GOVINDA

Born : December21,1963

HOMEBOUND

“Homebound” a film from Dharma Productions, comes as a refreshing and unexpected surprise at a time when many new releases rely heavily on violence and unrealistic, AI-driven visuals, often at the cost of a strong storyline.

The film tells the story of two friends facing harsh realities shaped by poverty, social marginalization, and religious and ethnic discrimination—issues that remain deeply relevant in today’s society. Their struggles intensify during the COVID-19 pandemic, when sudden government-imposed lockdowns strip daily wage workers of their livelihoods. The narrative effectively captures the mass migration of the poor from cities to their hometowns, often undertaken across extremely difficult and exhausting terrain.

The love track in the film sensitively portrays the emotional challenges and uncertainties faced by today’s youth. The story remains engaging throughout and holds the viewer’s attention until the end, although the climax feels somewhat slightly unrealistic.

Overall, Homebound stands apart from current filmmaking trends. Performances by Ishaan Khatter, Janhvi Kapoor, and Vishal Jethwa are sincere and impactful, making the film a worthwhile watch.

The filmmakers deserve appreciation for attempting a meaningful and socially relevant project—one that prioritizes awareness and realism over box-office formulas, especially in the context of the COVID-19 crisis of 2022–23.

From timeless lyrics to timeless moves — Javed Akhtar enjoying Dil Mera Dhadke alongside Urmila.

 Dil mera dhadke

DEVANAND

Born: September 26,1923

RANJEETA

 

Born : September 22, 1956

SALMAN KHAN

Born: December 27,1965

AKSHAY KHANNA

 Born: March28,1975

RANVEER SINGH

 

  

Born: July6,1985

WAHEEDA REHMAN

 

Born:February 3,1938

At Kamini Kaushal prayer meeting on November 18,2025.

Veteran actress Kamini Kaushal passed away on November 14,2025

VYJAYANTHIMALA

 Born: August 13,1933

 Biography: Bonding - A Memoir

Bonding - A Memoir

Vyjayanthimala is a name etched permanently in the memory of Indian cinema. For anyone who has loved Hindi films, she stands as one of the rare actresses who truly ruled the industry from the late 1950s through the early 1970s—a period regarded as one of the richest eras in Indian film history.

What makes her legacy remarkable is not merely her beauty or screen presence, but the consistency with which she delivered memorable performances alongside every major star of her time. From Dilip Kumar, Dev Anand, and Raj Kapoor to Raaj Kumar, Rajendra Kumar, Sunil Dutt, and Dharmendra, she shared the screen with all, and her films with them found both critical and commercial success. The list is long and glittering.

Among her many achievements, one film remains especially close to the hearts of cinephiles: “Ganga Jamuna.” I often call it her signature film. What astonished audiences then—and still impresses viewers today—is her effortless command over the Purbi (Bhojpuri-inflected) dialect, spoken with a fluency so natural that it’s hard to believe she was not a native speaker. Her performance in the film stands shoulder-to-shoulder with that of Dilip Kumar, which is no small compliment given the legendary intensity he brought to the role.

A professionally trained Bharatanatyam dancer, Vyjayanthimala brought to the screen a rare synthesis of grace, discipline, and emotive precision. Her classical grounding gave her a refined edge over many of her contemporaries—an elegance in movement, a poise in expression, and a command over rhythm that elevated even the simplest scenes. Whether in dramatic roles, romantic pairings, or elaborate dance sequences, she radiated a sense of artistry that set her apart.

In every sense, Vyjayanthimala was not just a star—she was an artist of exceptional calibre, whose contributions helped define the golden age of Hindi cinema.

From her autobiography:

“ My life has meandered like an unbroken stream right from my formative years. Its course has been steady, though uneven at times. When people wonder and ask me that I am still dancing at this age, I tell them, “What has age got to do with it? You simply keep counting your years. You should be ageless and timeless. You beat age and age would never be able to beat you.” As Mark Twain said, "Age is an issue of mind over matter. If you don't mind, it does not matter." All that regard and respect that comes your way is owing to your experience. I just look back and thank the One who makes me dance. Perhaps, today I am giving my best. Those who come backstage tell me that now in my seventies I’m even dancing better than in yesteryears. They don’t say, “Is umar mein yeh kya Bharatanatyam karegi?” (What Bharatanatyam would she do at this age?) That’s the bottom line: you either use your mind or you lose it. My best award is what people have bestowed on me — their immense affection.”

ASRANI

 

BORN: January 1,1941

Died: October 20,2025

SHAH RUKH KHAN

 

Born: November2,1965

BOLLYWOOD BYTES- INTERSTING FACTS

When Movie “ Dhurandhar” released in 2025 - how people reacted

HEMA MALINI

GOVINDA

 

Born: December 21,1963

Govinda is a star celebrated for his impeccable comic timing and distinctive dance style. His slapstick humour won over audiences, and his unique moves turned many of his films into box-office hits throughout the 1980s and 1990s. Despite his popularity, he has often been viewed as an underrated actor who never quite received the memorable, substance-driven roles his talent deserved—a situation shared by several of his contemporaries. Govinda’s films were undeniably entertaining and enjoyed strong commercial runs, but he always needed visionary directors and serious filmmakers who could fully harness his potential.

RANBIR KAPOOR

 

Born: September 28,1982

Ranbir Kapoor has steadily ascended the ladder of cinematic success ever since his debut in Saawariya. With early commercial hits like Yeh Jawaani Hai Deewani and Sanju, and the recent blockbuster Animal, he has firmly established himself as an actor of remarkable versatility. Among his most memorable performances remains “Barfi”!, where he portrayed a deaf and mute character with extraordinary finesse, complemented by Priyanka Chopra’s powerful performance. Although Animal drew considerable criticism for its bold and aggressive character portrayals, Ranbir’s acting was widely applauded, reaffirming his stature as both a critically respected performer and a commercially bankable star capable of anchoring a film to box-office success.

JOY MUKHERJEE

Born: February 24,1939

Died: March 9,2012

Joy Mukherjee was one of the most charming and bankable heroes of the mid-1960s, especially known for the soft-romantic, musical genre of Hindi cinema. His films like Love in Tokyo, Shagird, Ziddi, and Phir Wohi Dil Laya Hoon turned him into a youth icon. What set Joy apart was how perfectly his onscreen persona blended with the era’s melodious soundscape—lighthearted romance, scenic settings, and unforgettable Mohammed Rafi gems. One of the standout examples of this magical pairing was the 1962 film Ek Musafir Ek Hasina, where he was paired opposite the elegant Sadhana. Their chemistry, fresh and almost dreamlike, became one of the highlights of the film. Among its most loved tracks is “Main Pyaar Ka Rahi Hoon”, a quintessential Rafi romantic melody that captured the innocence and sweetness of the Joy-Sadhana pairing.The song was penned by the legendary Raja Mehdi Ali Khan, whose poetic imagery and delicate emotions are beautifully woven into the lyrics. Set to music by O. P. Nayyar, the tune carries that unmistakable Nayyar rhythm softened with a lilting romantic flow—allowing Mohammed Rafi’s velvet voice to glide effortlessly.Composer O. P. Nayyar, known for demanding very specific tonal expressions from singers, once recalled that Rafi recorded “Main Pyaar Ka Rahi Hoon” almost in a single flawless take.Nayyar reportedly said:“Rafi saab sang the way I imagined the tune. There was nothing I needed to correct.”This was one of several songs where their chemistry produced a silky, romantic feel with minimal discussion.Rafi’s voice matched Joy Mukherjee so well, fans thought he sang for him exclusivelyJoy Mukherjee became hugely popular for romantic songs picturized on him. “Main Pyaar Ka Rahi Hoon” was one such track where people felt Rafi’s voice and Joy’s on-screen style blended perfectly. Joy once said jokingly in an interview:“Rafi saab’s voice made me look more charming than I really was!”This song added to that perception. Filming the song in Kashmir became a challenge due to crowds“Ek Musafir Ek Hasina” was shot extensively in Kashmir, and local crowds would gather in huge numbers whenever Joy Mukherjee and Sadhana filmed a song sequence.For this song’s outdoor portions: The crew often had to change locations multiple times because tourists kept wandering into the frame.Sadhana later recalled that shooting romantic scenes with mountains behind her while hundreds of people watched was both funny and stressful.The final serene look of the song hides the chaos behind the scenes.A rare instance where O. P. Nayyar used softer orchestration Nayyar was famous for bold rhythms, but here he chose a gentle, flowing orchestral style to match Rafi’s velvety delivery.Fans and musicians often say this song is a perfect example of:“Nayyar’s rhythm meets Rafi’s romance.”.Remarkable Nayyar rhythm softened with a lilting romantic flow—allowing Mohammed Rafi’s velvet voice to glide effortlessly.It became one of their most graceful and understated collaborations. Rafi sang the final humming portion spontaneously.The soft humming toward the end — something Rafi excelled at — was reportedly not originally written. During the recording take, Rafi added it naturally, and Nayyar kept it because it enhanced the dreamy effect of the tune.

Main Pyar Ka Raahi Hoon

NASEERUDDIN SHAH

 Born:July20,1950

Facebook :Naseeruddin Shah Facebook Page

As a lifelong admirer of Naseeruddin Shah, I have always waited for his new film release with a sense of eager anticipation—even though I was never fortunate enough to witness his brilliance unfold on stage.  My following of  his journey in cinema began with Junoon, followed by the powerful Aakrosh, and from that point onward, an extraordinary filmography took shape.

The list of his performances is long, but what truly sets him apart is the unmistakable imprint he leaves in every role, especially in the world of parallel and non-mainstream cinema. Naseeruddin Shah never seemed to “act”—he simply became the character. His presence was natural, unforced, and deeply aligned with the soul of the person he portrayed.

In an era when conventional good looks were often considered essential for stardom, he was not someone the industry would have initially expected to rise to such prominence. Yet, his journey defied every assumption. Through sheer resilience, disciplined craft, and an unshakeable passion for storytelling, he carved out a place not just as a successful actor, but as a true artist—one whose work continues to elevate Indian cinema.

Naseeruddin Shah stands today as one of the finest performers the industry has ever known, a master of nuance and authenticity, and an enduring reminder that talent, honesty, and dedication can outshine every superficial barrier.

The more I try to find the right words to appreciate Naseeruddin Shah’s artistry, the more I realize how inadequate language feels in front of his talent. His performances are not merely acts on screen—they are experiences that stay with you long after the film ends. With every character he inhabits, he reveals new shades of humanity, as if peeling back layers of truth that only he has the courage to portray.

Whether in mainstream cinema or the quiet landscapes of parallel film, Naseeruddin Shah brings a rare sincerity that cannot be taught or imitated. His craft is subtle yet powerful, understated yet unforgettable. He doesn’t just perform a role; he gives it life, depth, and a soul of its own.

There is a quiet brilliance in him—an integrity of purpose, a devotion to the art of storytelling—that sets him apart from almost anyone of his generation. In an industry often swayed by glamour and surface appeal, he stood firm with nothing but raw talent, discipline, and relentless passion. And through that, he became an institution in himself.

It is difficult to summarise his contribution because he has expanded the very meaning of acting in Indian cinema. Words fall short; admiration feels small; but his work continues to speak for him, louder than any tribute ever could.

Listen to what he said about his initial struggle

https://otter.ai/u/fhP3leYTeZD-fN_2khsTMPvXENA

JAYA BACHCHAN

 

Picture :source: MID-DAY.COM
Jaya Bachchan criticizes paparazzi’s appearance: ‘Gande pant pehenke, haath mein mobile leke'-( 

Updated on: 30 November,2025 04:59 PM IST  |  Mumbai 
mid-day online correspondent |

She criticised media persons being unprofessional, commenting, they wear dirty dresses holding cameras to take pictures of celebrities .

Jaya Bachchan says she does not want granddaughter Navya Naveli Nanda to get married: ‘It is an outdated institution’

BySantanu Das

Published on: Nov 30, 2025 09:23 pm IST 

Jaya Bachchan candidly reflected that she cannot advise the younger generation on marriage and would rather say to enjoy their life.

SANJEEV KUMAR