This BLOG is about the Past of Hindi Films Specially Black and White Cinema We will refresh your memories by bringing out forgotten or unseen songs and clippings of film scenes We will try to give you as much information as we gather from our research.
This Blog was started as a one-man’s passion for film history but has now become an addiction for many music lovers who are equally passionate about Hindi films
After the Berlin Film Festival in 1962, Dev Anand and his wife travelled to London and later, at the invitation of the Nobel laureate, Pearl S Buck and the Polish-American TV film director, Tad Danielewski of Stratton Productions, to New York. It was while eating a dish called ‘Scorpion’ at a restaurant in ‘The Village’ (as Greenwich Village is commonly referred to), that Dev Anand presented Pearl S Buck with a copy of R K Narayan’s The Guide. He told them that he intends to make a film on this book. Pearl and Tad were impressed by the possibilities of a cinematic adaptation of the novel, they had doubts about whether Narayan would be willing to part with the film rights of his novel. R K Narayan was an Indian writer known for his works set in the fictional South Indian town of Malgudi. He was a leading author of early Indian literature in English along with Mulk Raj Anand and Raja Rao. Narayan’s The Financial Expert was hailed as one of the most original works of 1951 and Sahitya Akademi Award winner The Guide was adapted for film. His first book "Swami and Friends" was published in 1935. Narayan's next novel The Bachelor of Arts (1937), was inspired in part by his experiences at college, and dealt with the theme of a rebellious adolescent transitioning to a rather well-adjusted adult; He wrote nearly three dozen novels and several short-story collections, The Guide was his thirteenth book and eighth novel. It was published in 1958. Dev Anand in his Biography says “I read it at one go…I thought it had a good story, and the character of Raju, the guide, was extraordinary,”He first wrote a letter to R K Narayan, As per Narayan he got a letter from Anand, modestly describing himself as “a producer and actor from Bombay” and wondering, “I don’t know if my name is familiar to you.” In this letter, he wrote about his interest in making a great film on The Guide.
After his approval, Dev immediately sought an appointment with R. K. Narayan and signed a contract with him. There was also a broad consensus that the film is made in both English and Hindi. While Tad was de facto director of the English version, for the Hindi, it was a toss-up between Chetan Anand and Raj Khosla. Neither worked out. Finally, Vijay ‘Goldie’ Anand was chosen to direct the Hindi version.
Guide(Eng)-Pic-1.
Guide(Eng)-Pic-2
Dev Anand wanted to start English version and Hindi version simultaneously. The idea was to film the scenes common to both versions simultaneously, a Hindi shot to be immediately followed by the same shot in English, to save time and money but it could not be materialised because Vijay Anand was not happy with the script, he wanted to change the script and write a new script. The other reason for the delay of the Hindi version was the music composer S.D. Burman had suffered a heart attack and was not available for the music. Burman Dada advised Dev to sign on a new composer for Guide, but Dev put his foot down and insisted that Burman should first get well and then take over. As we all know that in the novel the city taken by the author was an imaginary town Malgudi but in the film, Udaipur of Rajasthan was prefered by the director Tad.But it wasn’t only the locations, the scale and the general tenor that shifted from page to screen. It was the characters themselves. This annoyed R K Narayan but he was later convinced that Tad could not create the town similar to Malgudi. The next change was the name of the hero as Raju Guide whereas in the novel it was Railway Raju. Raju’s childhood and youth don’t appear in the film. Part of the reason lay in popular cinema’s need to be larger than life. All the small town specificity of Malgudi was erased.The film also has many sequences specifically inserted to impress the foreign audience as some kind of Bharat-Darshan.
Similarly, the Rosie who made it to the Hindi film screen was nowhere near as radical as the original Rosie – the Rosie created by RK Narayan, in his novel The Guide. Narayan’s character had chutzpah, but he had his awkward moments. But the film was a star vehicle for Dev Anand, and its hero had to be more Dev Anand than Raju. So Anand’s Raju Guide has no self-doubt. He is never worried about the hairiness of his chest. He never wonders if he could be bold enough to woo Rosie. It is in relation to Rosie that he is most transformed – because Rosie herself has changed. Narayan’s Rosie is no sophisticated, but her ambition is never in doubt. Nor is the carnality of Raju’s interest in her, or her reciprocation of it. The novel has none of the high-mindedness that Hindi cinema forced upon its heroes and heroines so Raju can tell us the truth: he is attracted to Rosie; his support of her dance begins because it is the clue to her affections.
The novel’s Rosie is full of plans; Raju need only support them. But Vijay Anand’s film, keenly aware of his conservative audience, turns his Rosie into a bundle of nerves who tries three times to commit suicide, only to be saved each time by Raju, and berated: “Tumhari haalat aaj yeh isliye hai ki tumne apni haalat se baghaavat karna nahi seekha.” The other sociological element that makes both book and film fascinating is that Rosie is a devadasi by birth, and her reclaiming of dance in a new secular public form formed a fictional counterpart to the actual national reclaiming of Bharatnatyam. Here, too, the film has Marco insult dance, while Raju delivers a lecture on how artists are no longer bhaands. By June 1963, the shooting of the English version of The Guide was completed and Pearl S. Buck who viewed the rushes found it up to the mark. When Narayan saw the English version in January 1964, he wrote to Dev, labelling the film profound, artistic, and exquisite. In 1964, Dev began promoting The Guide in the US and the premiere elicited encouraging responses from a cross-section of viewers. The English version premiered at the Lincoln Art theatre in New York in February 1965. The mainstream press in America including The New York Times and the Time magazine didn’t take a liking to The Guide. The English Guide was a flop but Dev Anand was not bothered, he took the failure in his stride. “The film did not fare well, but it gave me a semblance of recognition in a new arena… The new experience was rewarding enough,” he writes in Romancing with Life. Dev Anand had plans to release the Hindi version of The Guide by end 1965. But suddenly, he was faced with a barrage of protests from some quarters who strongly recommended that the film would be banned on grounds that it promoted infidelity, that too of a woman. Finally, Guide released on 8 April 1966. It had a shaky start, for here was a film which didn’t present Dev Anand as the quintessential lover boy. Initially, the response was lukewarm but the film picked up after a few days when all the critics gave good reviews and also the music of the film became hit.
Narayan didn’t care for either of the movies, especially the depiction of Rosie as an all-around dancer rather than a Bharatanatyam exponent. Probably referring to the Hindi version, Narayan writes, it “converted my heroine’s performances into an extravaganza with delicious fruity colours and costumes”.
Her first appearance in a Hindi film was in CID (1956) as Kamini then came Gulabo of Pyaasa, Shanti of Kagaz Ke Phool, Rosie of Guide, Hira Bai of Teesri Kasam to Nurse Radha of Khamoshi gave Hindi Film Industry many immortal characters. In her acting journey, Waheeda Rehman established a great working relationship with Dev Anand, and together as a pair had a number of successful films to their credit. The box office hits of the pair include CID (1956), Solva Saal (1958), Kala Bazar (1960), Baat Ek Raat Ki (1962) and Guide (1965); box office duds were Roop Ki Rani Choron Ka Raja (1961) and Prem Pujari (1970). She reached her peak with Guide (1965) and was much in demand. Rehman was cast as Gulabi in Satyajit Ray's Bengali film Abhijan in 1962. She has played all type of characters in her journey. She worked in the comedy film Girl Friend in 1960 with Kishore Kumar. She worked in twopsychological thriller films Bees Saal Baad and Kohra opposite Biswajeet.
Her career continued throughout the 1960s, 1970s, and 1980s. She won the Filmfare Best Actress Award for her roles in Guide (1965), where she hit the peak of her career, and Neel Kamal (1968), but despite excellent offbeat roles in subsequent films, including a National Award winning performance in Reshma Aur Shera (1971), some of the films failed at the box office. Seeing her films being successful, Waheeda decided to experiment with roles at this stage of career. She accepted Reshma Aur Shera, opposite her old co-star Sunil Dutt, with whom she had previously in the sixties had hits such as Ek Phool Char Kaante, Mujhe Jeene Do, Meri Bhabhi and Darpan. Her performance was appreciated by critics, but the film failed at the box office. But Waheeda continued to experiment with roles and accepted the offer to play a mother to Jaya Bhaduri in Phagun (1973). She played pivotal roles include Kabhi Kabhie (1976), Trishul (1978), Jwalamukhi (1980), Namkeen and Namak Halaal (1982), Mashaal(1984), Chandni(1989) and Rang De Basanti(2006). She played the central character in the Mahesh Bhatt directed film Swayam that starred Akash Khurana and Anupam Kher. She also appeared in a tele-series being directed by Gulzar. In recent years she made a comeback playing elderly mother and grandmother roles in Om Jai Jagadish (2002), Water (2005), Rang De Basanti (2006), 15, Park Avenue and Delhi 6 (2009) which were all critically acclaimed.
Vijay Anand was an Ace Director. His directorial excellence was as much about his deft camera work as it was about his nuanced characters. He was a master of picturising songs. His songs outlived his times. This great song from Guide is an immortal art in celluloid. Both he and his elder brother Dev had a belief that the songs have repetitive value. Besides the composition of the song, they were very particular about the picturization of the song. Vijay Anand used to say “My camera listens to the song and moves with it,”Long shots, lush backdrops and sharp intercutting brought out the poetry in the prose. Guide (1965) was Navketan’s first film in colour. Based on RK Narayan’s novel. It became a classic because it excelled in acting (Dev Anand-Waheeda Rehman), music (SD Burman), photography (Fali Mistry),editing (Vijay Anand and Babu Shiekh)... There was a situation in the film where the heroine was dejected and to bring hope the hero sings a song. For this situation, three legends, Dada Burman created a tune for which Shailendra wrote the beautiful lines and Mohammad Rafi gave the voice.Incidentally, the saxophone that plays in this song was played by Manohari Singh, a music assistant to S D Burman (and later R D Burman).
The song Tere Mere Sapne was shot in the early light(Sun Rise) in Udaipur. This sequence lasts more than four minutes, but it is made up of only three shots, which increase progressively in length – in other words, there are only two cuts in the whole scene. And this isn’t an arbitrary stylistic decision, it is central to what is happening in the film at this point. The two cuts in this scene (the first around the 39-second mark, the second around 1.44 minutes) both occur after a movement of the song has been completed, and both have Rosie drawing away from Raju after initially reaching for him. In the first scene, she strokes his shoulder; in the second she hugs him briefly, but then bunches up her fist and moves away. She is still conflicted at the end of both these movements, and in each case the cut serves as punctuation, indicating that the process of reassuring her must begin anew. And this is done at a dual level, by the lyrics of the song as well as by the sympathetic, probing movement of the camera.
In his book Cinema Modern, Sidharth Bhatia quotes the cinematographer Fali Mistry’s son as saying of this sequence, “It was shot over two evenings and a morning, at dusk and dawn, which means they must have had a very small window of about 10 minutes each time, so they had to ensure nothing went wrong in the acting, camera placement, lighting etc … It required great coordination.”
We all know that CID released in 1956 was the first film of Waheeda Rehman. Though she was not the Heroine of that film but she played an important character.She played Kamini, the good-hearted moll. Though she’s a bit raw with a singsong dialogue delivery, just a glimpse of that luminous face and the hand gestures that Zohra Sehgal made her perform for the Shamshad Begum classic Kahin pe nigahein let me tell that she was, indeed, destined for a memorable innings. There were the moments during the shooting of CID she decided to move out of the film.The reason of quitting was the costume she had to wear in the song Kahin Pe Nigahen Kahin Per Nishana. She had to wear a long skirt with a long sleeved lace blouse for Kahin pe nigahein.. The problem was the blouse had no lining.. She had no intention of wearing a see-through blouse.She refused to wear that dress.Zohra Sehgal tried convincing her as did Bhanu Athaiya (then Bhanumati) who designed the costumes, but nobody could change Waheeda Rehman’s mind. RajKhosla the director was most irritated Finally Khosla called Guru Dutt, who was writing Pyaasa with Abrar Alvi somewhere in Khandala, to intervene. Dutt returned to Bombay and came to see Waheeda Rehman in her make-up room, who was adamant. Athaiya informed it would take half a day to have the blouse altered and since Dev had to leave for Switzerland, the unit was in a fix. The solution came from Waheeda Rehman.who suggested that she wear a dupatta. And that’s what was decided. If you see the song, you’ll notice she is wearing a dupatta over the blouse, Raj Khosla wasn’t too happy with Rehman’s work in CID and even told Dutt, “CID will be her last film.” Sure enough, he had to eat his words. Rehman narrates how after he saw the rushes of Pyaasa’s Jaane kya tune kahi, Khosla commented to Dutt, “How is it possible? She is so bad in my film and has done such a good job here. After CID Raj Khosla took her in Solva Saal in 1958 here also some controversy took place between her and Raj Khosla.
The 1962 film has music by Sachin Dev Burman, who gave some memorable songs in the films such as "Na Tum Hamen Jano", sung by Hemant Kumar, "Akela Hoon Main Is Duniya Mein", by Mohammad Rafi, and the hit Qawwali, "Kisne Chilman Se Mara Nazara Mujhe", by Manna Dey. The film directed by Shankar Mukherjee, starring Dev Anand, Waheeda Rehman and Johnny Walker.
The story of Neela (Waheeda Rehman) is in police custody for committing a murder, which she believes she did. But her mother cried foul and pleads with Rajesh (Dev Anand) to fight her case.
It is during one of her suicide-trials that she comes across Rajesh. This happy go-lucky lawyer saves her from drowning and slowly gets to know more about her. He learns that this woman has lost the will to live. He requests the warden of the jail where Neela is to let her go with him to a mental institution to be treated for depression. He also visits her home and finds out that there are many loose ends to the case. The doctor asks Rajesh to pretend that he in love with her so that she feels happy and rejuvenated again.
While Rajesh and Neela romance each other, S D Burman's songs keep you entertained.there are many memorable songs well picturised.There is Johny walker to entertain you. Dev Anand as a lawyer, sure did do things a wee bit differently. And, though the film was saved at the last moment by the clever inclusion of the smart antics by the director (the funny scenes by Johny Walker and the benevolence by Manmohan Krishna).
Exactly today Ram Aur Shyam turns 50.the film was released on 15th Dec 1967.Ram Aur Shyam was the remake of the popular Telugu film Ramudu Bheemudu, which in turn was loosely based on Alexander Dumas’s The Corsican Brothers. The film was a super hit. The success of Ram aur Shyam, directed by Tapi Chanakya, must be credited to two great actors – Dilip Kumar and Pran. The music by Naushad, with lyrics by Shakeel Badayuni, adds to the movie’s charm. One of the best songs is Aaj Ki Raat Mere Dil Ki Salaami Le Le, in which Shyam bids farewell to Rehman before abandoning his fake identity as Ram. Dilip Kumar played Double Role in this film.He got Best Actor award by Filmfare for this film. He is both Ram, the timid and seemingly mentally-retarded son of a millionaire industrialist, and Shyam, a sturdy yeoman brawler with an appetite like that of the legendary Bhima of the Mahabharata.
Ram isn’t really retarded, just terrorized by his sadistic, whip-wielding brother-in-law, Gajendra (Pran, of course), who, goaded by an evil mother, keeps Ram, along with his own wife and daughter, virtual prisoners in their palatial mansion. Shyam is strong, brave and mischievous,he is Ram's long lost twin brother Shyam (Dilip Kumar) lives in a village with his adopted mother Ganga whom he believes to be his birth mother. No one other than Ganga knows the truth about the twin brothers. He escapes to the city, after a mischievous conflict with Ganga, and meets Anjana, who is impressed by his personality. Anjana and her father confuse Shyam with Ram. Ram meets Shanta who thinks he is Shyam and takes him forcefully to his mother. Ram and Shanta develop feelings for each other. Meanwhile, Shyam decides to take the place of Ram to face Gajendra. The scenes of Dilip Kumar as the flamboyant Shyam are in sharp contrast to those of the timid Ram, who is so terrified of Gajendra that he dare not look him in the eye. The thespian’s bonhomie with his co-stars Waheeda Rehman and Mumtaz is apparent, leading to relaxed and memorable performances from all concerned. Only a truly fine actor like Dilip Kumar could have done pulled off the double act so convincingly, making Ram Aur Shyam a lasting treat for Hindi film buffs. Songs of Ram Aur Shyam
Aayee Hai Bahar Mite Zulmo" - Mohammad Rafi & Chorus
Aaj Ki Raat Mere" - Mohammad Rafi
Main Hoon Saqi Tu Hai Sharabi" - Lata, Mohammad Rafi
Time and again, we hear about the love affairs among Bollywood stars. While some go on to tie the knot, many end up with broken hearts.We have seen our favorite stars fall in love (sometimes outside their marriage), Unfortunately they did not end up marrying each other.Starting from the famous Trio of Golden Era of Bollywood to the recent Hritik and Kangana Breakup.These Love affairs and gossips rarely die, especially in Bollywood at least. Here are 10 such Tragic Love Stories of our Bollywood stars, witnessed over the years, that ended on a sad note. .
Dev Anand and Suraiya- The First & Great love story of Bollywood was Dev Suraiya;s Love story .Suraiya was already a superstar when Dev entered the industry. Suraiya traveled in American sedans. Her entourage reflected a regal aura. It included several servants and members of her family. Dev was fascinated by Suraiya. He would keep complimenting her. Later, the admiration grew mutual. Suraiya, too, showered praises on Dev. The two did seven films together — Vidya (1948), Jeet (1949), Shair (1949), Afsar(1950), Nili (1950), Do Sitare (1951) and Sanam (1951). Till their first three films no one suspected a romance between them. However, after 1951, Suraiya’s orthodox family members started dictating her life. It was during the shooting of Afsar that their romance became public and the opposition to their relationship became much more intense.According to Dev, their romance was at its zenith when they were paired in lead role for Afsar (1950). The music for this film was composed by S.D. Burman. The soulful "Man-mor hua matwala, yeh kisne jadoo dala, re yeh kisne jadoo dala" is among Suraiya’s best. While shooting for the movie, their affair became a hot topic for the Bombay tabloids.The villain of their Love Story was Suraiya's Grandmother.She used to visit studio during the shooting, once she disrupted the shooting of a love sequence.She went to the extent of not allowing them to shoot even innocent love scenes like kissing on the eyelashes.
Song from Vidya 1948
Whenever Dev came to visit Suraiya at her apartment, he found his detractors already sitting in the drawing room. For Dev, this torture was becoming unbearable.Suraiya was so much hurt by her family’s uncalled for interference and stubbornness that her acting and singing career started taking a nosedive from 1951 onward. It was the religion that was coming in between their story. Suraiya’s grandmother Badshah Begum threatened to end her life if Suraiya tied the knot with Dev Anand, who belonged to a different faith. Many people say the old lady had a covert reason for opposing Suraiya and Dev Anand’s marriage, the fact that Suraiya was the highest earning member of the large family. The relationship could not culminate into a wedlock, and Suraiya and Anand worked for one last time with the film Do Sitare in 1951. It is said after the completion of the film, the two met at Suriaya’s apartment, in presence of Anand’s elder brother Chetan Anand one last time. The doleful lovers sobbed throughout their last conversation, and later Suraiya threw Anand’s proposal ring into the sea. It was a sad end of a sweet love story, and needless to say the pair was shattered. The sweet dream of Suraiya and Dev Anand’s marriage was sent to it’s end.Dev Anand moved on after this but Suraiya remained Unmarried till death.
Madhubala And Dilip Kumar-Dilip Kumar and Madhubala worked in 4 films,the first movie they did together was Tarana in 1951.Madhubala, who was to appear in Jwar Bhata, in which Dilip Kumar was playing the lead role. She was unable to work in the movie but this was the moment the youngster first set eyes on Dilip Kumar.
Madhubala and Dilip Kumar met seven years later on the sets of Tarana when she was eighteen years old. During the shooting she sent her hairdresser with a note written in Urdu together with a red rose asking him to accept it if he loved her, which intrigued and amused Dilip Kumar and naturally he accepted the rose.Their next film was Sangdil(1952) During this time Madhubala had an intimate relationship with Dilip. In fact it was widely believed that the stunning pair would eventually get married by this time the two were involved in an intimate relationship. The early fifties were Madhubala's best years. She was rapturously and ecstatically in love and exuded happiness..Dilip Kumar in his Biography said "She, as I said earlier, was very sprightly and vivacious and, as such, she could draw me out of my shyness and reticence effortlessly. She filled a void that was crying out to be filled - not by an intellectually sharp woman but a spirited woman whose liveliness and charm were the ideal panacea for the wound that was taking its own time to heal".
When Mughal e Azam started,they were in love but during the making their affair broke down,as we all know that the film took 10 years to complete.The reason of their break up was Madhubala's father.
Ataullah Khan who didn't want Madhubala to marry Dilip Kumar.In his Biography recently released Dilip Kumar wrote that the reason of their break up was Madhubala's father who actually wanted to make a film with him but Dilip refused.This hurt his ego so he made a point how Madhubala marry Dilip Kumar. Madhubala was very obedient daughter couldn't go against the wish of her father.The couple though did carry on their affair in this manner for a few years. The stress and inability to have a proper relationship took their toll and finally in 1957 they finally broke up. They never paired together after their break up, in fact both were in Naya Daur but due to her father Madhubala opted out from that film.Ataullah sued, and BR Chopra counter sued. Eventually the whole fiasco was dragged into court. At some point in the trial the personal relationship between Dilip Kumar and Madhubala was put down as evidence, and their whole affair was put under the spotlight.
Raj Kapoor and Nargis-Raj Kapoor was the original showman of Bollywood and Nargis Dutt was the beautiful talented actress who had carved a niche for herself in Bollywood. The romance between the two was meant to be. They were named as first couple of Bollywood.Raj Kapoor, with whom Nargis worked in as many as 16 films, six of which were RK banner productions, was undoubtedly the first love of her life. She was only 19 when Raj Kapoor came to her life.If it hadn't been Raj, it would have been someone else; he just happened to be her first boyfriend.
Song from Chori Chori
Raj Kapoor and Nargis met for the first time during the making of the film Andaz in the year 1949. It is said that Kapoor fell for Nargis the moment he saw her, and that marked the beginning of a partnership that spanned 16 films. Nargis became a common fixture in almost all of Kapoor’s films in the 1950s, since she was equally smitten by Kapoor and thus would give a nod right away to any of his films.Raj Kapoor was already married that time,she did not mind marrying him and playing second fiddle in his life. She even consulted several leading legal experts of that era to find some means to tie the knot to a married man. Raj Kapoor never wanted to marry her being already father of three children that time.By the mid-1950s, Kapoor had made this point to Nargis, and the film Chori Chori in 1956 was the last one they did together. Nargis is said to have slipped into depression after this revelation but soon got out when she fell in love with Sunil Dutt during the making of Mother India.with whom she tied the knot in 1958. It is said that Raj Kapoor was so dejected on hearing the news of Sunil and Nargis’ marriage that he locked himself in his room, and cried for hours together.
Guru Dutt and Waheeda Rehman-Guru Dutt was a successful director, producer and actor, he introduced Waheeda Rehman to bollywood through C.I.D released in 1956.Guru Dutt was already married to singer Geeta Roy when he fell in love for Waheeda Rehman.It was during the making of Pyaasa Guru Dutt and Waheeda Rehman came together.Different versions of the love affair suggest that it was Waheeda who initiated marriage proposals to Dutt, or that Geeta’s suspicious nature that made Dutt confide in Waheeda.Both of them worked together in 6 films.Some say that Kagaz Ke Phool (1959) was on the real life of both the actors.The last film they did together was Sahib Biwi Aur Ghulam(1962).
Song from Chaudhavi Ka Chand 1960
There is a book"Memories Of Guru Dutt by Abrar Alvi which tells the inside story behind the Guru Dutt-Waheeda Rehman romance as it is. One really feels sorry for the legendary actress on realizing how callow she was in understanding the crooked ways of Bollywood. Guru was indeed torn between the love for his wife and the other woman. However, he couldn’t take a stand and ended up dropping Waheeda Rehman from his life. Abrar claims that Waheeda considered him her elder brother and describes the events that led to the ‘nikah’ of Guru Dutt and Waheeda that never happened. We come to know that Waheeda had a brother-in-law Rauf who announced that Guru Dutt was converting to Islam to marry her. Eventually, Guru Dutt chickened out at the last moment without realizing that his marriage with Geeta Dutt was long over. In the end, it seems that he caused Waheeda such a grievous hurt from which only work and more work could provide solace to the talented actress-cum-dancer. Clearly, ditching Waheeda.
Geeta Dutt left Guru Dutt in despair, which drove him towards complete isolation. Things worsened so much that both Guru and Geeta took to heavy drinking, and finally Guru Dutt died in 1964.
Rajesh Khanna and Anju Mahendru- This love story started well before Rajesh Khanna became super star.Anju Mahendru was the first love of India's first superstar Rajesh Khanna.Both were struggling to find a foothold in the industry when they met each other some time in the 60's. Anju was an aspiring model and actor while Rajesh Khanna was selected by the United Film Producer's Association as a hero. In the early days of their relationship, Anju supported his dreams like a devoted girlfriend. Rajesh too cared for her and reportedly lavished his affection and earnings upon her. Once the actor became super successful he charmed and convinced Anju into putting aside her career for him. The madly-in-love starlet obliged and soon became Rajesh Khanna's official girlfriend and the two of them shared a live-in relationship for close to seven years. Rajesh Khanna became the heart-throb of millions after the release of Aradhana in 1969.Even after that their relationship continued but cracks started appearing in their relationship.Their clashing values and opinions led to many altercations. In one of her interviews, Anju stated, "He is a very orthodox man, yet somehow, is always attracted to ultra-modern girls. Confusion was a part of our relationship. If I wore a skirt, he'd snap, why don't you wear a sari? If I wore a sari, he'd say, why are you trying to project a Bhartiya nari look?" And due to many such squabbles and arguments, the couple ended their relationship. It is said that to take revenge on Anju, Rajesh Khanna completely ruined her career. Reportedly, the whole film industry blamed the actor for the break up and supported Anju. This made the actor furious and he blamed Anju and her friends for all the negative publicity. There was a story that when Rajesh Khanna married Dimple Kapadia, he deliberately diverted his baraat's (marriage procession) route to pass in front of Anju's house, before heading to the marriage venue.Somewhere it was written that On screen, Rajesh Khanna was the perfect lover. In real life, he did not stand by the woman he committed to (Dimple Kapadia), and did not commit to the women who stood by him (Anju Mahendru)
Amitabh Bachchan and Rekha-Amitabh and Rekha's love story is one of the most talked about affairs of Bollywood even till date. Yet, this much-talked about love story always remained a mystery as both the actors never accepted their relationship in public.Their love story began on the sets of film Do Anjaane (1976), when Amitabh was a married man. During the initial days of their secret relationship, the couple used to meet in a bungalow that belonged to Rekha's friend. Nobody knew about this affair between already married Amitabh and Rekha. Everything was a smooth sail until an incident happenedTheir affair came in the limelight during the shooting of Ganga Ki Saugandh (1978) when Amitabh Bachchan reportedly lost his temper on a co-actor who was misbehaving with Rekha.Their relationship was at its peak before the shooting of Silsila.In fact during the shooting they were not talking to each other.
Song from Mukkadar Ka Sikandar
Rekha wanted to marry Amitabh and did not want to settle down with the tag of the 'other woman' in Amitabh's life. She realised she has no future in this relationship as Amitabh was not in any mood to leave his wife Jaya for Rekha. With this, their passionate love story came to an end, both on and off screen.Silsila’ was the last film in this couple starred together.
Salman Khan and Aishwarya Rai-After becoming Miss World, Aishwarya entered Bollywood but didn't get success, this was the time when Salman was in love with Pakistani beauty Somi Ali after his break-up with Sangeeta Bijlani.The Aishwarya Rai and Salman Khan love story started in the year 1999, when Aishwarya Rai and Salman Khan were filming the movie Hum Dil De Chuke Sanam.
Song from Hum Dil De Chuke Sanam
The couple had dated each other for a couple of years. During one of his earlier interviews, Salman revealed that it was Aishwarya's traditional approach towards life that made the beauty queen won a soft corner in Salman's heart.“I love [Aishwarya]. I am not hounding her. It's not a teenage obsession that I feel for her — it's pure love. She's such a traditional Hindustani girl at the bottom of her heart. The fact that she respects her parents so much makes me admire her more,” Salman was quoted saying. Aishwarya’s parents never approved of the relationship right from the beginning. However Ash called off the relationship because Salman used to cheat on her. Salman was unable to come to terms with the breakup initially; he went wild and created a ruckus during the shooting of Chalte Chalte. They broke up in 2002 and not have been able to burry hatchet till date.Aishwarya and Salman both moved forward in their lives.
Karisma Kapoor and Abhishek Bachchan -Their love story started long before Abhishek entered in Film industry. Karishma was already a star when their love story started.It was apparently in 1997 during Shweta Bachchan’s wedding, that Karishma Kapoor and Abhishek Bachchan got serious about each other.Abhishek Bachchan made his debut in 2000 with Refugee while Karishma in 1991. On October 11, 2002, at Amitabh Bachchan’s birthday party, their engagement was announced.But their engagement was called off after a few months. This ended their relationship of a few years and no reason were given of the break-up.
Shahid Kapoor and Kareena Kapoor-Bebo was the one who was always crazy about Shahid Kapoor and is said to have initiated the first move. It was in 2004 when their roaring affair grabbed headlines and made it to all gossip columns. Back then, both of them were very open about their relationship.One of their MMS went viral which confirmed their relationship.
Song from Jab We Met 2007
Shahid who made debut with the movie Ishq Vishk (a sleeper hit at the box office) alongside Amrita Rao was in a very serious and committed relationship with Kareena Kapoor. Amid the shooting of Fida in 2004, he started dating Kareena Kapoor and they both openly talked about the relationship. The couple isolated in 2007 amid the shooting of Jab We Met. Kareena fell for Saif (in Ladakh) during the filming of Tashan. Shahid was also rumoured to be getting close to his Kismet Konnection co-star Vidya Balan. However, it was Bebo who was apparently blamed for infidelity. She moved on and got married to the Chote Nawab (Saif Ali Khan).
Hrithik Roshan and Kangana Ranaut-This love story broke before it bloom.It all started in 2011 and 2012 when Kangana was invited for the birthday party of Hritik's sister.After that both started dating together.Hritik was married then but some bitterness had come in the husband and wife by that time.Soon the couple’s divorce was publically announced. While there is no clarity whether the Krrish 3 co-stars’ romance led to Hrithik’s divorce,the Bang Bang star and Kangana were apparently back together after the announcement. Reports say that Hrithik even asked Kangana to marry him.They were together till the end of 2014 but something went wrong again. It is the sad end of the affair which is feeding a dirty legal mess.
