No rise or fall of a star has been as been quite as hammy or spectacular
as that of Rajesh Khanna. From 1969 to 1972, the Rajesh Khanna
phenomenon sweptwing Bollywood
soured its feet and the hysteria he generated was unlike anything seen
before and after.
As superhit followed superhit and women every over the country swooned over him, Rajesh Khanna admitted opinion 'next to God.' In fact, Rajesh Khanna could perhaps be titled Hindi Cinema's first superstar. And yet in digit of life's large ironies just 5 eld later by 1977, his career was in shambles as flick after flick began failing at the incase office. As he lapse to the 'angry young man' onslaught of Amitabh Bachchan and found himself totally rejected by filmgoers it is said he went to his terrace in heavy rain asking God not to effort his patience...
Born Jatin Khanna in 1942, he was the adoptive son of his parents. After a stint in theatre, he was selected by the United Producers' Talent Contest. He prefabricated his flick debut in Chetan Anand's Aakhri Khat (1966). His earlier films, in spite of adequate performances by him, still did nothing for him till Aradhana (1969) came along.
Released in November 1969, Aradhana prefabricated Rajesh Khanna a superstar. In the double persona of a father and son, both air force pilots, Khanna cut a most dashing figure in uniform. His mannerisms - the crinkling of his eyes and stir of the nous asking the heroine to come to him found instant favour with the audience and aided by such SD Burman evergreen ditties as Mere Sapnon ki Rani, Kora Kaagaz Tha Yeh Man Mera, Roop Tera Mastana, Gun Guna Rahe Hain Bhanwaren and Baaghon Mein Bahar Hai, Aradhana was a golden jubilee hit. Barely a short patch later in December the aforementioned year, Raj Khosla's Do Raaste, in which he played the youngest brother in a joint family, also opened to full houses and also went on to be a golden jubilee hit. What's more in Bombay, the two films had their important theatres right crossways the road from digit another, Aradhana at Opera House and Do Raaste at Roxy! That year he also tasted success in Bandhan, Doli and digit of his finest films, Ittefaq.
In Ittefaq, Dilip Roy (Rajesh Khanna) is accused of murdering his wife Sushma (Alka). With mounting circumstantial evidence against him, he feigns insanity to avoid being convicted. However uncovering chronicle intolerable in the mental asylum, he escapes and seeks shelter in the house of a married woman, Rekha (Nanda) who is alone as her husband is away. Caught in the clutches of this madman or so she thinks who is terrorizing her, she tries to intend him caught but is unsuccessful. And patch hiding from a temporary Doctor and a Police Inspector (Sujit Kumar) whom he thinks is searching for him, Dilip discovers Rekha’s husband’s corpse in the bathtub…Devoid of his exemplary romantic mannerisms, Rajesh Khanna responds with digit his career’s more nuanced and nervy performance. However the scene stealer is undoubtedly Nanda. She gives an extremely controlled and reined in action and since she was known for her goody-goody roles, the sophisticate when she is revealed to be a algid purebred murderess trying to create an defense for herself and pin her husband’s remove on Dilip works extremely well for both her and the film.
Thereafter till 1972, it looked same Rajesh Khanna could do no wrong. Film after flick sweptwing the box-office. But there was more to him than just his mannerisms as he shapely the ikon of a vulnerable, upgrade romantic. In films same Khamoshi (1969), Saphar (1970) and Anand (1970), he came up with sensitive performances straight from the heart. Anand saw perhaps his large ever action as a man sick with cancer but wanting to live chronicle to the fullest before he dies. In Anand, Rajesh Khanna more than justified Frank Capra's immortal observation, \"Tragedy is not when actors cry. Tragedy is when audiences cry.\" Indeed at the end of Anand as Amitabh sits by Khanna's departed body and as the tape recorder plays Khanna's voice, you cannot help but scream along with Amitabh.
As Khanna went from capableness to strength, modify his guest appearance in Andaaz (1971) generated more hysteria than the hero of the flick Shammi Kapoor. In fact symbolically this represented the end of the Shammi Kapoor era and the extreme of the Rajesh Khanna era. Though Khanna worked with crowning heroines of the day same Waheeda Rehman, Nanda, Mala Sinha, Tanuja and Hema Malini, his most popular pairings were with Sharmila Tagore and Mumtaz. The BBC prefabricated a flick on him, Bombay Superstar, and a book prescribed by the Bombay University contained an essay, 'The Charisma of Rajesh Khanna!'
Rajesh Khanna formed a brilliant compounding with director Sakti Samanta, Music Director RD Burman and 'his voice', singer Kishore Kumar resulting in such films same Kati Patang (1970) and Amar Prem (1971). With Hrishikesh Mukherjee, he gave fine performances in Bawarchi (1972) as a Jack of every Trades cook and Namak Haram (1973) ably carrying both films on his shoulders. The aforementioned year, 1973, also saw him reason with a brawny and relatively more realistic action in Avishkaar, Basu Bhattacharya's perceptive think of a wedlock gone sour.
By this time however, some of Rajesh Khanna's films had started flopping but he failed to wager the composition on the surround as the success of films same Daag (1973), Namak Haram, Aap ki Kasam (1974), Prem Nagar (1974) and Roti (1974) still kept him afloat. Also, Amitabh Bachchan had stormed the Industry with his intense 'angry young man' action in Zanjeer (1973). With his tall and lean looks, Amitabh became emblematic of the newborn kind of action hero. Every hero lapse to the Amitabh onslaught and Rajesh Khanna was no exception. He tried to stay in the news, however, with a sensational wedlock to the 'Bobby Girl', Dimple Kapadia who at 16 was 15 eld younger than him!
With Amitabh's success, different kind of movies began to be prefabricated with a stronger accent on action. Rajesh Khanna's romantic mannerisms now appeared jaded and discover of synchronization with the times. Even films with old regulars Sakti Samanta (Ajnabee (1974), Mehbooba (1976), Anurodh (1977)) and Hrishida (Naukri (1978)) came unstuck at the box-office. What's more both Sakti Samanta and Hrishida went on do a series of films with the newborn superstar, Amitabh Bachchan! And to crowning it all, modify his wedlock to Dimple was on the rocks and afterward she left him and resumed her acting career with much success.
Though Amardeep (1979) and Thodisi Bewafai (1980) brought Rajesh Khanna some reprieve, it was the triple success of Agar Tum Na Hote (1983), Avtaar (1983) and Souten (1983) that evidenced to be the last brawny flickers in a dying flame. Avtaar particularly saw a beatific action from him in the persona of a self-respecting garage mechanic.
In the 1990s with his flick career every but over, Rajesh Khanna entered politics and modify served a stint as Member of Parliament with the Congress - I Party. He prefabricated an undistinguished comeback of sorts in Rishi Kapoor's Aa Ab Laut Chalein (1999) and prefabricated his debut on Television with the serial Batwara patch he continued to play the odd character persona in films same Kyaa Dil Ne Kahaa(2002).
Today, he still does the odd flick and is attempting a ordinal innings on Television, his days of glory well behind him.
SUPER STAR RAJESH KHANNA'S BIRTHDAY ON 29TH DECEMBER, 2008
SUPER STAR RAJESH KHANNA : An person par excellence
On his SIXTY SIX date on 29th December, 2008, I may highlight some inner capabilities of the GREATEST LIVING LEGEND & THE REAL AND ONLY SUPER STAR OF INDIAN CINEMA as a most refined actor, rather, an person par excellence, which have experienced for the last four decades finished his outstanding performances. These are in addition to his artist facial ex-pressions which emerge effortlessly on his face and the call and arrogance brought by him on the silver screen. The rigorous use of his voice to communicate a character’s lines and impart emotion, which he achieved finished attention to diction and projection finished correct breathing and articulation. It has also achieved by him finished the tone and inflection that an real person puts on words. Characterization/Physicalisation of a role in visit to create a believable character for the audience and to use the acting space befittingly and correctly. Use of gesture to complement the voice, interact with other actors and to bring inflection to the words in a play, as well as having signaling meaning.
Father of actress Twinkle Khanna and 'Rinke Khanna'. Became a grandfather when Rinke gave birth to a daughter on 19Oct04.
He was adopted by his parents
He was Member of Parliament once, for New Delhi
Enjoyed a godlike status in his prime time (early 70s) with female fans writing letters in blood to him. The hysteria was unique till Hrithik Roshan 'exploded' in early 2000 and created a comparable mania.
He recommended actor Jeetendra to go into movies.
Father-in-law of superstar Akshay Kumar.
As superhit followed superhit and women every over the country swooned over him, Rajesh Khanna admitted opinion 'next to God.' In fact, Rajesh Khanna could perhaps be titled Hindi Cinema's first superstar. And yet in digit of life's large ironies just 5 eld later by 1977, his career was in shambles as flick after flick began failing at the incase office. As he lapse to the 'angry young man' onslaught of Amitabh Bachchan and found himself totally rejected by filmgoers it is said he went to his terrace in heavy rain asking God not to effort his patience...
Born Jatin Khanna in 1942, he was the adoptive son of his parents. After a stint in theatre, he was selected by the United Producers' Talent Contest. He prefabricated his flick debut in Chetan Anand's Aakhri Khat (1966). His earlier films, in spite of adequate performances by him, still did nothing for him till Aradhana (1969) came along.
Released in November 1969, Aradhana prefabricated Rajesh Khanna a superstar. In the double persona of a father and son, both air force pilots, Khanna cut a most dashing figure in uniform. His mannerisms - the crinkling of his eyes and stir of the nous asking the heroine to come to him found instant favour with the audience and aided by such SD Burman evergreen ditties as Mere Sapnon ki Rani, Kora Kaagaz Tha Yeh Man Mera, Roop Tera Mastana, Gun Guna Rahe Hain Bhanwaren and Baaghon Mein Bahar Hai, Aradhana was a golden jubilee hit. Barely a short patch later in December the aforementioned year, Raj Khosla's Do Raaste, in which he played the youngest brother in a joint family, also opened to full houses and also went on to be a golden jubilee hit. What's more in Bombay, the two films had their important theatres right crossways the road from digit another, Aradhana at Opera House and Do Raaste at Roxy! That year he also tasted success in Bandhan, Doli and digit of his finest films, Ittefaq.
In Ittefaq, Dilip Roy (Rajesh Khanna) is accused of murdering his wife Sushma (Alka). With mounting circumstantial evidence against him, he feigns insanity to avoid being convicted. However uncovering chronicle intolerable in the mental asylum, he escapes and seeks shelter in the house of a married woman, Rekha (Nanda) who is alone as her husband is away. Caught in the clutches of this madman or so she thinks who is terrorizing her, she tries to intend him caught but is unsuccessful. And patch hiding from a temporary Doctor and a Police Inspector (Sujit Kumar) whom he thinks is searching for him, Dilip discovers Rekha’s husband’s corpse in the bathtub…Devoid of his exemplary romantic mannerisms, Rajesh Khanna responds with digit his career’s more nuanced and nervy performance. However the scene stealer is undoubtedly Nanda. She gives an extremely controlled and reined in action and since she was known for her goody-goody roles, the sophisticate when she is revealed to be a algid purebred murderess trying to create an defense for herself and pin her husband’s remove on Dilip works extremely well for both her and the film.
Thereafter till 1972, it looked same Rajesh Khanna could do no wrong. Film after flick sweptwing the box-office. But there was more to him than just his mannerisms as he shapely the ikon of a vulnerable, upgrade romantic. In films same Khamoshi (1969), Saphar (1970) and Anand (1970), he came up with sensitive performances straight from the heart. Anand saw perhaps his large ever action as a man sick with cancer but wanting to live chronicle to the fullest before he dies. In Anand, Rajesh Khanna more than justified Frank Capra's immortal observation, \"Tragedy is not when actors cry. Tragedy is when audiences cry.\" Indeed at the end of Anand as Amitabh sits by Khanna's departed body and as the tape recorder plays Khanna's voice, you cannot help but scream along with Amitabh.
As Khanna went from capableness to strength, modify his guest appearance in Andaaz (1971) generated more hysteria than the hero of the flick Shammi Kapoor. In fact symbolically this represented the end of the Shammi Kapoor era and the extreme of the Rajesh Khanna era. Though Khanna worked with crowning heroines of the day same Waheeda Rehman, Nanda, Mala Sinha, Tanuja and Hema Malini, his most popular pairings were with Sharmila Tagore and Mumtaz. The BBC prefabricated a flick on him, Bombay Superstar, and a book prescribed by the Bombay University contained an essay, 'The Charisma of Rajesh Khanna!'
Rajesh Khanna formed a brilliant compounding with director Sakti Samanta, Music Director RD Burman and 'his voice', singer Kishore Kumar resulting in such films same Kati Patang (1970) and Amar Prem (1971). With Hrishikesh Mukherjee, he gave fine performances in Bawarchi (1972) as a Jack of every Trades cook and Namak Haram (1973) ably carrying both films on his shoulders. The aforementioned year, 1973, also saw him reason with a brawny and relatively more realistic action in Avishkaar, Basu Bhattacharya's perceptive think of a wedlock gone sour.
By this time however, some of Rajesh Khanna's films had started flopping but he failed to wager the composition on the surround as the success of films same Daag (1973), Namak Haram, Aap ki Kasam (1974), Prem Nagar (1974) and Roti (1974) still kept him afloat. Also, Amitabh Bachchan had stormed the Industry with his intense 'angry young man' action in Zanjeer (1973). With his tall and lean looks, Amitabh became emblematic of the newborn kind of action hero. Every hero lapse to the Amitabh onslaught and Rajesh Khanna was no exception. He tried to stay in the news, however, with a sensational wedlock to the 'Bobby Girl', Dimple Kapadia who at 16 was 15 eld younger than him!
With Amitabh's success, different kind of movies began to be prefabricated with a stronger accent on action. Rajesh Khanna's romantic mannerisms now appeared jaded and discover of synchronization with the times. Even films with old regulars Sakti Samanta (Ajnabee (1974), Mehbooba (1976), Anurodh (1977)) and Hrishida (Naukri (1978)) came unstuck at the box-office. What's more both Sakti Samanta and Hrishida went on do a series of films with the newborn superstar, Amitabh Bachchan! And to crowning it all, modify his wedlock to Dimple was on the rocks and afterward she left him and resumed her acting career with much success.
Though Amardeep (1979) and Thodisi Bewafai (1980) brought Rajesh Khanna some reprieve, it was the triple success of Agar Tum Na Hote (1983), Avtaar (1983) and Souten (1983) that evidenced to be the last brawny flickers in a dying flame. Avtaar particularly saw a beatific action from him in the persona of a self-respecting garage mechanic.
In the 1990s with his flick career every but over, Rajesh Khanna entered politics and modify served a stint as Member of Parliament with the Congress - I Party. He prefabricated an undistinguished comeback of sorts in Rishi Kapoor's Aa Ab Laut Chalein (1999) and prefabricated his debut on Television with the serial Batwara patch he continued to play the odd character persona in films same Kyaa Dil Ne Kahaa(2002).
Today, he still does the odd flick and is attempting a ordinal innings on Television, his days of glory well behind him.
SUPER STAR RAJESH KHANNA'S BIRTHDAY ON 29TH DECEMBER, 2008
SUPER STAR RAJESH KHANNA : An person par excellence
On his SIXTY SIX date on 29th December, 2008, I may highlight some inner capabilities of the GREATEST LIVING LEGEND & THE REAL AND ONLY SUPER STAR OF INDIAN CINEMA as a most refined actor, rather, an person par excellence, which have experienced for the last four decades finished his outstanding performances. These are in addition to his artist facial ex-pressions which emerge effortlessly on his face and the call and arrogance brought by him on the silver screen. The rigorous use of his voice to communicate a character’s lines and impart emotion, which he achieved finished attention to diction and projection finished correct breathing and articulation. It has also achieved by him finished the tone and inflection that an real person puts on words. Characterization/Physicalisation of a role in visit to create a believable character for the audience and to use the acting space befittingly and correctly. Use of gesture to complement the voice, interact with other actors and to bring inflection to the words in a play, as well as having signaling meaning.
Rajesh Khanna Trivia
Hindi megastarFather of actress Twinkle Khanna and 'Rinke Khanna'. Became a grandfather when Rinke gave birth to a daughter on 19Oct04.
He was adopted by his parents
He was Member of Parliament once, for New Delhi
Enjoyed a godlike status in his prime time (early 70s) with female fans writing letters in blood to him. The hysteria was unique till Hrithik Roshan 'exploded' in early 2000 and created a comparable mania.
He recommended actor Jeetendra to go into movies.
Father-in-law of superstar Akshay Kumar.
I am reminded of my college days when my friends were great fans of Rajesh Khanna. One girl wanted to be the secretary of Rajesh Khanna.
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