Bollywood

BOLLYWOOD: FLASHBACKING WITH CHAUDVIN KA CHAND!!

by Monojit Lahiri February 11 2025, 12:00 am Estimated Reading Time: 7 mins, 35 secs

Around two decades ago, Monojit Lahiri met the still-gorgeous Waheeda Rehman at her sea-front flat in Bandra’s Bandstand in Mumbai. She reflected on her journey through Hindi cinema, sharing memories of legends like Guru Dutt, Dev Anand, and Amitabh Bachchan.

Waheeda Rehman, the legendary star of Guide, Pyaasa, and Sahib, Bibi Aur Ghulam, shares memories of her illustrious career in Hindi cinema. From working with Guru Dutt and Dev Anand to witnessing Amitabh Bachchan's rise to stardom, Waheeda relives iconic moments with India's greatest actors and directors. Known for her grace and timeless beauty, she remains an inspiration for generations. Her reflections offer rare insights into Bollywood's golden era, the challenges of breaking convention, and the evolving dynamics of the film industry today.

In an expansive and sentimental mood, the star of such memorable blockbuster classics as CID, Pyaasa, Kagaz Ke Phool, Chaudvin ka Chand, Guide, Ram Aur Shyam, Mujhe Jeene Do, Sahib, Bibi Aur Ghulam, Dil Diya Dard Liya, Khamoshi, Kabhi Kabhie, Adalat, Chandni, and Lamhe relived memories of another day.
Amitabh Bachchan was crazy about her. Imran Khan admired her. Guru Dutt discovered, shaped, and made her. Dev Anand shared amazing vibes, both personally and professionally, with her. Dilip Kumar and Raj Kapoor spent memorable screen time with her. Satyajit Ray, Rakeysh Mehra, Aparna Sen, and Deepa Mehta...they’ve all been charmed by her. Audiences — across generations and continents wherever Hindi films are shown — remain diehard fans of this iconic star who defined grace, dignity, charm, beauty, and feminism.

TO GURU DUTT, HITS AND FLOPS DIDN’T MATTER. ARTISTIC VISION AND INTEGRITY WERE EVERYTHING.

When people ask me whether Guru Dutt was considered a hot director in his lifetime — or whether he was aware of his talents — my answer is, “No.” He certainly was recognized as a good director, but, frankly speaking, there was not an iota of the aura of greatness or cult status that his name is associated with today. Pyaasa was a big hit, both commercially and critically. Kagaz ke Phool was a dismal box-office dud but a critically acclaimed piece of work. My personal view is that, in many respects, he was well ahead of his times, and this is why today his entire body of work is considered truly great. He never cared for box-office glory. He was a truly creative soul forever burning in the fire of his passion to transport cinema as an art form to the next level, celebrating cinema that touches both the head and the heart.

Sensitive and caring, Guru Dutt treated his unit members with kid gloves and ensured everybody enjoyed the highest comfort levels. He was truly a unique person, and I was privileged to have learned a lot from him.

DEV ANAND WAS SOMEONE VERY SPECIAL...ACTING WITH HIM WAS GREAT!

I can never forget that my first Hindi movie was with Dev Anand. He was very helpful, cooperative, and never for a moment flashed attitude despite being a major star and me being a newcomer. For me, this was a blissful experience because I was a huge fan of Dev! Over time I did a whole lot of films with him, mainly because once you are a successful star pair, filmmakers tend to repeat your jodi, hoping that the magic continues. I must tell you how Guide happened to me. Initially, neither Tad (the director for the English version) nor Chetan Anand (director for the Hindi version) wanted me. The American director had Leela Naidu in mind, and Chetan Saab, Priya Rajvanshi. Dev (Producer) and Nav Ketan cast me; they didn’t have a choice, and this upset them. I felt both awkward and humiliated and repeatedly requested Dev to release me, but he was adamant. The role of Rosy demanded a dancer, and he insisted that I was perfectly cast. I asked him whether Goldie Anand could be considered, but since he was busy, he was out. Suddenly, providence struck! Chetan Saab walked out, Goldie was available, and in he came! The rest is history. It was a very bold and daring film in its time — the sixties — and many people advised me to refuse Rosy’s role since it was something that defied convention. I didn’t because it was challenging, and what’s life without exciting creative leaps?

WORKING WITH RAJ-JI AND DILIP-SAAB WAS INTERESTING AND REWARDING. THEY WERE A STUDY IN CONTRAST.

Right at the outset, let me state that it was an honour to work with giants like Dilip Kumar and Raj Kapoor. We had grown up watching their films! Dilip Saab — beyond his own role — took an active interest in others’ roles and was full of helpful advice as to how to better their performance. He saw each project as a collaborative exercise and believed that, with his experience, he could guide people involved towards upgrading their levels. Raj-ji was the exact opposite. He believed that — no matter how cockeyed the director was going — he wouldn’t open his mouth to make a suggestion or offer advice because, once he put on makeup, his job was to act. Nothing more, nothing less! Of course, that didn’t stop him from grumbling about how silly and incompetent the director was! However, in their respective fashion, both were amazing professionals.

SUNIL, RAJENDRA, DHARAM, MANOJ...I WORKED HAPPILY WITH THEM ALL.

I was fortunate to have worked with several leading men across generations. It was interesting to see the awe — Dilip Saab especially — evoked among the next generation. Rajendra Kumar and Manoj Kumar are excellent examples of what I mean. Sunil Dutt and Dharmendra, however, chose to cut their own path. They admired and respected the big three but didn’t want to copy them. They were all good and very successful actors and fine human beings. I enjoyed my movies with them.

YES, THERE WAS RAJESH AND AMITABH TOO, LATER...

I first worked with Rajesh Khanna in Khamoshi. It was way before he became a superstar. Thereafter, I slowed down and didn’t have any opportunity to work opposite him as a romantic lead. Amitabh, of course, was a different story! I first met and interacted with him on the sets of Reshma Aur Shera. He had a small role as a dumb person, but I thought his eyes were amazingly expressive, and he performed brilliantly. In cinema, eyes play a crucial part in the overall body language. Of course, he had a voice to die for, and when he spoke, you just wanted him to go on forever! At that point, unfortunately, his films were not doing well at the box office, and he was struggling to break in. I used to tell filmmakers to take him because he had the potential and talent — all he needed was that one big hit. Soon enough, that happened, and Amitabh hasn’t looked back. To me, he hasn’t changed one bit, and despite being such a huge megastar — the Big B! — he has always remained polite, courteous, and respectful. I am extremely fond of the entire Bachchan clan. I knew Jaya before she was married, and Abhishek is certainly a fabulous chip off the old block. Cultured, sophisticated, refined, and yet totally rooted and down-to-earth with a wacky sense of mischief and fun, Amitabh and his family are a wonderful lot. More power to their upward surge!

HOW DO I COMPARE MY TIME WITH TODAY? HMMM...LET ME SEE.

Personally, I am of the belief that it is unfair to compare generations because each has its very own individual strengths and limitations, which characterize the time, era, and environment. When I started out, few films were made, and directors were hesitant to cast newcomers. They were very comfortable with the existing stars and didn’t feel it necessary to take risks and rock the boat. It was a simple, uncomplicated, and organized workspace, with each star doing his or her own thing. Also, there was a place for everybody and ample time for story sessions, discussions, and working at a leisurely pace with lots of care and attention on the director-actor front. Love, dedication, and passion ruled.
Today, everything is on a frightening fast-forward. There are zillions of new kids on the block, straining at the leash to break in. There are scores of acting schools — covering all categories — honing the skills of desperate, wannabe stars. There are Miss Worlds and Miss Universes tumbling out of the woodwork and into Bollywood. The competition is scary. The budgets and star salaries are getting more and more unbelievable. The expectations of the audience are sky-high. Tension is the key. No one knows what will succeed. I sometimes wonder how these kids — amidst all this madness — still manage to do ad commercials and world tours, yet turn in good performances in movies. Full marks to them. Main to pagal ho jaati!