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Bollywood News, Bollywood Movies, Bollywood Chat

The Truth about Rajesh Khanna, seedi, saanf story (Page 7)

poppy2009 IF-Rockerz

Joined: 18 March 2009
Posts: 5662

Posted: 23 July 2012 at 3:30am | IP Logged
I am reading such juicy tidbits on Rajesh Khanna!  
This article below mentions that in the film Aradhna, when Rajesh Khanna appears on-screen in his second role as the son, dressed in a Flight Lietutant's Uniform, many women actually got orgasms watching him!LOL

'Few paid attention to Rajesh Khanna's debut film'

When Rajesh Khanna made his Hindi film debut in 1966 with Aakhri Khat, a low budget film, few paid attention. Even fewer must have imagined that the 23-year-old would go on to become the first ever superstar of the Hindi film industry and cause mass hysteria of epic, unprecedented levels.

Avijit Ghosh's piece, The God Of Romance, in the book Bollywood Top 20: Superstars of Indian Cinema charts the dramatic rise and tragic fall of the Bollywood's first superstar.

Here's presenting an excerpt from the essay:

A lot happened in Bombay cinema in 1966. Dharmendra bared his beefcake torso and scored both at the box office and with heroine Meena Kumari in Phool Aur Pathar. Shammi Kapoor, despite a protruding paunch, danced like a dervish to the boisterous tunes of R D Burman in Teesri Manzil. And lyricist Shailendra produced a classic, Teesri Kasam; the movie's failure broke his heart, took his life.

Few paid attention to Aakhri Khat, a low-budget quickie that, in hindsight, appears to be a precursor to Hollywood's cutesy 1994 box office smash, Baby's Day Out. Directed by Chetan Anand (of Neecha Nagar and Haqeeqat fame), the movie was weaved around the escapades of a fifteen-month-old wandering the city streets and vanished like smoke in the wind.

The only thing that endures in popular memory is the melodious track, Baharon mera jeewan bhi sanwaron (gorgeously rendered by the combined talents of Lata Mangeshkar, Kaifi Azmi and Khayyam), that Vividh Bharati plays to this day.

The film's hero was a twenty-three-year-old debutant named Rajesh Khanna; it was his reward for winning the United Producers Talent Contest. He played a city-based sculptor who falls in love with a gaon ki gori. She conceives after a hesitant sexual union-as innocent belles invariably did in 1960s' Hindi movies. Complications arise; they separate.

When the hero comes to know through her aakhri khat that his beloved is somewhere in the city with his child, he desperately looks around. The role required the young actor to showcase an array of emotions -- tenderness, anxiety, guilt, frustration -- and he wasn't found wanting.

But the following year when he starred in three more box­ office turkeys -- Raaz (the movie's opening credits says, G P Sippy proudly presents Rajesh Khanna), Baharon Ke Sapne (superhit director Nasir Hussain's first flop) and Aurat -- one wondered whether the judges who declared him a winner had made a serious error of judgment.

Then, much like a blizzard without advance warning, director Shakti Samanta's Aradhana arrived on 7 November 1969. A goulash of drama, romance and some of the finest music that S D Burman ever composed, the movie turned out to be a monster hit.

A month later another romantic family drama created a similar box office tsunami: director Raj Khosla's Do Raaste with Mumtaz as the young hero's leading lady. But the impact of these two movies was much more than the megabucks raked in.

Together they unleashed the Rajesh Khanna phenomenon, creating a fresh hierarchy of stardom in Bombay (now Mumbai). One shake of his head was enough for financiers to write out blank cheques for distributors to buy a movie before a single shot was canned. Producers, directors, writers -- everyone became secondary to his star power.

The route to the audience's heart is complicated and mysterious. Nobody really knows how an actor-of ordinary build, average height and a face often sprinkled with pimples-induced such messianic mania and hypnotized an entire nation.

Groping for a phrase to capture the zeitgeist, the industry finally coined a new term: superstar. Rajesh Khanna had become the omphalos of a new world order in the Hindi film industry.

Born in Amritsar on 29 December 1942, Rajesh (his original name was Jatin) was adopted by a childless couple related to his own parents who were more affluent than them and lived near Girgaum, Bombay. By all accounts, he was pampered as a child. As a teenager he was interested in theatre. When he wanted to join films, the young actor went around asking for roles in 'an MG sports car', say Dinesh Raheja and Jitendra Kothari in The Hundred Luminaries of Hindi Cinema.

Maybe it was written.

Aradhana came at a time when Bombay cinema badly needed a fresh face. Raj Kapoor, Dilip Kumar and Dev Anand had aged, though the last two were still playing lead roles. Shammi Kapoor had grown obese and Rajendra Kumar's appeal had gone stale.

True, Dharmendra, Manoj Kumar and Jeetendra had delivered runaway hits but there was still plenty of room at the top.

And when Rajesh, sporting a black Nepalese cap, rode an open jeep and serenaded heroine Sharmila Tagore with the song, Mere sapnon ki rani kab aayegi tu, a generation of girls had found their pin code to heaven. Women now in their fifties claim they got the biggest 0 of their lives when the film's second Rajesh Khanna made his entry in the famous airport scene.

Dressed in a flight-lieutenant uniform, the actor looks arresting as he walks towards girlfriend Farida Jalal, muttering words of love, and takes her in his arms. Few women wouldn't have liked to swap places with Jalal. If there was one game-changing moment in his career, this was it.

They say shrieking college girls smeared his car with lipstick, wrote letters in blood, married his photograph. Once when he had fever, a group of college students spent hours taking turns to put ice water on his forehead in a photograph, as the actor recalled in an interview to Gulf News in October 2007.

Men admired and aped everything he did. When he slapped a belt over his shirt for Binaca Geetmala's top 1971 track, 'Zindagi ik safar hai suhana', it spawned a million imitators.

His round-collared guru kurtas, an intelligent fashion ploy that also hid an expanding waistline, too became a rage. Even kids, especially after Haathi Mere Saathi (1971), adored him. His smile sold toothpastes (Macleans), a rare case of celebrity endorsement those days.

Navin Nischol, a star in his own right, had a first-hand experience of the frenzy. He told the Star and Style in the September-October 1980 issue: 'Believe me, the kind of mass hysteria he aroused in his day, I don't think even Amitabh has seen. And I was a witness to it. I had gone for a wedding reception at the Taj. Kaka [Rajesh was nicknamed Kaka much before a Brazilian footballer got that name] was coming out of the hall while I was going in.

We crossed each other on the way, and-this is the incredible part-the whole damn hall walked out behind that guy! It was such a stunning sight-that whole sea of humanity simply following him as he made his way out. It was unforgettable... Look I'm getting goose pimples just talking about it.'

That's why Jack Pizzey's 1973 BBC film documentary on Rajesh Khanna, Bombay Superstar, introduces him 'as the biggest star of the biggest film industry of the world.'

He is described as someone with 'the charisma of Rudolph Valentino and arrogance of Napoleon'. You can understand where the last bit came from: the filmstar cancelled five appointments with the makers of the documentary -- including inviting the crew home and promptly forgetting-before giving them audience.

He was acting big because, strictly going by box office statistics, he was the biggest thing to have happened to mainstream Hindi cinema. His finest hits came with Sharmila Tagore, Mumtaz and Asha Parekh (in that order), although overall, he did a dozen movies with Hema Malini too. Statistics put out by show that between 1969 and 1971, Rajesh Khanna delivered superhits by the sackful.

In 1969, apart from Aradhana and Do Raaste, the year's two top grossers, Bandhan was another big box office smash, while even Doli and Ittefaq, a songless murder mystery, earned profits. In 1970 the superstar had four of the year's top-ten winners: Sachaa jhutha, Aan Milo Sajna, Kati Patang and Safar.

That year The Train and Anand also earned profits.

The next year he bettered himself delivering four of the year's five biggest hits: Haathi Mere Saathi, Dushman, Maryada and Andaz.

Among the other of his films released that year, Amar Prem finished eighth. Everything he touched turned to box office gold: The dream run was finally broken when Mehboob Ki Mehndi (1971) collapsed at the cash counters.

Few top actors till then, with the exception of Ashok Kumar and Dilip Kumar, had endeared themselves in equal measure to the masses, the classes as well as the critics.

Rajesh Khanna found that fine balance. In his early days, he displayed a penchant for intelligent, off-beat movies such as lttefaq and Aavishkar (1974).

Barring Dharmendra, no other big hero took such risks in the late 1960s and early 1970s. There was symmetry to his performances in Khamoshi (1969), Safar, Anand and Amar Prem that won him critical accolades. He surprisingly got the Filmfare Best Actor Award for Sachaa Jhutha and, more deservingly, the following year for Anand.

In the awards ceremony held in 1973, despite two impressive performances in Dushman and Amar Prem, he lost out to Manoj Kumar's thoroughly forgettable Be-imaan. That was also the year when Hema Malini's Seeta Aur Geeta was preferred to Meena Kumari's Pakeezah for the Best Actress Award.

And incredibly, Be-imaan also swept the Best Film, Best Director and Best Music categories over contenders from Pakeezah, Shor, Amar Prem. So much for Filmfare being India's answer to the Oscars!

Songs were the soul of Rajesh Khanna's movies. And he enacted them in his trademark style: rhythmically shaking the head and gently lowering the eyelids as if offering an invitation: His hands would often go up in the air as if striking a mudra. Even flops such as Mehboob Ki Mehndi, Mere Jeevan Sathi (1972), Mehbooba (1976) and Aashiq Hoon Baharon Ka (1977) had chartbusting tracks.

His career thrived on some of the most popular numbers composed by R D Burman -- in films like Kati Patang, Amar Prem, Namak Haraam (1973), Aap Ki Kasam (1974) -- and Laxmikant-Pyarelal-in movies like Do Raaste, Haathi Mere Saathi, Dushman. The two music directors, along with Kishore Kumar whose singing career was revived by Aradhana, synergized Rajesh's movies. They invariably reserved their best for the superstar. Once the slide began, the songs ceased to be as great as before. Without them, Rajesh Khanna became an actor without his best lines.

Romance was his core competence. As the 1973 BBC documentary noted, 'Rajesh has found more ways of implying love than the Kama Sutra has of making it.' But the truth is that the actor brought no revolution to the art; he just gently tweaked the existing formulas.

He blended the playfulness of Dev Anand with a fraction of Dilip Kumar's intensity; to this he added his own charm and style. The characters he played had a touch of poet-philosophers. The forest officer of Kati Patang, with eyes clearer than spring water, recites poems to a 'widow he has fallen in love with. As a man, the actor evoked a melange of possibilities. He could be a sensitive lover, a naughty but reliable husband, an eye-candy neighbour, an indulgent brother, even a great lover, if you wanted a 'Roop tera mastana moment. He could be intense without being suffocating.

Which is why few actors profited more from a broken heart. It is easy to empathize with the smiling-laughing cancer patient Anand. The melancholia of Anand babu in Amar Prem seeps to the audience.

You understand why the bhadralok visits the brothels. And you know he is not lying when he tells the golden­hearted prostitute (played by Sharmila Tagore), 'Tumne is kamre ko mandir bana diya.' There is a style with which he says: I hate tears. Rajesh's acting was defined by style.

He wooed both urban and rural India, playing characters from the city as well as the hinterland sometimes both in the same film as in Manmohan Desai's Sachaa Jhutha.

He looked dapper in finely tailored suits; he could also carry off a dhoti-kurta-tabeez with ease. Just watch him play the country bumpkin in Bandhan (written by Salim-Javed) and dance to the paisa vasool track, 'Bin badra ke bijuriya kaise chamke'.

In his biggest hits, the characters he generally played belonged to the comfortable side of middle class: the flight lieutenant of Aradhana, the forest officer of Kati Patang, the bhadralok of Amar Premo Some characters he played also came from the underclass.

In the title role of Bawarchi (1972), he cooked food and served love in the mode of a proto-Munnabhai. The honest clerk of Apna Desh (1972), the rustic musician of Sachaa Jhutha, the unemployed youth of Baharon Ke Sapne, the working-class hero of Namak Haraam were again lower-middle-class representations.

But Rajesh's strength lay in his ability to represent things he didn't even seek to. In the best tradition of the 1970s' hero, he was always pro-poor, a do-gooder.

In Aan Milo Sajna, he pulls a horse-cart out of the mud to help an old gentleman and his five daughters. That's typical of the screen image he carefully fashioned.

Edited by poppy2009 - 23 July 2012 at 3:30am

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TheRager IF-Addictz

Joined: 04 October 2004
Posts: 68414

Posted: 23 July 2012 at 3:40am | IP Logged
@Poppy: Akshay has been trying to get RK to patch up with Dimple for a while now. Its not something recent. He has tried bonding with his father in law I think soon after his wedding with Twinkle. Even his intentions was to save his wife's inheritence atleast he ensured that RK was surrounded by his family and well-wishers in his last days. I am sure he died a safisfied man. And I dont think this would have been possible without Akshay's persistent efforts.
Coming to Ms. Advani even if what she claims is absolutely true after reading about RK in the past few days I think he would want his daughters only to inherit his property rather than anyone else.
Btw about Big B he seems to have led a colorful life atleast in his younger days. But no one in the media absolutely speaks about that. He has reached sainthood now.
dodosri Groupbie

Joined: 09 June 2009
Posts: 105

Posted: 23 July 2012 at 5:35am | IP Logged
even i also consider him the GREATEST OF ALL...HE is my fav...i jus wanted to say...why people,other actors,filmmakers are talking about him now????????when he is not even here to listen good words about him...i m the past 7 yrs...i did nt even heard his name...but 2 ys ago when i statred listening old melodies...and saw AMAR PREM ,...i realised That he is a GEM...and old is gOLD...then my father told me about him...and my father used to copy his hairstyle and all...then i saw most of his movies..ARADHANA..ANand,,,kati patang..bandhan...and got mesmerized by his acting...ways of emoting..eyes smile...other actors are no way near him...HE is certainly EPITOME of acting...but what i feel bad about is how his near ones..collegues..treated far as i know...when he was actor ever accepted the he is gr8test...but when he died...suddenly...everyone started..tweeting...about his told every shakti samanta...hrishikesh mukherjee...yash chopra...left him...when his movies statrted flopping...nd coming to his funeral...where were they at the time of his lonliness...???

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lamhejaate Newbie

Joined: 21 July 2012
Posts: 19

Posted: 23 July 2012 at 7:03am | IP Logged

Right from start I have been insisting that media hacks his image. You need to digest only the truth. Media manipulates anything for an audience, and Rajesh, with all the loneliness in the end was piecemeal!

Here are a list of malformed information to be corrected.

1. Rajesh did not have an affair with Devyani.Devyani is a venomous media lady, back then, Mumtaaz actually sued her once.

2. Devyani stated that Rajesh had been friendly to her, but once success visited, he got remote. Who wouldn't from a gossip columnist? Rajesh actually feared the media, and who likes it?

3. Sharmila may be one star who did not like him, so what? Anyways, who knows whats the truth, on screen they rock.

4. Rajesh never abused Dimple, but had been a loving husband. However, he did not permit her entry into movies. He once stated, had I seen Bobby, I would not have married her. He obviously did not think her acting suited his wife, with all that display.

5. Anita said the truth. She loved Rajesh, and stayed by him, on his bad days.

6. Saira Banu states Rajesh was a shy person, hence aloof. He may have been a bit high on his heydays, who wouldnt... with all that fanfare? Many stars have a higher ego, why aren't they targeted

7. Rajesh liked mujras, but never had any affair or flings, when married to Dimple.

8. Akshay is a noble man, a fan of Rajesh. He probably empathized with what Rajesh was going thu' hence got the family back together.

9. Akshay did not bail Rajesh from any "financial" problems. In an interview, Rajesh has openly stated, "Humare biradri me ladkiyonke family se paise nahi lete" --> "We do not take money from our daughter's families"

10. Rajesh, had always been waiting for Dimple to return, but Dimple played with him, while refusing divorce yet her fling with Sunny, who did not even acknowledge her.

11. Media now states Rajesh was an average. He wasn't, not only on screen, but also off screen.

12. Rajesh may have left Anju, but one has to remember he had also forgiven her fling with Gary Sobers. If you see magazines those days, it is very obvious that Anju was insecure with his success and used to act high handed.

13. Bachans have great respect for Rajesh, but not on Dimple. Only Rinky had been invited  to Aish's godh barai, as she is good friends with Shwetha.

14. Rajesh had come to terms with himself albeit slowly, as is clearly indicated by his later interviews. 

15. He was "not" a fallen star. He had a career of 25 years, which is quite great and impossible for most stars.

I think its not fair that he is judged so cynically, and assumptions made, just because he gave up on his life in the end. Let us remember him for his charismatic roles on screen, and that he may have been the same off screen. Which is why he was not able to handle the manipulative media, and a publicity starved disloyal wife. 

In the end, its not the downfall in movies (that happens to all great stars), but the fact that he had no family beside him (parents dead, wife has left with children) at his downfall, that led him to be so unhappy. Dimple has to get an award for hypocrisy for returning at the knowledge of his cancer. She has been doing an ad for Wella at age 50... maybe she is in need of some finances...

No one targets the types of Big B, because they are not open and straightforward like Rajesh.

Edited by lamhejaate - 23 July 2012 at 9:37am
poppy2009 IF-Rockerz

Joined: 18 March 2009
Posts: 5662

Posted: 23 July 2012 at 8:00am | IP Logged
Rajesh Khanna did not care for anyone
Everyone loved Rajesh Khanna the superstar, but very few actually knew him.

Journalist Ali Peter John, a close friend of Rajesh Khanna, followed his career closely and kept in touch till the very end. 

He shares some interesting facts about the icon with Patcy N: 

I have been following Rajesh Khanna for 35 years. I used to meet him during inter-collegiate competitions. He was from Mumbai's KC College and I was from Bhavan's. I was junior to him. He and Amjad (Khan) participated in college dramas.

Rajesh Khanna came to the movies after winning a talent contest, and 12 producers had to give him a break because that was in the contract. The producers were known as United Producers and the head was GP Sippy who produced Sholay.
So, when others were struggling, walking from studio to studio for a film role, Rajesh Khanna 'struggled' in an Impala. His first three films -- Aakhri Khat, Raaz and Baharon Ke Sapne -- were flops even though they were made by the best of directors -- Chetan Anand, Narendra Bedi and Nasir Hussain.

That's when his struggle began, because no producer wanted to touch him and all the films that were launched were stalled.

Then came Aradhana.
After shooting eight reels of the film, Shakti Samanta wanted to change Rajesh Khanna as the leading star because no distributor was ready to buy a Rajesh Khanna film. Later, he decided against it and completed the film, with Sharmila Tagore as the heroine, who went on to do 12 films with Rajesh Khanna.
There was no one in the theatre on the first day, first show at 12 o'clock. But by evening, the theatre was houseful. 

From then on every film was a super hit. There was a time when all the major theatres in Mumbai were screening just Rajesh Khanna films. Some did 100 or 75 weeks. 

Even a bad film was a silver jubilee, such was the craze. It was complete madness. After Rajesh Khanna, not one star has got such stardom, not even Amitabh Bachchan.

After becoming a superstar, Rajesh Khanna started demanding more money -- around Rs 10 lakh per film. He was paid more than Dev Anand, Dilip Kumar or Raj Kapoor. 

Success went to his head. When he first started throwing tantrums, producers did not mind. They thought he was a superstar and it was all right. 

But he started giving trouble to the same people who had made him. There were early morning shoots, but for him the day used to begin at 3 pm. He didn't care if people had to wait for him on the sets. He thought Rajesh Khanna is God and no one dare deny him or question him.
He was a very good actor. You give him dialogues and he will finish his whole day's work in hours. So they couldn't complain though they were losing money. Once the film was released, though, all the money was recovered because his films were hits. This went on for almost 10 years.

I used to follow him to see what is this madness... why did girls come from all over India to meet him and stand outside his bungalow for two-three days just to get a glimpse of him?

He would purposely make them wait, then finally come to the window and the girls would swoon. 

When his car came out of his bungalow it was stopped by the girls and smeared with lipstick.
He started the trend of wearing jeans or pants and kurta, a trend followed even today.
He dated Anju Mahendru and was going to marry her. She lived with him but ultimately, he presented her the bungalow in which she is living even today. He saw how popular Dimple (Kapadia) was and married her instead.

Dimple was a huge fan of Rajesh Khanna. She was one of the fans who stood outside his bungalow. Rajesh Khanna's career had started dipping and he thought marriage to Dimple would keep him in the limelight. He would do anything to be in the limelight.
But he did not take care of her. 

His chamchas' only job was to flatter his ego and they got paid for that. They came in the morning and Dimple had to look after them, serve them drinks and food.
She could not take all this and one day she left with both their daughters. He never called her but he never abused or cursed her. In fact, in the later stages of his life, he apologised to her.

There was a film called Majnu which Kamal Amrohi was going to direct. The mahurat for the film was very grand. The whole industry was invited and a huge set was created. Rakhee was the heroine of the film. But it was never made.
After his marriage to Dimple, his career started going downhill but he did not reduce his price or change his attitude.
Rajesh Khanna was a very good friend of Jaya Bhaduri. Jaya was madly in love with a then struggling actor Amitabh Bachchan. Rajesh Khanna would openly tell her not to roam around with Amitabh. "Kyun tum is aadmi ke saath ghumti ho? Tumhara kuch nahi hoga, this fellow cannot be a hero -- this is my challenge," he told her.
After Namak Haram, Rajesh Khanna was so scared of Amitabh Bachchan's success that he made his producers sign him for a movie to show that he was still the bigger actor.
Rajesh Khanna was so depressed with Amitabh's rise that he showed suicidal tendencies. He told me that one day he went to the terrace of his house and cried bitterly.
He would insult Amitabh Bachchan and not recognise him. When he and Jaya were working together in Bawarchi, Amitabh would come to meet Jaya on the sets. Rajesh Khanna would not even acknowledge Amitabh. 

Jaya was very upset about this and one day she told him, "Ek din dekhna yeh kahan hoga aur tum kahan hogey (One day, you will see where he will be and where you will be)" 

Her words came true.
I was there when this incident happened at Ranjit Studio. Rajesh Khanna did not care for anyone.

He changed lines, he changed dialogues, he chose his scenes -- he wanted dying scenes in every film because he thought that all the films where he died in the climax were hits. 

He wanted to die in Namak Haram too but the role demanded that Amitabh should die. He wanted dramatic deaths. He asked for a death sequence in Safar and Khamoshi

He was obsessed with death because Dilip Kumjar had died in his film and become a legend. In his first big film, Aradhana, Rajesh Khanna dies in the first half and that was a hit. So he wanted to die in every film.
The only director that he was scared of was Hrishikesh Mukherjee with whom he has worked on Anand, Namak Haram and Bawarchi.

Later, he was invited by Rajiv Gandhi to join politics. He lost the first election to LK Advani by a narrow margin but defeated Shatrughan Sinha in the by-election held after Advani vacated the New Delhi seat. 

He did not know anything about politics and did not do any work. He would ask Anand Bakshi to write lines for him and recite those poems at all his speeches. But he started losing and he failed in politics too.
There was no work at all. Marriage, career, politics, production house... everything failed.

He would come to his office at 3 pm and look out of the window till 6:30 pm. After that, he would start drinking till 4 am!

Rajesh Khanna was wise in his investments, though. Even though he was not working, he had lots of investments. He lived like a king. Three years ago, he renovated his whole bungalow. It looks like a palace. People say Akshay (Kumar, his son-in law) has done it, but he told me that he did it himself and I think he did it because when I went there, he was directing the workers and generally supervising the work. 

His daughters want to convert the house into a Rajesh Khanna museum now. 

Once, the makers of Bigg Boss called me to fix a meeting with him; they wanted him in the Bigg Boss house. But he said, "Nahi, nahi, Rajesh Khanna aise show thodi karega." 

I tried to convince him but he said no. The Colors people told me they were willing to pay Rs 3.5 crore for one episode, but still he said no. Then, a few days later, he called me and said he wanted to do the episode but by then Colors had lost interest.
I met him two-and-a-half months before his death and asked him what had happened. He told me, "Agar Ghalib daaru peekar mar sakta hai, toh main kyun nahi?" (If Ghalib can die of drinking, why can't I?)
I didn't want to meet him in the last days. He couldn't speak at all and he had become one-fourth his size.
PS: This Ali Peter John could not have been a great friend, considering the stuff he is writing about a man who is no more!Unhappy

Edited by poppy2009 - 23 July 2012 at 8:18am

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poppy2009 IF-Rockerz

Joined: 18 March 2009
Posts: 5662

Posted: 23 July 2012 at 8:34am | IP Logged
Why Dimple Kapadia left Rajesh Khanna?
Why Dimple Kapadia left Rajesh Khanna?

Rajesh Khanna married actress Dimple Kapadia in March 1973. Dimple Kapadia was 16 at that time and Rajesh Khanna was 15 years older than her. But their age difference did not stop the lovers from marrying each other. Their wedding happened six months before Dimple Kapadia's debut film Bobby released. But the marriage did not last long and the couple started living separately.

It has been said that Rajesh Khanna never allowed Dimple to work in films. Initially, even Dimple agreed and sacrificed her career for the family and started taking care of two daughters Twinkle and Rinkie. But soon rumours of Rajesh Khanna dating Tina Munim started to make rounds, which eventually led to their break up. Many industry insiders say that Dimple would have never left Rajesh, if he would have been loyal to her.

 Unlike other couples, Rajesh Khanna and Tina Munim never tried to hide their relation. They rather announced that they were so much in love with each other that they lived together and shared the same toothbrush.

Unfortunately, this relationship also did not last long and Tina Munim revealed in an interview to Shobha De, ""Kaka was incapable of loving anyone. He was only ever in love with himself!"

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poppy2009 IF-Rockerz

Joined: 18 March 2009
Posts: 5662

Posted: 23 July 2012 at 8:40am | IP Logged

"Can someone please stop my mom crying? It's been more than 24 hours since Rajesh Khanna passed away. I wonder if she's actually married to my dad?" wrote Vijay Arora, club owner, on his FB page. The current generation is baffled by this outpouring of emotion by mothers and aunties. Ingrid Albuquerque, author and former editor of a film magazine, who left home at 15 to marry Khanna, puts it into perspective

I went from Ajmer to Bombay to meet and marry Rajesh Khanna. I was 15 years old and in college when I saw Baharon Ke Sapne and immediately connected with him and hid him in my heart. Only those who have been raised in small, uneventful towns know how important a heart-friend becomes. I would go each day on the terrace of my house and share everything with Rajesh (it was always Rajesh; I found 'Kaka' a rather down-market name) – problems, joys, quarrels with siblings, success in studies, even my desire to become a nun (which I felt he did not approve of).

Then, after seeing Aradhana 23 times, Aan Milo Sajna 21 times and Kati Patang 4 times, I decided it was time to meet and marry him. I had no doubt he would look at me and immediately fall in love with me.
Here's the secret of how I got his address. A now-defunct magazine called Star & Style had a column called Your Questions. While others asked for the names of music directors and truth about star conflicts, I asked for the address of Rajesh Khanna. They printed it! 2, Thakurdwar Niwas, Bombay 2.
Once in Bombay, I enrolled for a post-graduate media course. But mostly I tried to find 2, Thakurdwar Niwas. It took several late evenings. It was a room in a chawl and there was a big lock on the door. The neighbors smiled and said nobody lived there now, not even the secretary. I took a telephone directory, a bagful of 50-paise coins and began to dial all the Khannas Rajesh in the book; there were dozens of them but not even one of them was my man. His name was probably not even listed; perhaps to help save him from husband-hunting females like me.
I was in the pit of discouragement when I came across this new film magazine, which had my future husband staring at me from the cover. The headline of the story was "Is Rajesh Khanna Married To Anju?" I extracted Rs 2.50 from my meager savings and bought the issue and was happy to learn he was unmarried. Destiny came knocking at my door when after I'd got my media degree, I was invited to join the same film magazine as a reporter. I immediately accepted considering it a step towards my ultimate goal. However, I was assigned to do interviews with all other major stars, never with the man who'd advertently or inadvertently lured me to Bombay.
In what can be considered an irony – the kind of ironies Hindi films thrive on – the first time I was assigned the piece I was waiting for, it was to cover Rajesh Khanna's marriage to Dimple Kapadia. I went to his home 'Aashirwad' and with the rest of the Bombay media, became part of the baraat; stared with heartbreak and envy as Film Gossip Writing Queen Devyani Chaubal (Rajesh's close friend who in many ways columned him into superstardom through her powerful weekly column 'Frankly Speaking'; he knew that and remained grateful) put the Safa on his head. Rajesh on the ghodi and the baraat including me deliberately passed his ex-girlfriend Anju Mahendru's house on our way to the Kapadia residence in Juhu. It did not help my desolation when some of my media friends remarked, "Hey, do you know you look like Dimple?" In fact, later, during a shooting of Paap Aur Puniya in Jaipur to which the film press had been invited, I even got mobbed because fans thought I was her. I decided there was no point in speculating on what could have happened if he'd met me first.
The first time I met Rajesh Khanna face to face was at Mehboob studio when he was shooting for Namak Haram, seated outside under a large sun umbrella. It did not matter that he was a married man then; he was still my heart-friend. I introduced myself and said I wanted to interview him. "Okay, come," he said coolly, as he got up and walked into the studio. I followed him as he pushed open the door, went in and left it to shut on my face. Reality byte!
Love doesn't go away easily. Several interviews later, he and I had settled into a fairly good relationship and though he was always cordial and humorous, he was not as kind, sensitive and encouraging as he used to be on my terrace in Ajmer. Dimple and I became best friends and once she even gave me a fabulous, spirited, very gutsy (in the circumstances) interview which we titled, "I am not my husband's chamcha." The night the issue was released, there was a huge film party at Sun N Sand hotel. I was sitting with the rest of the film press when suddenly there was a silence. Rajesh and Dimple were walking toward us. My heart stopped and blood curdled; was he going to blast me for the interview? He took both my hands then kissed me. "That was a fabulous piece," he whispered in my ear. This time the rest of the press including Devyani Chaubal, looked enviously at me. Nirvana? I did not wash my face for a week I think.
Dimple had one baby, then another – and she was not yet seventeen. The problems had begun. Rajesh (who'd wanted a son) did not look at the 
second daughter for months, and the family forgot to give the poor child a name. Dimple stayed on with her parents who had begun to rant against their son-in-law. I remained loyal to the man who did not marry me, and I wrote a strongly-worded piece called, "Rajesh vs. the Caucus of Four" (four as in his father and mother-in-law,  Dimple and her sister Simple). ?Dimple secretly approved of it; Rajesh loved me for it. By then, he knew about my early devotion for him and once when a journalist from another magazine asked him who his greatest fan in India was, he took my name. He repeated that to many, and when it would come back to me, my heart would kind of spill over.
Tina Munim and I became best friends (Dev Anand brought her into the industry and entrusted her into my care) long before she and Rajesh Khanna got involved. I know she loved him very dearly. When she made up her mind to leave him, my heart broke and I asked her why she was doing it. She said that it was because he had promised her several times he would divorce Dimple but never got down to even speaking to Dimple about it. She did not want to continue with a relationship that was going nowhere; she left him though he wept and begged her not to go; her goodbye gift to him was to make copies of 20 of his best films, and put them in velvet covers with the title name in gold threads – trust Tina to always do things in style.  
 When Dimple came to Bangalore to do a Shreen Malani show, I met her. I asked her where her marriage stood. "Nowhere," she said with her characteristic laugh, "but we have decided to leave things as they are since neither of us has any intention of re-marrying."  
At some stage I realized that though a part of my heart would always belong to Rajesh Khanna, he was just a man. The dreams in Ajmer were part of a deep spiritual longing to have a permanent relationship with a personal and intimate God – I met the Lord subsequently and let him change my life in a way Rajesh Khanna never could.  
When Rajesh Khanna died, the memories came tumbling back, the heart pained a bit unbearably and it was the Lord I turned to for comfort.  
The TV channels came pouring out with special programs on him which they had made long before, from the time they'd heard he had taken ill in April.   That unfortunately is the pathetic reality. You spend your life trying to live up to the expectations of those who write your obit long before you are dead.

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Rajesh Khanna: Solitude pushed the superstar into oblivion

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Rajesh Khanna: Solitude pushed the superstar into oblivion Shomini Sen

For my generation, Rajesh Khanna was a folklore that mothers loved to narrate. He belonged to an era which most of the younger generation has only heard of. Of an era where innocent romance and the enigma called Rajesh Khanna ruled the hearts of millions.

Like a fabled story, every child of the 1990s had grown up hearing tales of Rajesh Khanna's superstardom and had sometimes caught an odd re-run of one his movies on Doordarshan. Many mouthed his famous lines, sang his songs but how much of a star he was, is something that our generation has not witnessed first hand.
When we initially reported the news of Rajesh Khanna's illness, the response that the story got was stupendous. It was heartening to see people's concern for an actor who was a star of the bygone era and who had disappeared into oblivion in the past decade. Public memory being short, one didn't expect to see such an overwhelming response to news related to Khanna. Concerned crowds gathered in front of Khanna's abode 'Aashirwad' to get a glimpse of the star. And when he finally came out and weakly flashed the victory sign and smiled at them, the crowd waiting outside went ballistic cheering. The smile on Kaka's face was a happy, satisfied and assured smile of a star knowing that his fans were still there.

As one of our readers rightly pointed out - Rajesh Khanna had a remarkable career and attained fame which no one could have imagined during that era but in the end, it was loneliness that perhaps led to Khanna's deterioration. And that's why his appearance on the balcony last month, flanked by wife, Dimple Kapadia and son-in-law Akshay Kumar, waving to his fans will be a poignant image which will forever be imprinted in our minds.

Rajesh Khanna's meteorical rise to superstardom was easy to understand. He came across on the screen as a charming young man who took care of his love. He was gentle and made ladies swoon over him. His mannerisms were always soft; his portrayal of the romantic hero was new for that era. He came at a time when the dawn of a new era had happened. India was slowly opening up to newer thoughts and ideas but at the same time liked to stick to its traditional values. Rajesh Khanna wooed women like no other man in India did at that time. The flamboyance was there, the charisma was there and the smile killed a few hearts every time it was flashed. Every woman yearned to be romanced by Kaka.

The rise was instant. The hysteria was something that India had never witnessed before and Khanna only did films which projected him as the love struck hero. And it worked every time. But with changing times, the same audience started abandoning the star who they had put on a pedestal.

Like every other human being, accepting failure and downfall took a while for Khanna. And when he accepted it, he chose to disappear into oblivion. Times were changing, it was an era of angst and a tall strapping lad called Amitabh Bachchan was giving voice to the collective frustration of the nation through his portrayal of the wronged outlawed youth. Bachchan changed the tone of Indian cinema in early 1970s. Yes, Rajesh Khanna and his style of films were still ruling the roost, but the equilibrium was slowly getting unbalanced as action and drama were slowly taking over romance.

Many film experts feel that 'Namak Haram' was the deciding film which sort of heralded the era of the angry young man and marked the end of the romantic king's time. The film starred Khanna and Bachchan as friends. While Bachchan played the rich arrogant industrialist, Khanna played the soft hearted worker who went against his friend for the cause of the workers. And that Hrishikesh Mukherjee film defined the personas of the two superstars.

The era was of societal change. To speak of the issues that concerned the youth and suddenly there was no time for innocent pure romance which Khanna specialised in. At this point of time, some would have tried to reinvent their image. Bachchan has done it time and again and managed to be the number one actor for so many years now. But Khanna didn't. He stuck to what he did best. In the 1980s some of his films like 'Sautan', 'Avtar' did work and it had him playing the same soft man whom the country loved. But these films could never get him back the lost glory.

While fans alienated Kaka, the actor personally alienated himself from his loved ones. After breaking up with long time girlfriend Anju Mahendru, he went and married a much younger Dimple Kapadia on a rebound. But the marriage couldn't last long. Dimple, a talented actress, was never allowed to work by Khanna and was asked to tend to kids. She may have even done that had her personal equations with her husband not started to crumble. Rumours about him having affair with Tina Munim started doing the rounds which in a way led to Dimple-Rajesh break up. But his relation with Tina Munim also did not last. The actress candidly admitted to noted columnist Shobha De much later, "Kaka was incapable of loving anyone. He was only ever in love with himself!"

In 1992, Khanna tried his hand in politics. Though Dimple and Kaka were estranged (they never divorced), she like a dutiful wife campaigned alongside her husband. He won from the New Delhi constituency but after that his political career remains sketchy. Some say he always nursed a grudge against the Congress for using him for campaigning purpose only. His election campaigns in the 1990s were the last of the public outings for Khanna. He did make public appearances now and then over the years, but the superstar and the aura that he brought along with him were missing. He belonged to the bygone era. As actress Dia Mirza tweeted after Khanna passed away, "I saw him one day standing alone in a white kurta pyjama by the gate...a nation that was crazy about him was now just passing him by...(sic)" And that just summed up the last few years of Rajesh Khanna.

However, in his last few days he was surrounded by his entire family and taken care of. His wife, daughters, sons-in-law and grandchildren all tended to him and gave him what he had secretly yearned for years - company. That image of Akshay Kumar and Rajesh Khanna waving to the crowds outside from the balcony will now become an iconic image and will go down in history along with other interesting memories of Kaka's life. And yes, that reassured smile - that he was still loved and cared for, even after he had turned his back to the arc lights. During his last journey, thousands flanked the streets of Mumbai, braved the rains to walk with his cavalcade - giving him that last bit of love before he left. And up there, Kaka must have given that trademark smile to his fans.

Yes Kaka, aapke fans aapse koi nahi chheen sakta.

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