Matinee Masala

Patience Cooper was the first Indian film actress to have graced the silver screen. Born in 1905 in an Anglo-Indian family in Calcutta, she became the lone actress to act in the silent as well as talkie era.

Cooper started her acting career as a dancer who later joined Jamsetji Framji Madan’s theatre group as an actress. Theatre led to her getting a break in the film Vishnuavtar in 1921. She was often seen enacting roles of a sexually troubled but innocent woman, always at the centre of moral dilemmas, often caused by the men in her lives. Cooper was the first Indian actress to play double roles in films, like Patni Pratap (1923) and Kashmiri Sundari (1924).

Her distinct Anglo-Indian appearance was a major aspect of her star image. Her dark, sharp eyes and skin tone allowed technicians to experiment with the imported convention of eye-level lighting in a string of successful films like - Nala Damayanti (1920), Ratnavali (1922) and Noorjehan (1923).

Cooper went on to act in over 40 films, until she retired in 1944 after acting in her last film, Iraada (1944). She died an unknown death in 1983.

Patience Cooper’s Memorable Films

Nala Damayanti (1920), Pati Bhakti (1922), Noorjehan (1923), Patni Pratap (1923), Kashmiri Sundari (1924), Kapal Kundala (1929), Zehari Saap (1933), Madhur Murli (1933), Nakli Doctor (1933), Kanya Vikraya (1934), Khyber Pass (1934), Asmat Ka Moti (1935), Noor-e-Wahadat (1936), Fakhre Islam (1937), Rani (1943), Iraada (1944).

Born on 14 February 1933, Madhubala was arguably the most beautiful artiste of the 50’s to have graced the silver screen. Initially known as Mumtaz Jehan Begum, Madhubala started her career as a child artiste in Basant (1942). She was born in a poor, conservative Muslim family in Delhi, who entered films at the tender age of eight. After about five years of playing child roles, Madhubala got her first break in a lead role in Neel Kamal (1947), produced and directed by Kidar Sharma.

Madhubala did quite a few films till Bombay Talkies offered her the suspense thriller Mahal (1949) which gave her instant stardom. Her song Aaega aanewala…sung by Lata remains an all time hit even today! She did films with all the top leading men of the 50’s and 60’s - Ashok Kumar, Dilip Kumar, Dev Anand, Kishore Kumar, Raj Kapoor.

Her life and success were short lived when a hole in her heart was diagnosed and she had to stop acting. However she did eventually marry Kishore Kumar but nothing could save her. She breathed her last at Mumbai on the 23 February 1969.

Madhubala will always be remembered as one of the most enchanting and desirable woman of Indian cinema.

Madhubala’s Memorable Films

Dulari (1949), Mahal (1949), Badal (1951), Sangdil (1952), Amar (1954), Mr. and Mrs. 55 (1955), Gateway of India (1957), Chalti ka Naam Gaadi, (1958), Howrah Bridge (1958), Kala Pani (1958), Phagun (1958), Barsaat ki Raat (1960), Jhumroo (1960), Mughal-e-Azam (1960), Half Ticket (1962).

Durga Khote was born on 14 January 1905 who acted in more than 200 Hindi and Marathi films for over 50 years, from 1931 to 1983.

Born in a traditional marathi family at Kolhapur, Maharashtra, Durga Khote was married off early and was widowed at 26. Much against her family’s wishes she had to take up work in films in order to support her children. She fought all odds to make both ends meet when she finally got a break in Farebi Jaal in 1931 by Prabhat film company, but was soon promoted to play heroine in the 1932 film.

Ayodhyecha Raja was the first-ever Marathi talkie which proved to be a runaway hit. There was no looking back for her as she went on to join the New Theatres Company. In 1937, she produced and directed a film titled Saathi, making her one of the first women to do so.

Durga Khote essayed a wide variety of roles over a career that was not only long but also untouched by scandal. She was the inspiration for several generations of Indian actresses, including veterans like the late Shobhana Samarth, who frequently spoke of how she had been inspired by Durga Khote.

During later years, she played several important character roles in mythological and period films as the mother of the protagonist. Her portrayal of Jodhabai against Prithviraj Kapoor who played Akbar in the film Mughal-e-Azam was well received. She went on to play other widely appreciated character roles in later movies such as the role of the grandmother of the heroine in Bobby and the hero’s aunt in Abhimaan. She also actively involved in theatre and diversified into production of ad films.

Known as the royal mother, Durga Khote breathed her last on the 22 September 1991. She was last seen in Daulat Ke Dushman (1983) where she played Sunil Dutt’s mother. She was the recipient of the prestigious Dadasaheb Phalke Award, the lifetime recognition award for films from Government of India in 1983, the Padma Shri and the Sangeet Natak Akademi Award in 1958.

Durga Khote’s Memorable Films

Farebi Jaal (1931), Maya Machhindra (1932), Seeta (1934), Inquilab (1935), Jeevan Natak (1935), Adhuri Kahani (1939), Bharat Milaap (1942), Zameen (1943), Maharani Minaldevi (1946), Seeta Sawayamwar (1948), Maya Bazaar (1949), Singaar (1949), Aaram (1951), Hamari Shaan (1951), Aandhiyan (1952), Shikast (1953), Mirza Ghalib (1954), Rajdhani (1956), Musafir (1957), Parakh (1960), Love in Simla (1960), Mughal-E-Azam (1960), Bhabhi Ki Chudiyan (1961), Manmauji (1962), Rangoli (1962), Mujhe Jeene Do (1963), Do Dil (1965), Kaajal (1965), Dharti Kahe Pukar Ke (1969), Ek Phool Do Mali (1969), Jeene Ki Raah (1969), Raja Jani (1972), Bobby (1973), Namak Haraam (1973), Abhimaan (1973), Jaaneman (1976), Paapi (1977), Paheli (1977), Karz (1980).

Yesteryear actor Vijay Arora, most remembered as the hero who sang the superhit song Chura Liya Hai Tumne… from Yaadon Ki Baraat (1973) along with Zeenat Aman passed away yesterday at Mumbai succumbing to an intestinal ailment.

Born in 1944, his career got off to a good start by winning the gold medal at FTII in 1971. He made his debut with Reena Roy in Zaroorat (1972) which was followed by Rakhi Aur Hathkadi (1972) with Asha Parekh but it was Nasir Husain’s Yaadon Ki Baraat (1973) and Phagun (1973) with Waheeda Rehman and Jaya Bhaduri that marked his arrival.

Unfortunately Vijay Arora couldn’t capitalize on the success he got as all his solo hero films failed. Very soon he accepted second leads and character roles in big banners like Roti (1974) and Sargam (1979), where his presence was peripheral to the storyline. He has done about 100 films and innumerable serials. In the late 80’s, he finally found some success on the small screen with his role as Meghnath Inderjit in the epic serial Ramayan.

Besides acting, Arora also set up his own software house which produced ad films and corporate films. He was last seen in the film Indian Babu (2003). He is survived by his wife and a son.

Vijay Arora’s Memorable Films

Samadhi (1972), Sabse Bada Sukh (1972), Rakhi Aur Hathkadi (1972), Zaroorat (1972), Yaadon Ki Baaraat (1973), Phagun (1973), Insaaf (1973), Ek Mutthi Aasmaan (1973), 36 Ghante (1974), Roti (1974), Natak (1975), Jeevan Jyoti (1976), Safed Haathi (1977), Dil Aur Deewar (1978), Sargam (1979), Gautam Govinda (1979), Meri Aawaz Suno (1981), Zamaane Ko Dikhana Hai (1981), Yeh To Kamaal Ho Gaya (1982), Taqdeer Ka Badshah (1982), Teri Maang Sitaron Se Bhar Doon (1982), Souten (1983), Bade Dil Wala (1983), Saaheb (1985) Nishan (1985), Balidaan (1985), Bewafai (1985), Sadak Chhap (1987), Dost Garibon Ka (1989), 100 Days (1991), Jaan Tere Naam (1992), Geetanjali (1993), Indian Babu (2003).

The demise of O.P. Nayyar yesterday came as a shock to all of us. Although I wasn’t born in his era but all his songs are immortal. As a kid I always wondered why all his songs had the same ‘ghoda’ rhythm and yet sounded so refreshingly different from one another. May be that’s why he was called a genius who had his own distinct style of composing songs.

Omkar Prasad Nayyar was born on January 16, 1926 at Lahore, Pakistan. His family shifted from Lahore to Amritsar after partition in 1947. In 1949, Nayyar came to Bombay and met producer-director Krishan Kewal who was making Kaneez. Thus his career started with scoring the background music for this film. He got his first break as a composer in Aasmaan 1952 which was followed by Guru Dutt’s Baaz and Aar Paar which took him to instant stardom.

With CID O.P. Nayyar gained particular distinction for his efforts as music director. He worked extensively with Geeta Dutt, Asha Bhosle and Mohammed Rafi and helped to advance their careers. He is renowned for the fact that he never worked with Lata Mangeshkar.

Most of his compositions have a distinct Punjabi influence. The legend created unforgettable songs as Ello main hari piya (Aar Paar), Kahin pe nigahen kahin pe nishana (C.I.D.), Maang Ke Saath Tumhara (Naya Daur), Aaiye meherban baithiye jaanejaan (Howrah Bridge), Zara holle holle challo more sajna (Sawan Ki Ghata), Chain se humko kabhi (Pran Jaye Par Vachan Na Jaye).

In the late 50s, his films include Aar Paar, CID, Tumsa Nahin Dekha and Howrah Bridge with the most famous song, Mera naam Chin Chin Choo. He also scored the Dilip Kumar hit film, Naya Daur for which he bagged his only Best Music Director filmfare award in 1957.

In the 1960s he did one film a year and crafted exquisite scores for Phir Wohi Dil Laya Hoon (1963), Kashmir Ki Kali (1964) and Mere Sanam (1965). His limited musical education did not come in the way of embellishing his melodies with well-chosen instruments like the sarangi which he popularized or the piano which ripples through Aapke haseen rukh pe from Baharein Phir Bhi Aayegi.

Nayyar was so involved with Asha Bhosle that he neglected other great singers like Geeta Dutt and Lata Mangeshkar. Together they created magic in more than 70 films. He molded Asha’s voice and gave her style and respectability. The Nayyar-Asha team lifted to an unprecedented high in 1957- 1958 with around nine releases in both years and a string of successful scores in Naya Daur, Tumsa Nahin Dekha, Sone Ki Chidiya, Phagun, Howrah Bridge and Ragini.

In the early 1990s, Nayyar made a surprise comeback with Zid and the Salman Khan-Karisma Kapoor starrer Nischay, with his unmistakable tunes. The last appearance of the maestro was on the television show Sa Re Ga Ma Pa.

O.P. Nayyar was a true legend in every sense whose music will be cherished till mankind lives. May this great musician’s sole rest in peace.

Kamleshwar Prasad Saxena died of a cardiac arrest on January 27 while returning home at Faridabad, Haryana. Born on January 6, 1932 in Mainpuri district of Uttar Pradesh, Kamleshwar was a prominent Hindi writer of the 20th century, who left a lasting impression on television as well.

Kamleshwar’s voice was a common feature on Doordarshan programs in the 70’s and 80’s. As a child I remember seeing him often on television programs and hearing his ever so crisp and clear voice.

He was an eminent personality in the world of Journalism who won the Sahitya Akademi Award in 2003 and penned about 30 books and several short stories. He was a recipient of the Padma Bhushan in 2005. He became famous for his short stories, and some other works, which depicted the contemporary life in a vivid style of presentation.

Kamleshwar also did a lot of voice over’s and wrote for Bollywood films but his heart was in Delhi and preferred to voice his opinions thru AIR and DD. The prominent films that he wrote were Gulzar’s Aandhi in 1975 which was based on the then prime minister Indira Gandhi and released during emergency. Besides this he wrote Saara Aakash, Mausam and a volley of tele-films and serials like Darpan, Ek Kahani , Chandrakanta and Yug.

The world of literature and films will surely miss Kamleshwar and his inspiring voice.

Kamleshwar’s Filmography

Souten Ki Beti (1989) (dialogue)
Laila (1984) (dialogue & screenplay)
Yeh Desh (1984) (dialogue)
Rang Birangi (1983) (story)
Souten (1983) (dialogue)
Saajan Ki Saheli (1981) (dialogue & screenplay)
Ram Balram (1980) (dialogue & screenplay)
Mausam (1975) (story)
Aandhi (1975) (story)

Siblings are common in Bollywood. Being a brother or sister to a star and making your debut is easy but to get a hold in Bollywood was never easy. Times have changed; earlier it was a generation of father or mother giving their kids the rings to Bollywood.

Sisters from same parents have always carried the pressure to excel like their siblings. Here are some sisters that I know of and who went on to make a mark of sorts for themselves in films-

1. Padmini- Ragini
2. Nutan- Tanuja
3. Hema Malini- Madhu Malini
4. Jayshree T- Meena T
5. Dimple- Simple
6. Twinkle- Rinke
7. Shilpa– Shamita
8. Shilpa- Namrata
9. Farah- Tabu
10.Padmini- Tejaswini
11.Karishma- Kareena
12.Kajol- Tanisha
13.Nagma- Jyotika
14.Raima Sen- Riya Sen
15.Malaika Arora- Amrita Arora
16.Sameera Reddy- Sushma Reddy
17.Nigar Khan– Gauhar Khan

This January megastar Chiranjeevi completes 29 years in the Telugu film industry. It was in this month in 1978 that Shiv Shankar Varaprasad aka Chiranjeevi made his debut with Pranam Khareedu that went unnoticed at the box-office but success didn’t come easy to him as it took nearly five years before he got his first big break in A Kodandarami Reddy’s Khaidi (1983).

After Khaidi there was no looking back for him, he ruled the 80’s and 90’s which gave him the megastar status. He’s known as the Amitabh Bachchan of Tollywood. Although his last release Stalin wasn’t a big success but his name still continues to guarantee fantastic initials.

He also made a mark in Bollywood with Pratibandh (1990), Aaj Ka Gundaraj (1992) and The Gentleman (1994).

Last year, Chiranjeevi was honoured with the Padma Bhushan and bestowed with a doctorate by the Andhra University for his services to the Telugu film industry and his social work.

Actors who didn’t come from film backdrops often carried a story of the-rags-to-riches one. Gone are the days where one had to struggle before even buying a rail ticket to Mumbai to make a mark in Bollywood.

To mention a few actors who started off on a small job before making it big in films were-

1. K.L. Saigal worked as a railway time-keeper and then as a typewriter salesman before B.N. Sircar spotted him.
2. Dilip Kumar was an assistant manager in an army canteen who had set up his own fruit stall.
3. Dev Anand worked in the Military Censor’s office who read soldiers’ letters to their families.
4. B.R. Chopra initially worked as an editor for Times of India group before turning to filmmaking.
5. Amitabh Bachchan worked as a freight broker for a shipping firm in Calcutta till 1968.
6. Johnny Walker worked as a Bus conductor before being spotted by Guru Dutt.
7. Sunil Dutt’s involvement in dramatics got him his first job with Keymers, a British advertising agency that hired him for radio programs.
8. Kadar Khan was a lecturer in an Engineering College before joining films.
9. Rajnikant also worked as a Bus conductor before being spotted by K. Balachander.
10. Gulshan Kumar of T-Series used to sell juice in Delhi before he started selling audio cassettes.
11. Cameraman Ashok Mehta worked as a Canteen boy.
12. Maniratnam worked initially as a management consultant before getting in to films.

Javed Akhtar turns 62 today. A poet, lyricist, writer and orator who has seen more highs than lows in his 40 year odd career. Born on January 17, 1945 to well-known Urdu poet and film lyricist Jan Nisar Akhtar and Safia Akhtar. Javed saab belongs to a family of poets and writers who completed his education in Bhopal and Lucknow.

He arrived in Bombay on October 4, 1964 to make a mark as an actor or director in the big bad world of films. It wasn’t easy for him to start with his father’s name who already was a known name in the film fraternity. Initially he got a break as a ghost writer when he wrote a few scenes for ‘Sarhadi Lutera’, then he wrote as an assstant for Brij’s ‘Yakeen’ 1969 where his name featured in the credits. Slowly he got recognition as a screenplay writer when he joined Sippy Films team of writers which included the well known Satish Bhatnagar. Here he met Salim Khan who also hadn’t made it as an actor, both together formed the formidable pair of Salim-Javed.

The first film they wrote was for Ramesh Sippy’s ‘Andaz’ (1971) with Gulzar. There on the writer duo of Salim-Javed revolutionized script writing and solid dialoguebaazi on the silver screen. Both wrote for about 20 odd films before they separated in 1982.

Javed saab continued giving hits but moved into writing lyrics for songs that are rhythmic, reflective on life and very melodic and catchy. There’s not a single award that hasn’t been honored upon him. He is an idol for many upcoming writers and lyricists who want to make a mark in Bollywood.

Here’s saying cheers to one of the greatest living legends of Indian Cinema.