradle snatching' in the media then.He divorced Dimple in 1984.Dimple made a grand come back in 1985 with "Saagar" which was a super duper hit then.The couple has two daughters.Twinkle and Rinkie.Twinkle is married to actor Akshay Kumar and they have a son named "Aarav".Rinkie is married to an industrialist named Sameer Saran.On the whole Dimple has been doing better compared to Rajesh.She has been quite selective and has done meaningful roles off and on.

For those who would like to know more about Rajesh Khanna ,they may go to the following link:
http://en.wikipedia.org/wiki/Rajesh_Khanna
For those who would love to know about Dimple should go to:
http://en.wikipedia.org/wiki/Dimple_Kapadia
HAPPY VIEWING !!

If you wish to listen to a lovely song from Mere Jeevan Saathi picturies on Rajesh and Tanuja,then go to or click on the following link:

http://in.youtube.com/watch?v=LbiUFiyc5Go

Reviewed by:

http://seeingwithc.org/jsblog/?p=735&cpage=1#comment-5966

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By V Manohar – March 18, 2009

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Rafi-Rajesh Khanna and composer Kalyanji-Anandji:-

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Rafi-Rajesh Khanna and composer R.D.Burman

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Rafi-Rajesh Khanna and composer Naushad :-

Rafi-Rajesh Khanna and composer Bappi Lahiri:-

NOSTALGIA'XIII Rajesh Khanna.

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