Aaina - 1977

Introduction :
 

Aaina (Hindi: आइना; translation: Mirror) is a 1977 Indian Bollywood film starring Mumtaz in the lead roles and A. K. Hangal, Nirupa Roy, Lalita Pawar, Jayasudha and Madan Puri in support roles. The music is given by Naushad.This film has a special appearance by Rajesh Khanna. The 2007 film, Laaga Chunari Mein Daag has a similar plot to that of Aaina, with Rani Mukerji reprising Mumtaz's role as a prostitute. This was Mumtaz's second last film, preceding Aandhiyan (1990).

The film is directed by director K. Balachander. He had filmed the same story before: the Tamil film Arangetram (1973) with Kamal Hassan, Pramila and Sivakumar. The film is about a Brahmin girl becoming a sex worker to support her mother and siblings. This film was Kamal Haasan's first Hindi film, though he was cast in a very unimportant role of an assistant director of shooting a film of Dharmendra and Neetu Singh.

Summary :

Ram Shashtri, an upper Caste Hindu Brahmin, lives in a small village in India, but has a very large family, consisting of his wife, Savitri, five daughters and three sons. Ram performs prayers and last rites for the Hindu community, and it is through these meagre earnings that the entire household lives on. The eldest is a daughter by name Shalini, silently falls in love with Ashok J. Rao, the son of the Village Mukhiya, Jagannath. As the Raos are of a much lower caste than the Shastris, Ashok is told by his dad that he cannot marry Shalini. One day, after an argument with his dad, he leaves to join the army, and a few weeks later a telegram is received by Jagannath that Ashok is no more. As Ram is unable to get more assignments, Savitri attempts to poison the entire family, but Shalini stops her in time. She gets a job and is able to get the family to get back up on its feet. Her brother, Gautam, wants to be a doctor, so she arranges for his studies, while her sister, Poorna, wants to be a singer, and a music teacher is arranged. Then Shalini leaves her village to travel to Poona to get her brother's admission to Medical College, with considerable success, and from thence on there is no looking back for this family. Shalini gets a raise and an offer for a big pay-raise if she re-locates to the capital, Delhi, which she does. She sends plenty of money so her dad does not have to work, and her siblings can carry on with their respective studies. Then Shalini's sister, Girja, meets a young man, Raju, and both fall in love. Gautam, now a doctor, is in love with the Tehsildar's daughter, Usha, and wants to marry her. Shalini returns home to attend the two marriages. The marriages take place with great pomp and ceremony and everyone compliments Shalini, for without her efforts, the family would have been destitute. But after the weddings, her life will be changed forever, she will lose all respect from her family, she will be treated as an outcast and forced to leave the house.

Star Cast :

• Super Star Rajesh Khanna - Ashok J. Rao
• Mumtaz - Shalini R. Shastri
• A. K. Hangal - Ram Shastri
• Nirupa Roy - Savitri R. Shastri
• Rita Bhaduri - Poorna R. Shastri
• Adil - Dr. Gautam R. Shastri
• Jayasudha - Usha G. Shastri
• Lalitha Pawar - Janki
• Manmohan Krishna - Jagannath Rao
• Jagdishraj - Managing Director
• Polson - Shastri's Client
• Brahmachari - Shastri's Client
• Madan Puri - M. B. Patil
• Jagdeep - Music Instructor
• Suresh Chatwal - Shyam Lal
• Kamal Hassan - Prem Kapoor (cameo role of a few seconds appearance, shown in a shooting of a movie of Dharmendra and Neetu Singh)
• Dharmendra - Himself (shooting of a movie)
• Neetu Singh - Herself (shooting of a movie)

Other Film Crew's :

• Director, Story  and Screenplay - K. Balachander
• Dialogue - Inder Raj Anand
• Producer - L. Duraiswamy  and N. Selvaraj
• Production Company - Kalakendra Films
• Cinematographer - B. S. Lokanath
• Editor - N. R. Kittoo
• Art Director - T. K. Desai
• Costume and Wardrobe - Bhanu Athaiya and P. Samee
• Choreographer - Suresh Bhatt
• Dance - Kamalahasan, Gopi Krishna and Manohar Naidu

Music Sound Track :

• Music Director - Naushad
• Lyricist - Jan Nisar Akhtar
• Playback Singers - Asha Bhosle, Vani Jairam, Lata Mangeshkar and Mohammad Rafi

S.No.  Song Title    Playback Singer

1. Kahon To Aaj Bol Doon by Lata Mangeshkar
2. Jane Kya Ho Jaye by Lata Mangeshkar and Mohammed Rafi
3. Woh Jo Auron Ki by Lata Mangeshkar.
4. Dharti Hansti Re by Lata Mangeshkar.
5. Kaho To Aaj Bol Du by Asha Bhosle.

Ginny Aur Johnny - 1976

 
  GINNY AUR JOHNNY - 1976

Starring : Mehmood, Baby Ginny, Helen, Bhushan Tiwari, Preeti Ganguli, Rajesh Roshan, Rishi Kapoor, Nutan, Amjad Khan, Sunder, Randhir Kapoor, Vinod Mehra and Super Star Rajesh Khanna (Special Appearance).

• Director : Mehmood
• Producer : Amarlal Chabria
• Music Director : Rajesh Roshan
• Lyricist : Majrooh Sultanpuri

Songs Lyrics :

1. Kahu Kya Tumse by Lata Mangeshkar and Mohammed Rafi
2. Johny Ko Maine by Kishore Kumar and Vijeta Pandit
3. Sun Giniya by Kishore Kumar and Vijeta Pandit.

1. 

Sawa Lakh Se Ek Ladaun - 1976

Sawa Lakh Se Ek Ladaun was the biggest hit and starred Dara Singh in the main lead; Rajesh Khanna made a special appearance as the Qawal. The film ran into conflict with the Sikh political parties as the film had Fauj-i-Khas soldiers wearing fake beards.

http://www.wow.com/wiki/Cinema_of_Punjab

Aakraman - 1975

AAKRAMAN - 1975

Star Cast :

• Ashok Kumar, 
• Sanjeev Kumar, 
• Rakesh Roshan,
• Rekha
• Super Star Rajesh Khanna (Special Appearance)

 

Other Film Crew's :

• Director : J. Om Prakash
• Producer : Jagdsih Kumar
• Music Director(s) : Laxmikant Shantaram Kudalkar (Laxmikant Pyarelal) and Pyarelal Ramprasad Sharma (Laxmikant Pyarelal)
• Lyricist : Anand Bakshi
• Release on: 14th May, 1975

Songs Lyrics :

1. Qawwali Gaayenge by Asha Bhosle and Mahendra Kapoor.
2. Chhoti Umar Mein by Kishore Kumar.
3. Woh Ek Haseen Ladki by Kishore Kumar.
4. Yeh Mausam Aaya Hai by Kishore Kumar, Lata Mangeshkar.
5. Fauji Gaya Jab Gaon Mein by Kishore Kumar.
6. Dekho Veer Jawanon by Kishore Kumar  
   
   
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Badhti Ka Naam Dadhi - 1974

BADHTI KA NAAM DADHI - 1974

Star Cast :

• Kishore Kumar,
• I.S. Johar,
• Sheetal,
• Super Star Rajesh Khanna (Special Appearance)

Other Film Crew's :

• Director : Kishore Kumar
• Producer : Kishore Kumar
• Music Director : Kishore Kumar
• Lyricist(s) : Kishore Kumar and Irshad Kamil

Songs Lyrics :

1. Hoon Kaun Chhoon by Bhagwan, Maruti, Inderjeet Singh Johar and Sundar.
2. Zindagi Haseen Hain by Bhupinder Singh and Kishore Kumar.
3. Yeh Jawani Din Chaar by Bappi Lahiri.
4. Bhole Re Sajan by Asha Bhosle and Kishore Kumar.
5. Phir Suhani Shyaam Dhalee by Kishore Kumar.
6. He Gori Banki Chori by Kishore Kumar.
7. Badhti Ka Naam Daadhi (Title) by Kishore Kumar.
8. Sun Chache Bol Bhatije by Kishore Kumar.

5 Rifles

5 RIFLES

5 Rifles is a 1974 Hindi film produced and directed by I. S. Johar. The film stars Rajesh Khanna's look-alike Rakesh Khanna, Shashi Kapoor's look-alike Shahi Kapoor, and I. S. Johar. Music was given by Kalyanji Anandji. One particular qawwali of note in this film is the track Jhoom barabar Jhoom Sharabi sung by the notable qawwal of his times, Janab Aziz Nazan. One more song 'Jab se Sarkar ne Nashabandi Tod Di' sung by Kishore Kumar is also a hit semi-qawwali.

Star Cast :

• Prafull Mishra (a Rajesh Khanna look-alike) as Rajesh Khanna
• Shahi Kapoor (a Shashi Kapoor look-alike) as Dacoit Raka
• Ambika Johar as Rajkumari/Khatari
• I. S. Johar as Harfan Mama
• Kamal Kapoor as Police Commissioner
• Veena as Maharani
• Murad as Wajid Saab
• D.K. Sapru as Maharaja (as Sapru)
• Keshto Mukherjee as Drunkard
• Ram Avtar as Constable (fatso)
• Anil Johar as Captain Aslam
• Satyadeep
• Anu (as Master Anu)
• Ketty Irani

Lyrics Songs :

1. "Jhum Baraabar Jhum Sharaabi" - Aziz Nazan
2. "Duniya Ke Banane Wale Ne" - Kishore Kumar
3. "Teraa Husn Allah Allah Teraa Rup Ram Ram" - Kishore Kumar
4. "Jab Se Sarakar Ne Nashabandee Tod Dee" - Kishore Kumar
5. "Malmal Me Badan Mora Chamke" - Asha Bhosle
6. "Pyar Ke Patang Ki Dor Jiske Hath Hai" - Kishore Kumar
   

Bombay Super Star

 BOMBAY SUPER STAR - 1974

Bombay Super Star - BBC made documentary film on Rajesh Khanna

 

In 1973, the BBC documentary series Man Alive aired an episode about the then-reigning superstar of Hindi cinema, Rajesh Khanna, called “Bombay Superstar.” Thanks to my friend and fellow Rajesh fan Asli Jat (who also wrote a helpful synopsis of it for me) I managed to finally get a rare look at it: a copy of a VHS tape digitally converted several times, so quality is not optimal, but it’s easily interesting enough to make it worth seeing.

Reporter Jack Pizzey went to India and managed to interview the reclusive star, along with directors Hrishikesh Mukherjee and J. Om Prakash, actors Mumtaz and Shashi Kapoor, and others. Footage includes his surprise wedding to Dimple Kapadia, the Kashmir location shoot of Aap Ki Kasam and the film premiere of Daag. Besides being a profile of Rajesh, it’s also a fascinating look at the politics and power plays inside the industry, and the struggle it takes to stay at the top.

I’ve included some audio clips so that you can have the pleasure of hearing these legendary film personalities speak, along with some (very poor) screen shots of the program.

The program opens on the sets of Namak Haraam, where Hrishikesh Mukherjee is waiting for Rajesh to show up. Pizzey informs us that Rajesh has the “charisma of Rudolph Valentino, the arrogance of Napoleon, and he’s late.”

When Rajesh finally shows up, Mukherjee makes him wait in a game of one-upsmanship. Finally Rajesh makes the first conciliatory move, and goes to meet Mukherjee, who briefly scolds him before they begin shooting. Rajesh has said that his legendary lateness on set was never deliberate but due to his inability to get going in the morning. He also claims to have been generally more punctual than usual when working with Mukherjee, which somewhat negates that first statement. In any case, his habitual tardiness is generally considered a large contributor to his downfall.

His breakup with actress Anju Mahendroo is also briefly mentioned by Pizzey (who calls her his “latest mistress”—I can only imagine how that must have made her feel since she shared a serious long-term relationship with Rajesh).

Even the BBC has trouble getting Rajesh to show up for their scheduled interviews. When he is finally—on the fifth try—granted an audience at the actor’s home, Pizzey asks Rajesh what it’s like to be a star. I’m surprised by Rajesh’s English: it’s more British than Indian-accented. He’s also very soft-spoken.

               

He comes across as quiet and somewhat shy, but quite candid and sure of getting what he wants.

This interview is followed by footage of his baraat and wedding to Dimple Kapadia. It is interspersed with comments by a gossip columnist for “Star & Style” magazine named Devi. She has known Rajesh for a long time, since before he became famous. She says that he had called her to tell her of his impending nuptials, but she dismissed it as drunken rambling and told him to go to bed! Hilarious. She is quite a character (and we meet her again later).

Next stop is Kashmir, on location with Aap Ki Kasam. Pizzey sits and talks with Rajesh about his heroine-romancing style. Again, Rajesh seems quite shy and a little embarrassed, but demonstrates his characteristic eye-crinkling for Jack and the cameras.

There is extensive footage of the huge crowds that have gathered to watch the day’s filming, and Pizzey asks Rajesh and Mumtaz as they wait on the sidelines what they think of the mayhem. I love Mumtaz’s reaction.

Pizzey then talks about music’s place in Hindi cinema with the film’s director and producer J. Om Prakash, and watches Rajesh and Mumtaz filming the song “Suno Kaho.” He asks Mumtaz about lip-synching and playback singing.

Devi shows up to visit Rajesh and gather fodder for her column, and takes the piss out of him too:

She reminds me of Farah Khan, just a bit, with her caustic wit.

Song filming continues, and when J. Om Prakash is asked about the lack of a kiss to seal the musical romancing, he is quite droll:

Rajesh is shown doing the same step for the “Suno Kaho” picturization over and over and over again, after which he talks about the choreography, doing retakes and playback singing (referring also to whom I can only assume must be Kishore Kumar).

The BBC crew takes Mumtaz out in a Kashmiri boat to get her away from the crowds, and Pizzey talks to her about stardom, and about an article which Devi has written about Mumtaz on her return to Bombay, which casts aspersions on Mumtaz’s mother’s character. Mumtaz has decided to sue.

                    

She talks a little about the pitfalls of stardom as well.

I love getting to see Mumtaz as Mumtaz (or at least as much as she’s willing to 

be “herself” in front of a stranger). She is just gorgeous, too.

Back in Bombay, it’s time for the annual Filmfare awards, and Rajesh is reportedly unhappy that he hasn’t won (he has won the Best Actor trophy the previous two years in a row).

I have to say that if I were an actor I’d be pretty upset about losing an acting award to Manoj Kumar too (for Be-Imaan). Rajesh’s fans aren’t happy either, as Filmfare editor Mr. Karanja explains to Pizzey.

A friend of Rajesh’s is throwing a party on the same night as the awards show and is busily inviting everyone who is anyone. Devi opines that in order to be considered a success, Rajesh’s party will need at least five big stars to show up. On the day of the awards, Rajesh himself is reported to have fallen ill, but no one is really buying it. The big question is: will he show up at the Filmfare show, at his party, at both or at neither? Nobody knows for sure except Rajesh and he’s not telling.

At the party, Devi says that only one big name has shown up (Dilip Kumar) although I’ve spotted another one whose name I consider big, anyway, and that’s beautiful Rakhee.

Rajesh and Dimple do eventually arrive, but general consensus gives the win on this one to Filmfare. The next morning Rajesh denies any ulterior motive behind the party, and then in the next breath claims to have been missed by the awards show attendees.

It’s an appropriate segue into a discussion of Rajesh’s recent failures (Devi says five flops in a row, Rajesh himself says four). He seems keenly aware of the repercussions.

His film Daag is releasing the next day, and his hopes are pinned on it. Pizzey 

talks to Dimple as she has her hair done for the premiere.

Shashi Kapoor (billed by Pizzey as Rajesh’s “main rival” with his own period of flops behind him) is interviewed on what makes a film successful.

He’s much more talkative than Rajesh!

Daag is taken to the rural villages (where it’s shown in a tent put up specially for the occasion, with loudspeakers providing the audio). Consensus there is that the film is good, but not worth repeated viewings: a hint that it may not be the hit that Rajesh needs so desperately.

The fascination of this documentary for me was that it’s very rare to see such footage of industry players from that era. There may have been too much time given to Devi, in that she seemed to have a bit of her own agenda; but she was very entertaining, and that’s what it’s all about. It’s evident that the BBC crew didn’t do a lot of research into Rajesh Khanna’s life or the Hindi film industry in general; the tone is occasionally patronizing and the questions pretty basic, but there’s gold in there anyway.

Rajesh himself was going through a lot at that point in his life (although I believe Daag went on to be a pretty good hit for him—in any case, I like it!). It’s fascinating to get a glimpse into what that level of fame and success brings. The last shot of the documentary shows him looking out the window at the crowd of adoring fans thronged in front of his house, before he returns to his lonely seat to contemplate his uncertain future. Pizzey’s voiceover says: “The Superstar may not be quite so super anymore.”