Bollywood pays tribute to Yash Chopra
Why is God testing me like this?" She paused and added, "Our birthdays are separated by a day. This year he sent me an idol of Mata Saraswati. He loved me like his sister. I feel like I've lost my brother."
Mangeshkar wasn't alone in her grief. Karan Johar - at whose residence a pall of gloom had descended - felt like he had lost his father all over again, while Shah Rukh Khan went numb with grief. "Yashji gone? Nah! Has to be a cruel joke," said Anupam Kher.
The thing about him, as Mangeshkar pointed out, was that no one disliked him. "He had a childlike innocence about him. He loved music and songs, and he had a great sense of poetry. He couldn't sing, but he insisted on singing. He told me he paid his driver extra money so that the poor guy would tolerate his singing when they travelled together."
Waheeda Rehman, who made three of her finest films Kabhi Kabhie, Trishul and Mashaal with Yash Chopra, found it hard to digest the news. "It's so sudden. Just some days ago, I met him at Amitabh's birthday party. He looked hale and hearty and was smiling like always," she said. "Yashji never lost his cool. I remember we shot a famous dramatic sequence in Mashaal where I was dying on the road and Dilip Kumar was pleading with people to take me to the hospital. The scene was done on the road in the middle of the night. We were all edgy, but not Yashji. He was always calm and in control. He never allowed himself any negative thoughts."
My first meeting with Chopra was after his son Aditya's film Dilwale Dulhaniya Le Jayenge had become a huge hit. "I've never seen so much money before," he said to me then.
Chopra's enthusiasm for cinema was matched by his ability to keep pace with changing trends. But he had serious issues with cinema taking on the darker side of the human personality. When Deepa Mehta's Fire released, he candidly admitted that he didn't think much of films that went into themes such as alternate sexuality. "We're making all kinds of films—English, Hinglish, sex, horror... I feel for a film to run, it has to have Indian values. For a film to be a blockbuster, it has to be rooted to our culture. Deewaar, which is considered one of the most successful action films, had only one fight sequence! It was the mother-son emotions that made the film a hit," he had said.
Starting with Dhool ka Phool in 1959, he himself made films that changed the grammar of storytelling and brought in radical themes: unwed motherhood in Dhool Ka Phool, the communal divide in Dharmputra, bigamy in Daag, the Oedipal complex in Lamhe, obsessive love in Darr and the Indo-Pak association in Veer-Zara.
A few years ago, he told me why he decided to opt out of directorial awards. "During one awards function, I was constantly asked how it felt to be nominated with youngsters such as Farhan Akhtar, Ashutosh Gowariker, Farah Khan and Kunal Kohli. They are as old as my children. I thought it was high time I stepped aside," he said. "It doesn't mean I'll give up directing films. I'll continue to direct films until the day I die. I'd like to die with my boots on."
In that, at least, he got his wish.
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