Bollywood Masala Mix
Director B.R. Chopra made films with
a social conscience
a social conscience
One of India's most respected film personalities, Baldev Raj Chopra (better known as B.R. Chopra) has been an architect of what is now known as the golden era of the Bollywood industry. Having converted offbeat stories into immortal classics like Waqt (1965) and Naya Daur (1957), he commands high regard in the world film fraternity.
B.R. Chopra was born in Lahore in 1914, to an accountant in the PWD administration of the British Punjab administration. After graduating, he did his M.A. degree in English Literature from Lahore University. Having a deep-rooted fascination for films, he switched over from a higher education to film journalism, surprising his family. He began his celluloid career writing and editing film reviews for the Cine Herald Journal.
When the partition of India occurred in 1947, B.R. became a victim of communal riots. His house having been burnt down, he migrated to Bombay to live up to his dreams. In 1949, he produced his first film Karwat (1949). Unfortunately, it turned out to be a flop. In 1951, he tried again as the producer and director of the film Afsana (1951) and hit gold. His movie, a tale of mistaken identity with Ashok Kumar in a double role, was a runaway hit and went on to celebrate its silver jubilee.
Encouraged by this success, B.R. formed his production company, B.R. Films, in 1955, and started off on a roll with the release of Ek-Hi-Rasta (1956), a drama about widow remarriage. He churned out a string of successful films, the most notable being Naya Daur (1957), Sadhna (1958), Kanoon (1960), Gumrah (1963) and Hamraaz (1967). He also gave his younger brother, Yash Chopra, his first directorial opportunity with the box-office hit Dhool Ka Phool (1959) and in the subsequent years Yash made four more films for B.R., including Waqt (1965) and Ittefaq (1969).
Described as "tall as an emperor, with an athletic throw of voice", Chopra is remembered as unfailingly considerate. He was always open to suggestions and advice. No matter how escapist Bollywood became, he never budged from his conviction that films should have social relevance. For instance, Naya Daur (1957) told the story of a traditional rural community threatened with modernism and mechanism; B.R. perceives mechanism as evil and has the protagonist, a horse carriage rider, defeat an automobile in a race! B.R. has also made films that were regarded as ahead of their time - Kanoon (1960) was a courtroom drama without any songs at all (music being essential of all Hindi films, this was a novel technique); Gumrah (1963) told the tale of a woman resuming her affair after marriage; and Ittefaq (1969) showed the heroine as a murderess of her own husband!
In his various roles as writer, producer and director, he made some 40 films. B.R. continued to make films into the 1970s and 1980s, and met success with Insaf Ka Tarazu (1980), focusing on the issue of rape, and Nikaah (1982), a Muslim love triangle. His son Ravi did try to keep the banner going but none of the films did well except for Aaj Ki Awaz (1984), another courtroom tale, and the family epic Baghban (2003). However, B.R. Films turned to television in 1985 and made several successful television programs, the most successful of them being the serial Mahabharat (1988), based on the Hindu epic. Perhaps the most popular serial in the history of Indian cinema, it entered the Guinness Book of World Records by registering 96% world viewer ship. In 1999, B.R. was awarded the Dadasaheb Phalke Award for his contribution to Indian Cinema.
He died on November 5, 2008 at age 94.
B.R. Chopra was born in Lahore in 1914, to an accountant in the PWD administration of the British Punjab administration. After graduating, he did his M.A. degree in English Literature from Lahore University. Having a deep-rooted fascination for films, he switched over from a higher education to film journalism, surprising his family. He began his celluloid career writing and editing film reviews for the Cine Herald Journal.
When the partition of India occurred in 1947, B.R. became a victim of communal riots. His house having been burnt down, he migrated to Bombay to live up to his dreams. In 1949, he produced his first film Karwat (1949). Unfortunately, it turned out to be a flop. In 1951, he tried again as the producer and director of the film Afsana (1951) and hit gold. His movie, a tale of mistaken identity with Ashok Kumar in a double role, was a runaway hit and went on to celebrate its silver jubilee.
Encouraged by this success, B.R. formed his production company, B.R. Films, in 1955, and started off on a roll with the release of Ek-Hi-Rasta (1956), a drama about widow remarriage. He churned out a string of successful films, the most notable being Naya Daur (1957), Sadhna (1958), Kanoon (1960), Gumrah (1963) and Hamraaz (1967). He also gave his younger brother, Yash Chopra, his first directorial opportunity with the box-office hit Dhool Ka Phool (1959) and in the subsequent years Yash made four more films for B.R., including Waqt (1965) and Ittefaq (1969).
Described as "tall as an emperor, with an athletic throw of voice", Chopra is remembered as unfailingly considerate. He was always open to suggestions and advice. No matter how escapist Bollywood became, he never budged from his conviction that films should have social relevance. For instance, Naya Daur (1957) told the story of a traditional rural community threatened with modernism and mechanism; B.R. perceives mechanism as evil and has the protagonist, a horse carriage rider, defeat an automobile in a race! B.R. has also made films that were regarded as ahead of their time - Kanoon (1960) was a courtroom drama without any songs at all (music being essential of all Hindi films, this was a novel technique); Gumrah (1963) told the tale of a woman resuming her affair after marriage; and Ittefaq (1969) showed the heroine as a murderess of her own husband!
In his various roles as writer, producer and director, he made some 40 films. B.R. continued to make films into the 1970s and 1980s, and met success with Insaf Ka Tarazu (1980), focusing on the issue of rape, and Nikaah (1982), a Muslim love triangle. His son Ravi did try to keep the banner going but none of the films did well except for Aaj Ki Awaz (1984), another courtroom tale, and the family epic Baghban (2003). However, B.R. Films turned to television in 1985 and made several successful television programs, the most successful of them being the serial Mahabharat (1988), based on the Hindu epic. Perhaps the most popular serial in the history of Indian cinema, it entered the Guinness Book of World Records by registering 96% world viewer ship. In 1999, B.R. was awarded the Dadasaheb Phalke Award for his contribution to Indian Cinema.
He died on November 5, 2008 at age 94.
Actor Arjun Kapoor believes that success and failure are a part of life, but one should not get bogged down by failures. After acting in flops like 'Tevar' and 'Ki & Ka' the 31-year-old actor is back with a bang in Mohit Suri's upcoming rom -com 'Half Girlfriend'.
When asked how much box office success matters to him, the 'Gunday' actor said, "We do films to be consumed by maximum number of people. You want as many people to come and to enjoy. We are here to entertain people and we want to give them value for money. But, when that does not happen, we do get affected. It is natural, it is human."
"I do get affected by failure, but, you try and learn from it and move ahead, and you try not to repeat the mistakes, and you, always keep the audience in mind as at the end of the day we are working for them. We will continue work till they like our work, and when they don't like, you recess and try harder next time" he added.
He further said, "But, there is so much love out there for us that we manage to get that energy from our audience. They are forgiving if the intent is right, and even when you make a mistake, they still allow you to comeback with another film. So, I always believe that hits and flops happen. Nobody has a 100 percent record at the box office. As an actor, what you need to know is that the audience has appreciated the effort, sometimes in smaller quantity and sometimes in a bigger quantity."
Arjun and Shraddha Kapoor were recently in the national capital along with the film's director Mohit Suri and Chetan Bhagat as a part of the 'Half Girlfriend' promotions.
Expressing similar sentiments, Shraddha said, "What really matters to me is being a part of the film and the journey of making the film. How my film does at the box office is not in my hands. I try giving my best in the film. Of course, if any of my films don't do well at the box office it's natural to feel disappointed but, I don't really bog myself down with it, because I have to focus on making my other films."
On a related note, Mohit Suri's directorial 'Half Girlfriend' which is an adaptation of Chetan Bhagat's bestselling novel of the same name, will see Arjun in the role of a Bihari boy, whereas Shraddha will be seen playing Riya Somani, a rich Delhi brat in the film. The movie is set to hit theatres on May 19.
When asked how much box office success matters to him, the 'Gunday' actor said, "We do films to be consumed by maximum number of people. You want as many people to come and to enjoy. We are here to entertain people and we want to give them value for money. But, when that does not happen, we do get affected. It is natural, it is human."
"I do get affected by failure, but, you try and learn from it and move ahead, and you try not to repeat the mistakes, and you, always keep the audience in mind as at the end of the day we are working for them. We will continue work till they like our work, and when they don't like, you recess and try harder next time" he added.
He further said, "But, there is so much love out there for us that we manage to get that energy from our audience. They are forgiving if the intent is right, and even when you make a mistake, they still allow you to comeback with another film. So, I always believe that hits and flops happen. Nobody has a 100 percent record at the box office. As an actor, what you need to know is that the audience has appreciated the effort, sometimes in smaller quantity and sometimes in a bigger quantity."
Arjun and Shraddha Kapoor were recently in the national capital along with the film's director Mohit Suri and Chetan Bhagat as a part of the 'Half Girlfriend' promotions.
Expressing similar sentiments, Shraddha said, "What really matters to me is being a part of the film and the journey of making the film. How my film does at the box office is not in my hands. I try giving my best in the film. Of course, if any of my films don't do well at the box office it's natural to feel disappointed but, I don't really bog myself down with it, because I have to focus on making my other films."
On a related note, Mohit Suri's directorial 'Half Girlfriend' which is an adaptation of Chetan Bhagat's bestselling novel of the same name, will see Arjun in the role of a Bihari boy, whereas Shraddha will be seen playing Riya Somani, a rich Delhi brat in the film. The movie is set to hit theatres on May 19.
As much of a variety Bollywood shows in terms of its genres, it shows the same level of creativity when depicting Indian mothers onscreen. From ever-crying to ever-nagging, ever-funny to ever-scheming, our films have portrayed all kinds of moms. On this year's Mother’s Day, we remember each one of them with a pinch of salt and a lot of pepper; after all no story is complete without the Midas touch of a mother.
1. The Mother India mothers
Surely this is led by the eternal Mother India of Bollywood – Nargis. They are the ones who fight all odds to bring up their kids and mostly wore white sarees. Basically, the ones who ruled the silver screen between 1960 and 1970 – Nirupa Roy and Durga Khote. They created a completely new category of Bollywood mothers who got separated from their sons during their childhood, only to reunite with them. They can be found in Deewar, Amar Akbar Anthony and Muqaddar Ka Sikandar. The “mere paas Maa hai…” is an ode to this category.
2. The ever-crying mothers
Kabhi Khushi Kabhie Gham’s Jaya Bachchan knew her son has come home by telepathy. While she was dominated by her husband, her happiness depended on the smile of her kids. Farida Jalal in Dilwale Dulhaniya Le Jaayenge fell under this group too. We found this kind of mother in most of Karan Johar's and Yash Chopra's films. And they loved shedding “khushi ke aansu”.
3. The ‘sauteli’ mothers
Lalita Pawar, Bindu and Aruna Irani… They not just ruled the household but even plotted against their bahus. They loved dominating and specially keeping those locker keys under their custody. Of course giving away those keys would mean giving away their pride. However, they were the ones who had the perfect transformation at the end of a film. But we loved to see their bad side. Didn’t we?
4. The helpless mothers
These mothers face the atrocities of the main villain, but all they do is wait for their sons to return and take badla, even if it meant coming back in the next birth. Rakhee’s dialogue “Mere Karan-Arjun aayenge” is the anthem of this category. She played another one in Baazigar too.
5. The Rajshri mothers
These mothers dreamed about getting their kids married the day they were born. They kept the khandani kangan handy and served their sons-in-law with their hands. They are the most graceful and loving mothers of the lot, and are found in all Suraj Barjatya households. The team is headed by Reema Lagoo and has Himani Shivpuri as her deputy.
6. The friendly mothers
Ratna Pathak Shah in Jaane Tu Ya Jaane Na and Kapoor And Sons, Dimple Kapadia in Dil Chahta Hai and Shefali Shah in Dil Dhadakne Do… They are young, they are fashionable and they are the BFFs of their children. They know whom their kids are seeing and even help them get dressed up before they go on a date. They are the coolest ones!
7. The ‘no-filter’ mothers
This list should begin and end with just two names – Kirron Kher and Amrita Singh. Khoobsurat, Dostana, 2 States and Om Shanti Om are just a few examples. They are over-dramatic, wear gaudy clothes, big bindis, are loud mouthed and tell the world about their daughter’s boyfriends with much pride. Such is their dedication that even their children are left red-faced at times. But they are surely the sweetest ones and purest at heart.
8. The new-age mothers
These are basically the ones played by our leading ladies themselves like Kajol in My Name Is Khan, Jacqueline Fernandez in Brothers, Vidya Balan in Paa and Kareena Kapoor Khan in Ra.One. They can sing, dance and even cry when required. They have redefined the image of mother’s in Bollywood.
9. The revenge seeking mothers
We saw one of these in Raveena Tandon in Maatr. They are fierce, bold and are ready to take on the villains to save their children. Sushmita Sen played one in Samay. Rani Mukerji also played one in Mardaani. Their fiery attitude is what makes them stand apart.
10. The (un)forgettable mothers
They play a supporting role, might not have such a screen presence, but are remembered for their super cool attitude. Maybe this category solely belongs to Zohra Sehgal who played Amitabh Bachchan’s mother in Cheeni Kam. She was also the greatest grandma in Hum Dil De Chuke Sanam. She knew about all the romance happening around her and yet preferred to ignore it under that mischievous smile. She is the only one who can scold a 60-something Amitabh Bachchan!
1. The Mother India mothers
Surely this is led by the eternal Mother India of Bollywood – Nargis. They are the ones who fight all odds to bring up their kids and mostly wore white sarees. Basically, the ones who ruled the silver screen between 1960 and 1970 – Nirupa Roy and Durga Khote. They created a completely new category of Bollywood mothers who got separated from their sons during their childhood, only to reunite with them. They can be found in Deewar, Amar Akbar Anthony and Muqaddar Ka Sikandar. The “mere paas Maa hai…” is an ode to this category.
2. The ever-crying mothers
Kabhi Khushi Kabhie Gham’s Jaya Bachchan knew her son has come home by telepathy. While she was dominated by her husband, her happiness depended on the smile of her kids. Farida Jalal in Dilwale Dulhaniya Le Jaayenge fell under this group too. We found this kind of mother in most of Karan Johar's and Yash Chopra's films. And they loved shedding “khushi ke aansu”.
3. The ‘sauteli’ mothers
Lalita Pawar, Bindu and Aruna Irani… They not just ruled the household but even plotted against their bahus. They loved dominating and specially keeping those locker keys under their custody. Of course giving away those keys would mean giving away their pride. However, they were the ones who had the perfect transformation at the end of a film. But we loved to see their bad side. Didn’t we?
4. The helpless mothers
These mothers face the atrocities of the main villain, but all they do is wait for their sons to return and take badla, even if it meant coming back in the next birth. Rakhee’s dialogue “Mere Karan-Arjun aayenge” is the anthem of this category. She played another one in Baazigar too.
5. The Rajshri mothers
These mothers dreamed about getting their kids married the day they were born. They kept the khandani kangan handy and served their sons-in-law with their hands. They are the most graceful and loving mothers of the lot, and are found in all Suraj Barjatya households. The team is headed by Reema Lagoo and has Himani Shivpuri as her deputy.
6. The friendly mothers
Ratna Pathak Shah in Jaane Tu Ya Jaane Na and Kapoor And Sons, Dimple Kapadia in Dil Chahta Hai and Shefali Shah in Dil Dhadakne Do… They are young, they are fashionable and they are the BFFs of their children. They know whom their kids are seeing and even help them get dressed up before they go on a date. They are the coolest ones!
7. The ‘no-filter’ mothers
This list should begin and end with just two names – Kirron Kher and Amrita Singh. Khoobsurat, Dostana, 2 States and Om Shanti Om are just a few examples. They are over-dramatic, wear gaudy clothes, big bindis, are loud mouthed and tell the world about their daughter’s boyfriends with much pride. Such is their dedication that even their children are left red-faced at times. But they are surely the sweetest ones and purest at heart.
8. The new-age mothers
These are basically the ones played by our leading ladies themselves like Kajol in My Name Is Khan, Jacqueline Fernandez in Brothers, Vidya Balan in Paa and Kareena Kapoor Khan in Ra.One. They can sing, dance and even cry when required. They have redefined the image of mother’s in Bollywood.
9. The revenge seeking mothers
We saw one of these in Raveena Tandon in Maatr. They are fierce, bold and are ready to take on the villains to save their children. Sushmita Sen played one in Samay. Rani Mukerji also played one in Mardaani. Their fiery attitude is what makes them stand apart.
10. The (un)forgettable mothers
They play a supporting role, might not have such a screen presence, but are remembered for their super cool attitude. Maybe this category solely belongs to Zohra Sehgal who played Amitabh Bachchan’s mother in Cheeni Kam. She was also the greatest grandma in Hum Dil De Chuke Sanam. She knew about all the romance happening around her and yet preferred to ignore it under that mischievous smile. She is the only one who can scold a 60-something Amitabh Bachchan!
Bollywood diva Shilpa Shetty who has been a part of Bollywood for more than 20 years, feels that she is witnessing a lot of change in the working patterns of Bollywood.
When asked about it, the 41-year-old-actres said, "I have been a part of Bollywood since a couple of decades. My last movie was 10 years ago, but I can see a change in the working pattern. There is still madness, but there is a method to the madness. Bigger studios are coming and investing in movies. It is becoming more streamlined. That is one of the main differences I see."
The actress could not stop praising the younger generation and said that "every second movie you see, there is a new actor or actress and they are so talented."
"There is an influx of very new actors, unlike our times where there were just four or five big actors and four or five smaller actors, now we see, that there is a new actor or actress and they are all so talented. So it is not like that they do not deserve this due that is given to them. It is a trying time for the new people, but it is a welcome change," she shared.
Shilpa Shetty was last seen on the silver screen in Anurag Basu's 'Life in a Metro' in 2007. The actress is not in the mood to head back to Bollywood and she is busy with his fitness channel and performing her duties as a mother and she is not actively seeking work.
When asked about it, the 41-year-old-actres said, "I have been a part of Bollywood since a couple of decades. My last movie was 10 years ago, but I can see a change in the working pattern. There is still madness, but there is a method to the madness. Bigger studios are coming and investing in movies. It is becoming more streamlined. That is one of the main differences I see."
The actress could not stop praising the younger generation and said that "every second movie you see, there is a new actor or actress and they are so talented."
"There is an influx of very new actors, unlike our times where there were just four or five big actors and four or five smaller actors, now we see, that there is a new actor or actress and they are all so talented. So it is not like that they do not deserve this due that is given to them. It is a trying time for the new people, but it is a welcome change," she shared.
Shilpa Shetty was last seen on the silver screen in Anurag Basu's 'Life in a Metro' in 2007. The actress is not in the mood to head back to Bollywood and she is busy with his fitness channel and performing her duties as a mother and she is not actively seeking work.