“My first Bollywood film at the cinema was my point of no return: I was eight years old and after my Bollywood cinema experience I had fallen head over heels, unconditionally, completely, entirely in love with Bollywood. As far as I can remember, Hum Aapke Hain Kaun was the first Bollywood film to be screened in our area. The whole idea of watching a Bollywood film at the cinema on a big screen was giving me butterflies. I can still remember the excitement I felt, as my cousin and I were stood queuing outside the local cinema. The entire family was there and the atmosphere was electric. It felt like we were going to a wedding! I remember the lights going low in the cinema hall, aunties whispering loudly to each other eagerly as we waited for the film to start. I held my breath as Salman Khan and Madhuri Dixit appeared on the silver screen. I couldn’t believe my eyes. The stars I had seen on our TV screen were now on a cinema screen right in front of me! I watched with wide eyes, my hands gripping a cold drink can tightly. The songs would take my breath away as they blasted through the cinema surround sound. It felt like I was actually in the film as I stared at the cinema screen, absolutely star struck. But what really moved me was to see my cousin begin to cry when the sister-in-law passes away. I didn’t quite know how to react because my cousin was ‘too cool for school’. However, what I did understand at that point was how powerful films can be and that a good film is one that forces you to feel.”- Aashi says as she reminisced the days she clutched her grandfather’s hand and scanned the local Asian store’s DVD library each week in her childhood.

Rumnique confesses to an obsession as she elaborates her early impact: “Perhaps I wanted to be that ‘Ek Ladki Ko Dekha’, that Anil had seen in my ripe old age of 3-years-old. Vidhu Vinod Chopra’s underrated gem 1942: A Love Story was the most formative film in my life since it spawned so much of my overactive love for Indian cinema. It has an innate vintage touch with its gorgeous and evocative music that was Pancham Da’s final soundtrack to the little period details in Anil Kapoor’s outfits. However, its that famous song where I learnt the words by heart and often stopped watching the rest. I responded to it on a visceral level, it had singing and Anil and Manisha’s love in that film was so overt and swooningly rendered. Even as I grew up, I never tire of it because the emotions it conjures up in that famous song and Anil’s winning smile are enough to make me fall in love all over again. Usually for special films, it’s recalled in chunks, that scene where this happened or that song where the lead couple snogged! The cassette was played in our crackly kitchen radio and the songs certainly helped in my indoctrination. It’s the same when I see it now, there’s the charged romance with the backdrop of colonialism and the Quit India movement. Yet, I revisit it time and again because it has so many of my projections on it, it’s my childhood staple and the one film that led me down the fortunate rabbit hole of Bollywood!”

Yet, it wasn’t jut the girls that went gaga. Anjum had his copycat moments as well. -”The year was 1981 and the film was Naseeb. It was directed by Manmohan Desai and was one of the early Bollywood films shown on national UK television, raising the numbers of people who had a chance to watch the film abroad. The greatest memory for me was Amitabh’s entry song ‘John Jani Janardhan’, sung by the legendary Mohammed Rafi. It remains the definitive multi-starrer song video, which featured all the leading stars of the day, from Raj Kapoor down to Rajesh Khanna, with reigning superstar Amitabh dancing amongst them all. The concept was later recreated by Farah Khan for her Om Shanti Om. In the song Amitabh, a waiter in the film, enacts a scene where he flips his tray of drinks from one hand to other, behind his back, onto his foot and up in the air! Rest assured, this stunt was recreated many times over, by a young child dressed up in his waiter’s suit with a tray in his hand!”

In Anjum’s defense, I don’t think there are many that haven’t played dress up or memorized every fact about the favorite. Take a peak at Samreen and Bodrul’s memory lane magic, as they step up the fanism. -”Bollywood is renowned for its exquisite take on love stories. Yet the film which captivated me most and ultimately solidified my passion for Hindi Cinema was an unconventional love story about a mentally-deranged man who was obsessed with a woman already in a committed relationship with someone else. Yes, it was Yash Chropra’s blockbuster thriller Darr (1993) which turned me into a Bollywood maniac for life. While watching this film, the person who amazed me the most was Shah Rukh Khan and his skillful portrayal as Rahul, who was stalking and tormenting Kiran (Juhi Chawla), the woman he worshipped the most and whom he was determined to attain as his lover. I loved the way in which Shah Rukh managed to provide conviction to his character and it was due to this that made Darr an edgy and adrenaline-pumping film for me. While my sisters were obsessed with the young Salman Khan; it was I who was one of the first in my family to show appreciation for Shah Rukh and the variety he had to offer as an actor.

Darr simultaneously turned me in to a Bollywood fan and a Shah Rukh Khan fan. After only playing three villainous characters, the other two being Baazigar (1993) and Anjaam (1994) (all of which were brilliantly played by Shah Rukh), this talented actor went onto play largely romantic characters. Though I still remember my childhood crushes on Sridevi and Madhuri Dixit, it was these romantic characters that were played by Shah Rukh Khan which reinforced my respect and admiration for him and he ultimately became a huge Asian role model for me. Moreover, given that the films he starred in were done in typical Bollywood fashion, they also contributed towards me becoming a devoted lover of Bollywood and I felt (and still feel) proud to be a patron of this fascinating film industry. Though I also hold affection for the yesteryear actors like Dilip Kumar, Raj Kapoor, Dev Anand and Amitabh Bachchan, I still consider Shah Rukh Khan to be the man responsible for my attraction to Bollywood.”

For Bodrul it was Shah Rukh Khan, Samreen aka Sammy had Karishma Kapoor. “A complete Karisma Kapoor fan at the age of 4, I made sure I’m taken to the nearest theatre as soon as possible to watch Raja Hindustani, which was my first film in a cinema hall. I was too young to really understand the story, but I could still distinguish between the ‘happy’ and ‘sad’ parts and of course, the lovely songs! My favourite scene of the film is when Raja and Aarti (Aamir and Karisma) realize their love for each other at the end of the song Pardesi Pardesi. My favourite song of the film is Pucho Zara Pucho as it was one number that I would dance to whenever I heard it. Karisma’s untouched beauty and expressive eyes were unmatchable, while I fell in love with Aamir’s innocent layman character. This is one film that I remember very well not only because it was my first, but because a lot of aspects of this film (including Karisma’s red dress from the market of Palankhet) are still a part of my Hindi Cinema ”

But love isn’t love without learning from it. and Neelofar has proof. “From a young age, I had always been fascinated by the colourful, fun, filmy duniya that is Bollywood. And who wouldn’t be, right? From dancing to ‘Rangeela Re’ and ‘Gore Gore Mukhde Pe’, I was a young girl who couldn’t get enough of this wonderful, cheesy, Technicolor world (and still can’t!) So when I first saw Anjali (Kajol) in Kuch Kuch Hota Hai, at 5 years old, I was mesmerised – I’d never before seen the heroine of the film be as sporty and tomboyish as she was (up until then, all I’d seen heroine’s doing were dancing on hilltops with their dupattas!) The fact that there was not just 1 but 2 Anjali’s in the film only added to my curiosity – what is this film actually about? And why did the mother of the little Anjali help her to make Rahul and Anjali fall in love? Growing up and watching the film again, I realised that there was indeed more to this film than just 2 Anjali’s and a Rahul – it was about friendship, family,  the loss of a mother, a single parent family and of course; love and the sorrows and joys it bring. But the thing I loved most about Kuch Kuch Hota Hai was that both mother and daughter – Tina and Anjali came together for Anjali and Rahul to be together.  This film, to me symbolises the way that even  through hardships, that love will always conquer – call me filmy – but that’s what I am!”

“My first Bollywood memory was more so a song rather than an actual film. I must have been about 5 years old when I saw Madhuri Dixit dance to the song ‘Ek Do Teen’ in the film Tezzab. The catchy lyrics and of course Madhuri’s colourful outfit caught my eye and made me take notice. From that day on my love affair with Bollywood movies began. Thinking about it nothing beats the late 80′s when it comes to Bollywood movies, they just don’t make them like they used to.” – A twinge of nostalgia as Meera unravels her turning point.

However, there are those who have their entire life changed, as Stacey recaps her journey. “Looking for Bollywood movies on Netflix, I came across Dilwale Dulhania Le Jayenge and decided to watch it, because it said it was the longest running film in Hindi cinema. I did not know Shah Rukh Khan, I did not know Kajol or even Yash Raj films but I thought lets try it; maybe I will like it. Understatement of the century!

I remember at some point in the first half of the film, I called my husband and said I have found the perfect movie. Then the scene in the station, when SRK gives her that look before he leaves and it is all said with his eyes… I was done! This movie is magic and will always be one of my favorite movies of all time. Not only for the film itself but because it literally changed my life. Without seeing DDLJ, I would have fallen into the world of Bollywood, experienced all the amazing films, music and more and would not be writing this right now. The music, the dance, the romance, DDLJ has everything! The say Come Fall In Love on the DVD of DDLJ and I do every time!”

On personal note, the impact went beyond a career change, and a new love. For me, Hindi cinema became the starting point for a new language to learn, a new passion, a means to express a skill, a path to find new friends and  a benchmark for my personal standards. How does one movie do this? Well, it was over time but the one that started it was Chaahat. Love, romance, action, revenge, comedy… Nothing is left out from it, well according to me. I had seen Pooja Bhatt first in her debut Tamil film Kalloori Vaasal and Ramya Krishnan from several Tamil films so Shah Rukh Khan didn’t mean much yet but boy, did that turn around quick. Not to mention changing Daddy Cool to Mummy Cool being the mummy’s girl I was (still am I think). I didn’t understand much more than what mum translated but goddamnit, I was determined to watch it till the cows come home. The VHS copy I had travelled with me wherever possible and by the time I was finished with, I don’t there was much of it left. Singing, dancing, romancing a teddy, bucket loads of crying. It all happened in the confines of my bedroom. Till my mum forced me to move on.

In the end, its 100 years of Indian Cinema and this is but a drop of water in the ocean to one segment. There are so many other successful films in other Indian languages. But these are our first moments with Hindi cinema. Not a recommendation or even a review. This is pure unadulterated  fanism for Hindi films. So while you warm up Bombay Talkies or any other Hindi film, we too will be there. Waiting for the charm to take over. From us to you, Bollywood. Happy Birthday.

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The story was simple, yet fresh – three friends (Akash, Sameer and Sid), each one very different in their personality and showed the transition of their lives post-university and the differing impact that has on their relationships and friendship. Dil Chahta Hai was the coming of age story which was missing in Bollywood. It introduced us to the quintessential ‘road trip’ and now the Mumbai to Goa road trip the trio undertake has become an essential part of tourist trail. It introduced us to Sydney in Australia like never before. It was also one of the decisive soundtracks which catapulted musicians Shankar Ehsaan Loy into the limelight, who were aided by imaginative song picturizations. Who can forget the Bollywood parody in ‘Woh Ladki Hai Kahaan’?

From a filmmaking perspective Dil Chahta Hai was a great leap forward. In an industry where bound scripts and screenplays are hard to come by, Farhan Akhtar emerged from a yearlong self-imposed exile in his bedroom, with a fully bound script, packed with memorable scenes and dialogues. Who can forget the “Be a man” dialogue, where Aamir taunts Saif into standing up to his pushy girlfriend? Or the end scene where Akash (Aamir) and Siddharth (Akshaye Khanna) patch up, with Akash delivering the line “It’s hard to improve perfection!” Many of those scenes and dialogues have become folklore!

Dil Chahta Hai was fully sound-synched, where live sound recording was used whilst the actors were delivering their lines, rather than being typically dubbed over again in the studio, as with most Hindi films. Farhan paid particular attention to styling his actors, a feature which has become the mainstay of Aamir’s roles ever since. It was such a strong feature of the film and its characters, that it was even referred to as a source of inspiration in Karan Johar’s Kal Ho Naa Ho (2003), starring Shah Rukh Khan.

From a filmmaking perspective Farhan’s fresh approach set a standard for many young filmmakers to follow. More time was spent in writing and pre-production, fifteen months, over shooting the film itself, a mere four months. That too in an industry where films are launched and churned out with alarming regularity. The film was also based partly on Farhan’s personal diaries and stories of friends and couples he knew, which helped add to realism of the characters and situations.

Such an iconic film and to think Abhishek Bachchan turned down the part of Sid, which Akshaye later played. With all the current talk of Sridevi’s successful comeback in English Vinglish (2012), you could say the same for Dimple Kapadia in Dil Chahta Hai, whom Farhan managed to convince to come out of retirement and join the cast. The tagline of Dil Chahta Hai was “welcome to a summer of their lives you will never forget”. That’s one tagline which still rings true today…

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Initially having received a lukewarm response from the critics, Mughal-E-Azam rapidly became one of the biggest hits in Indian box office history and has acquired a huge following amongst the masses. It is a beautifully woven film which depicts a type of love story which we rarely encounter. The various inimitable qualities of Mughal-E-Azam are perhaps why it is so widely revered amongst film enthusiasts, as well as by people within the Indian film industry. It contains a finely written screenplay, riveting Urdu dialogues, lavish sets and costumes, as well as some wonderfully composed music. It also contains one of Hindi Cinema’s first ever erotic scenes, where Saleem strokes Anarkali’s face with a feather and she quivers in an erotic manner. Whether you are a man or a woman, the tragic love story between Saleem and Anarkali is one which will have a touching effect on you. You will deeply appreciate the historical context in which the film is set, as it has brilliantly showcased elements of Mughal history on screen. This is despite the fact that there are still debates amongst historians regarding the ultimate fate of Anarkali. You will see the version which most historians agree with towards the end of the film. The film has a gripping climax which will be etched onto your mind and permit you to show sympathy for the two protagonists.

According to film scholar Nasreen Munni Kabir, K. Asif began working on Mughal-E-Azam in 1944 which was to have a different star cast attached to it. Originally, Chandramohan was to play Emperor Akbar, Nargis as Anarkali and Sapru as Saleem. However, the communal violence which transpired in India during 1946 (a year before the country’s partition) resulted in K. Asif putting a halt to filming. The first producer of the film, Shiraz Ali Hakim, also left India for Pakistan which meant that K. Asif was unable to find a producer who could finance this big-budget film. However in 1951 Shapoorji Pallonju, the owner of Sterling Investment Corporation Pvt. Ltd, teamed up with K.Asif to provide the financial support he needed to give Mughal-E-Azam the precise depth, shape and appearance it needed. It also saw the original cast members being replaced with new ones. Hence, Dilip Kumar, Prithviraj Kapoor and Madhubala were taken on to play the three iconic characters. Durga Khote played the lovable Queen Jodhaa, a role which she was initially assigned to way back in 1944.

To give Mughal-E-Azam the opulent style it needed for it to look authentic, the costumes were hand-stitched by tailors from Delhi; the detailed jewellery was made by goldsmiths from Hyderabad and the heavy armoury used during the battle scenes in the film were made by Rajasthani ironsmiths. In addition, the Indian army contributed towards the look of the battle scenes by providing two thousand camels, four thousand horses, hundreds of elephants and eight thousand soldiers. One hundred and fifty carpenters, decorators and painters were taken on to recreate the Mughal courts. This includes the famous Sheesh Mahal (Glass Palace) that was used for the iconic song ‘Pyar Kiya to Darna Kya;’ which is picturized on Madhubala.

The soundtrack for Mughal-E-Azam was composed by the music maestro Naushad Ali, with lyrics by Shakeel Badayuni. It contains some truly inspiring classical Indian music which will win your heart in an instance. They include songs such as ‘Mohe Panghat Pe,’ ‘Pyar Kiya To Darna Kya,’ ‘Humen Kash Tumse Mohabbat Na Hote,’ ‘Teri Mehfil Mein Kismat,’ as well as ‘Ae Mohabbat Zindabad’ and ‘Yeh Dil Ki Lagi.’ Lata Mangeshkar, who is regarded as one of India’s greatest ever playback singer, dominates most of this album with her melodious voice. Her vocals add exquisiteness to Mughal-E-Azam and hence; this is arguably one of the best film soundtracks Lataji has ever sung for.

Madhubala is known for having been diagnosed with a heart ailment, but did not disclose this to the makers of Mughal-E-Azam. Yet she took on incredibly difficult tasks for the film; which included posing as a statue, wearing heavy costumes and carrying heavy chains in order to authenticate her character. For anyone who is uncertain about Madhubala’s abilities as an actress, then you must watch Mughal-E-Azam as this is the film which is one of the most pinnacle moments of her career. She delivers a very poignant and stirring performance which should have won her the awards she thoroughly deserved. In addition, both Dilip Kumar and Prithviraj Kapoor provide very powerful performances, which gives Mughal-E-Azam that realistic touch. Dilip Kumar is magnificent as the young Saleem and provides you with conviction throughout the film that he is genuinely in love with Anarkali. Prithviraj Kapoor’s portrayal as Emperor Akbar makes you disapprove of his mission to tear Saleem and Anarkali apart from each other. However, this legend manages to successfully demonstrate what it takes to be a great actor, as he exudes a range of sentiments which you will appreciate. Thus, Mughal-E-Azam is not just a film that is filled with opulent costumes and sets, but also some truly spellbinding performances from all three of the leading actors.

Mughal-E-Azam managed to secure awards at the Filmfare ceremony, which included Best Film, Best Cinematography and Best Dialogue. Madhubala unfortunately did not receive her just deserves at the Filmfare Awards and lost the Best Actress Award to Bina Rai for the film Ghunghat (1960).

Mughal-E-Azam was originally released in black and white, with only some colour portions included in the reels. However in 2004, Sterling Investment Corporation Ltd decided to re-release the film in colour and hired special technicians in order to fill this historical epic with the colour that it truly deserved. The colourised version of Mughal-E-Azam was released on November 2004 and became a hit at the box office all over again. Although it was filmed in black and white, this colour version is breath-taking to watch and is also very popular with the young generation. The soundtrack was re-mastered for this occasion by Naushad Ali, who appropriately kept the original voice recordings intact and only re-recorded the compositions. There are only a handful of black and white Hindi films which have been transformed into colour. Though there are debates amongst film enthusiasts and historians as to whether or not certain classics should be colourised, Mughal-E-Azam is a film which required colour. By doing so, this has certainly enhanced the overall look of the film and beautified it even more.

Mughal-E-Azam is a film which should be treasured for hundreds of years to come. Considered at the time to be one of the most expensive films ever made in Indian Cinema, it typifies extravagance to the core. Yet if you unveil the layers which are embedded in this film, you will find that it is more about love. It is about the fact that no one has the right to destroy love between two people, regardless of how powerful they may be. It is the humankind of two people which unties them together and not their social background. Thus, it would be unfortunate if a film like Mughal-E-Azam is ignored by future generations. By doing so, they would be missing out on seeing one of the most fascinating love stories ever told.

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Many of the current mothers on screen were yesteryear leading ladies but their charm and grace is felt even now. We loved them then and we love them even more now. So for Mother’s Day, we celebrate this wonderful person and compiled a random list of Bollyspice’s favourite filmi Ma’s.

First up, we have the lovely Zohra Sehgal. At the full of life age of 101, Zohra gave Big B himself a run for his money in Cheeni Kum as the wrestling-loving street smart mum who nags her son to go to the gym. Whether it’s Buddhadev’s bossy momma or the cheeky Bebe that makes you cry a little as well from Veer-Zaara, she plays mother dearest in a full feisty form.

But she isn’t the only one. Throw anything at Kirron Kher and she will lap it up, douse it with her theatre artist charm and make kheema out of the critics. In 2002, she dazzled as Sumitra in Devdas, switching from excitement to betrayal so elegantly, her on-screen daughter Aishwarya Rai would have gotten a complex. But like a flip of a coin, her Bela Makhija in Om Shanti Om and Seema Acharya in Dostana give you the giggles as this spunky mama, quirks and all, tries to get her head around your ideas but loves you no matter what till then.

Moving onto the subdued filmi Ma and Deepti Naval’s portrayal of Kavitha Bahadur in Guddu sheds light to the devotion side. It would be too easy to show her up against society and her family. Guddu throws in all the stops, with faith in god vs. atheism, father vs. son and life vs. death to show it in full glory. In the end, she loses her life but hey, that’s multitasking on film for you and there were bound to be a few bruises.

Another woman that breathes life into the loving Mrs Sharma in Kuch Kuch Hota Hai, with grace that brings a tear to our eyes and  is nothing short of stellar in performance as the torn Mamta in Hum Saath Saath Hai, juggling fear of reality and her own children’s future is Reema Lagoo. Between these two films (even though she plays his mother in law to be), it’s hard to deny Reema has this special connection with Salman Khan that is awesome to see on screen. No matter the length of her role, Reema delivers. Period.

Wherever you stand with Farida Jalal, there is no denying her as one of the free spirited filmi Ma’s out there. Yes, Lajwanti Singh aka Lajjo initially tries to tame her fantasy fluttering daughter Simran in DDLJ but she stepped out of her boundaries for her love and happiness. Mrs Chaudhary and Mrs Khanna (incidentally both SRK flicks, Duplicate and Kuch Kuch Hota Hai) may be ridiculed as they look at life within their principles but doesn’t let that stop them or their children from achieving happiness. Proceed to take a turn left on memory lane to the 60’s, when films like Mughal-e-Azam, Love in Simla and Dil Apna Aur Preet Parayi creating history in their own way. Here, you will find Durga Khote dancing from the kind hearted but distraught Maharani Jodhabai in Mughal-e-Azam to the trouble making mother in law in The Householder. She is likable even if you hate her actions and shows how the intention may never make up for the act. An actress who played a huge part in Filmi Ma history and one that is sorely missed.

Flash forward in time again and to the introduction of the very famous “Angry Young Man” and we bring out the strong will that is the driving source. The virtuous Sumitra Devi played by Nirupa Roy in Deewar, a hard-working single mother defined sacrifice, pride and all that was motherly. Even as she walks away from a strayed son, with the words “You have yet to earn enough to buy your mother, Vijay”, you knew she would survive. But hell hath no fury like a woman, scorned, especially when she is Durga Singh and Kali Mata behind her. There was no timid, frail woman who lost her sons in Karan Arjun. It’s about evil getting its just desserts, even if Durga has to pray for her son’s to be reborn. The one –up man ship between the brothers is towered over by the faith of Durga and Rakhee plays it like she means it. Jai Ma Kali!

Okay, so when our filmi Ma is not dealing with crazy situations that life throws at her, she strives to keep her family together and make ends meet. Jaya Bachchan may be royalty off-screen but on-screen and as Jenny Kapoor, sometimes emotional baggage isn’t a choice. All emotions are diverted into making it work and we simply see her as the bread winner. Rekha takes it a step further with her character Saritaji who takes on the responsibility of raising the illegitimate child that constantly reminds her of her on screen husband’s affair and hold the fort at work too, in Dil Hai Tumhaara. Both women are prime examples of doing the right thing comes before preference. Jaya’s Nandini Yashvardhan in Kabhi Khushi Khabie Gham and Rekha’s Sonia Mehra in Koi…Mil Gaya, take on the challenge from life to sustain the roots for the family.  Even if that family includes an alien, named Jaado.

If an alien can be accepted then taking on a peculiar profession with a culture-shock inducing girlfriend should be a piece of cake! Not exactly. Dolly Ahluwalia brought life to Mrs Arora, a hard working middle class woman but shifting gear from Nirupa and Jaya on righteousness, this filmi Ma runs a beauty parlour and loves her drink in Vicky Donor. She earned it, I say. Probably didn’t expect her son to drop a few bombshells as well though.  But no worry. She comes to terms with life, passes her judgement and that’s final. Time for beta to toughen up and who better to show him the ropes than Ma. Regardless if we feel these lovely beings can go overboard to the point being control freaks. Err… in a good way.

Kajol may have been the saving grace of We Are Family but Maya sets the rules, shows how it’s done and there’s no two ways about it. K3G had Anjali add in nagging as well out of fear if she doesn’t, her son would lose the connection she has to her roots. For Zooni, the same concept is delivered in a more learn from my mistake in Fanaa. But whichever role is followed, the rules of life are planted firmly, with love.

So there you have it. There are many more and possibly more to come. However, we love our mothers, whether we can enjoy their presence or live in fond memory. Or resort to the never-ending list of Filmi Ma’s. She is the source of fun, love, compassion and dedication like no other. And deserves so much more. Happy Mother’s Day to all from Bollyspice.

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Released on October 20, 1995, the Yash Chopra produced film was Aditya Chopra’s debut film as a director. DDLJ, as it is affectionately called, stars one of Bollywood’s all time favorite jodis, Shah Rukh Khan and Kajol. The film also boasts the incredible cast of Anupam Kher, Amrish Puri, Farida Jalal, and many more.

The story invites you to fall in love; it is an epic romance between Simran and Raj… just reading their names you see your favorite scenes don’t you?

As in many Bollywood movies, they first pass by each other on the street, but it is not their fate yet to meet. The next meeting is one of the most iconic scenes in Bollywood: Simran running and Raj holding his hand out to help her on the train.

Here is something interesting; when we talked to Shah Rukh Khan and asked him what goes into choosing his projects, one of his examples was DDLJ: “I feel a script. If somebody is telling me a story, there is maybe an instance of the film I like, which I come to realize later may have been the least important in the film or the most important in the film. I remember I was doing Dilwale Dulhania Le Jayenge, which has been running for a long time now, and I just liked the one moment when he puts his hand out and takes the girl onto the train and that’s it. The rest of the film was far more wonderful than even just that moment!”

Their prem kahaani begins with the hero and heroine hating each other. Simran is a sweet proper Indian girl while Raj is a spoiled playboy who has yet to grow up. Simran and Raj, along with their friends, are on an Eurail trip around Europe and through many fights, a missed train for a knife and a cowbell, a night in a barn, a song on a mountain and so much more the two slowly become friends and he falls in love. Of course, it is not until the end of the trip and they are parting at the train station that she realizes she loves him. You are thinking of that look in his eyes, aren’t you, as he leaves? I know I am.

You would think, oh happy ending now, right? Oh no, there is more, because Simran has promised to marry a man her father has chosen. On hearing Simran tell her mother she loves Raj, her father whisks her away to Punjab for the arranged marriage.

In search of Simran, Raj comes to Punjab. Another iconic scene in the sarson ke khet (mustard field), many more great songs, fights, tears, even more romance… and well, you will have to see, if you haven’t already, whether Raj finally manages to take his ‘dulhan’ (bride) away…

The film was a huge success when it first opened, not only in India, but also all over the world. In fact, DDLJ could be considered one of the first films, in that now barometer of success, the 100 crore club. As we mentioned earlier, DDLJ is the longest running Hindi film and is still playing over 17 years later, running one show a day at the Maratha Mandir theater in Mumbai. Yes, the romance of DDLJ has played out for over 900 weeks and shows no signs of stopping. I know people that have seen it over 50 times or more in the theater and still whistle, sing-a-long, dance in the aisles and cheer in the end. Of course, since its release it has gone to DVD and even is now available digitally online, so the number of times DDLJ has been seen cannot be counted. I am sure many people whistle, sing-a-long, dance and cheer in the end even when they see it at home [not that I do that ].

This actually was the first Bollywood movie I saw and, before it was even over, I wanted to see it again and have, at least 10… okay, well 15 times. In fact, whenever I think of Bollywood, the first film that always comes to mind is DDLJ and the song ‘Tujhe Dekha’ begins in my head.

Not only considered one of the best by BollySpice, DDLJ has also been listed as one of 1001 Movies You Must See Before You Die and was recently voted as the Favorite Bollywood film of the Century of Hindi films.

So what makes this film so amazing, so loved and one that if you are a Bollywood fan you have, have, have to see? It is the perfect combination of everything that makes a Bollywood movie good: laughter, drama, tears, romance, themes of family, of honor, of relationships and of course true love, gorgeous scenery, great choreography, amazing music by Jatin-Lalit, a perfect cast, a brilliant story, and a lead pair that you truly believe in, and you fall in love right along with them. DDLJ has a story that takes you on a emotional, romantic journey with many, many surprises and of course, makes you wait until the final seconds to see if there would be an HEA (happily ever after) for Simran and Raj. Loved the world over, this film appeals not only to people in India and NRIs, but to the many non-Indian Bollywood fans. It is a film that makes many movie buffs, who are newly exposed to the world of Hindi films, become fans and want to continue on their journey down the Bollywood path. It is that good.

It is a timeless film and one that we highly, highly, highly recommend you see or go watch once more and fall in love all over again.

http://www.youtube.com/watch?v=3cn3DDa-nLo

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Mr and Mrs 55 is a highly enjoyable film with lots of exciting moments to look forward to. One of the most admirable qualities about Mr and Mrs 55 is its simplicity in terms of screenplay, as well as its interpretation of romance. This film is no Pyaasa (1957), which contains a more acute narrative that only perhaps the classes will be able to follow, in contrast to the masses. Mr and Mrs 55 is a film for everyone regardless of your social background. Despite being filmed in black and white, it takes you into a colourful fantasy of love between two people. Although some concepts are little outdated, this is truly one of those few gems that you will relish. There are also some memorable dialogues in this film. This includes the moment where Sita Devi asks Preetam “tum communist ho” (are you a communist) with Preetam replying “ji nahin cartoonist” (no, I am a cartoonist).

The screenplay to Mr and Mrs 55 was written by Abrar Alvi, who went onto become a core member of Guru Dutt’s production house. Alvi had written this story whilst he was at university under the title ‘Modern Marriage.’ Guru Dutt loved it so much that he decided to make a film out of it, but added a whole new twist to it. Initially, Sunil Dutt was roped into play the role of Preetam opposite Madhubala, who was the first choice to play the adorable Anita. However, just before shooting had begun; Guru Dutt decided to play the male lead himself in addition to directing it. The film also stars Johnny Walker, who is not only of the greatest comedians to have emerged from Indian Cinema, but was also one of Guru Dutt’s closest friends.

The music to Mr and Mrs 55 was composed by O.P. Nayyar, with lyrics by Majrooh Sultanpuri. There are some classic tunes in this soundtrack, which includes ‘Thandi Hawa Kaali Ghata,’ ‘Ae Ji Dil Par Hua Aisa Jadoo,’ ‘Udhar Tum Haseen Ho,’ as well as ‘Preetam Aan Milo.’ The music has a strong 50s feel to it and contains some very well- written lyrics. One of the great qualities about the songs that were made during the fifties is that the lyrics are meaningful and more connected to the storyline. These are traits which you rarely find in today’s Hindi film songs; despite the fact that there have been some great hits that have released over the past few years. The soundtrack to Mr and Mrs 55 is delicious, catchy and will certainly appeal to all, whether you form the old or young generation of filmi music lovers.

Mr and Mrs 55 was a sensational hit at the box office and went onto become one of the highest-grossing films of 1955. It also received rave reviews from the critics which includes the following from a top critic at Filmfare on May 1955. “A thoroughly delightful honey and cream social comedy, ‘Mr and Mrs 55’ is a model of film craft and has gripping interest for every class of cinegoer.” The success of this film helped to financially consolidate Guru Dutt’s production house. This now meant that he could make films with stories that were of a sombre nature and which he was more passionate about. Hence he went onto make Pyaasa (1957), which many film critics consider to be his magnum opus during his short career.

Mrs and Mrs 55 is a most certainly film that should be treasured for another one hundred years. Although it is to some extent a predictable film, you cannot help but fall in love with it. Both Guru Dutt and Madhubala give sensational performances and share great on-screen chemistry also. Lalita Pawar delivers perhaps one of the finest performances in a supporting role which Indian Cinema has offered over the past one hundred years. She projects hostility and individualism as Sita Devi and manages to do this with immense skill, which she deserves the highest credit for. A romantic comedy with is centred on how love blossoms between two people in unusual circumstances; you must watch Mr and Mrs 55 and experience the magic which this great classic has to offer!

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Synposis: We begin in 2011 in Lahore. At an outdoor café a Pakistani man named Changez (Riz Ahmed) tells Bobby (Liev Schreiber), an American journalist, about his experiences in the United States. Roll back ten years, and we find a younger Changez fresh from Princeton, seeking fortune and glory on Wall Street. The American Dream seems well within his grasp, complete with a smart and gorgeous artist girlfriend, Erica (Kate Hudson). But when the Twin Towers are attacked, a cultural divide slowly begins to crack open between Changez and Erica. Changez’s dream soon begins to slip into nightmare: profiled, wrongfully arrested, strip-searched and interrogated, he is transformed from a well-educated, upwardly mobile businessman to a scapegoat and perceived enemy. With time, he begins to hear the call of his own homeland. Taking us through the culturally rich and beguiling worlds of New York, Lahore and Istanbul, The Reluctant Fundamentalist is a story about conflicting ideologies where perception and suspicion have the power to determine life or death.

The director sat down to give this very cool behind-the-scenes look at her latest film!

Riz Ahmed is winning raves for his performance as Changez. How did you cast this British actor/rapper into the role of a Pakistani in America?
 The most important thing always, for me, was casting Changez. It was a very tough role to be able to inhabit with finesse, familiarity and elegance. I find the combination of machismo and beauty in Pakistani men quite alluring. So I was counting on a charismatic Pakistani actor, or certainly a sub-continental one, someone who could move fluidly between the languages and disparate worlds with truthful ease, and have the skill to carry the movie on his shoulders. I wanted someone to swoon over. We were told of Riz and called him, he was in the recording studio but dropped everything and came over. I gave him the scene with his father at the wedding and I said, just read it. It was a cold reading but because of the time he just had to do it. And he did. It was so moving because he understood what Changez had done to his father. He understood shame and he understood honor. Those things are hard to explain. And the role was his immediately.

Can you tell us about your lead actress Kate Hudson and her character Erica?
We really fell in love with each other. We hung out for hours, which is something I never do. And then we went through many others and Kate kept sending me love notes. Then we got delayed and her baby came and she was available. It was meant to be. By then I had cast Riz. I couldn’t film a female character I didn’t want to be with. For the film, we reconceived her as a struggling artist, made more complicated by the privilege she has been born into, and wounded by a secret in her past. She is so immersed in herself, yet porous about the world around her, so much so that she doesn’t see where art ends and exploitation begins.

 
How did you get Hollywood star Kiefer Sutherland on board and how crucial is his character Jim?
Kiefer was very passionate about our screenplay and immediately committed. Jim is a three-dimensional, complex person, not a cipher for everything wrong with the Western world’s financial system. He represents many positives about Western society, particularly the clear-sighted way in which he sees Changez. Jim is the best of America. He comes from the America where somebody like Changez can come in with the wrong skin color, wrong last name, at the trickiest of times and still be treated brilliantly because of his mind. It was very exciting to have these parallels in our story between the fundamentals of money and terrorism. It is about how belief systems can subordinate ordinary lives. I wanted to think about belief systems and how they impact us.
 
Tell us about the music you used in this film.
Every film gives me a chance to explore a world of music. The poems of the Pakistani poet laureate Faiz Ahmed Faiz, beloved by my father, have become the heart of many songs in the film. His poems are put to music and we composed new versions of his poems. I went back to Pakistan and found Atif Aslam, the Kanye West of Pakistan, who is the nation’s biggest pop star.

Tell us about how The Reluctant Fundamentalist portrays Pakistan, America, and the connection between them.
The joy of this film is that it reveals Pakistan in a way that one never sees it in the newspapers; with its extraordinary refinement, the searing poetry of Faiz Ahmed Faiz, its heartstopping Sufi music and ancient culture that is confident in fashion, painting and performance. This world is fluidly juxtaposed with the energy of New York, the ruthlessness of corporate America and through our hero Changez’s love for the elegant, artistic Erica, a portrait of Manhattan society at the same exalted level once occupied by Changez’s own family back in Lahore. Over the last few years, we have seen many films about the Iraq and Afghanistan wars, but always told from the American point of view. In our story, the encounter between the characters of Changez and Bobby mirrors the mutual suspicion with which America and Pakistan (or the Muslim world) look at one another. We learn that as a result of America’s war on terror, Changez experiences a seismic shift in his own attitude, unearthing allegiances more fundamental than money, power, and maybe even love.

Here are some cool shots from the set of the film

Check out the trailer of the outstanding film!

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It’s no coincidence that this surprisingly moving film is inspired by Frank Pierson’s 1976 drama A Star Is Born. And I deliberately mention the funky psychedelic 1976 version and not the older 1954 version of the same story. In spirit and in the way the two principal actors perform their parts of two soul-mates and singers torn asunder by their allegiance to the same competitive spirit of showmanship, Aashiqui 2 is robustly reminiscent of the Kris Kristofferson-Barbra Streisand film where he discovers a co-singer who steals his heart and also his career.

Hrishikesh Mukherjee made his lyrical melodious Abhimaan on the same theme. It was easy for Hrishida to portray Jaya Bhaduri as a better artiste than Amitabh Bachchan quite simply because she sang in Lata Mangeshkar’s voices. In Aashiqui 2 the two protagonists are pretty much left to their own devices to create that unbearable frisson between two people whose love is trapped in the whirligig of showbiz. For their love to be liberated from the rituals of competitiveness one of the lovers must make a huge sacrifice before the end.

For love to live the lover must die.It’s a curious tradeoff and one carried off in this film with an exuberance of emotions.

The premise for the plot presumes love to be selfless all-giving and unconditional. Just to see Shradha Kapoor’s eyes melt in mutating emotions of unflinching devotion to her alcoholic star-on-the-skids lover is a vision that makes us believe true love still exists. This petite beauty with eyes that never stay silent gives to her part so much heart, you want to just embrace her and protect her from her self-destructive mentor-turned-tormentor.

Aditya Roy Kapoor as a rock star who is rapidly slipping from the charts gives all of himself to the character. And then some more. In Aditya’s persona Rahul becomes a metaphor for all the success in showbiz that goes awry. In pursuit of pleasure derived from the bottle his character becomes a cross between Shah Rukh Khan’s Devdas, Ranbir Kapoor’s Rockstar and Kris Kirstofferson’s John Norman Howard.

Like all the heroes of Mahesh Bhatt’s cinema Aditya has to portray a man who frequently creates a scene and embarrases the person he loves the most. This young actor is not afraid to look compromised on screen. A fearless actor, Aditya falters in the higher notes. But then as I said, the singing here is not quite what we heard Lata Mamgeshkar , Mohd Rafi and Kishore Kumar do in Abhimaan. Having said that it must be admitted that the music by Jeet Ganguly, Mithoon and Ankit Tiwari stands by the characters and never lets them down even when the pitch gets really steep. The finely written poetry also helps to furnish the lovers’ journey with a feverish and fecund pitch.

Aashiqui 2 is a film with its heart in the right place. There are many moments of pure cliché between the lovers. And these moments, so deeply entrenched in the conventions of our cinema, blossom into fresh statements on modern love .It’s a joy to see writer Shagufta Rafiqui and director Mohit Suri ferret out those feel-good places in the script where the protagonists plonk their emotions with a confidence and conviction that reaches out to the audience.

Is that really acting that we see each time Aditya into Shradha’s eyes?

If cinema is all about faking human emotions, then I must admit this film does a very comptent job of making us believe that true love still exists in this world.

Man, woman, music, ambitions, dreams and despair…Director Mohit Suri traverses the angst-soaked territory with a sincere and deep understanding of the dynamics that destroy love and trust between couples in the glamorous and competitive profession. Yes, there are some clumsily-written episodes in the love story, for example the character of intrusive struggler who barges into the plot at the start during the opening music concert and again in the climax almost as if he was waiting impatiently in the margins of the screenplay.

What lifts the film beyond the realm of the routine are the jagged edges that the film constructs around the central relationship without wounding the film’s fragile core. Full credit to the actors who fill up the screen with a measure voluptuousness allowing the emotions to spill over without creating an excessive drama. Aditya Roy Kapoor is impressively implosive while Shradha Kapoor plays off against him with a steelwilled vulnerability that echoes Jaya Bhaduri in Abhimaan. Another fine performance comes from Shaad Randhawa as Aditya’s friend and manager.

Watching this smoothly-oiled drama of disintegrating love I couldn’t help remember Rahul Roy and Anu Aggarwal’s wooden performance in Aashiqui.

Our cinema has a come a long way, and not always in the right direction. Aashiqui 2 makes us grateful for the movement of the love story away from the standard Romeo & Juliet format into the dark destructive domain of A Star Is Born.

Sometimes love is just not enough.

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Vanraj can sense that his wife’s heart is elsewhere and when he asks her for the truth on their wedding night, she gives him the bitter truth. Vanraj decides to reunite the lovers and heads off to Italy with Nandini on a search for Sameer. Once in Italy, the search is not so easy. Nandini and Vanraj hitchhike with a couple who rob them and shoot Nandini. This incident is a turning point in the film, as Nandini begins to realize Vanraj’s love for her through his devoted care. At last, the searching pays off when Vanraj has a coincidental encounter with Sameer. Although he doesn’t recognize Sameer, this brings him a step closer to his search. Eventually Sameer’s whereabouts are traced and Vanraj arranges for Nandini and Sameer to meet. When Nandini meets Sameer, she realizes that Vanraj is the man she is truly in love with and wants to be with. Nandini lets Sameer go and embraces her life with Vanraj.

Hum Dil De Chuke Sanam was revered in particular for its cinematography and soundtrack. It became the 3rd highest grossing Bollywood film of 1999 in India, with a staggering Rs 35.5 crores. The film had won the ‘Best Film’ award at the Zee Cine Awards, 2000 IIFA Awards and 2000 Filmfare Awards. The soundtrack also won numerous awards. It won ‘Best Playback Singer (Male)’ Udit Narayan and ‘Best Playback Singer (Female)’ Kavita Krishnamurthy at the Zee Cine Awards. At the Zee Gold Awards it won ‘Best Male Singer’ Kumar Sanu. At the 2000 National Awards the ‘Best Music Direction’ went to Ismail Darbar. At the 2000 Filmfare Awards it acclaimed ‘Best Male Playback’ for “Chand Chupa Badal Mein” (Udit Narayan) as well as the ‘Best Background Score’ going to Anjan Biswas. The icing on the cake I feel, has to be the RD Burman Award that went to Ismail Darbar.

The soundtrack had taken two years to produce and consists of eleven songs: ‘Aankhon Ki Gustakhiyan’, ‘Albela Sajan’, ‘Chand Chupa Badal Mein’, ‘Dholi Taaron Dhol Baaje’, ‘Hum Dil De Chuke Sanam’, ‘Jhonka Hawa Ka’, ‘Kaipoche’, ‘Love Theme’, ‘Man Mohini’, ‘Nimbooda’, ‘Tadap Tadap’. Planet Bollywood’s music review had given the album 10 stars out of 10 as so it rightly deserves. Each individual song has a certain emotion and signifies a key moment in the film. Listening to the soundtrack alone has you mesmerised and tells the story of falling in love, being separated and celebrating love.’ Aankhon Ki Gustakhiyan’ symbolises Sameer and Nandini falling in love and becoming closer. ‘Tadap Tadap’ is an unforgettable song that haunts you and carries the pain of heart break. ‘Kaipoche’ is the kite flying song and ‘Dholi Taaron Dhol Baaje’ is based on the Gujurati garba style. As mentioned before, the soundtrack had taken the award ceremonies by storm. In the words of Planet Bollywood’s Vikas Bhatnagar, the soundtrack of Hum Dil De Chuke Sanam ‘has already cemented its place in the history books of greatest ever Hindi soundtracks…’

Interestingly, Italy had been replaced with Budapest for the shoot, as Sanjay Leela Bhansali felt that Italy would resonate more with the masses. All the scenes represented as Italy are actually Budapest, Hungary. According to IMDB, this was the film that had started the most publicized real life romance in the history of Indian cinema, between Salman Khan and Aishwariya Rai. Also, Sameer pointing to the sky and talking to his deceased father was influenced by Bhansali’s childhood, where he used to do the same. Aishwariya’s electrifying performance wouldn’t have you believe this, but she had to dance to Nimbooda with swollen feet after she had an accident involving a chandelier on set.

Hum Dil De Chuke Sanam is a film that can be deemed as a classic. The exhilarating performances of Salman Khan, Ajay Devgan and Aishwariya Rai bring out the emotion that envelopes the film. It is impossible for the audience no to feel a rapport with the characters. It is difficult to choose or side with a certain character in this film and that’s what makes it special. The human experience Hum Dil De Chuke Sanam offers makes one connect with each character. There are no favourite characters in my opinion, but an overriding anticipation that drives the narrative forward with the speed of a heart beat. What is important about Hum Dil De Chuke Sanam is the different shades of love it represents and the option it gives for love to flourish and to change. Hum Dil De Chuke Sanam breaks the cliché of falling in love just once. Nandini’s final decision to spend her life with Vanraj and not Sameer indicates that love is not simple nor is it predictable. The film represents following your heart and allowing yourself to make choices – even if they surprise you. Hum Dil De Chuke Sanam is iconic in the history of Indian cinema not only for its soundtrack, the story, cinematography, performances, but the reality of love it portrays.

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Shreya was accompanied by her father, a scientist and engineer, who was instrumental in nurturing her talent. She was hosted by Labour MP Virendra Sharma of Ealing Southall, who is of Indian origin. Labour MP for Brent North Barry Gardiner, who has met Shreya and her father before. Labour MP Jon Ashworth of Leicester South, which is home to one of Britain’s largest asian communities and where Shreya will also be performing.

Shreya expressed that “This is such an honour to be here. You are helping to motivate me. I will do better music and something more meaningful in life, as a payback to the love you have given me.” She also shared how despite coming to London a few times as a tourist, this visit to the House of Commons was like a fairytale come true, which made her feel like a princess.

Shreya also shared her experiences of being the only child who took to music, growing up in a neighbourhood of children who were predominantly groomed to become scientists and engineers. “Where I grew up, all my friends were either doctors or engineers. There was no alternate second option. The moment they came to hear that I was learning music, they all came and asked if I was sure I wanted to do that!” She hoped to inspire other children, parents and singers through her example.

Shreya also talked about acting offers, though she confirmed that music was her forte. “I have been asked to act, but I think I would be a terrible actor! Music is similar to acting, it is theatre and art. My voice is the medium that I have taken up, so I do not think I have the inclination to act.”

We managed to ask Shreya a couple of quick questions before she was whisked away for her exclusive tour of the House of Commons. We asked her how it felt like to be in England to celebrate 100 years of Indian cinema, to which she responded: “I always used to listen to the great singers and I am part of that world now, so it makes me feel very blessed that I am part of that league, which featured legends like Lata-ji and Kishore-ji.”

We also asked her what we could expect from the shows and she shared: “I’ll be singing all my songs through to the latest ones and a couple of tributes as well.” With regards to London she said “This is my second performance in the Royal Albert Hall. It is a very prestigious venue and I am really looking forward to it.”

Get ready for an extraordinary set of shows…

For more information visit: www.shreyalive.com

Check out these exclusive pictures!

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