Latest news with #NamakHalaal
India.com
15-06-2025
- Entertainment
- India.com
This actress once dreamt of Amitabh Bachchan's accident, next day Big B got hospitalised due to..., her name was…
Amitabh Bachchan's near-fatal accident during the filming of his blockbuster movie Coolie remains one of the most discussed events in cinematic history. Currently, a fresh narrative regarding Amitabh Bachchan's Coolie mishap is gaining traction. Years back, on the birthday of Late Smita Patil, Amitabh Bachchan remembered how she had a sense of foreboding before his life-threatening accident. Amitabh Bachchan was filming Coolie in Bangalore when Smita Patil unexpectedly rang him at 2 am. When Smita Patil Called Big B The actor recalled and said, 'I was in Bangalore filming for Coolie.' Deep in the night, at approximately 2 am, I got a call in my hotel room. The receptionist told me that Smita Patil was on the phone. I was stunned since I had never conversed or communicated with her during that period. Believing it would be significant, I replied.' Big B further said, 'Smita inquired whether I was okay and in good health.' I replied affirmatively, and she mentioned that she had a troubling dream about me, which was why she called so late at night. 'The following day, I encountered my mishap,' The Incident That Shook the Entire Industry The following day, on July 26, 1982, Amitabh Bachchan suffered significant injuries while filming a combat sequence with actor Puneet Issar. In the scene, Puneet Issar was meant to hit Amitabh Bachchan in the stomach, but as Big B miscalculated his leap, he fell onto a table. As a result of this accident, his condition turned critical. He was promptly taken to Breach Candy Hospital, where he had multiple surgeries. Supporters nationwide offered prayers for his healing. Amitabh Bachchan's injury was so severe that he was pronounced clinically dead for several minutes before being placed on a ventilator. Reports indicate that former Prime Minister Late Rajiv Gandhi called off a visit to the United States to stay with him. At that time, Amitabh Bachchan was given 60 bottles of blood from 200 donors, and one donor tested positive for the Hepatitis B virus. Bachchan healed from the accident but learned in 2000 that the virus had caused cirrhosis of the liver, harming roughly 75% of his liver. Bachchan later shared his experience to promote awareness of the Hepatitis B vaccine. Despite the severe injury, the legendary actor made an impressive recovery and returned to filming on 7 January 1983. More About Smita Patil Smita Patil, often regarded as one of greatest and finest actresses in the history of Indian cinema, appeared in over 80 films in her short career. During this period, she featured with Amitabh Bachchan in notable films like Namak Halaal, Sharaabi, Shakti, Ghulaami and Pet Pyaar Aur Paap. Smita Patil tragically died at 31 due to childbirth complications.
Time of India
09-06-2025
- Entertainment
- Time of India
Why Bollywood keeps naming films after old songs: Ae Dil Hai Mushkil, Hai Jawaani toh Ishq Hona Hai to Om Shanti Om
In today's Bollywood, nostalgia is more than just a sentiment—it's a marketing strategy. With increasing frequency, filmmakers are borrowing from the past to craft film titles that instantly spark recognition. Tired of too many ads? go ad free now Song lyrics, cultural phrases, and classic film references are being repurposed to emotionally hook audiences before the first trailer even drops. As one industry insider quipped, 'Nostalgia sells faster than popcorn at a multiplex.' Titles That Echo Familiar Tunes It's no coincidence that many recent titles sound eerily familiar—they often are. Take Jawaani Jaaneman (2020), for example. Its name is lifted straight from the foot-tapping 1982 disco hit from Namak Halaal, a song still embedded in Bollywood's collective memory. Similarly, Zara Hatke Zara Bachke borrows from a lyric in the iconic Bombay Meri Jaan, tapping into Mumbai's cultural soul. This trend has deep roots. Titles like Yeh Jawaani Hai Deewani and Jab Tak Hai Jaan were themselves drawn from classic Bollywood songs. But in the past decade, this practice has gained renewed momentum—anchored in the belief that a familiar title creates an emotional shortcut to audience interest. Does Nostalgia Translate to Box Office Success? Not always. Jawaani Jaaneman, despite the catchy title, failed to click with audiences—earning Rs 39.1 crore on a budget of Rs 34 crore and landing as a box office disappointment. In contrast, Zara Hatke Zara Bachke became a sleeper hit, grossing Rs 115.9 crore on a Rs 40 crore budget, proving that while nostalgia may attract attention, it's the film itself that must deliver. Filmmakers are aware of this. Veteran director said in an interview with India Today that using a line from a popular song or poem is an easy way to connect—but it must organically suit the story. Tired of too many ads? go ad free now Talking to the same news portal, lyricist Swanand Kirkire, however, has been more critical, calling the trend a 'marketing gimmick' that substitutes buzz for depth. Borrowed Lyrics, Fresh Films Some upcoming and recent films reflect this nostalgia-driven titling more clearly than ever: Hai Jawaani Toh Ishq Hona Hai (2025) – The title, from the 1999 hit song Sona Sona (Biwi No. 1), returns in a 2025 remake of a 2003 film, betting on youthful exuberance and song familiarity to reconnect with today's audience. Saiyaara (2025) – Named after the poignant track from Ek Tha Tiger (2012), the film taps into the song's emotional depth to signal a romantic, introspective tone. Haseen Dillruba (2021) – This Netflix thriller uses a phrase from Namak Halaal's Jawani Janeman, suggesting classic romance, even as the film delivers a modern, darker narrative. De De Pyaar De (2019) – Borrowed from Sharaabi's (1984) beloved track, this film combined nostalgic familiarity with a fresh plot about age-gap romance, helping it achieve commercial success (Rs 143 crore worldwide). Aankhon Ki Gustakhiyan (2025) – Though inspired by a Ruskin Bond short story, the title leans on the romantic lyric from Hum Dil De Chuke Sanam (1999), priming audiences for a love story rich in emotion. Param Sundari (2025) – A clever double play, this film uses both a trending song title from Mimi (2021) and the character names (Param and Sundari), ensuring a culturally resonant hook. Teri Baaton Mein Aisa Uljha Jiya (2024): The title is borrowed from the hook line of 'Teri Baaton'—a 2004 chartbuster by Raghav Mathur. The film modernizes the phrase in a futuristic love story, using the emotional recall of the original to attract both older fans and Gen Z listeners. Om Shanti Om (2007): The title comes from the retro classic song 'Om Shanti Om' sung by Kishore Kumar in the 1980 film Karz. Farah Khan's reincarnation drama not only paid homage to 70s Bollywood but also revived the melodramatic style of that era with a modern twist. Ae Dil Hai Mushkil (2016): Inspired by the famous line from the Mukesh song 'Ae Dil Hai Mushkil Jeena Yahan' from CID (1956), Karan Johar's film explored modern heartbreak and unrequited love—an emotional theme that resonates across generations. The Nostalgia Trade-Off While nostalgia-based titles do offer instant recall, their overuse raises concerns about creative stagnation. As one trade analyst points out, 'It's the business of feelings—packaged to look familiar, sound familiar, and feel safe.' But safe doesn't always sell. If the story behind the nostalgic title fails to resonate, the familiarity quickly turns into disappointment. In essence, these titles act as emotional triggers—a kind of cinematic shorthand meant to lure viewers. But the ultimate success of a film still depends on its substance. Nostalgia might open the door, but it's the storytelling that invites audiences to stay.
Indian Express
22-05-2025
- Entertainment
- Indian Express
Amitabh Bachchan stopped Smita Patil from eating on the floor with lightmen, said ‘it makes us look bad': ‘Aap jao van mein'
Smita Patil was one of the most acclaimed actors of her generation but her untimely demise in 1986 left her fans shocked. Until then, Smita had appeared in films like Mirch Masala, Manthan, Bhoomika, Arth, and had also shared screen space with Amitabh Bachchan in films like Namak Halaal and Shakti. In a recent interview, Smita's son Prateik shared an anecdote from the set of Ramesh Sippy's Shakti when Amitabh called Smita to have a chat with her after he saw her having lunch with the lightmen on the set while sitting on the floor. In a chat shared on Varinder Chawla's YouTube channel, Prateik shared that during Shakti, which also starred Dilip Kumar and Rakhee, Smita would carry a huge lunch box from her home. During the lunch hours, she would sit on the floor, sit with all the light men and have lunch with them. 'Such a big superstar… Smita Patil, she was sitting on the floor with all the lightmen,' he said. During one of these lunch hours, Amitabh Bachchan happened to walk by and saw Smita sitting on the floor. He called her to the side and told her that her friendliness with everyone would make the others look bad, but she continued to do what she was doing. He shared, 'Amitabh Bachchan walked by and he called her to the side. He said 'listen, you are screwing it up for people like us. Tum baithte ho neeche aise sab ke sath toh hum kharab dikhte hain kyunki hum nahi karenge toh hum kharab dikhenge. Humko bhi karna padega abhi. Hum bure lag rahe hain aapki vajah se (You sit on the floor so it makes others look. Now we will also have to do it. We are looking bad because of you.)' And she was bindaas, she was like 'Aap jao van mein, main kha rahi hu (You go to your van, I'll eat like this.)'' ALSO READ | 'Don't dub Kannada movies in Hindi, don't release them pan-India': Sonu Nigam tells BJP MP Tejasvi Surya days after Bengaluru language row Smita and Amitabh shared a great professional equation. A few years ago, Amitabh shared in his blog that Smita was very 'uncomfortable' during the shoot of Namak Halaal because 'she just could not understand why she was asked to do what she was asked to do in the film.' He added, 'But she did it with a lot of personal persuasion from me and it came out fine. She was gentle and frail but stronger than anything you could ever encounter in a woman…truly a gift we lost we never should have.'
Time of India
09-05-2025
- Entertainment
- Time of India
When Ranjeet REVEALED the truth behind the 1970s Bollywood's parties; Said Rajesh Khana would drink 1-2 two bottles and 'no one turned up for a 10 am shoot'
Veteran Bollywood actor Ranjeet, a name synonymous with iconic villainous roles of the 70s and 80s, once opened up about a side of his life far removed from the scheming characters he portrayed on screen. Tired of too many ads? go ad free now In one of his conversation with ANI, the actor reflected on the golden era of Hindi cinema, revealing how his Juhu residence became an unexpected hub of nightly revelry and camaraderie for some of the industry's most celebrated figures. Bollywood's parties in the 70s' Though he built his career playing hard-drinking, cigarette-smoking antagonists, Ranjeet made an interesting revelation that he has never touched alcohol himself. Despite being a lifelong teetotaler, his doors were always open to friends and colleagues in the industry. His home, centrally situated in Mumbai's Juhu neighborhood, turned into a beloved gathering spot where formalities were cast aside and friendships flourished over food, laughter and late-night chatter. Ranjeet shared, 'My parents were based in Delhi and I was living alone in Juhu, so naturally, everyone began to drop by in the evenings. There was no need for invitations—people just came over.' The guest list at Ranjeet's parties in the 70s' These nightly sessions weren't limited to male actors. He fondly remembered the presence of popular female stars like Reena Roy, Moushumi Chatterjee, Parveen Babi and Neetu Kapoor. Each of them, he said, added their personal touch to these get-togethers, Reena would prepare paranthas, Parveen mixed the drinks, Moushumi delighted guests with fish dishes, while Neetu made her signature bhindi. The guest list read like a who's who of classic Bollywood, Sunil Dutt, Dharmendra, Raaj Kumar, Feroz Khan, Sanjay Khan and Shatrughan Sinha were frequent visitors. Tired of too many ads? go ad free now Ranjeet recalled how the legendary Rajesh Khanna was known for indulging in heavy drinking, reportedly downing one or two bottles in a single evening. Yet Ranjeet himself stayed away from alcohol, embracing the role of a warm, grounded host. 'A home that welcomes people with love is a home blessed by the gods,' he mused, explaining that his belief in hospitality came from a deep sense of gratitude and abundance. 'No one turned up for a 10 am shoot on time." He added that the relaxed and nocturnal lifestyle of the film fraternity often meant shooting schedules were pushed to the afternoon. 'No one turned up for a 10 am shoot on time. They'd show up after lunch,' he laughed. This prompted Ranjeet to take on several projects at once, maximizing productivity while his co-stars ran on their own clocks. With a prolific filmography featuring cult classics like 'Dharmatma,' 'Namak Halaal,' 'Lawaris' and 'Sharaabi,' Ranjeet's legacy in Indian cinema is already well cemented. But beyond the silver screen, his Juhu home stood as a quiet epicenter of Bollywood's most cherished memories—ones marked by generosity, spontaneity and an enduring sense of togetherness.
Time of India
02-05-2025
- Entertainment
- Time of India
After shooting an iconic song with Amitabh Bachchan, Smita Patil locked herself and broke down
Smita Patil , an acclaimed and respected name in Indian cinema, carved a unique space for herself through intense, meaningful roles. Despite her towering talent, her career journey wasn't without turbulence. One of the more curious chapters in her Bollywood journey involves her role in the 1982 commercial film Namak Halaal—a film that marked her first foray into mainstream Hindi cinema. #Pahalgam Terrorist Attack Pakistan reopens Attari-Wagah border to allow stranded citizens in India to return Key Jammu & Kashmir reservoirs' flushing to begin soon Air India sees Pakistan airspace ban costing it $600 mn over 12 months Yet, the events that led to her involvement in the film are just as compelling as the movie itself. Initially, Smita Patil was slated to enter mainstream Bollywood through Silsila, a star-studded drama that also featured Amitabh Bachchan . Alongside Parveen Babi, Smita was part of the original casting. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Secure Your Child's Future with Strong English Fluency Planet Spark Learn More Undo However, both actresses were later replaced. Director Yash Chopra, in a conversation with Shah Rukh Khan (as reported by Aaj Tak), revealed that the final decision was to cast Jaya Bachchan and Rekha instead. Though the exact reasons remain speculative, Amitabh Bachchan reportedly supported the casting change as long as both women agreed to join the project. Unfortunately, Smita did not receive this news directly from Chopra. Instead, she was informed of the replacement by actor Shashi Kapoor, a move that reportedly left her hurt and disappointed. In the aftermath, Smita Patil made her commercial film debut with Namak Halaal . The film was a massive success and became one of the highlights of her career. However, industry chatter suggests that her role in this movie was somewhat of a consolation offering—allegedly to make amends for being dropped from Silsila. Bachchan was also reportedly supposed to co-star with her in Gaman, but that collaboration never materialized due to unspecified reasons. Despite the film's success, Smita was uneasy about her participation. According to several accounts, including a blog entry by Amitabh Bachchan, she was deeply uncomfortable during the filming process. One specific song, Aaj Rapt Jaye To Humen Na Uthaiyo, especially unsettled her. Dressed in a white saree, performing an intimate dance number, Smita felt this portrayal clashed with her values and prior work in more serious, socially rooted films. After filming the sequence, she allegedly went home and locked herself in a room to cry, overwhelmed by the contrast between her expectations and reality. Bachchan described how Smita frequently questioned the logic behind scenes and struggled to understand why she was required to perform in a way that felt foreign to her artistic instincts. At the time, Smita was recognized for her commitment to meaningful cinema, and stepping into a glitzy, song-and-dance routine was a stark departure for her. Even after the film's release, Smita remained dissatisfied. Though Namak Halaal was a hit, she felt uneasy about being primarily identified with the film. Bachchan recounted how Smita once shared her embarrassment when fans at an airport recognized her only from Namak Halaal, despite her extensive work in parallel cinema . Smita's entry into mainstream films, therefore, was fraught with emotional complexity, compromises, and an internal struggle between artistic integrity and public perception.
