DOCSLIB.ORG

P24-Cover Amitabh.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
P24-Cover Amitabh.Indd “I believe the greatest reward for any actor is the acceptance of his creativity,” says Amitabh Bachchan in an exclusive interview with PEOPLE at The “I’M FORTUNATE Venetian, Macau. (Inset) In a still from Zanjeer (1973) with Jaya Bachchan (then Bhaduri). I GET WORK TO DO” DOWNPLAYING HIS 40 YEARS IN THE HINDI FILM INDUSTRY, AMITABH BACHCHAN RELIVES MEMORIES, REFUSES TO PLAY THE NO. 1 GAME AND DOFFS HIS HAT TO HIS YOUNGER CONTEMPORARIES BY KARISHMA UPADHYAY EXCLUSIVE THE VENETIAN, MACAU, MAY 9 68 June 19, 2009 PEOPLE Photograph by RAJAN CHAUGHULE/PEOPLE PEOPLE June 19, 2009 69 ressed casu- live minutes away from each other ally in black but never get the opportunity to meet tracks and a each other. IIFA brings everyone hooded jack- together. Like Dharamji [Dharmen- et as he walks dra], Ajay-Kajol, Yashji [Yash Cho- into The Venetian in Macau on May 8, pra] and Hemaji [Hema Malini] live Bollywood’s most enduring superstar behind me but we meet only if we are doesn’t in any way call attention to doing a fi lm together. IIFA builds the himself. But it doesn’t take much to kind of atmosphere where you can sit turn passers-by and hotel guests into in a restaurant or shop together. starstruck fans. As Amitabh Bachchan Award ceremonies have changed down signs an autograph for two Chinese the decades — as has the fi lm industry. ladies in the foyer, another Israeli What do you attribute your longevity in guest makes a bet with his Azerbaijani the industry to? friend that he could name the actor’s I’m just fortunate that I get work to fi lms in alphabetical order. Nearby, do. And, I guess people like what I do. a Nepali guard, part of Bachchan’s Either that or they are pretending to security detail, sings ‘Neela Aasma like what I do. It’s bound to end some So Gaya’ under his breath. time. It’s just taking a little longer for In Macau to announce the 10th me and I’m happy with that. If I have International Indian Film Academy the health and the energy, I’d wish to Awards venue, it’s clear that no other continue. star is quite as ‘international’ as the Is there such a thing as a retirement age Big B himself. And with 170 Hindi for you? fi lms over the last 40 years, none as I hope not. I doubt if any creative per- prolifi c either. But he brushes aside son would want to accept that possi- the No. 1 status accorded to him by the bility. I think creative people would industry. “I hope that people are hap- perish if they were told, ‘This is it’. py with my work and the way I have Every morning when I set out from conducted my life. That’s all that mat- the house, there is a sense of anticipa- ters,” he says. And even while looking tion and a fear of how the day will turn back, the 66-year-old is thinking for- out to be; whether I would deliver ward. “I’d wish to continue [working]. what is expected of me. Every morning when I set out from On the day you completed 40 years in the house, there is a sense of anticipa- the fi lm industry, did you celebrate? tion and fear…would I deliver what is (Clockwise) Reaching out to Ironically, I was at an award ceremo- expected of me?” fans at the 2008 IIFA Awards in ny. I was being awarded at the Star- Bangkok; with Jaya Bachchan and dust Awards for The Last Lear. It was Yash Chopra at the same event; In this 10th year of IIFA Awards, with Aishwarya and Abhishek at exactly on that day [Feb. 15] in 1969 as its brand ambassador, what is IIFA Awards in 2007 in Yorkshire. when I got my fi rst fi lm contract. A it about the awards that make copy should be there somewhere in CREDITS CREDITS CREDITS CREDITS CREDITS CREDITS CREDITS CREDITS CREDITS CREDITS you feel proud to be associated my paperwork. It was very nostalgic. with it? You didn’t win the Filmfare Madhuri Tal- Unlike other awards where ent Contest. Looking back, do you see winners are chosen by a select “IIFA brings everyone the hand of destiny putting you through committee or by sending out failure for a purpose? forms to the public to vote, together. Like Dharamji, I don’t know. One of the winners was in IIFA, the industry votes a relative of Rahul Rawail and anoth- CREDITS CREDITS CREDITS CREDITS CREDITS CREDITS CREDITS CREDITS CREDITS which [makes it] very per- CREDITS CREDITS CREDITS CREDITS CREDITS Ajay-Kajol, Yashji and er was one of Feroz Khan’s brothers. sonalised. Hemaji live behind me They got opportunities to work ear- The other reason is that lier than someone like me who had to we celebrate it outside India, but we meet only if we go door-to-door and sell himself. But, and that gives us the oppor- are doing a fi lm together” in the end, this was fated for me. tunity to talk about Indian Which of your movies do you like going cinema. We all work in the back to? same industry, [some of us] CREDITS CREDITS CREDITS CREDITS CREDITS I see them on TV once in a while but 70 June 19, 2009 PEOPLE Photographs by NAME OF PEOPLE June 19, 2009 71 I’ve never bought a DVD of my fi lms. Bachchan poses outside The other day I was watching the IPL a producer’s offi ce three years before he and while surfi ng we came across Dee- signed his fi rst fi lm Saat waar, so I sat down and watched the Hindustani in 1969. fi lm for a bit. Do you feel a karmic connection to the name Vijay? Human nature is that you tend to go back to things that have been success- ful. Recently, when Ramu [Ram Gopal Varma] told me the name of my char- In 1999, BBC declared Sholay (1975) acter in Rann, I suggested that he add the ‘Film of The Millennium’. Vijay to the name. So, my character is called Vijay Harshvardhan Malik. He seemed to like it and we had a good laugh over it. If you had to join the fi lms today, do you think this too thin, too lanky, too intense man would have had a chance? In the year that I came in, being too tall and thin was a disqualifi cation. My equivalent in today’s times is Deewaar (1975) swept Abhishek. Physically he resembles the Filmfare Awards me, but the only diff erence is that he with seven wins though Bachchan didn’t win in came from a family that has been in the Best Actor category. the fi lm industry. So, he did have the advantage of ‘fi rst notice’ but there- after he was on his own. I think there are many who are tall, young and handsome and have done well in the industry. Is there any movie that you have seen lately where you felt — yes, now that is a role that I would have loved to have At the muhurat done? ) of Trishul (1978 Oh, several. I have marvelled at many with Shashi of the films that have been made Kapoor and director Yash recently. Both Naseer’s and Anupam’s Chopra (centre). roles in A Wednesday were brilliant. Imran’s debut fi lm Jaane Tu Ya Jaane Na was so cute and wonderful. Taare Zameen Par was such a simple sub- ject and Aamir expanded it into such a marvellous fi lm. Shah Rukh’s Om Shanti Om was full of glamour and light-heartedness. It reminded me of the days of Manmohan Desai. Aamir Khan says you are No. 1. Shah Rukh says that by the sheer number of years you have put in, you are No. 1. Who do you think is No. 1? JAGDISH AURANGABADKAR (5) On the sets of Coolie I hate categorisations. It’s not fair. (1983) with Puneet Issar and Manmohan For me, it reeks of our past where Desai after the we categorised people into castes. infamous accident. We shouldn’t do that. Let’s not cat- egorise who is the best, who is No. 1, 72 June 19, 2009 PEOPLE Amar Singh, Amitabh Bachchan, Akshay Kumar and Anil Kapoor at the Stardust Awards in February. With Aamir Khan at the launch of Bachchanalia on Jan. 3. “Aamir fi red me when I told him I saw TZP on the plane,” says Bachchan, “He wanted With Shah Rukh Khan Drona premiere to show it to me on the big screen.” at the on Oct. 1, 2008. CLOCKWISE FROM BOTTOM LEFT: KIRTI SURVE PARADE/PEOPLE(2); MANAV MANGLANI who is paying the highest tax, or who my father and his works. I have been fessor from Oxford and the foreword is popular and powerful. I believe saying this all along. I’m just fortu- was written by Panditji [Jawarharlal that whether it is Aamir, Shah Rukh, nate that I’m my father’s son. I live Nehru]. We want to print the English Hrithik, Salman or Saif — they are all with his works. I visit them almost translation side-by-side with the orig- very good. They won’t be where they every other day. But, I don’t think I inal Hindi lines. This book will also are today if they weren’t marvellous.
Load more

Recommended publications
  • Movie Aquisitions in 2010 - Hindi Cinema
    Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions
    [Show full text]
  • Yash Chopra the Legend
    YASH CHOPRA THE LEGEND Visionary. Director. Producer. Legendary Dream Merchant of Indian Cinema. And a trailblazer who paved the way for the Indian entertainment industry. 1932 - 2012 Genre defining director, star-maker and a studio mogul, Yash Chopra has been instrumental in shaping the symbolism of mainstream Hindi cinema across the globe. Popularly known as the ‘King of Romance’ for his string of hit romantic films spanning over a five-decade career, he redefined drama and romance onscreen. Born on 27 September 1932, Yash Chopra's journey began from the lush green fields of Punjab, which kept reappearing in his films in all their splendour. © Yash Raj Films Pvt. Ltd. 1 www.yashrajfilms.com Yash Chopra started out as an assistant to his brother, B. R. Chopra, and went on to direct 5 very successful films for his brother’s banner - B. R. Films, each of which proved to be a significant milestone in his development as a world class director of blockbusters. These were DHOOL KA PHOOL (1959), DHARMPUTRA (1961), WAQT (1965) - India’s first true multi-starrer generational family drama, ITTEFAQ (1969) & AADMI AUR INSAAN (1969). He has wielded the baton additionally for 4 films made by other film companies - JOSHILA (1973), DEEWAAR (1975), TRISHUL (1978) & PARAMPARA (1993). But his greatest repertoire of work were the 50 plus films made under the banner that he launched - the banner that stands for the best of Hindi cinema - YRF. Out of these films, he directed 13 himself and these films have defined much of the language of Hindi films as we know them today.
    [Show full text]
  • “YRF BIG SCREEN CELEBRATIONS” (“ Film
    Terms and Conditions of the YRF 50 BIG SCREEN CELEBRATIONS The YRF 50 film festival “YRF BIG SCREEN CELEBRATIONS” (“Film Festival”) is organized to celebrate 50 years of films produced under the Yash Raj Films banner /Yash Raj Films Private Limited (“YRF”) between November 12, 2020 till November 19, 2020 at select cities and cinemas across India. The below mentioned terms and conditions govern the Film Festival from YRF’s perspective. Terms and Conditions: 1. The following films which are owned and produced by YRF (“YRF Films”) will be screened as part of the Film Festival at the sole discretion of YRF’s exhibition partners which own and operate the cinemas – PVR Cinemas, INOX and Cinepolis (each “Cinema Partner”): a. Dilwale Dulhania Le Jayenge b. Veer-Zaara c. Daag d. Kabhi Kabhie e. Mashaal f. Dil To Pagal Hai g. Bunty Aur Babli h. Chak De India i. New York j. Ek Tha Tiger k. Dum Laga Ke Haisha l. Band Bajaa Baraat m. Mardaani n. Tiger Zinda Hai o. Chandni p. Lamhe q. Silsila r. Sathiya s. Rab Ne bana di Jodi t. Sultan u. War v. Darr w. Hum Tum x. Mohabbatein 2. The show timings, the price of the tickets, cinemas and cities of cinema where the YRF Films are exhibited would be solely controlled by the Cinema Partners without any liability to YRF. 3. The Film Festival will be governed by the terms and conditions of each Cinema Partner which may be available at the Cinema Partner’s websites and/or official social media handles. 4.
    [Show full text]
  • Clare M. Wilkinson-Weber
    Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp.
    [Show full text]
  • Shah Rukh Khan from Wikipedia, the Free Encyclopedia "SRK" Redirects Here
    Shah Rukh Khan From Wikipedia, the free encyclopedia "SRK" redirects here. For other uses, see SRK (disambiguation). Shah Rukh Khan Shah Rukh Khan in a white shirt is interacting with the media Khan at a media event for Kolkata Knight Riders in 2012 Born Shahrukh Khan 2 November 1965 (age 50)[1] New Delhi, India[2] Residence Mumbai, Maharashtra, India Occupation Actor, producer, television presenter Years active 1988present Religion Islam Spouse(s) Gauri Khan (m. 1991) Children 3 Signature ShahRukh Khan Sgnature transparent.png Shah Rukh Khan (born Shahrukh Khan, 2 November 1965), also known as SRK, is an I ndian film actor, producer and television personality. Referred to in the media as "Baadshah of Bollywood", "King of Bollywood" or "King Khan", he has appeared in more than 80 Bollywood films. Khan has been described by Steven Zeitchik of t he Los Angeles Times as "perhaps the world's biggest movie star".[3] Khan has a significant following in Asia and the Indian diaspora worldwide. He is one of th e richest actors in the world, with an estimated net worth of US$400600 million, and his work in Bollywood has earned him numerous accolades, including 14 Filmfa re Awards. Khan started his career with appearances in several television series in the lat e 1980s. He made his Bollywood debut in 1992 with Deewana. Early in his career, Khan was recognised for portraying villainous roles in the films Darr (1993), Ba azigar (1993) and Anjaam (1994). He then rose to prominence after starring in a series of romantic films, including Dilwale Dulhania Le Jayenge (1995), Dil To P agal Hai (1997), Kuch Kuch Hota Hai (1998) and Kabhi Khushi Kabhie Gham..
    [Show full text]
  • Akshay Kumar
    Akshay Kumar Topic relevant selected content from the highest rated wiki entries, typeset, printed and shipped. Combine the advantages of up-to-date and in-depth knowledge with the convenience of printed books. A portion of the proceeds of each book will be donated to the Wikimedia Foundation to support their mis- sion: to empower and engage people around the world to collect and develop educational content under a free license or in the public domain, and to disseminate it effectively and globally. The content within this book was generated collaboratively by volunteers. Please be advised that nothing found here has necessarily been reviewed by people with the expertise required to provide you with complete, accu- rate or reliable information. Some information in this book maybe misleading or simply wrong. The publisher does not guarantee the validity of the information found here. If you need specific advice (for example, medi- cal, legal, financial, or risk management) please seek a professional who is licensed or knowledgeable in that area. Sources, licenses and contributors of the articles and images are listed in the section entitled “References”. Parts of the books may be licensed under the GNU Free Documentation License. A copy of this license is included in the section entitled “GNU Free Documentation License” All used third-party trademarks belong to their respective owners. Contents Articles Akshay Kumar 1 List of awards and nominations received by Akshay Kumar 8 Saugandh 13 Dancer (1991 film) 14 Mr Bond 15 Khiladi 16 Deedar (1992 film) 19 Ashaant 20 Dil Ki Baazi 21 Kayda Kanoon 22 Waqt Hamara Hai 23 Sainik 24 Elaan (1994 film) 25 Yeh Dillagi 26 Jai Kishen 29 Mohra 30 Main Khiladi Tu Anari 34 Ikke Pe Ikka 36 Amanaat 37 Suhaag (1994 film) 38 Nazar Ke Samne 40 Zakhmi Dil (1994 film) 41 Zaalim 42 Hum Hain Bemisaal 43 Paandav 44 Maidan-E-Jung 45 Sabse Bada Khiladi 46 Tu Chor Main Sipahi 48 Khiladiyon Ka Khiladi 49 Sapoot 51 Lahu Ke Do Rang (1997 film) 52 Insaaf (film) 53 Daava 55 Tarazu 57 Mr.
    [Show full text]
  • PHARMACIST 18 K 2018.Pdf
    PUNJAB PUBLIC SERVICE COMMISSION, LAHORE WRITTEN TEST FOR THE POSTS OF PHARMACIST (BS-17) IN THE PRIMARY & SECONDARY HEALTHCARE DEPARTMENT, 2018 NOTICE The Punjab Public Service Commission announces that the following 475 candidates for recruitment to 586 POSTS (INCLUDING 18 POSTS RESERVED FOR SPECIAL PERSONS QUOTA, 29 POSTS RESERVED FOR MINORITY QUOTA, 88 POSTS RESERVED FOR WOMAN QUOTA AND 117 POSTS RESERVED FOR SPECIAL ZONE QUOTA) OF PHARMACIST (BS-17) ON REGULAR BASIS IN THE PRIMARY & SECONDARY HEALTHCARE DEPARTMENT, have been provisionally cleared for interview as a result of written test held on 09-12-2018. 2. Call up letters for Interview will be uploaded on the website of the PPSC very soon. Candidates will also be informed through SMS and Email. 3. The candidates will be interviewed, if they are found eligible at the time of Interview as per duly notified conditions of Advertisement & Service Rules. It will be obligatory for the candidates to bring original academic certificates and related documents at the time of Interview as being intimated to them through PPSC Website, SMS and Email shortly. OPEN MERIT SR. ROLL DIARY NAME OF THE CANDIDATE FATHER'S NAME NO. NO. NO. 1 10022 25700135 ZAHEER AHMED KHAN*SPECIAL MUHAMMAD KHAN PERSON* 2 10028 25701621 AARTI DAVI*NON-MUSLIM* QEEMTI LAL 3 10030 25701708 AASMA HANIF MUHAMMAD HANIF BHATTI 4 10046 25704770 AFFAF SALMAN RIFFAT SALMAN 5 10085 25704643 ALIA RAMZAN MUHAMMAD RAMZAN 6 10090 25701936 ALINA ZEESHAN RAO RAO ZEESHAN AHMAD 7 10094 25702236 ALMAS FATIMA CHAUDRY HIDAYAT ALI 8 10106
    [Show full text]
  • The Hindu, the Muslim, and the Border In
    THE HINDU, THE MUSLIM, AND THE BORDER IN NATIONALIST SOUTH ASIAN CINEMA Vinay Lal University of California, Los Angeles Abstract There is but no question that we can speak about the emergence of the (usually Pakistani or Muslim) ‘terrorist’ figure in many Bollywood films, and likewise there is the indisputable fact of the rise of Hindu nationalism in the political and public sphere. Indian cinema, however, may also be viewed in the backdrop of political developments in Pakistan, where the project of Islamicization can be dated to least the late 1970s and where the turn to a Wahhabi-inspired version of Islam is unmistakable. I argue that the recent history of Pa- kistan must be seen as instigated by a disavowal of the country’s Indic self, and similarly I suggest that scholarly and popular studies of the ‘representation’ of the Muslim in “Bol- lywood” rather too easily assume that such a figure is always the product of caricature and stereotyping. But the border between Pakistan and India, between the self and the other, and the Hindu and the Muslim is rather more porous than we have imagined, and I close with hints at what it means to both retain and subvert the border. Keywords: Border, Communalism, Indian cinema, Nationalism, Pakistan, Partition, Veer-Zaara Resumen 103 Así como el personaje del ‘terrorista’ (generalmente musulmán o paquistaní) está presente en muchos filmes de Bollywood, el nacionalismo hindú está tomando la iniciativa en la esfera política del país. Sin embargo el cine indio también puede hacerse eco de acontecimientos ocurridos en Paquistán, donde desde los años Setenta se ha manifestado un proceso de islamización de la sociedad, con una indudable impronta wahabí.
    [Show full text]
  • Enchantment of the Mind Preface
    PREFACE 1 March 2004 marked the tenth anniversary of the death of Manmohan Desai. A fall from the terrace of his Khetwadi home brought the 57-year old filmmaker’s life to an end in the spring of 1994. The suspected suicide came as a shock both to those nearest to him and to the film world as a whole, as testified in countless articles and tributes in the Indian and international press in the month following his death. The articles that appeared spanned the gamut of reactions: praise for Desai as a man and as a filmmaker, heartfelt remembrances from those who had worked with him, indignation and disbelief over the circumstances of his death, and speculation over possible motives for suicide— depression over severe backaches being most frequently offered as an explanation. At that time, I could not help feeling a personal sadness over his death. I had, after all, spent the better part of four years studying Manmohan Desai’s work before completing an initial version of this book in 1987. It was, therefore, consoling to have immediate and direct evidence of Manmohan Desai’s work living on beyond his death, as happened one day in 1994 when I walked into an Indian carry-out restaurant in Paris and saw a colorful dance scene from Dharam-Veer playing on the conspicuously placed VCR. Those waiting in line stood transfixed before the screen, their faces radiating joy. Curious to know if Desai’s work had crossed the generations, I asked a young man in his twenties if he knew who had directed the film.
    [Show full text]
  • Veer–Zaara Regie: Yash Chopra
    Veer–Zaara Regie: Yash Chopra Land: Indien 2004. Produktion: Yash Raj Films (Mumbai). Regie: Yash Chopra. Buch: Aditya Chopra. Regie Actionszenen: Allan Amin. Kamera: Anil Mehta. Ton: Anuj Mathur. Musik: Madan Mohan. Neueinspielung: Sanjeev Kohli. Arrangements: R.S. Mani. Liedtexte: Javed Akhtar. Sänger: Lata Mangeshkar, Udit Narayan, Sonu Nigam, Roop Kumar Rathod, Gurdas Mann, Ahmed Hussain, Mohammed Hussain, Mohammed Vakil, Javed Hussain, Pritha Majumder. Ausstattung: Sharmishta Roy. Choreographie: Saroj Khan, Vaibhavi Merchant. Kostüme: Manish Malhotra. Beratung (Drehbuch & Ausstattung): Nasreen Rehman. Schnitt: Ritesh Soni. Produzenten: Yash Chopra, Aditya Chopra. Co-Produzenten: Pamela Chopra, Uday Chopra, Payal Chopra. Aufnahmeleitung: Sanjay Shivalkar, Padam Bhushan. Darsteller: Shahrukh Khan (Veer Pratap Singh), Rani Mukerji (Saamiya Siddiqui), Preity Zinta (Zaara), Kirron Kher, Divya Dutta, Boman Irani, Anupam Kher, Amitabh Bachchan, Hema Malini, Manoj Bajpai, Zohra Segal (Bebe), S.M. Zaheer (Justice Qureshi), Tom Alter (Dr. Yusuf), Gurdas Mann (als er selbst), Arun Bali (Abdul Mallik Shirazi, Razas Vater), Akhilendra Mishra (Gefängniswärter Majid Khan), Rushad Rana (Saahil), Vinod Negi (Ranjeet), Balwant Bansal (Qazi), Rajesh Jolly (Priester), Anup Kanwal Singh (Sänger), Kanwar Jagdish (Glatzkopf im Bus), Dev K. Kantawalla (Munir), Vicky Ahuja (Vernehmungsbeamtin), Ranjeev Verma (Vernehmungsbeamter), Jas Keerat (Junger Cricket-Spieler), Sanjay Singh Bhadli (Bauer), Kulbir Baderson (Töpferin), Shivaya Singh (Kamli), Huzeifa Gadiwalla
    [Show full text]
  • Aspirational Movie List
    SL Title Year Type Rating Ratings 1 3 Idiots 2009 Feature 8.5 155,763 2 Like Stars on Earth 2007 Feature 8.5 71,581 3 Rang De Basanti 2006 Feature 8.4 57,061 4 Gangs of Wasseypur 2012 Feature 8.4 32,853 5 Lagaan: Once Upon a Time in India 2001 Feature 8.2 54,714 6 Mughal-E-Azam 1960 Feature 8.4 3,425 7 A Wednesday 2008 Feature 8.4 30,560 8 Udaan 2010 Feature 8.4 23,017 9 Swades 2004 Feature 8.4 47,326 10 Dil Chahta Hai 2001 Feature 8.3 38,159 11 Pyaasa 1957 Feature 8.4 2,677 12 Black Friday 2004 Feature 8.6 6,126 13 Sholay 1975 Feature 8.6 21,695 14 Anand 1971 Feature 8.9 7,826 15 Special 26 2013 Feature 7.9 22,078 16 Queen 2014 Feature 8.5 28,304 17 Andaz Apna Apna 1994 Feature 8.8 22,766 18 Haider 2014 Feature 8.5 28,728 19 Guru 2007 Feature 7.8 10,337 20 Dev D 2009 Feature 8.1 16,553 21 Paan Singh Tomar 2012 Feature 8.3 16,849 22 Chakde! India 2007 Feature 8.4 34,024 23 Sarfarosh 1999 Feature 8.1 11,870 24 Mother India 1957 Feature 8 3,882 25 Bhaag Milkha Bhaag 2013 Feature 8.4 30,313 26 Barfi! 2012 Feature 8.3 43,308 27 Zindagi Na Milegi Dobara 2011 Feature 8.1 34,374 28 PK 2014 Feature 8.4 55,878 29 Baby 2015 Feature 8.4 20,504 30 My Name Is Khan 2010 Feature 8 56,169 31 The Legend of Bhagat Singh 2002 Feature 8.1 5,481 32 Munna Bhai M.B.B.S.
    [Show full text]
  • Movies of Feroz Khan
    1 / 2 Movies Of Feroz Khan Feroze Khan (born July 11, 1990) is famous for being tv actor. ... Padmavati is undeniably the most awaited movie of the year and it won't be hard to call it a hit .... Feroz Khan Movies List. Thambi Arjuna (2010)Ramana, Aashima. Welcome (2007)Feroz Khan, Anil Kapoor. Ek Khiladi Ek Haseena (2005)Fardeen Khan, .... See more ideas about actors, pakistani actress, feroz khan. ... Khushbo is Pakistani film and stage Actress. c) On some minimal productions (e. Want to Become .... Tasveer Full Hindi Movie (1966) Film cast : Feroz Khan, Kalpana, Helen, Sajjan, Rajendra Nath, Nazir Hasain, Leela Mishra, Raj Mehra, Lalita Pawar, Sabeena. MUMBAI, India (Agence France-Presse) — Feroz Khan, a Bollywood ... he made “Dharmatma,” the first Hindi-language movie shot on location .... Actor Rishi Kapoor tweeted that the two actors, who worked together in three films, died of Cancer on the same date. Known for his flamboyant persona, Feroz Khan was an actor, director and producer who had a long innings in the Hindi film industry. The actor .... Feroz Khan was born at Bangalore in India to an Afghan Father, Sadiq Khan and an Iranian mother Fatima. After schooling from Bangalore he shifted to Bombay .... He would have turned 79 on September 25. However, actor, director and producer Feroz Khan – one of his kind in the Hindi film industry .... Feroz Khan All Movies List · Ek Khiladi Ek Haseena - 2005 · Ek Khiladi Ek Haseena (2005)Feroz Khan , Fardeen Khan , Koena Mitra , Gulshan Grover , Kay Kay , .... India's answer to Clint Eastwood, Feroz Khan is known as the most stylish bollywood actor.
    [Show full text]