THE GENTLEMAN STAR, FAROOQ SHEIKH

REMEMBERING THE GENTLEMAN STAR, FAROOQ SHEIKH

WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

   EMAIL: sunrise607@rediffmail.com

 The birth anniversary of Farooq Sheikh, the ‘aam aadmi’ of films and the mascot of realistic entertainment of his era, was observed on 25th March . RAJESH V. GAUR and SUNEEL V. GAUR
chronicle the life and times of the cultured and honest actor.
                                             

                                        

 Farook Sheikh lived it up as the common man on screen at a time when larger-than-life clichés reigned. That was the era when Hrishikesh Mukherjee or Basu Chatterjee's brand of films emerged as an alternative for the sophisticated crowd thirsting for sensible entertainment.
Sheikh became the poster boy of middle-of- the-road entertainment. He updated the image with a distinct flavour to suit contemporary urban taste. If Sheikh carved a niche, it was as much a result of intrinsic talent as it was about the honesty that drove him.                                                  
                                                 
 In fact, the streak of honesty about Sheikh extended even in his confessions as a Bollywood celebrity when he had once said he missed being 100 per cent commercially viable and not being a superstar.
As in life, he loved to live his career on his own terms. Shortly after his first major success Noorie in 1979, Farook had rejected twenty five odd offers because "they all seemed like Noorie remakes".
Variety on the other hand appealed to him. Sheikh's versatility defines itself if you consider he could fit into films made by diverse film makers like Satyajit Ray and Manmohan Desai.
While Ray's political satire Shatranj Ke Khiladi brought out the impish subtlety of the actor, Desai's over-the-top production Toofan presented him in the overtly maudlin avatar of the hero's best friend who literally loses an arm to save his buddy.
Umrao Jaan or Bazaar revealed the actor's intensity. He impressed in all kinds of cinema with believable acting but it was comedy where he truly found his comfort zone as a saleable star.
                                                                                         
                                     

 He will be remembered for the lovelorn, often tongue-tied lover he played in romantic comedies such as Chashme Baddoor and the street smart character he played in Katha or the poor, hapless lover, who doesn’t get the girl in Bazaar, where he speaks the typical Hyderabadi Urdu of the aam admi to great perfection getting beneath the skin of the role he was playing.
And then, of course, we had him romancing in Saath Saath to Jagjit Singh’s immortal melody "Tum ko dekha toh yeh khayal aaya.."
                                                  
                                                 

Sheikh also impressed on stage with Tumhari Amrita, one of the Hindi theatres most feted and longest running plays.
He used well the innate mix of charm and screen presence on television too, as the host of the popular talk show Jeena Issi Ka Naam Hai and the satire Jee Mantriji.
Farook Sheikh was way too laidback and would work at his own will. His ambition was limited and so was his desire to do a lot of work. He did not take popularity seriously.
Farook Shaikh, the star with an absence of any kind in his demeanour or his work will always be missed by his fans.

WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

MILE SUR MERA TUMHARA: GHAZAL SINGER GHANSHAM VASWANI

“MILE SUR MERA TUMHARA” GHANSHAM VASWANI

WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

 EMAIL: sunrise607@rediffmail.com

 Former Prime Minister Manmohan Singh, had quoted two lines from a ghazal when his indifference was challenged during a session of the parliament. They were: Mere khayal se behtar hai meri khamoshi/ na jaane
kitne sawaalon ki aabru rakhli. (I think silence is best/ for it has kept me from answering dishonest questions.) The couplet is part of a ghazal performed by popular Ghazal singer Ghansham Vaswani for the film Banda Nawaz. Ghansham has added weight to the list of Sindhi speaking singers. " There is a lot of Music in Sindh. even the famed Abida Parveen is from the region. I have composed and sung the songs by the Sufi saints like Abdul Latif, Sarmast and Sami . All these saints have helped spread music and philosphy in Sind". says Ghansham.

Ghansham Vaswani who was born and brought up in Mumbai has received initial training in music from Aaftab Ahmed and later studied under Susheela Pohankar and Rajaram Shukla. He won the first place at the Film Music Competition organised by Sur Singar Sansad in 1979. “Among the judges were celebrities like composer Jaidev, Naushad and Raj Kapoor,” smiles Ghansham.             

                           RAJESH GAUR AND GHANSHAM VASWANI

 Impressed by Ghansham ghazal maestro Jagjit Singh took him under his wings. Ghansham sang with Jagjit in several concerts and they recorded music too. When Jagjit composed music for the film Saatwan Aasman, Vaswani recorded a duet with Singh’s wife Chitra. Ghansham created news by composing music for Ghazal album 'Forget Me Not' sung by his mentor the ghazal maestro Jagjit Singh. This was the first time that Jagjit had sung a complete album for an individual composer. He has also sung the popular national integration song “Mile Sur Mera Tumhara” performing the Sindhi and Punjabi lines.        
                                            

                                          

 He has featured in many a TV musical shows like: Arohi, Shaam-E-Ghazal, Ghazal Ke Saaye, etc. He has also rendered songs for Hindi films like Ankush, Kalka, Saatwan Aasman, etc. He has also done many stage shows in places like Hong Kong, Taiwan, Japan, USA etc. Today Ghansham Vaswani is a much sought after singer busy with recordings for TV, AIR concerts, films, TV serials and commercials. His latest album 'Talaash' is now creating waves on the music scene.
                
WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR 



 

A DIVA CALLED MALA SINHA

A DIVA CALLED MALA SINHA

 WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

  EMAIL: sunrise607@rediffmail.com

 Mala Sinha’s exuberant persona glitters bright amongst the galaxy of stars of Bollywood that once held the audiences spellbound in the late 50s to 70s. The icon of Hindi films celebrates her seventy sixth birthday on 11th November.

Mala Sinha had an incredible adaptability and staying power. Nobody could have seemed less destined for stardom than Mala .The only child of parents, Mala shifted with her family to Bombay from Calcutta in search of a career in Hindi films
                                            

                                              
                             Mala Sinha, writer Vrajendra Gaur and Bimal Roy
  
 After a few inconsequential roles she fgot her big break Pyaasa (’57). She left an indeliable mark on the audience with her performance and smouldering looks. Mahesh Bhatt, who saw Pyasa as a child in a theatre said the impact Mala left on him was hypnotic. “Oh my God the sensuality she exuded!” he has raved. Pyaasa turned Mala into a star. Mala's ascending star status was confirmed as she was paired with Raj Kapoor in three films - Parvarish (1958), Phir Subah Hogi (1958) and Main Nashe Mein Hoon (1959). It was however her tear jerkers like Dhool Ka Phool (’59), Hariyali Aur Raasta (’62) and Anpadh (’62), that won her lasting fame.
In 1963, with the role of a straying wife in Gumraah and the buffoon’s wife in Bahurani, she made it to the A-list. Her other films like —Himalaya Ki God Mein (’65), Aasra (’66) and Do Kaliyan (’68) were big hits too.

Other well-known films of Mala Sinha include Bimal Roy's Apradi Kaun, Ujala (1959),Jaasaaz [1959] Love Marriage (1959), , Maya (1961), Dil Tera Deewana (1962), Apne Hue Paraye (1964), Mere Huzoor (1968), Geet (1970) and Lalkar (1972).
                                              
                                       

                         Mala Sinha and Dev Anand in 'Love Marriage'

Mala Sinha had even turned down the Dilip Kumar starrer Ram Aur Shyam as she felt the heroine's role was not pivotal, and also B.R.Chopra’s Waqt where she refused to wear a revealing costume in the film[the role went to Sadhana]. But she willingly worked with lesser names as long as she was the central figure. She scored heavily in films like Humsaya (1968), Do Kaliyan (1968) and Ankhen (1968). By now there were also reports to suggest, she had become a diva.                                                   
                                                
 When the late 60s dictated a rise in the glamour quotient required from heroines, the adaptable Mala acted in films like Aankhen and Maryada. Though well into her 30s, she continued with leading roles into the 1970s pairing with the younger lot of heroes -, Sanjeev Kumar (Kangan (1971)), Rajesh Khanna (Maryada (1971)) and Amitabh Bachchan (Sanjog (1971)) but by now her career as a leading lady was in its last stages. She switched to character roles with films like Rakesh Roshan's Khel 1992 and Zid [1994].

Today Mala Sinha, lives contentedly in retirement in her lavish bungalow at Bandra.

Her greatest achievement lies in holding high, in tumultuous times, the torch of the `women’s picture’.

WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

ALWAYS SUNNY

 ALWAYS SUNNY

WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

EMAIL: sunrise607@rediffmail.com

 Sunny Deol celebrates his 58th birthday on 19th October. Sunny Deol is still one of the the top notch action stars of Bollywood. He made a spectacular debut in Bollywood with the super hit Betaab in 1983 and a new star was born.

Amidst the romantic Hindi films of the 1990s, Sunny Deol struck a blow for action in the form of the super hit Ghayal as well as Damini. He showed that action still held a place in the hearts and minds of audiences. Right from playing a spy to a boxer, Sunny Deol was enough to hook us on to his spicy action movies like Ghayal, Ghatak, , Darr, etc.

It was in 2001, his Gadar: Ek Prem Katha was loved by all and the movie turned into a box office gold mine. There has lately been a lot of talk about the 100 crore club, but Sunny Deol, says the trend has always been there but it was never hyped. "I am not seen around much now because I have not entered this racket. It doesn't bother me," says the actor
                                          

 

RAJESH GAUR WITH SUNNY DEOL

                                         
 His fans have always rooted for his action oriented films and are now awaiting his Mohalla Assi and Bhaiyyaji Superhit. Sunny shrugs, "Mohalla Assi, and Bhaiyaji Superhit do not strictly fall in the action genre. You could say that there is a difference in the films that I was a part of and the ones being made now."

It is being said that he is working on the script of Ghayal Returns which is a sequel to the successful Ghayal "I wish to change the definition of action with this sequel. Ghayal Returns is not about dramatic dialogues. It's about inner strength. I am writing and directing "Ghayal Returns" he smiles.

If the film lovers and critics are considering a change of image for Sunny, then they better dispel the notion.
"Fans keep telling me how desperately they want to see me in action films! They can expect that in my films and at the same time, they will be complete entertainers," he concludes.

WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

SHAHRUKH KHAN'S 'HAPPY NEW YEAR'

                                           
                                                       

by: RAJESH V. GAUR and SUNEEL V. GAUR

EMAIL: sunrise607@rediffmail.com

HAPPY NEW YEAR  is an action comedy-drama film directed by Farah Khan and produced by Gauri Khan under the banner of Red Chillies Entertainment. The film stars, Shahrukh Khan, Deepika Padukone, Abhishek Bachchan, Boman Irani, Vivaan Shah,  and Sonu Sood .
This will be the third film in which Farah Khan will be directing Shahrukh. They previously worked on Main Hoon Na (2004) and Om Shanti Om (2007), the latter of which also featured Padukone as the female lead. The promos of the film revealed that it belongs to a new genre of musical heist. The film is  set to  release on  24 October 2014.
                                              
                                               

RAJESH GAUR, SHAHRUKH, SUNEEL GAUR AND RAJEEV AT THE PRESS MEET OF 'HAPPY NEW YEAR' AT A SUBURBAN 5 STAR HOTEL. BADSHAH KHAN WAS IN HIS ELEMENTS AND SO WAS DEEPIKA. SHAHRUKH LOOKED DASHING WHILE DEEPIKA WAS RAVISHING.

 

HASSLE-FREE AND SINCERE ACTOR: SANJEEV KUMAR

 HASSLE-FREE AND SINCERE ACTOR: SANJEEV KUMAR

WRITTEN BY: RAJESH V. GAUR and RAJEEV V. GAUR

 EMAIL: sunrise607@rediffmail.com

 The birth anniversary of Hindi film industry’s icomic star Hari Jariwala better known as Sanjeev Kumar falls on 9th July. The Surat born Sanjeev had a strong theatre background and was first spotted playing the role of an elderly man when he was just 24 years of age. He was a simple man who cared less about the perception of other people In fact . Sanjeev Kumar arrived for many of his shoots in a kurta pyjama. Can you imagine the stars of today doing that. Many claim that he was famous as 'late latif’ Sanjeev bhai', because of his habit of coming late on the sets. However, his one take performance used to compensate for all. Sanjeev had a very distinct style of working. He never gave a retake, until he wanted to
                                                   

                                    
                                     Sanjeev and Leena Chandavarkar

 Sanjeev Kumar, was first noticed through his riveting performance in Sungharsh [1968]. It is said that he even overshadowed Dilip kumar in the scenes the two shared in the film.
A thinking actor, he proved that the best location for an actor is his face and what happens on it. Sanjeev’s strength, whether in the blockbusters like Khilona , or an experimental Koshish lay in his dogged sincerity. A twitch on his face could convey more than reams of dialogues.
Be it comedy or tragedy, he could do it effortlessly. It is amazing how Sanjeev could skilfully move from a flirtatious husband in Pati Patni Aur Woh to the tearful lover in Anamika. No other actor could excel at comedy like him in Angoor. In Hindi films, the only way to express anger is to scream oneself hoarse and hurl abuses of the Kutte-Kamine variety. One has to remember Trishul when Sanjeev Kumar expresses anger through his eyes. Each time Amitabh Bachchan, (who plays Sanjeev’s illegitimate son), steals a march over him, his rage becomes palpable.
                                                          

                                       
                                      Sanjeev Kumar and Hema Malini
            
 Naya Din Nayi Raat was Sanjeev Kumar’s magnum opus. He performed nine different roles and assayed all of them deftly. In these roles, he mixed and watched nav rasas. The feelings of comedy, humour, pathos, anger, fury, fear, valour, bravery, wonder and peace expressed by him set the screen aflame. This film earned him a permanent place in the Hall of Fame.

Sanjeev Kumar is still remembered for playing a variety of roles on the big screen. He is arguably the best mainstream actor Bollywood has seen so far. The actor played romantic, characters as well as intense roles with ease
The actor is famous for his films like 'Khilona', 'Seeta Aur Geeta', 'Koshish', 'Aandhi', 'Mausam', 'Angoor' and many others. He started his career with 'Hum Hindustani' in 1960. His journey from small budget films to the mainstream cinema is an inspiration for the young actors. His performance as a deaf and mute person in 'Koshish' or the way he played the Thakur in 'Sholay' are perhaps the best of his career Sanjeev Kumar has left behind a legacy of quality cinema.
                                           

                               Sanjeev and Sharmila in "Charitraheen" 
         
 At a time when actors were branded as a romantic hero, action hero or jumping jack, Sanjeev Kumar was one actor who was difficult to typecast. Even from latest lot of Bollywood actors, nobody can match Sanjeev Kumar's charm and acting finesse.

 WRITTEN BY:  RAJESH V. GAUR and RAJEEV V. GAUR

HINDI CINEMA'S AVANT- GARDE MATINEE IDOL: SHAMMI KAPOOR

Hindi Cinema"s Avant-Garde matinee Idol :  Shammi Kapoor

WRITTEN BY: RAJESH V. GAUR and  SUNEEL V. GAUR

 EMAIL: sunrise607@rediffmail.com


 Shammi Kapoor belonged to the sixties generation , those who side-by-side loved Elvis Presley and Cliff Richard. Shammi Kapoor rivalled with another legend Dev Anand. Both actors portrayed, in quite a similar way, the urban debonair icon of Mumbai, with movies that were lighter compared with wholesome family dramas depicting joy and sorrow concurrently. These actors preferred playing in less cumbersome dramas and exploited lighter and easy-to-watch movies filled with comedy, romance and, above all, the most titillating Hindi movie songs that remains unrivalled to date.
One of the first major breaks of Shammi Kapoor was Nazir Husain’s film Dil Dekhe Dekho where he played the role of young musician Rocky with debutant Asha Parekh. .
                                             

                                               
 The success of Shammi Kapoor reached amazing heights with China Town followed by his first colour film, Junglee, released in 1961, which proved a blockbuster hit. Thereafter he starred in more than 100, mostly lightweight, films. His Western-style garb of leather jacket and T-shirt, and catchy, upbeat musical numbers like Suku Suku cemented his appeal among teenage filmgoers.
Kashmir Ki Kali portrayed the star with seducing green eyes and a fair complexion opposite a raw Sharmila Tagore in her maiden film role.
Shammi Kapoor paired with ravishing Saira Banu in Junglee, the performance-conscious Nutan in Laat Saheb and debutante Rajshree in Rajkumar. Alongside, he acted with Kalpana in Professor. Shammi Kapoor’s name guaranteed success for a film. No wonder many heroines made their debut in films starring the ‘yahoo’ star.
                                                        
                                                     

                                                          
 With the most gorgeous heroines of his time, Shammi Kapoor sang some chart toppers tuned with typical musical scores of maestros like Shankar Jaikishan and R.D.Burman.                                                          
                                                   
Shammi Kapoor brought shockwaves to Hindi Cinema by retiring in 1971. After being, for a decade, the nonchalant and charming matinee idol who teased so many belles, Shammi Kapoor grew more serious by enacting in a socially-engaging way in Bramachari (1969) which won him the Filmfare award.
                                                    

                Shammi Kapoor with his friend and writer Of China Town,     
                 Singapore and Jaane Anjane- Vrajendra Gaur.

Andaz was the final movie of Shammi Kapoor in the main lead . He was only forty then.
Shammi Kapoor’s sudden disappearance from movies in 1972 illustrated that Hindi Cinema was then going through a new phase with upcoming action heroes like Dharmendra and, angry young man, Amitabh Bachchan. Shammi seemed to be disenchanted with the glitz of the cinema world.
In 1974, Shammi Kapoor shifted to character roles with Zameer . He also directed the unsuccessful Manoranjan in 1975 which was inspired by the Hollywood hit Irma La Douce,
The twist and turns of an agile but rather corpulent man, the amorous looks of a blue-eyed boy, and the nonchalance of an evergreen hero; has now gone down memory lane.
                                                          
WRITTEN BY:  RAJESH V. GAUR   and  SUNEEL V. GAUR