Check out this excellent Rajendra Kumar Interview from 1997 where he talks about Raaj Kumar, Nargis, Meena Kumari, Raj Kapoor, Kumar Gaurav and movies like Mother India, Kanoon, Mere Mehboob, Arzoo and Sangam. The interview was shot in between the shooting for a TV Drama/Film Rasm-o-riwaz shot in UK.
Check out this Shashi Kapoor Interview from 1984 before the release of Utsav when Shashi Kapoor came to Vancouver with actress Nutan for a concert in Vancouver. This interview was recorded just before he was flying to England to finish his film “Utsav” in English and Hindi. He also talks about his kids and their future.
Check out this excellent Amjad Khan Interview from 1987. The interviewer is very annoying with her stupid line of questioning. Credit to Amjad Khan for keeping his cool even though one can feel he is angry the way he responded to her questions.
In this interview with Rajeev Masand, Dishoom stars John Abraham and Varun Dhawan talk about their new buddy cop movie directed by Varun’s brother Rohit Dhawan. The actors talk about their relationship and friendship, and also play a round of Missing Faces.
In this interview with Rajeev Masand, Anushka Sharma star of the recent blockbuster Sultan, defends her character in the film Arfa, from criticism that it reinforces regressive stereotypes. The actress also talks about turning down the female lead in Imtiaz Ali’s Tamasha, about working with all superstar Khans, and about dealing with online trolling.
Kirsten Dunst (‘Fargo’) joined six fellow television actresses for The Hollywood Reporter’s Drama Actress Emmy Roundtable including Julianna Margulies (‘The Good Wife’), Jennifer Lopez (‘Shades of Blue’), Kerry Washington (‘Scandal,’ ‘Confirmation’), Sarah Paulson (‘American Crime Story: The People v. O.J. Simpson,’ ‘American Horror Story: Hotel’), Regina King (‘American Crime,’ ‘The Leftovers’), and Constance Zimmer (‘UnREAL’).
In this interview with Rajeev Masand, Randeep Hooda explains how he turned around his career after making arrogant mistakes in his youth. Hooda talks about working with Imtiaz Ali on Highway, and describes what he learnt from working with Ramgopal Varma, and Naseeruddin Shah.
The first film by Nagraj Manjule, Pistulya (2010), a short, which he made while studying mass communication at the New Arts, Commerce and Science College in Ahmednagar, Maharashtra, won him the National Award for Best First Non-Feature Film. The 38-year-old filmmaker’s next, the Marathi feature film Fandry (2014), received critical acclaim and the Indira Gandhi Award for Best Debut Film at the 61st National Awards. However, it’s his latest Sairat (which translates to wild)—the highest grossing Marathi film to date with Rs 68 crore in earnings as on May 20—that has elevated his stature as a master of his craft.
Sairat’s story, co-written by Manjule too, of two young lovers—Archie (Rinku Rajguru), the daughter of a landlord, and Parshya (Akash Thosar), a fisherman’s son—caught in the clutches of caste and economic class in rural Maharashtra has captured the imagination of not just the state, but also several parts of India and the globe.
Trade figures reveal that the film—produced by Zee Studios—is being screened in more than 500 theatres, including over 50 outside Maharashtra, with 14,000-plus shows.
“Every poet who took to writing lyrics had to accept the medium. But Sahir Ludhinavi and perhaps, Pandit Pradeep, were poets whom the medium accepted on their own terms. Their poetry remained intact in the lyrics. DN Madhok (in the early ’50s) brought in folk imagery and dehati (rustic) dialect like Jab tum hi chale pardes laga kar thes (Rattan). Kedar Sharma was also part of this period. But Sahir became a milestone. He broke the rhyme mould like ‘pardes’ and ‘thes’ and brought in an Urdu flavour to lyrics. He brought in fresh phrases – like Pedon ke shaakhon pe soyee soyee chaandni… (Jaal).
Majrooh Sultanpuri had accepted the medium and spoke in aam guftagoo (conversational language). Shailendra was a blessing for Hindi cinema. He could say something profound in a light-hearted way. But Sahir brought in a touch of maturity – Chalo ek bar phir se ajnabee ban jaaye (Gumraah). He got involved with the subject, felt the situation and conveyed it in his words. Like the songs Suno gajar kya gaaye (Baazi), Jinhe naaz hai Hind pe woh kahan hai and Jaane woh kaise log (both Pyaasa). His lines were loaded with meaning, like rain-bearing clouds. His lyrics had musicality. The choice of words was unique.
Sahir brought dignity to every lyricist with great vengeance. He was the first one to argue that when the film’s name, the music director’s name and the singer’s name is mentioned on the records why not the songwriter’s name? It’s because of his insistence that Vividh Bharati started mentioning the lyricist’s name. He demanded a rupee more than the music director. He worked with Ravi and N Dutta, struggling young composers then, and said, ‘If my writing has power, the song will work’.
He used to live at Four Bungalows, then a very remote area where no buses plied. He was one of the earliest lyricists who had a Morris car. He stayed on the first floor of the bungalow, storywriter Kishan Chandra on the ground floor and I lived in the outhouse with my friends, paying Rs 20 as rent. We were only too happy to be in the company of Sahir.
He was a tall man and whenever I’d share a sher (couplet) with him, he’d put his hands on my shoulders and say, ‘If I were to judge your poetry according to my age and maturity it would be unfair’. But he’d say, ‘Talaffuz (pronunciation) sahi rakho. Talaffuz se hi Punjabiyon ke wazan bigad jaate hain (Punjabis tend to lose their impact with a wrong Urdu accent)’. Being from Ludhiana he spoke in Punjabi. But when he spoke Urdu, it was chaste.
There was romanticism in his poetry. His anti-war poem Parchhaiyan spoke of reality but was full of romance. The lover tells his beloved, ‘Tujhse milna khushi ki baat hi sahi, tujhkar milkar udaas rehta hoon’. Or like the Taj Mahal nazm, ‘Mere mehboob kahin aur mila kar mujh se’ where he accuses Emperor Shahjahan for mocking a commoner’s love.
The spirituality is distinct in the lines Rang pe kisne pehre dale… man re tu kahe na dheer dhare (Chitralekha). Even Hindi writers are not able to write so beautifully. And who can miss the idealism in Insanon ki izzat jab jhoote sikkon mein na toli jaayegi (Phir Subah Hogi)! Yes, he may have written Main pal do pal ka shayar hoon (Kabhi Kabhie) but for us he’s har pal ka shayar.