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Indian Express
17-07-2025
- Entertainment
- Indian Express
Patriarch of iconic Bollywood family abandoned his son, forced second family to live in secrecy for decades, went blind in his final days
The Hindi film industry has been dominated by only a handful of families for over seven decades. Many of these families can trace their origins back to pre-Independence India, in regions that now fall under Pakistan. Several industry stalwarts, such as Prithviraj Kapoor, Dev Anand, and Dilip Kumar (born Yusuf Khan) moved to Mumbai from Pakistan. But one such family came from Gujarat. Its patriarch was the filmmaker Nanabhai Bhatt, who made 99 films in his career before passing away in 1999, at the age of 83. Over the course of his career, Nanabhai made a name for himself with his low-budget mythological films. He also worked with legends such as Ashok Kumar. But today, he is best known as the father of Mahesh Bhatt. Most of the anecdotes about his life, which was marked by drama, betrayal, abandonment, come from Mahesh himself. His grandson, filmmaker Mohit Suri, reflected on the family's legacy in a recent interview with Cyrus Broacha. 'My grandfather, Nanabhai Bhatt, made 99 films. He didn't make 100 because he turned blind.' Nanabhai Bhatt was born in 1915, and was working as a director in the film industry by the early 1940s. His first film was Muqabala, starring the Australian-Indian actor and stunt performer Fearless Nadia. Only a few years later, shortly after Independence, Nanabhai welcomed Mahesh. But the child's mother wasn't his wife, Hemlata; it was his mistress, a Shia Muslim woman named Shirin Mohammed Ali. For his entire life, Nanabhai would keep his 'illegitimate' family hidden away, refusing to accept Shirin as a 'wife'. Also read – Amitabh Bachchan's Don ruined producer financially; he ran out of money for food, died before movie's premiere, profits were used to pay off his debts In an interview with The Times of India, Mahesh looked back on his youth, and coming to terms with the fact that his father didn't have much of a presence in his life. 'I was born after three daughters and followed by a daughter and son. My father did not live with us. When he came home, he never took off his shoes – he wouldn't be staying. My father had another family: Although my father had two homes, he paid for our education and household expenses. When friends teased me about my father not being at home, I never said he was busy with his film business; rather, I made it clear that he had another home. Despite my pent-up anger, I recognised that there was a bond between my parents which had legitimacy in the heart.' Despite being denied the 'dignity', as Mahesh put it, that she deserved, Shirin adopted her Nanabhai's Hindu traditions. She remained a devout Muslim, but behind closed doors. 'My mother always wore this big tika, and saree – she liked that kind of thing. But, at the same time, I could see that there was something she was hiding. She felt that her minority status would perhaps interfere with our day-to-day lives. She was a little embarrassed when I flaunted my Muslim roots… when I came to know about it. Yes, she was a little embarrassed about it. She was worried about me during the communal riots in 1992. She was worried when we named my little girls — because my second wife (Soni Razdan) liked those names – Shaheen and Alia. Both are Muslim names. Everybody was worried in 1992,' Mahesh told Rediff. Also read – Bollywood's biggest star of the 1950s became destitute, Amitabh Bachchan spotted him 'alone, unnoticed' at a bus stop: 'I drove on…' In an interview with the Hindustan Times, Mahesh said that he never really understood 'what a father really is.' He explained. 'I never really had one. I have no worthwhile memories of my father, therefore no idea of what a father's role should be. I am the bastard-child of a single Muslim mother. I remember asking my mother what the meaning of my name was. She said, I'll ask your father, he's the one who named you. So, I waited until the next time he came around and said that Mahesh meant 'Maha-Eesh' the God of gods. But as a child I didn't like this angry God who beheaded his own son. I'd have much preferred to be named after Ganesha. I used to sleep with a little Ganesha under my pillow as a child, he was my favourite deity. Just like Ganesha's father, my father was a stranger to me. He was absent.' Mahesh reflected on his unconventional childhood in Shivaji Park, and admitted that he never quite fit in. He told BBC Hindi, 'My entire family hid this truth, that my father hadn't declared my mother to be his wife. It was stigma that I lived with. I never quite understood it. On the one hand, we are told to be truthful, and on the other, this truth about my life was being hidden. When I would speak about my background in public, I would get a scolding. These concerns haunted me… It was definitely odd, because I wasn't invited to others' houses. And on the rare occasion that I did get an invitation, I would be surprised to see family photos on the walls. 'Oh, so this is what a family looks like?' My mother was the epicentre of my universe, she raised us as a single parent.' Read more – Bollywood director lost entire life's savings after one flop; daughter was forced to dance, son performed for money at beach to repay debts While much of Mahesh's early cinema was inspired by his own life, his 1998 film Zakhm was a tribute to his mother. It was released only a few months before Nanabhai's death. In a Lehren Retro report, it was said that the film's original title was Shirin, but Nanabhai took out an article in the trades opposing it, and denied the existence of any woman by such name. 'Of course, this film, like Zakhm, is about my mother. But the main reason why I wrote this film was not her, but my stepmother. For most part of my life I saw my stepmother as a demon, but when I got closer to her I discovered that she was a magnificent woman whose life too was as tragic as my mother's,' Mahesh told India Today. Opening up about his relationship with his stepmother, Mahesh said that she, too, lived a tragic life because of the choices Nanabhai had made. But she honoured his wish to be brought to Shirin's house after his passing. 'My stepmother was 94 when my father died, and she said to me, 'Your father's body will not come to my home', which was his legal official residence because he had willed, that post his death, his body should be taken to the house where my mother lived. My mother and my father's relationship was not a legitimate one in his lifetime. I was awestruck by the magnanimity of this traditional Gujarati woman who was publicly proclaiming that her husband's choice in death was to be eternally wedded to the other woman who had no legal status in the eyes of the world. That moment of human grandeur of the magnificent heart is something that stayed with me. In my life somewhere when I was growing up, I had looked up to her as a villain, as a vamp, who was a source of my mother's misery. But only when I grew up and I went closer to that narrative, I discovered that life doesn't have good people and bad people. Life only has people. Each one cries, dies and dreams. It is your privilege from whose view you will tell the story. At one moment I told the story from the point of view of my mother. And then when I chose to see it from the point of view of my stepmother, the story was equally moving and profound, in fact larger,' Mahesh told Bombay Times. Read more – Star of Bollywood's Golden Era died penniless due to flamboyant lifestyle, influenced Amitabh Bachchan and won praise from Mahatma Gandhi It was also said that some members of his family secretly scattered Nanabhai's ashes on Shirin's grave, a symbolic gesture to unite them in death. Mahesh's angst towards his father reached a peak after his mother's death. He told The Lallantop, 'I buried my mother. My father loved her, but he never gave her the diginity she deserved in society's eyes. When she was unwell in hospital, I was worried that she would never see me attain success. She saw the concern on my face, and called me over to her hospital bed. 'You're afraid?' she asked. I said, 'Yes, you will die'. She said, 'Relax, the skin on my knees has peeled off because of all the prayers, my God will not let me down. I'm not going anywhere before you're successful'. She didn't die. She told me, 'You've given me strength. Let him not consider me his wife, but nobody can deny that you are my son'.' Nanabhai attended her funeral with Hemlata, and made a gesture of devotion that angered Mahesh further. He told Arbaaz Khan on his talk show, 'I remember that when she died, and my father came with his wife, that's the time he put sindoor in her maang and I said 'too little too late'. That broke me down. She always wanted a picture of him publicly accepting her.' However, Mahesh's nephew, director Dharmesh Darshan, said that Nanabhai didn't abandon either of his 'wives', and that they all lived together like a big, happy family. He told Lehren Retro, 'It's rubbish… there's very little truth to it. Every truth can be distorted. Mahesh mama is my saga mama (real uncle), and my mother was obsessed with him. In 1939, my grandmother and my grandfather got married. The Hindu Marriage Act came in 1959, and by then my mother also was married. I didn't even know my grandmother's name was Shirin until Mahesh mama said it was an issue. I had an extraordinary other grandmother. They were both legitimate, because I saw both of them… My grandmother had six children and the other grandmother had three children,' he said, adding that his grandmother, Shirin, lived in accordance with Gujarati-Hindu traditions. 'I used to call her 'mumma', not 'amma',' he said, and called his grandfather a 'great man' who was 'flogged' in public for no reason.' During his career, Nanabhai Bhatt worked both in Hindi and Gujarati cinema. His biggest hit was 1959's Kangan, starring Nirupa Roy and Ashok Kumar. Muqabala was one of the first films to utilise double-roles as a device. Some of his other well-received films were Alibaba Aur Chalis Chor (1954), Zimbo (1958), and Lal Qila (1960).
The Hindu
15-07-2025
- Entertainment
- The Hindu
Shahana Goswami interview: On modern love, diasporic identity and Zohran Mamdani
Over two decades, Shahana Goswami has worked across genres, continents, and formats. In her latest series, Four Years Later, she plays Sridevi or 'Sri' — a woman pulled between cities, relationships, and versions of herself. Created by Mithila Gupta, the Australian-Indian drama is set between Jaipur and Sydney, tracing what happens to love when time and distance take hold. Last year, Santosh brought Shahana to Cannes. Now, this is the next step. 'I was approached by Dilip Shankar, who is the casting director of the show,' she tells me over a Zoom call. 'And funnily enough, I had actually heard about the project through a friend of mine, Richie Mehta, who had also heard about it. I remember him saying, 'Oh, you would be great for the part.' And then I forgot about it.' She chuckles. 'And then Dilip came to me with this project, and it happened to be the same one.' When the script came back to her, it felt serendipitous, but was still tinged with hesitation. 'Initially, I wasn't even sure if I was right for it,' she admits. 'The character was meant to be much younger than me. But I had one day off in the middle of shooting Santosh, locked myself in a room, and taped four scenes. There was a realness in the emotion and in the way the couple spoke, which wasn't the usual 'tu-tu-main-main' kind of dynamic.' Shahana's portrayal of Sri feels strikingly personal, and what drew her in, she says, was the truth of the character. 'She's a lot like me in terms of her persona and personality,' she says. 'And I get very little opportunity to actually play that out. The only other time I really felt I could do that was in Tu Hai Mera Sunday.' The role also marked a rare first: 'Suddenly at the age of like 37-38, I was getting an opportunity to be in a romantic series for the first time in my life.' In playing out that romance, Shahana found herself reflecting on her own ideas of modern relationships. 'It was interesting for me to see that the characters meet through an arranged marriage. She's kind of a diehard romantic, but she's still open to the idea of meeting a partner through an arranged setup. If she's failed at finding the person by herself, then why not try other means?' That openness feels emblematic of a broader shift she's observed, both personally and culturally. 'Over time, I've generally been more open, not for myself but in general, to the idea of arranged marriage that I would earlier have maybe judged. I've learned and seen through people's experiences around me that, in a sense, it is no different from a dating app.' She speaks too, of letting go of older binaries: 'The whole thing of opposites attract is also something that I've not been much of a believer in. I now understand that it's not so much opposites as much as it is complementary personality types that attract. Not looking at every difference as a kind of cog in the wheel, but as something that actually makes you more compatible.' Shot across Jaipur and Sydney, the shift in setting shaped her performance. Having never been to Sydney before the shoot, Shahana describes filming there as a kind of emotional osmosis. 'You do kind of see Sri experience Sydney in real time with you,' she explains. 'There was a sense of awe and opening up. I had been to Melbourne before, but Sydney was new, and that newness seeps into her journey.' Even the act of speaking — switching between Hindi and English and modulating accents — changed across borders. 'Code switching is very common, even within parts of India, when you move from one space to another. I was born and raised in South Delhi, but when I moved to Bombay, my Hindi and English changed.' That porousness of place, language and identity feeds into the show's portrait of migration. Sri coming to Australia became a kind of unexpected reunion with herself. 'If I had to play Yash (played by Akshay Ajit Singh), it would be much harder for me because I'm very adaptable and open as a person, and thrive with travel and new experiences,' she says. When asked about the rise of diasporic South Asian storytelling, she remarks on how the series seems like the first of its kind. 'This kind of show has never actually happened before,' she says. 'Two Indians in the lead, speaking in their own accent in English. Usually, either the character is native to that country, or they adopt the accent of the country. But this is our reality. English with sputterings of Hindi. It's how many of us live. And yet we rarely see it on screen.' And it's not something she looked to past diasporic films to model. 'I don't think that I'm someone who ever leans into other experiences because each story and each narrative is so different. What was useful was my own lived experience and that of people around me who are similar and from this milieu.' Zohran Mamdani's historic election as New York City's new mayor — and the fact that he's diasporic stalwart Mira Nair's son — was hard not to bring up in conversation. But his win played out against a troubling rise in anti-immigrant sentiments across the United States and elsewhere. Shahana reflects on the role of art in that fight, saying, 'I do think that art reflects life and oftentimes art influences life,' she says. 'Part of the reason why Zohran was successful was perhaps because we're living in a time of unbelievable polarisation where the other extreme is so strong. Sometimes you do need an extreme to combat an extreme.' Still, she believes in the role of art in shaping possibility. 'This is a beautiful way in which the city [New York] has shown its solidarity in wanting a different kind of society and community and future.' Does she see herself as part of this growing global wave of South Asian storytelling? 'I hope so,' she says. 'Every drop in the ocean matters. You're seeing more brown people on screen without needing to explain their presence. Films like Santosh or All We Imagine As Light — by Indians and for Indians — travel far. But that doesn't necessarily mean that just because you're brown, you should only be telling brown stories.' And though mainstream Indian cinema has a way to go, Shahana also seems optimistic about the progress made in the industry's blind spots. 'The narratives are changing. The roles are more nuanced, not just for women, but for men too. There's much more focus on the male vulnerability or the fact that men are also victims of patriarchy.' Even her dreams are articulated with a giddy precision. 'Denis Villeneuve is on top of my list because I've loved all his films. I think that he has this beautiful balance of being able to do something on a very large scale, but with deep emotion and great cinematic value,' she says. 'Arrival is my favourite. I keep manifesting that I'll be in Dune 3, because that universe includes everyone from different parts of the world.' And if Villeneuve doesn't call? 'Pedro Almodóvar,' she says without missing a beat. 'I thought it would never happen because when would I ever learn Spanish? But now he's making English films. So maybe. Just maybe.' Four Years Later is currently available to stream on Lionsgate Play
India Gazette
13-07-2025
- Business
- India Gazette
Australian's Foreign Minister Penny Wong announces 34 recipients of Maitri Grants
Canberra [Australia], July 13 (ANI): Australia's Minister of Foreign Affairs Penny Wong has announced 34 recipients of this year's Maitri Grants, Fellowships and Scholarships. The Maitri (meaning friendship) Grants, administered by the Centre for Australia-India Relations, aim to support greater exchange and collaboration with India across technology, business, education and culture, according to the statement. The statement said, 'Each project will cultivate deeper connections between our two countries, including: The Lowy Institute's first-ever India Chair, which will lift the quality of research and conversations around India's role as a major power in the Indo-Pacific region. Best-practice playbooks by Asialink Business to support collaboration, capability training and the sharing of successful partnership models in cleantech and agtech.' 'A world-class exhibition featuring rare artworks by renowned Indian painter Raja Ravi Varma at Queensland Art Gallery | Gallery of Modern Art. An incubator of untold narratives from Australia's South Asian diasporas that will showcase Australian-Indian experience to global screen audiences, led by Bodhi Studios,' it added. The 2024-2025 Maitri Grants include 13 Maitri scholarships supporting innovative research across fields like quantum computing technologies and clean energy solutions, and three Maitri fellowships dedicated to exploring opportunities between Australia. The statement said, 'Australia and India's relationship is closer and more important than ever. We are deepening cooperation across priority sectors that are vital to both nations' futures, including in defence, trade, education, and technology.' The recipients of the 2025 Maitri Grants will support connections and research across a wide range of sectors, including innovation, enterprise, education and culture. Administered by the Centre for Australia-India Relations, the Maitri grants encourageinnovative projects and partnerships that reflect the dynamism of the bilateral relationship, fostering long-term connections, according to the Australian High Commission in India press release. Welcoming the announcement, Australia's High Commissioner to India, Philip Green OAM, said, 'Australia's relationship with India is stronger, deeper and more consequential than ever - and its future holds even greater promise. At the heart of this relationship are the people-to-people connections that bind our two nations. The Maitri Grants program builds on these ties, helping unlock the full potential of our bilateral relationship.' 'I congratulate this year's recipients and look forward to seeing how their work helps foster deeper links between Australia and India,' he added. (ANI)
Buzz Feed
10-07-2025
- Buzz Feed
21 Food Spots To Visit In Queens, New York City
My recent trip to New York was all about finding epic food adventures, and Queens absolutely DELIVERED. Everyone talks about Manhattan — but Queens has an incredibly diverse culinary scene, and is worth visiting if you're a foodie. In just over two days we tried to fit in as much as we could – so let's dive into everything I devoured. These mouthwatering tacos which were the perfect first meal in New York after a long flight from Sydney. Black car picked us up from the airport, dropped our bags at the Boro Hotel, next stop the JACX&CO Food Hall for a satisfying feed after a long flight. Plenty of options for everyone in there – but I couldn't go past Mexology for their tacos. Juicy, flavourful and it came with a serving of beans and rice! Honestly, it was better than any food court tacos you could get in Sydney. Gigantic cold brew. Drinking cold brew is one of the defining parts of my personality, so you can imagine my delight when I had this massive bean juice. Bacon and egg "sandwich" (it was a burger) served with crispy potatoes. I remember saying these were the best potatoes I had ever eaten in my life. A cold, refreshing juice from a juice bar in Jackson Heights. Summertime in New York is no joke – it was hot, so this juice was the perfect refreshment. Authentic Colombian arepas which were velvety soft, delightfully cheesy and served with three incredible sauces. I had never tried Colombian food, but cheese is one of my favourite food groups. Arepa Lady have been serving up these golden, buttery, cheesy arepas since 1990 and there's a reason why it's such a legendary spot – the food tastes so damn good. Mango chaat and fuchka from a Bangladeshi street food cart, Fuska House. Incredibly yum and easily shareable. If you love spice with your fruit, this mango chaat is going to be your vibe – and it hits even better on a hot, summer day. I also really enjoyed the fuchka. As an Australian-Indian it reminded me a lot of panipuri or golgappa – which is a similar Indian snack. Experiencing cultural similarities across the world's cuisines is one of my favourite pastimes. Chatpoti which had chickpeas, onion and coriander. Its flavours are tangy and spicy with plenty of different textures. This was from Tong NYC which you can find right next to Fuska House. Momos, which are a Tibetan or Nepalese-style dumpling. As a huge fan of dumplings, I really enjoyed the flavour of these momos. The filling had a flavour that reminded me more of South Asian food as opposed to Chinese dumplings, which is what I'm more used to eating in Australia. We tried both beef and chicken and I have to say, the beef was my favourite. It was served with a runny yoghurt sauce, the perfect accompaniment. The best tacos in New York City, served at Antojitos Charly in Jackson Heights. These were hands down among the best tacos I've ever had. It was also kind of like if a kebab and tacos had a baby. Satisfying, succulent, and bursting with flavour. The atmosphere was quintessentially New York as well – we devoured these underneath the rumbling subway tracks. Pepperoni "chips" with ranch. When I saw these on the menu I wasn't sure what to expect, but it felt like you were eating the best part of a pepperoni pizza. So crispy and moreish, especially with the ranch. Timeless, classic, New York-style pizza. Along with the pepperoni chips, we also ate pizza for dinner at the Boro Hotel, where we were staying. THE BEST BAGELS EVER. Hands down, in my top three favourite meals in Queens. Thank the LORDE I went with a group so we got to try a few different ones. The Mak was a behemoth of a breakfast bagel with the most stacked cross section. My absolute Shayla was the everything bagel with scallion schmear. Ugh I will be going back to Curley's Bagels every chance I get. I mean, just look at them. My mouth is watering just looking at these photos. The most perfectly spiced, steamed and sauced dumplings. We ventured out to Flushing where the food somehow got even better. These dumplings from White Bear were DEFINITELY another top three favourite. This Chinese street food treat that I'd never had before. Eight Jane is known for their jianbing (a Chinese crepe with eggs, scallions, chillies and crispy wonton in the middle). These were full of flavour and texture – and SUPER easy to eat on the go, which is great because at this point we were on a self-curated Flushing food tour. And some freshly made, soft steamed buns. Classic and you can't go wrong. A hot dog with a cheese pull that would rival Chili's mozzarella sticks. Honestly I am not sure if I would try these again. I think we accidentally got one with a sugar coating which did not go well with the cheese for me. Italian ices, AKA the perfect refreshment because once again, it was a scorcher. We stopped by The Lemon Ice King Of Corona which has been around for 60 years and was also in King of Queens. A Michelin-starred Mexican feast — let's break this down. First, entrees. Can't go past the classic guac and corn chips. These were the best corn chips I've ever had. But don't just listen to me, Casa Enrique is actually New York City's only Michelin-starred Mexican restaurant. A highlight for me was the ceviche. I still think about it to this day. Also pictured here is the roasted capsicum with cream, cheese and corn which was served on a hot plate. Still craving tacos, it seems. For the main meal, we had brisket and fish tacos as well as ranch skirt steak. Like, how good does this look?? And finally, to finish an epic Queens food tour, we ended with dessert: a scoop of ice cream. I opted for mint choc. Don't come for me, it was amazing. The moral of this story is — if you're ever in New York, do yourself a favour and explore Queens. Your taste buds will thank you.
India Today
09-07-2025
- Entertainment
- India Today
Four Years Later tops OTT romance this weekend, here's all about Shahana's show
Actor Shahana Goswami's Australian-Indian series 'Four Years Later' is set for its streaming debut. After securing a nomination at the Australian Academy of Cinema and Television Arts (AACTA), the show will now be available for Indian viewers as well.'Four Years Later', which features actor Akshay Ajit Singh opposite Goswami will release on LionsgatePlay. The series, about an Indian couple navigating love and marital challenges in a foreign land will be available for streaming from July 11, sharing the Hindi trailer, LionsgatePlay captioned it as, "Time passes, bonds don't. Witness a love story that takes you to the depths of love, life, and desire. Watch Four Years Later on 11th July." Watch video here: 'Four Years Later' narrates the story of a newlywed couple, Sridevi (Goswami) and Yash (Singh). The duo is seen attempting to figure out what happened to their relationship when Yash moved to Australia for a four-year medical traineeship. While Sridevi deals with domestic and social constraints, Yash fights alienation, guilt, ambition and family while reflecting on her character and the story, emphasised that 'Four Years Later' depicts modern love (from both perspectives), according to OTTPlay. She mentioned about the parallels between two different migratory experiences shown in the also added to Goswami's perspective by stating that 'Four Years Later' is an honest and unfiltered exploration of relationships. The show is created by Mithila Gupta. Apart from being the executive producer, Gupta has also co-written it alongside Nicole Reddy and S Shakthidharan. Mohini Herse and Fadia Abboud have co-directed the series.'Four Years Later' is co-produced by Ian Collie, Stephen Corvini and Rob Gibson from Easy Tiger Productions. The crossover love story was initially aired on the Australian television network SBS on October 2, 2024.'Four Years Later' examines the consequences of love that endures despite physical separation and the passage of time from the viewpoints of both Sridevi and Yash. Roy Joseph, Luke Arnold, Kate Box, and Taj Aldeeb are also play key was last seen in Kanu Behl's 'Despatch' (2024), co-starring Manoj also received praise for her performance in the BAFTA-nominated 'Santosh' (2024).- EndsMust Watch
