Tag Archives: Dilip Kumar

Book Reviews

Book Review: Dongri to Dubai (2012)

AUTHOR

S. Hussain Zaidi is a former crime reporter, investigative journalist, and novelist whose books based on Mumbai crime became bestsellers. His in-depth extensive research on the Mumbai underworld set a platform for the Bollywood industry and international authors.

Zaidi developed fame and respect as an author after publishing his first book, Black Friday in 2002. The book that dealt with the 1993 Bombay Serial Blasts became the source for Anurag Kashyap’s second directional project with the same title. Popular Bollywood films of the last decade like Phantom, Class of ’83, Shootout at Wadala, and recently Gangubai Kathiawadi are all based on Zaidi’s books.

THE BOOK

Dongri to Dubai is a complete chronicle of the Mumbai mafia. It took six years of research, compilation, verification, and writing the entire material that Zaidi gathered and shaped into a book.

Dongri to Dubai is a favor to all the historophiles who are enthusiastic to go deep in thinking and questioning the origins of the crime that shaped the most powerful syndicate in Mumbai for decades. It is a treasure that the hunters were in quest of while wandering on the mysterious island.

TRINITY

Mumbai and to some extent Karachi are historically the South Asian New Yorks that cultivate a lot of communal and regional backgrounds due to immigration. Dongri to Dubai educated me a lot about the criminal history of Mumbai. It is unusual and geographically diverse.

Decades ago, the Mumbai mafia was ruled by three powerful dons and none of them were Marathis. Two of them were Tamilar and the other was a Pathan, all immigrants.

One arrived in Mumbai with his father from Panankulum when he was eight years old. He worked in a cycle repair shop and earned 5 rupees a day for 12 years. And then worked as a coolie at the dock for three years. Met an Arab sheikh, began smuggling for him, proved his loyalty, became his partner, and during this progress, ruled the South West Mumbai – Mastan Mirza (also known as Haji Mastan).

Haji Mastan

The other came from Vellore where he was an errand boy at a photography studio when he was seven. In Mumbai, he also started as coolie but at a railway station. There he connected with people who were involved in the liquor trade. His progress in the liquor mafia rose to the emergence and soon became the don of Central Mumbai – Sathuvachari Varadarajan Mudaliar (also known as Varda Bhai and Kala Babu).

Varadarajan Mudaliar

And the Pathan came from Peshawar when he was in his mid-twenties. He first started his gambling den. Then he became a moneylender. A Kabuliwallah standing almost 7 feet tall! He became a haunting figure in kicking people out of their residences. Abdul Karim Khan (also known as Karim Lala).

Gangster Karim Lala. *** Local Caption *** Gangster Karim Lala. Express archive photo

THE DON

Although Zaidi writes about many dons and gangsters but ‘Dongri to Dubai’ centrally focuses on the one who outsmarted all the previous dons in the city – Dawood Ibrahim.

I liked the idea of introducing the central character after eight chapters. Zaidi settled the readers to understand the origins of Mumbai crimes and their big daddies before making us read the story of the Godfather.

I wholeheartedly appreciate the effort Zaidi made in the entire research that gave the readers an idea about how the city suffered bloodshed, violence, and heinous crimes when Dawood emerged as the new don. It was as if I wasn’t reading about Don but the script of a film where the leading actor is a don as well as an antihero. Son of an honest policeman, a close friend of a journalist, the failure of his first love affair, a brother brutally murdered by his enemies, a cop assisting him to outdo his rivals, etc.

PATHAN-KASKAR RIVALRY

One of the most captivating aspects of reading this book is the wild enmity between the Pathans of Karim Lala and the Kaskar brothers led by Dawood. It was intense and they were bloodthirsty to dominate each other. Almost half of the book is about this saga. And the continuity is so intriguing that the reader cannot discontinue reading at all. The research of the author indicates that Karim Lala’s goons were bigger trouble than the Kaskars.

BOLLYWOOD

One of the greatest Indian films of all-time, Mani Ratnam’s Nayakan was loosely based on Varadarajan Mudaliar.

I have watched Hindi films all my life and observing the stories of the film centralized on crime action thrillers, I always wondered why this was usually a norm to cash the audience’s money besides romance. If you travel back to the 1950s when that Bollywood phase was considered the golden age, rarely did a film based on crime and action developed for the audience. The crime-action thrillers began to make rounds in the 1960s and more prominently from the 1970s, a trend that shaped the entire existence of the industry.

This change in transition occurred due to the rise of these three dons along with other secondary dons and interesting crime and gang stories that gave the writers and directors some interesting ideas to captivate the audience. Popular films like Zanjeer, Deewar, Shakti, Dayavan, Nayakan, Parinda, Angaar, Satya, Company, Vaastav, Gangster, Once Upon A Time in Mumbai, Shootout At Lokhandwala, Shootout At Wadala, D-Day were all based on real-life gangsters or crimes that happened in Mumbai.

Almost every single don’s origin story followed by interesting minor and major events reminds me of old Bollywood action films of the 1970s and 80s. How much were the directors obsessed with and influenced to make the films for the audience to tell their stories? Thanks to this book that makes me realize that Dilip Kumar–Amitabh Bachchan starrer Shakti is pretty much about Dawood Ibrahim and his father Ibrahim Kaskar who was an honest cop but the former chose the bad side.

The partnership of Inspector Ranbeer Likha and Dawood Ibrahim reminds me of Zanjeer but Pran’s iconic role of Sher Khan was more of Karim Lala. In my further cognizance after reading this book, Aamir Khan’s Ghulam may not have come to anyone’s radar but I think that too was based on Dawood. His brother was killed like Dawood’s own and Sharat Saxena’s villainous muscle character of Ronak Singh was definitely based on Baashu Dada, the wrestler and goon of the Teli Mohalla neighborhood. Ghulam concluded with Ronak badly beaten by Siddhu and running away in humiliation exactly like Dawood and his boys beat Baashu and his gang and made them run away as described in the book.   

Besides the film narrating the life of real gangsters, the book also details the underworld connections with B-town and a few celebrities who suffered consequences like Chota Shakeel financing ‘Chori Chori Chupke Chupke’, Mushir Alam’s kidnapping, Gulshan Kumar’s murder, Monica Bedi running away with Abu Salem, etc. There is one complete chapter on how Mandakini’s career suffered after her pictures with Dawood Ibrahim circulated.

THE PAKISTAN-CONNECTION

The book is divided into two halves. The first half has 35 chapters and the next has 28. The author emphasizes in the latter that Dawood was helped by ISI and Pakistan government in the 1993 Serial Bombings as an act of Muslim revenge on the Hindus demolishing the historic Babri Mosque. Not only did the author connect the dots but he even wrote about his running mafia while living in Karachi after a few years of residing in Dubai. The book also presses that Chota Shakeel and Iqbal Memon were in Karachi with Dawood when they were searching for Chota Rajan around the world.

MY FAVORITE MOMENTS/HIGHLIGHTS IN THE BOOK

There are dozens of moments where Zaidi’s description made me WOW. I will just drop ten unranked moments from the book that are still sharp in my mind.

  1. Meeting of two Tamil dons at the police station.
  2. Dawood and his gang beating Baashu Dada and his pehelwans.
  3. Killing of Iqbal Natiq.
  4. Khaled Pehelwan’s brutality on Ayyub Lala and Saeed Batla.
  5. The rivalry between Ibrahim Dada and Bada Johnny.
  6. Chota Rajan escaping death in Bangkok.
  7. Shootout at Lokhandwala.
  8. Shabir Ibrahim’s murder.
  9. Gulshan Kumar’s murder.
  10. Assembling of all rival gangsters at Haji Mastan’s residence.

CLOSING REMARKS

There is a lot to write about the book and I know the details that I am still missing. But to review this book needs its own book or a documentary. Because the ‘Dongri to Dubai’ saga is written in almost 400 pages and details dozens of stories and I cannot touch each of these in my review.

 The book heavily condemns the failures of the police, the court, and the government. But also describe their efforts to somehow control the crime rate. It was important to inform the readers that if the police failed on some occasions, then the police also played their part in their war against the mafia.

‘Dongri to Dubai’ successfully declares that Dawood indeed is the biggest don of the city. He is irreplaceable due to the social and cultural impact he has set. Readers who are enthusiastic about reading a criminal history of a certain geographic area should read this. Especially if the reader is a hardcore fan of Bollywood films of all ages.  

Now the most complicated argument for a Pakistani reader of ‘Dongri to Dubai’. Where is Dawood? Is he really in Pakistan if not Dubai? Did ISI or the Pakistani government really play their part by partnering with Dawood? It all sounds above the clouds to me.

Several years ago, I tried to read this book twice. First, I read a few chapters but the workload halted my reading progress. Second, I finished almost half of the book and got to know that Dawood is expected to settle in Pakistan. I didn’t make up my mind to read further because, at that time, I felt that the book might turn out to be a fake narration to convince the theory that Dawood is in Karachi and somehow the Pakistan military or the government is involved.

On my third attempt, I finished reading it. And I must admit that a book about the Mumbai underworld requires bullet detailing, a strong narrative, and perspective. And ‘Dongri to Dubai’ is a profitable outcome in the name of research about the criminal history of the city.

From a constable catching some Pathan robbers after the money heist in 1947 to Dawood Ibrahim showing up in Forbes ‘Most Powerful People’ in 2009, Zaidi has covered plenty of crime sagas in almost 400 pages.

See, I have no knowledge about Pakistani terrorism on India’s land and vice versa. There is no peace in fighting wars. A lot of theories can be developed in the historic rivalry between the two countries. But as far as Dawood’s whereabouts are concerned, yes there is a possibility that he may be in Karachi or in any other remote area hiding somewhere or living openly and lavishly. Why not? If Khalid Sheikh Mohammed, Ramzi Bin al-Shibh, and Osama Bin Laden can be found in Pakistan, then why cannot Dawood Ibrahim?

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Book Reviews

Book Review: Far More Than A Game (2020)

“The modern-day journalists and the media professionals would not have even imagined the difficulties and the hiccups that I and other reporters of my generation had endured during the 1950s and onwards.”

Chapter 30 Page 289

INTRODUCTION

Since the 1960s, Qamar Ahmed, the author of the book, has covered more than 450 tests, 700 one-day internationals, and nine World Cups (the first eight and then 2019) as a journalist for many agencies like BBC, The Times, The Guardian, The Daily Telegraph, AFP, Reuters, just to name a few.

The cricketing journey of the author is not about the history of Pakistan cricket but international cricket. It is a passion that leads you to eternal respect that you earn after a love affair with the game.

Far More Than A Game is divided into thirty chapters that are spread over almost 300 pages. Most of the details are the author’s first-hand experience due to the nature of this book being autobiographic with an assistance of a few national and international books.

The reading of this book is easy, comprehensive, punched detailing with straight incidents from different timelines, and with complete liberty of his opinions.

 PERSONAL ACCOUNT

This autobiography is pretty personal and perhaps I can say the book is a rollercoaster ride about Qamar Ahmed’s life. By latter, I mean that he is totally open to all the parallels if he feels to speak about and thinks of no consequence about a series of questions he may be asked about his life. And I liked the nature of his openness that describes his personality and the autobiography being put to the best use of it. The reader won’t feel the sensationalism of the literature but the admittance about his life that he moved on but were vital to being written in the book.

The author depicted his disappointment in General Zia-ul-Haq’s leadership which was so disturbing to him that he refused to shake hands at a party. There is an entire chapter (no.22) about the two incidents that soured his relationship with Imran Khan. The writing of this chapter clearly indicates an agitation that should be addressed to the reader due to the fact that this eighteen-page chapter is surprisingly the lengthiest of all the chapters he wrote along with another chapter about his first-class career. I do not question the author’s motive but I am writing my honest observation about the writing of the book that this particular chapter was stretched as compared to the other interesting chapters that required more detailing than this. If this chapter had eighteen pages of details, then I reckon that a chapter about the road trip from London to Pakistan (no.14) deserves a separate book.

There are several personal accounts that help in shaping the authenticity of an autobiography. In one chapter (no.9), he writes about a life that was wasted in college because his parents wanted him to pursue a career in science rather than wanting him to choose his own career. An octogenarian passes an important piece of information to the readers about his younghood that his life decisions were made by his parents that succumb to a traditional parental syndrome in South Asia which has been emotionally attached in this region for quite a long time. Deciding about the life of a kid is understood but someone who passes his childhood and enters into college hood has the right to make his/her own decisions. The author addressed this matter, advocated liberty, and encouraged the readers to follow their passion rather than a silly tradition.

There was a French girl he was seeing in 1965 who was in England to learn the English language (no.11). Only a few paragraphs were written about her but nothing much. I liked the idea of keeping it short just like a brief series of meeting in life. It is like a gust of wind that blew from one direction towards the other once in life. It is a special mention of interest people at old age remember despite the time has passed around fifty years to that.

“Never for one moment as a schoolboy then I had even the slightest of inkling of what the destiny had in store for us and what was to come which would not only change the life of my family and that of many others and that of the country itself which would influence also the course of history.”

Chapter 1 Page 20

EUROPEAN PERK AND HISTORY LESSON

Far More Than A Game is a fascinating read for more than one reason but the most significant point to consider reading this life story is that the author was one of those few Pakistanis who got European, especially a British exposure to a socioeconomic life that fetched a lot of international diversity. Living a life in a multicultural country develops individualism and helps in socializing with people from different diversity. So that worldly experience fetched a lot of stories and incidents that happened with the author.

And then the author belongs to the greatest generation who experienced the partition of India. A lifetime that the next generations can neither feel nor imagine the suffering. So his personal account from the earlier chapters is a source of real history that the readers are unable to find in the books that are provided by their academic authorities.

The book starts with a sorry tale of partition and his childhood memories in the first chapter followed by a gripping narrative of his family’s migration from Chapra to Hyderabad. There are two chapters that are history lessons, one is about Hyderabad city and the other is about his ancestors, a knowledge that was treasured to him by his uncle from Mairwa, a city in Bihar state.

UNFORGETTABLE MEETINGS

One of the luxuries in the field of journalism is meeting important people from different walks of life, and so did the author. Qamar Ahmed missed no chance detail in separate chapters about his once-in-a-lifetime moments when he met Kerry Packer (no.15), Sir Don Bradman (no.16), and Nelson Mandela (no.21). Touring India was mostly personal for Qamar Ahmed due to his origins. But he holds the distinction to have met with the Indian film industry’s greats. Imagine people in those times like the author getting the honor of meeting the great Raj Kapoor at his residence where along with the Kapoors, they also get to meet Dilip Kumar. Meeting two of the biggest superstars of the golden age at the same place is surely one of the best memories of a lifetime.

CRITICAL CHAPTERS

Far More Than A Game is not only about history and the people he met in his lifetime, it is also about some very serious highlights that were needed to be addressed that occurred in the last chapters of the book. One was about Salim Malik and the kind of world he entered to regret for life.

There is a special place for Indian cricket legend Sunil Gavaskar in his heart and the twentieth chapter is dedicated to him to talk about some situations which may have gone unheard of. It was shocking to understand that Sunny was stopped by the MCC staff twice to enter the Lord’s cricket ground. The details about these incidents are covered in the chapter.

A much-needed drive to address some controversial incidents like the Gatting-Rana altercation, the Inzamam-Hair ball-tampering controversy, the bus attack on the Sri Lankan team, etc through his experience made rounds in the book.

The twenty-eighth chapter is full of funny and priceless moments that the readers will read with keen interest. I like a few of his moments like the historic moment of South Africa’s re-entry into international cricket, his brawl with a mugger, mistakenly calling Alec Stewart ‘Hansie’, a cricket manager asking to sacrifice a black sheep, and many more. If I was sitting along with the author when he called Alec Stewart ‘Hansie’, I would have seriously couldn’t stop myself from laughing my ass out. It was a really funny and ‘innocent’ blunder.

CHAPTERS ARRANGEMENT

Arranging and compiling chapters in a book, especially in autobiographies are very vital. I have read a few autobiographies and being a bibliophile, I have this idea that there are two different arts involved in shaping and publishing a book; one is writing it as a whole, and the other is giving the whole writing the best possible finishing in a way that reader is captivated to read a life story.

I will be a little critical here about the arrangement of the chapters. As per my reading experience, Far More Than A Game didn’t conclude fittingly. I think the thirtieth and the second-last chapter where he wrote about the evolution of sports journalism and the use of technology, would have been the perfect end with a personal message or some inspiring words for the readers.

“When checking out to proceed to Calcutta (Kolkata) for the sixth and final test of the ongoing series between Pakistan and India, I requested the receptionist at the hotel for my bill.

The reception officials gave me a pleasing smile to say: “No bill Sir, we know who you are. We have been told by Dr. Hari about you that this was your house before you left for Pakistan as a schoolboy.””

Chapter 4 Page 47

The first three chapters in the book highlight in detail about his childhood, migration, and painful history. And then in the next chapter, he remembers his return to India. That fourth chapter needed to be distanced from the previous chapters and arranged in the middle of the reading.

With a gap of a few chapters and crossing the time to the late 1970s, this reunion moment would have melted the emotions more. It is my opinion that talking about the reunion in just the fourth chapter of the book was way too soon.  The editor or compiler of the publishing company should have considered giving the sentimental feel to the reader by arranging this chapter somewhere far from the earliest details.

The fourth chapter has an amazing detailing of reuniting, giving the readers a staunch view that partition gave us a lot of painful stories and reunions of a lifetime. Imagine if hatred had its say and those landlords had killed Qamar and his family? There would be no story to tell us, there would be no legacy of cricket journalism and broadcasting, and there would be no reunions or faith in humanity to hope from those tragedies.

CLOSING REMARKS

“Far More Than A Game” is the anatomy of cricket journalism, a pocket dictionary to the evolution of cricket, a time-traveling diary that settles nowhere but gives you an experience of a lifetime. A cricketing life to celebrate, thank you so much for your lifetime contribution and service to this beautiful game.

“I always believed that if you are good with people they are good with you and in turn respect you for what you do. That is how I thought a journalist should be when dealing with a story or with people related to it.”

Chapter 22 Page 207

The autograph of the legend himself…
MovieTalks

SRIDEVI – The Art, The Charisma (Last Part)

(This blog is the second and last part of my eulogy on Sridevi who died in February. Before beginning to read the sequel, I suggest reading the first part here.)

In the previous blog, I gave tribute to Sridevi by highlighting some of her memorable roles/films. In this part, I am writing some segments about her prominence and recognition towards a successful career. I am focusing on some of the factors which made Sridevi one of the greatest stars ever produced in India. What makes us remember her for ages? I will do my best to give my observation a fair justice to her name and legacy.

ACTRESS ACCEPTED WITH HUMOUR

Generally, when it comes to comedy, you do not expect from women to take that stand as comedy has been widely a man’s profession from the black and white era till now. Notably, in the Indian cinema whose history now stretches to over a century, the comedian remains the comedian all his/her life and doesn’t take the centre stage to lead the film. The concept of hero/heroine in Indian cinema among the leading actors has been running for decades where the man is the lover, the fighter, and may add humour in some portion of his role but the Indian cinematic culture is so that it will be very odd to see the leading lady with the comic recipe.

Some actresses did pull a comic show in their careers but that was to a limit. The leading actresses would prefer to stay as the heroine of her hero in the entire film, dance with him, sing and romanticize the script. The humour part was for the supporting actors both male and female who may play a role in bringing the lovebirds closer. Anyhow, most of the scripts didn’t encourage the leading actress to be funny.

Sridevi is someone whose slapsticks went recognized and acceptable to the audience. The best examples are Chaalbaaz and Mr India. In the latter, Sridevi pulled a famous Charlie Chaplin sequence of almost eight minutes. I am mentally not going to accept if any leading actress could perform comedy that long in those times. She did set the standards among the leading actresses to perform comedy as the lead heroine of the film. The trend continued and was successfully followed by Madhuri Dixit, Juhi Chawla and Karishma Kapoor.

NAGIN DANCE

This is one for the ages. Because there are a very few moments in the Indian cinema when the film topped the box office majorly because of one particular dance number.

Two years before Madhuri’s Ek Do Teen in Tezaab, Sridevi’s Main Teri Dushman in Nagina happened. Both were choreographed by Saroj Khan. Easily one of the most scintillating performances by the leading actress in any video song in any Indian film. Sridevi’s incredible and unparallel performance is the biggest reason why the main cobra theme of the song Main Teri Dushman became a blockbuster hit and is still remembered due to an obvious reason. From comedy to seriousness, Sridevi was a blessed talent. Forget what I wrote above about her comedic timing and performances because this number was completely opposite to the above mentioned.

Sridevi’s facial expressions and the rage on her round face with a display of large scary eyes graced the song. The striking of evil in her behind the closed doors seeks the attention. Her body language in the song cannot be explained, in simple words, there can be no challenge to the other leading actresses to do what she did. Her dancing confidence in the songs was always unmatched but here, she was sensational. Note the moment when she is called. She fixes her eyes on Amrish Puri and looks nowhere. She runs down the stairs in her dance without looking down. This is not so easy. Obviously, a plenty of rehearsals were done before the final shot but then I question to myself, how many takes did she perfect running down the stairs without looking down while dancing. 

FILM ICON IN AN UNFAMILIAR LANGUAGE

This point will recognize Sridevi’s legacy that it was constructed on her verbal intuition. This is an undeniable fact that Sridevi was from Tami Nadu and became the icon of the Indian film industry by working in Hindi-language films with a domination which is not the case with many of the leading actors in the Hindi cinema. And Kamal Haasan and Rajinikanth cannot be included in this kind of achievement. They did enter Hindi cinema and worked in dozens of films but their legacy is limited to working in the films of non-Hindi language.

Her direct rival was Madhuri Dixit and she was a Maharashtrian. The only leading actress who shared the domination with her in the 80s was Jaya Prada. Sridevi maintained her remarkable stardom in Tamil and Telugu film industries for at least two decades during the period of entering in the Hindi language film industry.

Sridevi’s massive verbal acting struggle was so exhausting that she didn’t dub her voice in the early phase of her Hindi-films career. Yesteryear actress, Kumari Naaz, used to dub in many of her films for a decade. It is cruel that the Hindi voice used on Sridevi in her early career went so badly unrecognized. Rekha famously dubbed Sridevi’s voice in Akhree Raasta. Sridevi dubbed her own voice for the first time in Chandni. Imagine, many many Hindi hit films happened before Chandni. 

ACCEPTING CHALLENGING ROLES AT A YOUNG AGE

And when I say young age, I mean it. She was a child artist who began her career at the age of 4. But it was the Malayalam film, Poompatta, where she gave a promising display at the age of 8. That remarkable crying scene stretched to almost a couple of minutes was a proof that she was born to do wonders.

The same year, she gave another top performance in Tamil film, Babu, as the adopted daughter of Shivaji Ganesan. The scene where Shivaji recognizes the untidy girl, that facial and physical performance is almost impossible to expect from an 8-year-old artist.

At 13, Sridevi did the unthinkable. She played the role of the-then 25 yo Rajinikanth’s stepmother.

Sridevi in her early teen was accepting adult roles and sensitive scenes like a molesting sequence in Priya at 15. I really am not aware of how, for an extremely young girl, were such scenes allowed to be performed. In 16 Vayathinile, Sridevi played the central role of a 16-year-old schoolgirl who wishes to become a teacher but her life is stuck between the two lovers. Sridevi was 14 when she played this leading role between Kamal Hassan and Rajinikanth. At 18, Sridevi starred in Moondram Pirai and played the role of a girl who suffered retrograde amnesia after a car accident. Convincing to say that Sridevi had built a potential experience to enter the Hindi cinema.

A DEDICATED ACTRESS

Three of her career trivia confirms that she was an example of pure dedication and professional commitment.

Gumrah is the only collaboration of Mahesh Bhatt and Sridevi. And there is no surprise that Mahesh Bhatt did some work on her acting because Sridevi’s mental language and timing were spectacular in the film. But last month, Star Plus released Mahesh Bhatt’s emotional tribute to Sridevi when he was speaking to the contestants of the program, “India’s Next Superstars Ki Paathshaala“.

Mahesh Bhatt explained to the contestants how dedicated Sridevi was. Bhatt informed them that the shooting of Gumrah was in its final phase when they had to shoot a scene in the water which involved Sridevi. Producer Yash Johar confirmed to him that she had a 102 something fever. Bhatt suggested to cancel the shooting that day but Sridevi didn’t accept the suggestion and gave her confirmation that she will give the shot. After sharing this experience, Bhatt broke the news of her death to the contestants.

Lamhe was the second and last collaboration between Yash Chopra and Sridevi. But a tragedy occurred in Sridevi’s life when during the shooting of the film in London, she lost her father. She could have requested a deserving short break from the producer but she displayed nobility of her profession. She flew back to India to pay her final respects to her father and returned to work after only 16 days to shoot a comedy sequence. This was revealed in an interview with Yash Chopra.

Chaalbaaz is a very popular film of the 80s and the biggest reason for the popularity of this film is that one song which became a sensational hit, “Na Jaane Kahan Se Aayi Hay“. The song was shot in a studio with artificial rain heavily pouring down. The video of this song itself is 7 minutes of the screen time which is pretty insane by coming to our knowledge that while shooting this song, Sridevi had a fever of 103 degrees. Now I am not aware if Sridevi still had a fever in the released video song but her dedication to the work is admirable that with that fever, she performed and danced in so many takes. It was the magic of ill Sridevi which helped the song gets its share of being an unforgettable track and awarded choreographer Saroj Khan a Filmfare for Best Choreography for this song.

Sridevi was one of the few actresses who collaborated and shared the screen with many notable leading male actors like Dilip Kumar, Amitabh Bachchan, Rajesh Khanna, Ashok Kumar, Rajinikanth, Dharmendra, Jeetendra, Kamal Haasan, Anil Kapoor, Jackie Shroff, Salman Khan, Shahrukh Khan, and a few more.

Famous Indian film director, Shekhar Kapur, confirmed that the sequel of Mr India was on the cards in his emotional tribute on his Instagram account.

Kamal Hassan confirmed in his tribute that he and Sridevi collaborated in a film 27 times together. Kamal-Sridevi pair was the centre of attraction in the Tamil cinema of the 70s.

Ram Gopal Verma, in his extensive tribute on his Facebook notes, made shocking revelations about her disturbed life. He detailed broadly about her sufferings including a tragic death of her father and how her husband helped her in her worst crises.

Sridevi broke in tears while sending a video message to her Pakistani co-stars Adnan Siddiqui and Sajal Ali while the film was premiered in India without them.

Annu Kapoor, in his tribute, spoke the incident in the making of Mr India that when Sridevi’s mother demanded 9 lac rupees for the film, Boney Kapoor responded with the offer of 11 lac rupees.

The latest Academy Award ceremony included Sridevi and Shashi Kapoor in the memorium montage. Sridevi won a posthumous National Award for the Best Actress for Mom.

Sridevi is an art, Sridevi is a charisma. Hindi cinema is incomplete without Sridevi. A leading actress in India will never get that recognition and acceptation like her. Nowadays, a leading actress on her domination in the industry cannot be expected to attempt slapsticks. The culture has changed, the dressing sense in Indian film industry has changed and today’s actress will not wear a saree for a shot. Sadma cannot be repeated, Mr India cannot be repeated. ‘Na Jane Kahan Se Ayi Hai’ cannot bring that magic and if anyone dared to, then the leading actress won’t dance with the fever of 103.

Sridevi is the name of devotion. She is the example of the coming generations of this line of the profession should learn from. Leaving her legacy behind and making millions of her fans miss forever, Sridevi will remain one of the most important wax sculpture of the cinematic museum of India. Thank you, Mr Boney Kapoor, for assisting and supporting her when she needed the most. Thank you, K. Raghavendra Rao, for believing in Sridevi and making her superstar. Your dream of collaborating with her for the 25th time couldn’t meet the destiny but Sridevi accepted the offer in advance by considering it as an honour during Mom’s press meeting in Hyderabad. Thank you late Yash Chopra for gifting us Bollywood’s Chandni.

My words won’t meet a perfect tribute no matter how much I try because your beauty, your essence, your panache, your phenomenon is indescribable.

 

Book Reviews

Book Review: The Substance and the Shadow (2014)

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 “I have consciously never oversold or overexposed myself to the audience. When I look back I feel it was quite risky to be starring in one film when other actors were busy with two or three films on the floors simultaneously. I determinedly decided to work in only one film at a time. It was simply my confidence in the subjects I chose and the hard work I was ready to put into them.”

I have always suspected and reckoned that the first half of the twentieth century has fetched more gripping and compulsive stories than the second half due to the time being disturbing and chaotic in its nature. Many wars were fought and casualties were witnessed and suffered. The outcome was painful for ages. The pride of Hindustan collapsed with the partition and communal riots in the result with many tragic stories to bargain some piece of time in the future. One of the same stories met the golden fortune of the Hindi film industry which was still in the development process from leapfrog. In this millennium, we are extremely fortunate and blessed that the story has finally been inked from his own hands and met a huge success after its publication.

Dilip Kumar sahab is the epitome and the real shamma-e-Bollywood. His presence is the magnitude and the real red carpet, whose footsteps to the industry brought new attention in the golden era and produced many memorable films. In my reading experience, it is convincingly confessable that before browsing this book, I knew the legend merely by 20% through his films; but after reading his twenty-five chapters, I must declare that I know the man by 75% and with the reading section of ‘Reminiscence’ where forty-three individuals have paid respect and shared incidents attached to him, I have to avow that the percentage of knowledge I have gained has stretched to 80%. The rest stays with his personal life with his best half, Saira Banu.

Being the greatest actor in India for all ages and generations, it was highly in demand and everyone’s desire to know him in his own speech. Although it took an age to decide him to speak up, the blessed part is that the biggest promise in reading the book actually fruits our patience.

The book is easily parted into three sections. The first section is the formality of the book introduction and forward. Saira Banu, Dilip sahab‘s superlative blessing has done the honors of introduction by touching on some memorable moments of her life with him and confessed that she should write a book about her life with him. Film journalist Udaya Tara Nayar has forwarded the book. She has the credit to compile and shape the book and narrate his autobiography. Ms. Nayar has explained in her pages how Dilip sahab finally made up his mind to write this book.

The second section is the reader’s borrowed time to enrich his understanding with the chronicles and memoirs of the legend consisting of 25 chapters. The third and last section is the tribute to Dilip sahab inked by many personalities which stretches to more than a hundred pages.

The first four chapters cover his childhood. His first years of life in the area of Qissa Khawani Bazaar, the Piccadilly of Central Asia located in Peshawar, the-then part of British India and the current city of Pakistan. We must praise the author that such an individual has the sharpest memory at such an old age to describe to us the toughest circumstances when he came out from the mother’s womb. Whatever the details his family explained are still stored with him and are now read to us.

The childhood chapters discuss his family specifically his dadi and his parents whom he calls amma and aghaji. In the fourth chapter, he mentions aghaji‘s Hindu friends in the same area; one of them was Basheswarnathji who used to bring his handsome son to their home stunning the ladies whose name was Prithviraj. Yes, Prithviraj! the father of Raj Kapoor and from here begins a childhood friendship between the upcoming iconic superstars of the golden era. Also in this chapter, Dilip sahab moves with his siblings and amma to reunite with his father in Bombay where aghaji meets business opportunities in fruit selling.

When we learn about his teens, we go aggressive like him. We read about his lovely bonding with his brothers, his affection and keenness for the English literature, his school and college life especially the latter life inking more pages on his restoring of friendship with Raj Kapoor as both studied in the same college. We experience his struggles and his attempt of settling alone in Poona (Pune) while running away from home after a mild disagreement with his father. His days in Poona are an interesting read with many troubling and funny incidents there.

“I had never ever seen a film studio in my life, not even in photographs. I had heard of Bombay Talkies from Raj Kapoor who spoke about it as the studio where films starring his father Prithvirajji were shot.”

The making of the legacy begins in the eighth chapter when the first lady of the Indian cinema, Devika Rani, a Bombay Talkies panjandrum, proffers him to join Bombay Talkies in their first meeting and learn acting under the guidance of the company. As we have read enough of Dilip sahab till his twenties till this moment, we emotionally begin sensing a change in fate, a blow of breeze in the alfresco. Here comes the learning process in Dilip sahab‘s acting life as the amateur encounters many significant and notable film personalities.

Those filmgoers who have watched his earliest works of the 1940s will observe that he was pretty a bungle ‘layman’ in the acting profession in films like Jwar Bhata and Jugnu but his skills developed rapidly from Shaheed, Mela, and Andaz. The same exercise is developed in these initial pages of the career beginning chapters from a keen learner who realized his fate was written to become a film star and aid his ever-growing family financially and raise his siblings with proper living standards and reputed education after his parents’ demise.

No great celebrity in any part of the world can cross the phases of life without tragic moments. From the eleventh chapter, we read and grow commiserations for him as he begins meeting tragedies in life. Some forlorn moments, inefficacious love affairs, and devastating episodes of quietus led by playing repeated sorrowful and gloomy characters produce upsets, sickness, and exhaustion in mental state enough to consult a psychiatrist in London who suggests bringing a change in the mood of character roles he plays in his career. During all this phase, there is a separate chapter on the beautiful but complicated Madhubala for obvious reasons. In this book, Dilip sahab responds to the questions revolving around decades of the involvement of Madhubala in his personal/professional life.

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“I…became aware that an actor needed to strengthen his instincts because the duality between the real and unreal cannot be sorted out by the mind, which is more concerned with truth and logic in any normal situation. The mind will always tell you this is nonsense… It is only instinct that will help you to absorb what you have to absorb from the script and drive you to render a performance coated with realism and conviction despite the knowledge of it all being fiction and drama.”

Also, he has detailed in pages about his working relation and camaraderie with few prominent celebrities like Vyjayanthimala, Sashadhar Mukherjee, Ashok Kumar, Bimal Roy, and many more. His acting pages will also annex to our knowledge the offered films he refused for some reasons but to my huge surprise, in fact, a shock, he didn’t shed light on David Lean‘s offer for the role in Lawrence of Arabia which went to Omar Sharif later. Remind me if I happen to miss it but there is no precise detail of the famous offer-refusing moment. Hilariously, Dilip sahab has mentioned Lean’s Doctor Zhivago as the story inspiring his writing of Kashmir Valley on his wife, a project he wanted to produce after Bairaag. Indeed it is the biggest omission in the book.

It is more than half of the book-reading when his best half, his dream girl Saira Banu shows up; a girl who madly fell in love with him when she was only twelve. From the seventeenth chapter, the reader’s most romantic portion comes into existence after all the troubles and struggles, and there is a sweet fascination in reading this golden love affair. The whole nineteenth chapter covers their high-profile wedding and the coming chapters tell you more about their marital life and the films they co-starred together.

“I do not know if it is in my genes or if it is something I have assimilated from the environment I was brought up in. It gives me great contentment and joy to espouse a good cause.”

In the last reading phase, I lose an edge when the timeline crosses like a rocket. Dilip sahab travels from birth till finishing Bairaag in 1976 after reading 238 pages and 22 chapters; but in the final three chapters and 45 pages, Dilip sahab travels 38 years and reaches 2014!! The biggest ‘?’ is why not fetch more details between 1976 and 2014. In the final three chapters, he did speak about his role as Sheriff of Bombay and the lawsuit slapped by A.R.Kardar, he did speak about his comeback in the 80s and working in major films like Shakti, Vidhaata, Mashaal, and later on Saudagar but my argument is that heavy detailing was badly missed just like he wrote few of the chronicles in first 22 chapters at length. In fact, he spoke more about Raaj Kumar than Saudagar.

The same case with his two tours of Pakistan (1988 & 1998); on both occasions, he didn’t go for lengthy details. Both tours were emotionally monumental, the first was his grand return to Peshawar after his childhood days; and the second time he visited, he was awarded Nishan-e-Imtiaz.

Due to short details in the final three chapters, he didn’t speak about his friendship with filmmaker and mobster Haji Mastan. More than this, the major surprise was not mentioning about Filmfare Lifetime Achievement Award in 1993. Although he has mentioned most of the films he has worked in but not wrote a single word of his final film Qila. Perhaps he realized it was a regret to retire after finishing Qila rather than Saudagar. But remarkably he did speak about his biggest regret of getting involved with the lady from Hyderabad, Asma Rehman.

The newest incident from the book was Lataji‘s visit to Dilip sahab a few months before the book was released in the mid of 2014 which indicates that he was active in completing the memoir in his nineties. The Substance and The Shadow easily is one of the most important books in Bollywood’s richest library and showcase. Someday in the late future, I may read the book again with the same enthusiasm as I discovered a lot of treasure from his box. Many great legends and prominent celebrities of his time have left the world but he is still there and we hope he stays further long and may we witness him completing his century.

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Chapters:

Childhood (Ch#1 – Ch#4)

Younghood till Devika Rani’s Offer (Ch#5 – Ch#8)

Film Career till Marriage (Ch#9 – Ch#19)

Post Marriage Career till Present (Ch#20 – End)

 

About Personalities:

Ch#05 – Raj Kapoor

Ch#08 – Devika Rani

Ch#09 – Ashok Kumar, Sashadhar Mukherjee

Ch#10 – Ashok Kumar, Raj Kapoor

Ch#11 – Kamini Kaushal, Naushad, Mehboob Khan, Nitin Bose

Ch#12 – Madhubala, S. M. Sriramulu Naidu

Ch#13 – Madhubala

Ch#14 – Bimal Roy, Vyjayanthimala, S. S. Vasan, B.R.Chopra, Yash Chopra

Ch#17 – Saira Banu (till the end)

Ch#20 – Pran, Mukri, S.U. Sunny

Ch#24 – Subhash Ghai

Ch#25 – Lata Mangeshkar, Yash Chopra

(There are few personalities I have missed adding here who are mentioned in the book.)

About Films:

Ch#09 – Jwar Bhata

Ch#11 – Shaheed, Milan

Ch#12 – Azaad

Ch#14 – Devdas, Madhumati, Gunga Jumna, Paigham

Ch#16 – Gunga Jumna

Ch#22 – Gopi, Sagina

Ch#24 – Kranti, Shakti, Saudagar

Ch#25 – Mashaal

(There are few films I have missed adding here which are mentioned in the book.)

Important Deaths:

Ch#11 – Ayub (brother) & Amma (mother)

Ch#15 – Aghaji (father)

Ch#25 – Nasir (brother)

Best Reminiscences:

(I have picked 23 best tributes out of 43 chosen individuals.)

Amitabh Bachchan, Jaya Bachchan, Moin Beg, Yash Chopra, Farida Dadi, Dharmendra, Sitara Devi, Subhash Ghai, Rishi Kapoor, Anil Kapoor, Aamir Khan, Salim Khan, Manoj Kumar, Mumtaz, Lata Mangeshkar, Nanda, Nimmi, Waheeda Rehman, Harish Salve, Salim Sharifee, Ramesh Sippy, Sharmila Tagore, and Vyjayanthimala.

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