Kudrat - 1981

Chandramukhi is a pretty young woman who lives in Bombay, India, with her mom, Sarla, and dad. They decide to go on a holiday to scenic Simla, where Sarla meets her childhood friend, Kanta Gupta, who lives there with her Psychiatrist son, Naresh. Chandramukhi and Naresh are attracted to each other much to joy of their respective parents. Then on the first night in Simla, Chandramukhi has a nightmare where she sees herself chasing a man. The second night she has the same nightmare, prompting Naresh to hypnotize her, and walks her through her adult life, then to her younger years, and then to her past life. Unable to proceed further, as he has no experience in this field, Naresh stops. Then Chandramukhi's condition keeps on getting worse, she feels herself being attracted to former resident of Chandigarh, and now Simla's Public Prosecutor Mohan Kapoor, who is to marry Advocate Karuna , the daughter of wealthy Choudhury Janak Singh. When Mohan begins to fall in love with Chandramukhi, and tells about this to Karuna, she decides to step aside and let him marry her. when Karuna invites Mohan and Chandramukhi over to her father's house - the very day he has decided to announce her engagement with Mohan - Chandramukhi reacts with a terrified scream in Janak's presence - an incident which will result in the investigation of sexual molestation and the subsequent murder of a village belle named Paro over 20 years ago. The perpetrator of these crimes is still at large with very little evidence to show that he actually did rape and kill Paro.

Directed By Chetan Anand
Produced By B S Khanna
Music Director : R D Burman
Runtime 164 min
Release Year1981
Genre : Drama,Family,Musical
Language: Hindi
Released on Apr 03 1981

Cast :

Raj Kumar as Choudhury Janak Singh
Hema Malini as Chandramuki/Paro
Rajesh Khanna as Mohon Kapoor/Mahan
Priya Rajvansh as Karuna Singh
Vinod Khanna as Dr Naresh Gupta
Deven Verma as Pyarelal
Om Shiv Puri
Aruna Irani as Saraswati (Satto) A K Hangal

Songs :

Chhodo Sanam by Kishore Kumar and Annette Pinto
Hamen Tumse Pyar Kitna by Kishore Kumar
Hamen Tumse Pyar Kitna by Parveen Sultana
Sajti Hai Yun Hi Mehfil by Asha Bhosle
Sawan Nahin Bhadon Nahin by Asha Bhosle , Suresh Wadkar by Parveen Sultana

by Mohammed Rafi
Tune O Rangeele by Lata Mangeshkar

MEHBOOBA - 1974

MEHBOOBA - 1974

Cast: RAJESH KHANNA, Ashok Kumar, Hema Malini, Jagdeep, Kamini Kaushal, Prem Chopra.

Music Director: Burman S D

Director: Ks Prakash Rao

Producer: Rama Naidu

Lyrics: Anand Bakshi

Year: 1974

BANDHAN - 1969

Cast: Rajesh Khanna, Mumtaz , Jeevan , Kanhaiyalal , Rajendranath , Achla Sachdev, Sapru , Anju Mahendru, Aroona Irani, Sunder , Ratnamala.
Director: Narendra Bedi
Producer: Sippy Films
Music Director: Kalyanji-Anandji
Lyrics:
Year : 1969

AURAT - 1967

StarCast : Rajesh Khanna, David, Feroz Khan, Kanhaiyalal, Lalitha Pawar, Nana Palsikar, Pran, Achala Sachdev, Leela Chitnis, Padmini, Mohan Choti, Nazima.

Director: S. S. Balan & S. S. Vasan

Producer: Gemini Combines

Music Director: Ravi Shanker

Lyrics :

Year : 1967

BAHARON KE SAPNE - 1967

Cast: Rajesh Khanna,Bela Bose, Jayshree Gadkar, Asha Parekh, Premnath , Jairaj , Anwar , Nana Palsikar, Sulochana , Madan Puri, Rajendranath , Laxmi Chhaya.
Director: Nasir HussainProducer: Nasir Hussain FilmsMusic Director: R. D. Burman

A young man returns to his provincial home with his big-city dreams in tatters, only to win over the villagers by taking an important union position at a local factory. Joyous and uplifting, BAHARON KE SAPNE is a 1967 Bollywood feature from director Nasir Hussain.

Dream Cities of The World - Vimla Patil

Vimla Patil was associated with Femina, India’s number one women’s magazine, published by the Times of India Group for 29 years. Femina is Vimla Patil's personal success story. Today, FEMINA is one of the strongest international brands with a vast readership in India and abroad. She initiated the Miss India contest in the mid-sixties for the journal and brought it to its present international stature. Vimla Patil promoted Indian textiles and fashion garments – especially handlooms – for decades by presenting over 4000 fashion shows in India and most countries of the world. After finishing her long stint with Femina, she built a brand new career for herself as a freelance multi-mediaperson with writing, events, public relations, shows and many more activities in her portfolio! Vimla Patil will be delighted to answer readers' questions. Please click on the comments page link at the bottom of the article to post your questions for her or to comment on her article.
Over the centuries, some of the world’s most glittering cities have been labeled as ‘dream cities’! This is because they are magnets that draw millions of people to seek money, fame and success while living and working in them. Some of these cities are Los Angeles (Hollywood), Paris, Milan, London, New York, Singapore, Dubai and most important, Mumbai (Bollywood)! While the dream factory of Hollywood sees thousands of would-be actors and film-makers flocking to the city with shining ambitions in their eyes, Paris and Milan attract artists, fashion designers, perfumiers and models. London, New York, Singapore, Dubai and Mumbai attract those devoted to the good life – through making their millions in business and finance. These cities, like several others across Europe and the USA, are the financial hubs of the world where the brave of heart and adventurous of spirit come to learn the tricks of the trade and settle down to make their fortunes.
Among these cities, Mumbai attracts hoardes of people from all over the world!
Mumbai, the glittering city on the west coast of India, they say, never sleeps. Its glittering streets, markets and business districts see life in its most frenetic form throughout the year, irrespective of holidays, festivals and normal working days. Its citizens are fun loving, generous and never miss an opportunity of celebrating life. Its markets, restaurants, entertainment plazas and religious monuments offer the visitors everything they wish for. No wonder then that all kinds of people who dream of big money, success, fame and magic in their lives, are attracted to Mumbai which now houses almost 15 million people – almost the population of a small country. Every day, trainfuls and busloads of people seeking their livelihood or a decent standard of life arrive in the city to make it their home!
But among those who come to Mumbai, Bollywood seekers are prominent!
Rajesh Khanna in Amar Prem (1971)
For over half a century, the huge film industry in Mumbai has drawn all dreamers to this city. One of the first – and most prominent – actors to seek his fortune in Mumbai was the late Prithviraj Kapoor whose sons (Raj, Shashi and Shammi), grandsons (Randhir, Rishi and Rajeev) and grand daughters (Karisma and Kareena) continued to make history in the industry. Rajesh Khanna came and conquered the marquees. Waheeda Rahman came, so did Dev Anand, Dilip Kumar and hundreds of others. Mumbai’s tradition of being the hub of fortune-seekers continues to this day.

Rajesh Khanna launching music channel

Rajesh Khanna, yesteryears’ Bollywood superstar is all set to launch a music channel. The music channel, named under his initials, RK Music, will be operational from later this year.
The channel apart from featuring Khanna’s evergreen hits daily will also see the Anand star taking part in many shows based on music.Apparently, it will be a joint venture between Kaka, a famous Mumbai based Music Company and a big media company from down south, namely the Sun TV Network informs our source. He further informs us that the basic formalities have been done with for the same with the Ministry of Information and Broadcasting. The channel shall be on air in just three months’ time with the former superstar in charge of the programming himself. The actor turned politician shall also be involved in a day to day functioning of the channels proceedings.After his cine career was virtually over in the late 80s, Rajesh Khanna joined politics and became a Member of Parliament by winning a Lok Sabha seat in Delhi from a Congress ticket. Few years back he had also floated a successful lottery business in Maharashtra. Khanna was last seen in the utterly forgetful flop, Jaana – Lets Fall in Love (2006) with his olden days co-star Zeenat Aman. He has currently only one film in hand, Hello Kaun Hai, directed by item girl, Rakhi Sawant’s brother, Rakesh Sawant.

Rajesh Khanna - The True Romantic Hero - VIII

Film: Aradhana
Cast : Rajesh Khanna & Sharmila Tagore
Song : Roop Tere Mastana Pyar Mera Diwana
Singer : Kishore Kumar
Year : 1969



He was the loverboy without compare.
She was the demure girl with a bod to kill for.
Rajesh Khanna and Sharmila Tagore came together in 1969's Aradhana, and the sensuality between them felt so real. it virtually set the screen afire.

Heroic roles Rajesh Khanna

In many of his heroic roles Rajesh Khanna projected an assuredness and self confidant attitude worthy of his given screen name that means, 'king of kings'. But Rajesh was not packaged in a royal exterior, although he was quite handsome he had ruddy skin, pimples, was of slightly below average height, and was prone to pudginess. What magic he did have was a radiating disarming charm and sensitive sexiness. He was aloof, self interested, with graceful mannerisms that melted woman's hearts. Rajesh Khanna was Bollywoods ultimate romantic superstar.

At the peak of his fame 1969-1972 Rajesh Khanna was the cats pajamas in Bollywood. He experienced an adulation from the public that bordered on hysteria. When he married Dimple Kapadia legend has it that in reaction woman committed suicide. For a giddy moment in history he bridged the gap and hovered as the favored star between the 'classic' heroes of the 50s and 60s and the 'Angry Young Men' of the 70s.

Rajesh Khanna and Sharmila Tagore from "Amar Prem"(1971)

Khanna had a prolific and successful collaboration with the singer Kishore Kumar and composer R.D. Burman. A large number of the songs they put to film are truly Bollywood Classics. In the film "Amar Prem" this collaboration produced two evergreen hits, "Chingari Koi Bhadke To Saawan" and "Kuch To Log Kahenge".

Avtaar - 1983

Synopsis :

Avtaar Kishen starts his second span of life after being thrown out of his home by his sons. He learns a lesson never to emotionally lavish all his belongings on his sons ever again. Avtaar Kishen starts work from a small car repair garage and luck favours him to become a successful businessman with the help of his wife Radha and his faithful servant Sevak.

Star Cast : Rajesh Khanna, Shabana Azmi, AK Hangal, Yunus Perwaiz, Gulshan Grover, Sachin.

Director : Mohan Kumar

Producer : Mohan Kumar

Music Director : Laxmikant Pyarelal

Lyricist : Anand Bakshi

Year : 1983

Rajesh Khanna is a mechanic with a healer's touch at fixing cars. A parallel universe in which flashbacks-within-flashbacks are a sensible way to tell a story. A parallel universe in which Shabana Azmi dances around trees.

Unfortunately, that last aspect - the most straight-up-dashing-hero-swooning-heroine romantic song picturized on Shabana that I had encountered the time I first saw Avtaar - was close to the most interesting thing about this movie, and even it was not exactly good, not compared to some of Shabana ji's full-on masala performances of the 70s.

Avtaar Kishen (Rajesh Khanna) is a hardworking, pious, salt-of-the-earth type of guy. He's an auto mechanic with a master touch. He is happy and satisfied with his life - he has a beautiful, adoring wife of twenty-five years, Radha (Shabana), and two grown sons for whose success he has toiled and of whom he is very proud. The domestic joy is fleeting, however - Radha and Avtaar's children selfishly betray them, leaving them destitute. With the help of their loyal servant Sewak (the name actually means "servant"), Avtaar gets back on his feet and builds himself a wildly successful business, which he then manipulates to exact revenge from his sons. On the more charitable side, he founds a home for elderly folks who have been abandoned by their children, and employs its residents in his company. His sons eventually relent and seek forgiveness - and Radha tires of estrangement from them - but Avtaar is a very proud man, there may be too much water under the bridge for this family to repair itself.

The message of this peculiarly bitter film seems to be: Old folks, don't trust your adult children, because they will screw you. I'm all in favor of moralizing about the lack of respect that each generation shows for the one that came before it, and I can understand the need for social dramas that address the problem of erosion of the family, but it seems like there are more productive ways to send the message than in an angry cautionary tale. The sense that the film's message is displaced is only enhanced by the fact that Avtaar and Radha, supposedly the elderly victims of youthful indifference, are played by a 40-year-old actor and a 32-year-old actress, made up - not very convincingly - to look some 25 years older. Why not give the roles to some neglected older actors? This, and similar details, lend the film an amateurish air, as it simply isn't a good enough movie for such details not to be distracting.

The music, which can sometimes be the sole redeeming feature of an otherwise unforgettable film, did little here to ease the squirming sense I had of suffering through a very bad movie in the name of fangirlish completism. The picturization of the aforementioned romantic song, " Din mahine saal", was clunky and inelegant. Another song, picturized on the members of the younger generation celebrating their freedom the annoying burden of their parents, was among the worst choreography and most embarrassing dancing I've seen in a Hindi film. The one picturization I very much enjoyed featured Avtaar and Radha (in their younger, flashback form) carrying their seriously ill baby up a steep mountain trail in pilgrimage. The song was pretty, and Shabana nailed perfectly a sense of exhaustion and despair. But apart from a very few such effective moments, unless you are a raving fan of one of its principals, this film has little to recommend it. I certainly am, and it pushed even my limits of tolerance.