Bollywood Masala Mix
Cuckoo popularized cabaret dancing
in Hindi films
in Hindi films
The Anglo-Indian actress Cuckoo Moray familiarly known as Cuckoo, was amongst the first dancers to make an impact with audiences in Indian cinema. She was born on 4th February 1928 first appeared on the big screen with films like Mujrim (1944), Pehli Nazar (1945) and Arab Ka Sitara (1946). In Mehboob Khan’s Anokhi Ada (1948), she performed a key dance number as a featured dancer. She gave the ‘cabaret’ number great popularity with her dances in films like Bazaar (1949) and Awara (1951).
Besides dancing, she went to star alongside Dilip Kumar, Raj Kapoor and Nargis in Andaz (1949). But she quickly established herself as the top dancer of her time. A highly sought-after actress, she charged Rs 6,000 per song and reportedly lived an extravagant life (she had one of her three cars to take her dogs out for a drive).
In the 1950s, her filmography grew extensively. Mehboob Khan’s Aan (1952) was the only colour film in which she danced; she gave up films as other contenders came into the fore.
Cuckoo remained the best dancer in Hindi films until dancers like Helen and Vyjayanthimala came along in the industry. Helen was her young protégée who went on to dominate the dance scene in Hindi cinema.
Helen recalled her initial interactions with the star, “I met her when I used to go to school. I was in a boarding school before I met them. Mummy got friendly with them, that’s how I met them. [We] got friendly with the family when I was in boarding school and then when I came back from school, I got friendly with the sister and we used to go to the studios with Cuckoo. Somehow or the other, my mother thought that she would like me to enter the films too. I was very young then, I must have been about 12 or 13 years old. In short, it was Cuckoo who got me into the line.”
When asked when Cuckoo influenced her to appear in films, Helen laughed and replied, “She didn’t influence me, I think she influenced my mother. Because I didn’t dream of becoming anything, I didn’t dream of entering the films. I was only dreaming of having fun with my friends and going to school.”
Cuckoo helped the young Helen gain a foothold in the Hindi film world. “She was in this film called Shabistan (1951) and I was in the chorus because I was too young. In those days, they were not known as item numbers, it was known as solo dances. I was too young for that. So I was just as a group dancer. So for about a year, I was in the chorus and after that, I was selected to do one duet dance.”
Helen stated that Cuckoo was instrumental in her getting into films. The two even danced together in Bimal Roy’s Yahudi (1958) and Heera Moti (1958). She further added, “And leaving alone the films aside, she was a lovely person. [She was a] very nice lady, very down to earth.”
After her retirement from films, Cuckoo lived a hard life and faced many financial difficulties before she died of cancer on 30th September 1981 at the age of 52. Helen said, “I would love everybody to know who she was. She was a very good dancer, she had a style and [was] very graceful and she had a beautiful smile.”
Besides dancing, she went to star alongside Dilip Kumar, Raj Kapoor and Nargis in Andaz (1949). But she quickly established herself as the top dancer of her time. A highly sought-after actress, she charged Rs 6,000 per song and reportedly lived an extravagant life (she had one of her three cars to take her dogs out for a drive).
In the 1950s, her filmography grew extensively. Mehboob Khan’s Aan (1952) was the only colour film in which she danced; she gave up films as other contenders came into the fore.
Cuckoo remained the best dancer in Hindi films until dancers like Helen and Vyjayanthimala came along in the industry. Helen was her young protégée who went on to dominate the dance scene in Hindi cinema.
Helen recalled her initial interactions with the star, “I met her when I used to go to school. I was in a boarding school before I met them. Mummy got friendly with them, that’s how I met them. [We] got friendly with the family when I was in boarding school and then when I came back from school, I got friendly with the sister and we used to go to the studios with Cuckoo. Somehow or the other, my mother thought that she would like me to enter the films too. I was very young then, I must have been about 12 or 13 years old. In short, it was Cuckoo who got me into the line.”
When asked when Cuckoo influenced her to appear in films, Helen laughed and replied, “She didn’t influence me, I think she influenced my mother. Because I didn’t dream of becoming anything, I didn’t dream of entering the films. I was only dreaming of having fun with my friends and going to school.”
Cuckoo helped the young Helen gain a foothold in the Hindi film world. “She was in this film called Shabistan (1951) and I was in the chorus because I was too young. In those days, they were not known as item numbers, it was known as solo dances. I was too young for that. So I was just as a group dancer. So for about a year, I was in the chorus and after that, I was selected to do one duet dance.”
Helen stated that Cuckoo was instrumental in her getting into films. The two even danced together in Bimal Roy’s Yahudi (1958) and Heera Moti (1958). She further added, “And leaving alone the films aside, she was a lovely person. [She was a] very nice lady, very down to earth.”
After her retirement from films, Cuckoo lived a hard life and faced many financial difficulties before she died of cancer on 30th September 1981 at the age of 52. Helen said, “I would love everybody to know who she was. She was a very good dancer, she had a style and [was] very graceful and she had a beautiful smile.”
An award-winning film made in India about the lives of four Indian women has been banned in India.
The movie is Lipstick Under My Burkha, and it won the Oxfam Award For Best Film On Gender Equality at the last Mumbai Film Festival. The 117-minute film revolves around the the inner lives of four small-town women, from college age to mid-50s, each grappling with different societal pressures and expectations from relationships.
The title refers to the inner lives of the women that they do not reveal. Of the four protagonists, two are indeed in the head-to-toe garment (worn by Muslims all over India, where they make up 14 percent of the population) and two are Hindu and not veiled. Of course, all of them wear lipstick, even when there's no one to appreciate it.
On February 22, the Central Board for Film Certification (CBFC), a government appointed body composed of 25 members from different professions, decided the movie was a no-go. The reason: it is "lady-orientated" and contains "contentious sexual scenes, abusive words [and] audio pornography."
Director Alankrita Shrivastava was baffled with their decision. "There's already a lot of self-censorship for filmmakers. For example, you know you're not going to shoot things like nudity — not that I wanted to. But, she adds, "This systematic shutdown of a point of view is unacceptable."
"When the CBFC says it's 'lady-orientated,' that's its strength," says Aseem Chhabra, director of the New York Indian Film Festival. Chhabra has seen the film twice and is including it in the upcoming 2017 NYIFF: "It has lovely nuances and details. It's laugh-out-loud funny in parts. I recognize these women. I recognize exactly who they are."
Chhabra recalls an early scene where a group of women is up on a roof, catching the sun, doing everyday things like plucking their eyebrows while chatting about their lives and husbands. To him, this scene was "so warm and real."
Many film lovers are not happy about the decision. "I hate the fact that somebody else decides what I can and can't watch," says Rashi Vidyasagar, a criminologist in Mumbai who works with the national commission for women at the prestigious Tata Institute of Social Sciences.
Chhabra concurs. "The Board has always been very regressive. For the longest time kissing was not allowed [on screen]. It's always been a reflection of the current political party that's in power in India. So, heterosexual sex, men looking at women in bikinis, men making sexual jokes about women and the male gaze is okay, but "lady orientated", whatever that means, is not."
And Nisha Jha, CEO of Oxfam India, has praised the film, saying that it "ferociously challenges gender-based social norms and ... break[s] stereotypes about women and girls in India." Oxfam says it "stands by its decision to honor" the film.
This is not the first time the CBFC has been seen as overstepping its mandate or been labeled draconian by the Indian press. Last August, the Supreme Court of India issued an order saying that the job of the CBFC is not to censor, only to certify what age group can watch a given movie. The certification process is under review.
In light of this, many people, including Shrivastava, are questioning the relevance of the CBFC. But, as of now, the Board continues to have the power. Withholding certification means no cinema can screen the movie. Many film festivals also will not accept it, and it can't be submitted for most awards.
"I don't have a Plan B," says Shrivastava. "I'm very determined to fight it out and see a theatrical release." Though people keep telling her to go direct to digital by releasing to cable or streaming services, she says that's not an option.
"When you make a choice that you will not exhibit commercially, it's one thing. But when you're being forced to do a digital release because the CBFB of India is not letting you release your film, it's a completely different situation."
Shrivastava has filed an appeal with the Film Certification Appellate Tribunal — a quasi-judiciary body in Delhi — for reversal of the decision. That hearing is later in March. While the jury is out in India, audiences in the U.S. can catch Lipstick Under My Burkha in Los Angeles, where it will open the Indian Film Festival of Los Angeles on April 5, or at the New York Indian Film Festival in May.
The movie is Lipstick Under My Burkha, and it won the Oxfam Award For Best Film On Gender Equality at the last Mumbai Film Festival. The 117-minute film revolves around the the inner lives of four small-town women, from college age to mid-50s, each grappling with different societal pressures and expectations from relationships.
The title refers to the inner lives of the women that they do not reveal. Of the four protagonists, two are indeed in the head-to-toe garment (worn by Muslims all over India, where they make up 14 percent of the population) and two are Hindu and not veiled. Of course, all of them wear lipstick, even when there's no one to appreciate it.
On February 22, the Central Board for Film Certification (CBFC), a government appointed body composed of 25 members from different professions, decided the movie was a no-go. The reason: it is "lady-orientated" and contains "contentious sexual scenes, abusive words [and] audio pornography."
Director Alankrita Shrivastava was baffled with their decision. "There's already a lot of self-censorship for filmmakers. For example, you know you're not going to shoot things like nudity — not that I wanted to. But, she adds, "This systematic shutdown of a point of view is unacceptable."
"When the CBFC says it's 'lady-orientated,' that's its strength," says Aseem Chhabra, director of the New York Indian Film Festival. Chhabra has seen the film twice and is including it in the upcoming 2017 NYIFF: "It has lovely nuances and details. It's laugh-out-loud funny in parts. I recognize these women. I recognize exactly who they are."
Chhabra recalls an early scene where a group of women is up on a roof, catching the sun, doing everyday things like plucking their eyebrows while chatting about their lives and husbands. To him, this scene was "so warm and real."
Many film lovers are not happy about the decision. "I hate the fact that somebody else decides what I can and can't watch," says Rashi Vidyasagar, a criminologist in Mumbai who works with the national commission for women at the prestigious Tata Institute of Social Sciences.
Chhabra concurs. "The Board has always been very regressive. For the longest time kissing was not allowed [on screen]. It's always been a reflection of the current political party that's in power in India. So, heterosexual sex, men looking at women in bikinis, men making sexual jokes about women and the male gaze is okay, but "lady orientated", whatever that means, is not."
And Nisha Jha, CEO of Oxfam India, has praised the film, saying that it "ferociously challenges gender-based social norms and ... break[s] stereotypes about women and girls in India." Oxfam says it "stands by its decision to honor" the film.
This is not the first time the CBFC has been seen as overstepping its mandate or been labeled draconian by the Indian press. Last August, the Supreme Court of India issued an order saying that the job of the CBFC is not to censor, only to certify what age group can watch a given movie. The certification process is under review.
In light of this, many people, including Shrivastava, are questioning the relevance of the CBFC. But, as of now, the Board continues to have the power. Withholding certification means no cinema can screen the movie. Many film festivals also will not accept it, and it can't be submitted for most awards.
"I don't have a Plan B," says Shrivastava. "I'm very determined to fight it out and see a theatrical release." Though people keep telling her to go direct to digital by releasing to cable or streaming services, she says that's not an option.
"When you make a choice that you will not exhibit commercially, it's one thing. But when you're being forced to do a digital release because the CBFB of India is not letting you release your film, it's a completely different situation."
Shrivastava has filed an appeal with the Film Certification Appellate Tribunal — a quasi-judiciary body in Delhi — for reversal of the decision. That hearing is later in March. While the jury is out in India, audiences in the U.S. can catch Lipstick Under My Burkha in Los Angeles, where it will open the Indian Film Festival of Los Angeles on April 5, or at the New York Indian Film Festival in May.
Behind the scene stories of the classic Ramesh Sippy film ‘Sholay’ have always excited the movie buffs.
Amitabh Bachchan, who played the intense young man Jai, recently shed light on an unknown fact from the film.
At a recent event in Mumbai, while speaking about Ramesh Sippy’s sense of accuracy, the Shehenshah of Bollywood shared an experience from their shooting days, where they waited for three-long years to get one perfect shot for a scene.
Here’s what Big-B said, “I wonder if you remember a scene in Sholay, where Jaya (Bachchan) is lighting a lamp in the corridor of her home on the first floor and I am sitting in the outhouse playing my mouth organ. There was a particular kind of lighting required for that shot. Our DoP (Director of Photography) was very keen that the shot be done at the time when the sun is setting. You would not believe that we spent three years before we finally got that shot because every time we would get to enact that sequence, something would not be right with the lighting and Ramesh Ji said, until we get the correct light, we are not going to film this. Hence we waited for three years for one flash of a shot in the film.”
A 1975 film that also stars Dharmendra, Jaya Bachchan, Hema Malini, Sanjeev Kumar and Amjad Khan was ranked first in the British Film Institute's 2002 poll of ‘Top 10 Indian Films’ of all time.
Amitabh Bachchan, who played the intense young man Jai, recently shed light on an unknown fact from the film.
At a recent event in Mumbai, while speaking about Ramesh Sippy’s sense of accuracy, the Shehenshah of Bollywood shared an experience from their shooting days, where they waited for three-long years to get one perfect shot for a scene.
Here’s what Big-B said, “I wonder if you remember a scene in Sholay, where Jaya (Bachchan) is lighting a lamp in the corridor of her home on the first floor and I am sitting in the outhouse playing my mouth organ. There was a particular kind of lighting required for that shot. Our DoP (Director of Photography) was very keen that the shot be done at the time when the sun is setting. You would not believe that we spent three years before we finally got that shot because every time we would get to enact that sequence, something would not be right with the lighting and Ramesh Ji said, until we get the correct light, we are not going to film this. Hence we waited for three years for one flash of a shot in the film.”
A 1975 film that also stars Dharmendra, Jaya Bachchan, Hema Malini, Sanjeev Kumar and Amjad Khan was ranked first in the British Film Institute's 2002 poll of ‘Top 10 Indian Films’ of all time.
‘Jagga Jasoos’
Katrina Kaif, who was busy with the finishing touches of Anurag Basu's 'Jagga Jasoos', suffered an injury on the sets of the film. According to reports, a heavy object fell on her neck and in the process, injured her neck and back. The actress promptly underwent check-up and was advised bed rest for the next few days. Katrina has also been asked to refrain from undertaking any physical activity or exertion for some time.
On the work front, Katrina has the release of 'Jagga Jasoos' to look forward to. The musical adventure comedy sees her teaming up with her former boyfriend Ranbir Kapoor. Katrina is also expected to begin work on 'Tiger Zinda Hai' with Salman Khan.
On the work front, Katrina has the release of 'Jagga Jasoos' to look forward to. The musical adventure comedy sees her teaming up with her former boyfriend Ranbir Kapoor. Katrina is also expected to begin work on 'Tiger Zinda Hai' with Salman Khan.
Aishwarya Rai Bachchan's father Krishnaraj Rai, who was admitted to the Lilavati Hospital in Mumbai a fortnight ago, is reportedly in critical condition. Latest reports suggest that he had been shifted to the ICU on Tuesday evening of last week. Aishwarya and hubby Abhishek Bachchan were spotted at the hospital that night. Amitabh Bachchan and make-up artist Mickey Contractor too paid a visit to the hospital on Wednesday night and were by the actress' side during this tough time.
Krishnaraj Rai had faced similar health problems in January this year and was admitted to the same hospital. It may be recalled that Aishwarya had cut short her Dubai vacation then and rushed back to India to visit her ailing father.
Krishnaraj Rai had faced similar health problems in January this year and was admitted to the same hospital. It may be recalled that Aishwarya had cut short her Dubai vacation then and rushed back to India to visit her ailing father.
Superstar Shah Rukh Khan might have undergone quite a few surgeries, but he's unstoppable. The 'Raees' star has undergone yet another surgery, this time on his shoulder. Not one to sulk and stress, King Khan posted a picture of himself to his Twitter page sharing the news with his fans, totally winning them over with his wit.
SRK posted a picture of his left arm where the doctors wrote "Not Me", so that there was no confusion about which shoulder they were operating on. Shah Rukh wrote, "Had a minor follow up surgery on my left shoulder. They marked my right hand like this, so there is no mistake. Sweet."
This was his second surgery on the same shoulder but his doctors' gesture put a smile on his face.
SRK underwent shoulder surgery in 2013 during the shooting of 'Chennai Express'.
The superstar had also suffered an injury during the shooting of his ambitious film 'Ra.One'.
SRK posted a picture of his left arm where the doctors wrote "Not Me", so that there was no confusion about which shoulder they were operating on. Shah Rukh wrote, "Had a minor follow up surgery on my left shoulder. They marked my right hand like this, so there is no mistake. Sweet."
This was his second surgery on the same shoulder but his doctors' gesture put a smile on his face.
SRK underwent shoulder surgery in 2013 during the shooting of 'Chennai Express'.
The superstar had also suffered an injury during the shooting of his ambitious film 'Ra.One'.