Posts Tagged ‘Rishi Kapoor’

My Bollywood’s Best of 2016

Posted: June 30, 2017 in MovieTalks
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The thing is that I am indulged in presenting the very best of Hindi-language cinema every year and I enjoy investing my precious time for the sensible readers and filmgoers who would like to know what honestly have been the best films under different categories. It is a common understanding that the film awards in India have lost its credibility by handing the awards mostly to the wrong hands from a very list of nominations. It exasperates me when the deserving individual or a film is not recognized on the stage in any given function.

For the past two years, I am making such a specific blog to recognize the contributions from the Indian films released in India in that specific calendar year. You may read my previous selections here in 2014 and 2015.

This blog will focus on the year 2016. Like before, I will segregate the categories in three different sections i.e., musical (5), technical (10), and major section (6). In most of the categories, I will brief a small explanation where I find necessary. In most of the categories, I will also make some honorable mentions which are the individuals or the films deserve to be counted among the best.

This is to inform you that the list of 21 categories from the 3 sections is created and presented from my selection and observing the following films released in India in 2016: Chauranga, Wazir, Chalk N Duster, Airlift, Saala Khadoos, Neerja, The Blueberry Hunt, Fan, Nil Battey Sannata, Traffic, Buddha in a Traffic Jam, Sarbjit, Veerappan, Waiting, Dhanak, Te3n, Raman Raghav 2.0, Madaari, M Cream, Pink, Parched, Dear Zindagi, Dangal, Ae Dil Hai Mushkil, Baar Baar Dekho, Udta Punjab, Kapoor & Sons, Fitoor, Mirzya, and Aligarh.

The above-mentioned films which miss all the recognitions below are to be believed that those films didn’t live up to my expectations. Also for your reading, let me clear that the films are not ranked in ‘Other Notable Works’.


MUSICAL SECTION

BEST BACKGROUND SCORE

TAPAS RELIA (DHANAK)

Other Notable Works:

  1. Mikey McCleary (Waiting)
  2. Studio Fuzz (M Cream)

BEST PLAYBACK SINGERS

There wasn’t a decent vocal competition in the year 2016. I have listened to a lot of tracks from the 4-5 successful music albums of the films and I found only a couple of male tracks from the same film and a few good female singing in the other films but still not good enough.

AMIT MISHRA (BULLEYA – AE DIL HAI MUSHKIL)

Other Notable Work: Arijit Singh (Channa Mereya – Ae Dil Hai Mushkil)

NEETI MOHAN (SAU AASMAAN – BAAR BAAR DEKHO)

Other Notable Works:

  1. Qurat-Ul-Balouch (Kaari Kaari – Pink)
  2. Kanika Kapoor (Da Da Dasse – Udta Punjab)

BEST SONG & LYRICS

CHANNA MEREYA (ARIJIT SINGH/AMITABH BHATTACHARYA/PRITAM – AE DIL HAI MUSHKIL)

Other Notable Works:

  1. Tere Bin (Sonu Nigam-Shreya Ghoshal/Vidhu Vinod Chopra/Shantanu Moitra – Wazir)
  2. Pashmina (Amit Trivedi/Swanand Kirkire – Fitoor)
  3. Gehra Ishq (Shekhar Ravjiani/Prasoon Joshi/Vishal Khurana – Neerja)

BEST MUSIC

AMIT TRIVEDI (UDTA PUNJAB)

Other Notable Works:

  1. Tapas Relia (Dhanak)
  2. Shankar-Ehsaan-Loy (Mirzya)

TECHNICAL SECTION

BEST COSTUME DESIGN

ASHIMA BELAPURKAR (PARCHED)

Other Notable Work: Theia Tekchandaney & Shruti Wadetiwar (Neerja)

BEST PRODUCTION DESIGN

ANNA IPE & APARNA SUD (NEERJA)

Other Notable Work: Amardeep Behl (Parched)

BEST SOUND DESIGN

SUBHASH SAHU (NEERJA)

Other Notable Works:

  1. Boby John (Dhanak)
  2. Vinit D’Souza (Raman Raghav 2.0)

BEST SCENE

MADAARI

There have been few scenes in my mind which were quite outstanding. Like Aliya’s expressions of misery to Shahid in Udta Punjab, or Nawazuddin killing a family in Raman Raghav 2.0, or the hijacking scene in Neerja, or the final court scenes in Pink. But I decided to choose the winner between two of the best scenes of the year 2016. Shakun Batra’s marvelous direction bemused me about the selection of the best scene of the film. The plumber scene, Annu aunty in party scene, and the truths-revelation scene before the family photo all carried equal weight of remarkable sketch of a highly intense family drama. So undecided that I prefer to conclude the winning scene with Irrfan’s showstopper and a heart-melting scene from Madaari when he asks for whereabouts of his son in the hospital. Perhaps no one would bring the efforts what Irrfan did here and hence proved again why is he the most inspiring actor holding more demand in the global cinema than any other Indian. This scene really beats the others.

BEST EDITING

GAIRIK SARKAR (TE3N)

Other Notable Works:

  1. Aarti Bajaj (Raman Raghav 2.0)
  2. Monisha R Baldawa (Neerja)

BEST CINEMATOGRAPHY

MINGJUE HU (M CREAM)

Other Notable Work:

  1. Chirantan Das (Dhanak)
  2. Priya Seth (Airlift)
  3. Jay Oza (Raman Raghav 2.0)
  4. Satyajit Pande (Dangal)

BEST ACTION

Parvez Singh (Raman Raghav 2.0)

The action is not about larger-than-life supernatural fights. My science of understanding here says to me that the action is when the reality is bound to bring intensity in the screenplay. Violence is the key, torture is a form and dismantling the brain and eyes towards the seriousness of the buildup is where the finest of action qualifies. Neerja and Raman Raghav 2.0 were the only films in my mind. Neerja’s technical aspects helped to build the intensity from hijacking till the last attempt of escaping. Whereas Raman Raghav 2.0 was a silent screamer and a gritty writing making the viewers hopeless and disconsolate of any likelihood of survival, the bloodbath is a sine qua non.  

BEST SCREENPLAY

RITESH SHAH (PINK)

Other Notable Works:

  1. Ashwiny Iyer Tiwari, Neeraj Singh, Pranjal Choudary, and Nitesh Tiwari (Nil Battey Sannata)
  2. Gauri Shinde (Dear Zindagi)

BEST DIALOGUES

SHAKUN BATRA & AYESHA DEVITRE DHILLON (KAPOOR & SONS)

Other Notable Works:

  1. Ashwiny Iyer Tiwari, Neeraj Singh, Pranjal Choudary, and Nitesh Tiwari (Nil Battey Sannata)
  2. Atika Chohan (Waiting)
  3. Agneya Singh (M Cream)
  4. Ritesh Shah (Pink)

BEST STORY

NITESH TIWARI (NIL BATTEY SANNATA)

Other Notable Works:

  1. Bikas Ranjan Mishra (Chauranga)
  2. Anu Menon, James Ruzicka, and Atika Chohan (Waiting)
  3. Agneya Singh (M Cream)
  4. Gauri Shinde (Dear Zindagi)

MAJOR SECTION

BEST SUPPORTING ACTRESS

RATNA PATHAK (KAPOOR & SONS)

 

Parched acting trio of Tannishtha, Radhika and Surveen was highly expected to surpass the expectations but the trio of Pink was a massive surprise to me. Alia Bhatt gave her remarkable presence in Kapoor & Sons.

Well, a pause in the clause is that the Indian theater actresses will eat your skull if they outplayed the emotional character. Shabana Azmi for Neerja and Ratna Pathak for Kapoor & Sons were the most standout performances from this category. It wasn’t easy to pick and ignore the other nor do I want any joint winners. But as per the capacity of acting and appeal on the screentime, Ratna had more space to suffer Mr. Kapoor and Sons than the mother of Neerja waiting for the updates after the hijacking incidence. Ratna had more time to fight and argue with more than an individual at a time than Shabana’s emotional resistance. 

Other Notable Works:

  1. Shabana Azmi (Neerja)
  2. Kirti Kulhari (Pink)
  3. Tannishtha Chatterjee (Parched)
  4. Alia Bhatt (Kapoor & Sons)

BEST SUPPORTING ACTOR

RISHI KAPOOR (KAPOOR & SONS)

The mad terrorist in Neerja was phenomenal as well as a highly potential debut of the singer Diljit Dosanjh in Udta Punjab. Rajkummar was decent in assisting Manoj Bajpayee in Aligarh and Vicky Kaushal is rapidly making his name with Masaan and 2.0. But the real focus was on the dadaji of the dysfunctional family in Kapoor & Sons.

Yes, the makeup has a prominent role in the building of the character which doubles the charm in the performance like how Amitabh brought the momentum in his Auro character in Paa after an extraordinary change in his stature and looks. But Rishi as a nonagenarian fittingly classified as the best dadaji whose role grew on the viewers with the growing heat in the disturbed family. Chintuji and Amitji are the only boys of the 70s badge who are regularly performing in the selective roles being recognized with the positive responses in today’s cinema. And this role again defines Rishi’s versatility in acting. The film would be incomplete if Rishi would not have been picked for this role. 

Other Notable Works:

  1. Jim Sarbh (Neerja)
  2. Vicky Kaushal (Raman Raghav 2.0)
  3. Diljit Dosanjh (Udta Punjab)
  4. Rajkummar Rao (Aligarh)

BEST ACTRESS

ALIA BHATT (UDTA PUNJAB)

If there is any category which was the most impressive, that was the performances of the leading actresses in the films released in the year 2016. There is Swara Bhaskar who is rapidly becoming of the noticeable actresses who brought a spectacular performance to her credit in Nil Battey Sannata. The body language and the emotional details of her character-play were striking. Kalki’s strong CV continues to fill more golden pages with Waiting. Ash in Sarbjit was a surprise package. Throughout her acting career, this is easily her first and best acting performance. That is the other thing that Ash doesn’t resemble or remind us Dalbir Kaur but the director has really worked with Ash on her character. People were informing me that Taapsee has done a wonderful job in Pink and I was not coming out of my visual understanding after watching her in Chashme Baddoor. Taapsee Pannu displayed a powerful role and I hope she is not a one-role wonder lady.

As far as Alia is in the wacky race, she is my girl for this category. She is at the peak of her career and easily one of the fastest growing actresses in the Indian cinema. Alia does have a lot of help at home from her mother Soni Razdan who has pulled the strings of acting and playing mentally complicated characters in many of her husband’s films in the 80s and 90s, and papa Mahesh Bhatt who has been critical in making top-notch films in the parallel cinema. But then, it is the baby who has to face the camera and has every potential to make her name with acting greats like Shabana Azmi, Smita Patil, Tabu, or Nandita Das in very near future.

She began performing from Highway and sought attention from the sensible viewers including me. But 2016 is her best year ever with high-class performances in not one but three films (Kapoor & Sons, Dear Zindagi, and this). As far as the mental or physical challenge is the condition, it definitely is her role of Mary Jane in Udta Punjab which beats the other competitors in the wacky race. She has shown the misery of a girl stuck in the series of unfortunate events. You feel sorry for the character but when you feel apologetic, there is Alia’s success to justify the role she plays. Highway’s Veera Tripathi and Udta Punjab’s Mary Jane have suffered but their character-destruction from Alia’s visual presentation is different. Well done Alia. 

Other Notable Works:

  1. Swara Bhaskar (Nil Battey Sannata)
  2. Taapsee Pannu (Pink)
  3. Kalki Koechlin (Waiting)
  4. Sonam Kapoor (Neerja)
  5. Aishwarya Rai (Sarbjit)

BEST ACTOR

MANOJ BAJPAYEE (ALIGARH)

If you are mature enough to understand the credibility of the actor and his substance of a performance in a given screentime, you will realize that the award functions in India are commercialized which depends on revenue and care less for the individuals who deserve the award at the right time in their lives. In 2015, Filmfare omitted Sanjay Mishra for Ankhon Dekhi, who was a clear winner in the category of Best Actor. Last year, Filmfare omitted Nawazuddin for Manjhi who actually was the most deserving individual to win the category of Best Actor.  And now a hattrick of blunder is completed with Manoj Bajpayee’s turn who lost his place to get into the nominations. And most of the viewers will raise the eyebrows over the quality of decision making by the juries who repeatedly add box-office mahatmas, Salman Khan and Shahrukh Khan, in the category almost every year from nowhere.

This is easily Bajpayee’s best performance ever and is the toughest character of a homosexual teacher he can play. The best part of the role is his complexity towards the sexual orientation for which he is suspended and bringing his ass to the court. He has a portion of love for the lettering and listening to Lata’s songs but overall a disturbed soul. He is a departed loner but expects people to understand him. Bajpayee has given the word ‘Tragedy’ a fresh cinematic meaning. A wonderful and very underrated performance I subject to recognize here.

Besides, Shahid enjoys another successful year with another role of a maniac, this time in Udta Punjab. Shahid is like Saif Ali Khan who is reintroduced to the viewers as a promising actor not to ignore. After a series of repeated failures, Shahid is finally off the mark from Haider. Irrfan’s Madaari is another brutal omission from the same category in Filmfare and you will be surprised to know that besides Paan Singh Tomar, he has never been nominated in this category in Filmfare.

Naseer sir in Waiting is magnificent as always in almost every film which he is part of. Amitabh had three different roles in Wazir, Pink, and Te3n, and I must say that Amitji at this age has become more choosy in his roles than ever. Since 2015, he has played some very good roles in Shamitabh, Piku, and the above-mentioned films. If I have to pick between the three, it would be Te3n.

By watching his superior performances in first Badlapur and now Raman Raghav 2.0, I am fully convinced that if in any timeline the Batman franchise happens to drop in Indian cinema, the only actor who can play the role of the Joker is Nawazuddin Siddiqui. His latest role of a psychotic killer will disturb you, by watching this performance you will never wish to meet him. What Randeep did in Sarbjit was the most dedicating among all the best performances of 2016. He lost 18 kgs in 28 days to justify his role in the prison life. Randeep presents you the pain of being an unfortunate and displays an impressive emotional drop and terrific body language. He makes the viewers feel when he groans and express his pain to Aishwarya in the prison.

Other Notable Works:

  1. Shahid Kapoor (Udta Punjab)
  2. Irrfan Khan (Madaari)
  3. Naseeruddin Shah (Waiting)
  4. Randeep Hooda (Sarbjit)
  5. Nawazuddin Siddiqui (Raman Raghav 2.0)
  6. Amitabh Bachchan (Te3n)

BEST DIRECTOR

GAURI SHINDE (DEAR ZINDAGI)

Besides the names mentioned below, the competition for this category, in my opinion, was between Shakun Batra and Gauri Shinde. Both were the masterclass in utilizing the scripts. But I picked Gauri the winner from this category. Shakun’s impressive direction has a blend of major other aspects involved like very realistic dialogues, a lot of impressive performances within a scene etc but Gauri’s direction heavily depends on Alia’s character growth in the film especially a very important first half before Shahrukh is introduced.

Other Notable Works:

  1. Shakun Batra (Kapoor & Sons)
  2. Ram Madhvani (Neerja)
  3. Anurag Kashyap (Raman Raghav 2.0)
  4. Abhishek Chaubey (Udta Punjab)
  5. Aniruddha Roy Chowdhury (Pink)

BEST FILM

KAPOOR & SONS

I mean what else? what really else can be a better film than Kapoor & Sons? A decent family drama which portrays/sketches a dysfunctional family with mix elements of humor and suspense. The film has no nonsense of silly masala, item numbers or unnecessary cameo appearances despite the fact that the film was produced under the banner of Dharma Productions. Then the film is very honest to its script and describes a shattered bond in a very distinctive way.

There are numerous amazing scenes which catch our attention swiftly because we are accustomed to our domestic life especially the plumber scene. Then the revelation of secrets and a tragic accident. The film touches your heart. The remaining plusses are left with superb performances from all the major cast. Everyone has his share and their roles carry the same depth. And that is the beauty of the film that there is no leading character. Every major character is supporting to the other.

Other Notable Works:

  1. Dhanak
  2. Nil Battey Sannata
  3. Waiting
  4. Neerja
  5. Dear Zindagi
  6. Udta Punjab
  7. M Cream
  8. Pink

(Please share your views about my selections. Write your opinions in the comments below. Let me know if you don’t agree and explain your reasons.)

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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 chaos 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 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 a 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 of 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 fruit our patience.

The book is easily parted into three sections. The first section is being the formality of book introduction and forward. Saira Banu, Dilip sahab‘s superlative blessing has done the honors of introduction by touching 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 his mind 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 stretch 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 current city of Pakistan. We must praise the author that such an individual has the sharpest memory at such an old age to describe us the toughest circumstances when he came out from the mother’s womb. Whatever the details his family explained is still stored with him and is now read to us.

The childhood chapters discuss his family specifically his dadi and his parents to whom he call amma and aghaji. By 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 at their home stunning the ladies whose name was Prithviraj. Yes, Prithviraj! 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 father in Bombay where aghaji meets business opportunities in fruit-selling.

When we learn his teens, we go aggressive like him. We read his lovely bonding with his brothers, his affection and keenness with 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 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 40s will observe that he was pretty a bungle ‘layman’ in 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 life standard and reputed education after the 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 the questions revolving around decades about the involvement of Madhubala in his personal/professional life.

dileep-saira

 

 


“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 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 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 to existence after all the troubles and struggles, and there is a sweet fascination of 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 final three chapters and 45 pages, Dilip sahab travel 38 years and reach 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 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.

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 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 his films he has worked in but wrote not 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 in the lady from Hyderabad, Asma Rehman.

The newest incident from the book was Lataji‘s visit to Dilip sahab few months before the book 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 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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