Podcast appearances and mentions of Waheeda Rehman

Director & Producer: Yash Chopra Story & Screenplay: Honey Irani Dialogues: Rahi Masoon Raza Cast: Sridevi, Anil Kapoor, Waheeda Rehman & Anupam Kher Cinematography: Manmohan Singh Music: Shiv- Hari Yash Chopra's 1991 film 'Lamhe' is a bold and timeless love saga that was initially controversial but has since gained cult status. It tells the story of Viren (Anil Kapoor), who falls in love with Pallavi (Sridevi), and later with her daughter Pooja (also played by Sridevi). Sridevi's dual role and Anil Kapoor's nuanced performance are standout elements. The film features beautiful cinematography of Rajasthan and London, and a memorable soundtrack by Shiv-Hari. Despite its initial mixed reception in India, 'Lamhe' is now celebrated for its groundbreaking narrative, emotional depth, and Yash Chopra's masterful direction.

Welcome to Khandaan: A Bollywood Podcast where we're discussing one of the greats — RANG DE BASANTI (2006). Directed by Rakeysh Omprakash Mehra, this movie stars Aamir Khan, Siddharth, Atul Kulkarni, Sharman Joshi, Kunal Kapoor, Alice Patten, Soha Ali Khan, Waheeda Rehman, and Madhavan among others. With music by AR Rahman and lyrics by Prasoon Joshi, this is also one of the great albums of the past 20 years. In this episode we discuss the impact of this movie and what has changed in the time since it released. We examine how we feel about this movie as a piece of cinema as well as a piece of politics after these many years. Chapters 00:00- Introduction and Twitter Discussions 08:04- The Role of Rang De Basanti in Indian Cinema 13:51- The Changing Political Landscape and Social Media 30:22- Transitional Politics and Co-opting of History 49:51- Cinematography and Visual Aesthetics 56:31- Cost-Cutting and Filmmaking Choices 01:07:52- Queer Coding and LGBTQ+ Representation 01:09:15- The Impact of the Music 01:22:20- Political Commentary and Contemporary Relevance   Shownotes: Here are some of the other podcast we have been on recently: Hanisha's Making Things Happen Podcast Asian Network Bollywood Ultimate 90s Bollywood Asian Network News Presents: 90s Bollywood Follow us on Socials: Amrita, Sujoy, Asim YouTube, Facebook, Instagram, Tik Tok Sujoy's Instagram  Amrita's YouTube Book Channel- Amrita By The Book You can listen to Khandaan- A Bollywood Podcast episodes on the following apps: Apple Podcast Spotify Jio Saavn Deezer Audible Amazon Music Omny iHeart TuneIn  

This week on 'Has It Aged Well?' we finally discuss our first Guru Dutt film. It's the romantic comedy 'Mr. & Mrs. '55' directed by Guru Dutt and written by Abrar Alvi. Joining Abbas for this episode is perhaps the most prolific chronicler of Hindi cinema - writer, film historian and documentary filmmaker Nasreen Munni Kabir. Topics discussed include Guru Dutt and his coterie of frequent collaborators Abrar Alvi, Johnny Walker etc., The difficult and confused gender politics of the film, Madhubala's run as the vivacious leading lady in the 50's, how the 'commerce vs. art' debate was seen by the filmmakers of the 50s, why Guru Dutt's 'tragic' films are more celebrated than a light hearted one like Mr. & Mrs. 55 and a lot more.Abbas is alone in the host's chair this week as Urjita is touring with her solo show across India. Catch her in your city: https://in.bookmyshow.com/events/urjita-wani-live/ET00395374You can order Nasreen's books here: https://shorturl.at/wHJV5'Guru Dutt: A Life in Cinema': https://shorturl.at/cnGIW'The Dialogue of Pyaasa' : https://shorturl.at/cfmyHWatch the 'Cyrus Says' episode with Nasreen here: https://youtu.be/1mzy2w65gwI?si=ioxfh8aU9qIuVYQTFollow Abbas here: https://www.instagram.com/abbasmomin88/Follow Urjita here: https://www.instagram.com/urjitawani/Get early access to ‘Has It Aged Well?' audio episodes on Amazon Music, Subscribe to the feed: https://music.amazon.in/podcasts/24d527b5-0544-4bd6-a7ff-073fa72d846a/has-it-aged-wellSubscribe to IVM Pop's Youtube Channel here: https://www.youtube.com/@IVMPopFollow IVM Pop on Instagram: https://www.instagram.com/ivmpop/ See omnystudio.com/listener for privacy information.

It's a podcast crossover this week on 'Has It Aged Well?' as Abbas and Urjita are joined by the host of 'Paisa Vaisa'- Anupam Gupta, to talk about the 1983 smash hit 'Coolie' starring Amitabh Bachchan and directed by Manmohan Desai & Prayagraj. Topics discussed include: Anupam's defence of 80s Bollywood, Amitabh Bachchan's star power, the charm of Rishi Kapoor, how this films portrays communism and communal harmony, the foot tapping music, the levels upon levels of co-incidences in Manmohan Desai films, the rich vs. poor narrative in Hindi cinema and why it disappeared, and much more.  You can order Anupam Gupta's book 'The Wisest Owl: Be Your Own Financial Planner' here: https://amzn.to/3PiVTxL  Listen to 'Paisa Vaisa' here; https://open.spotify.com/show/1kfyt5bo6toJxxHFK6PK0N  You can also watch episodes of 'Paisa Vaisa' on Youtube: https://www.youtube.com/@PaisaVaisaPodcast/featured  Follow Abbas on instagram: https://www.instagram.com/abbasmomin88/  Follow Urjita on instagram: https://www.instagram.com/urjitawani//    Check out IVM Pop on Youtube: https://www.youtube.com/@IVMPop See omnystudio.com/listener for privacy information.

In this episode, our host Satish Kaushik takes a nostalgic journey back to the 90s blockbuster "Coolie," featuring the iconic trio of Amitabh Bachchan, Rishi Kapoor, and Waheeda Rehman. Directed by the legendary filmmaker Manmohan Desai, this action-comedy was an absolute crowd puller, packing theaters all over the country. Interestingly, it was during the filming of "Coolie" that the infamous injury to Amitabh Bachchan occurred, adding a dramatic chapter to the actor's history.

In this episode, our host Satish Kaushik takes a nostalgic journey back to the 90s blockbuster "Coolie," featuring the iconic trio of Amitabh Bachchan, Rishi Kapoor, and Waheeda Rehman. Directed by the legendary filmmaker Manmohan Desai, this action-comedy was an absolute crowd puller, packing theaters all over the country. Interestingly, it was during the filming of "Coolie" that the infamous injury to Amitabh Bachchan occurred, adding a dramatic chapter to the actor's history. Learn more about your ad choices. Visit megaphone.fm/adchoices

Spoilers in this episode! We read Daphne du Maurier's Rebecca, watched the 1940 Hithcock adaptation, then watched Biren Nag's 1964 Hindi adaptation Kohraa. There's much to love in all of them (especially the novel!), but, not surprisingly, Waheeda Rehman as the second Mrs de Winter is our favorite performance, complemented fantastically by Lalita Pawar. If only they'd cast someone else as Maxim. :/ What are your thoughts on this insecure heroine and her, um, slightly weird love of a man who is such a creep? We did not watch the latest Netflix adaptation, but Beth managed to see the 1990s version with Charles Dance, Emilia Fox, and Diana Rigg (it's streaming on PBS and on Youtube https://www.youtube.com/watch?v=r-j34wuCUvk). Beth's recent article on Kohraa at the Cultural Gutter. https://culturalgutter.com/2022/10/06/kohraa/ Subscribe to Filmi Ladies on Spotify https://open.spotify.com/show/7Ib9C1X5ObvN18u9WR0TK9 or Apple Podcasts https: //podcastsconnect.apple.com/my-podcasts/show/filmi-ladies/aacadcfe-4195-40a4-ba 16-e528118ec892 @filmiladies on Instagram and Twitter Pitu is @pitusultan on Instagram Beth is @bethlovesbolly on Twitter Email us at filmiladies at gmail Our logo was designed by London-based artist Paula Ganoo @velcrothoughts on Instagram https://www.art2arts.co.uk/paula-vaughan

Next up in our series Women Superstars of Indian Cinema: Waheeda Rehman! We LOVE Waheeda Rehman—and frankly we're not sure we can be friends with anyone who doesn't, but does such a person even exist? The major films discussed today are Guide (1965) Kohraa (1964), and CID (1956, her first Hindi role). Neither of us could handle a rewatch of Pyaasa or Kagaaz Ke Phool, no matter how great they are. It seems like this series is also, inadvertently, going to include at least one truly annoying man per episode. Last time it was Raj Kapoor, and this time it's Dev Anand—who, to be fair, is way less irritating than Raj Kapoor and way less irritating in the films we watched than he would be later in his career. Nevertheless, he persisted. https://open.spotify.com/show/7Ib9C1X5ObvN18u9WR0TK9 or Apple Podcasts https://podcastsconnect.apple.com/my-podcasts/show/filmi-ladies/aacadcfe-4195-40a4-ba16-e528118ec892 @filmiladies on Instagram and Twitter Pitu is @pitusultan on Instagram Beth is @bethlovesbolly on Twitter Email us at filmiladies at gmail Our logo was designed by London-based artist Paula Ganoo @velcrothoughts on Instagram https://www.art2arts.co.uk/paula-vaughan

Dancing Women: Choreographing Corporeal Histories of Hindi Cinema (Oxford UP, 2020), an ambitious study of two of South Asia's most popular cultural forms ― cinema and dance ― historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, sexuality, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the "women's question" via new mobilities corpo-realized by dancing women.  Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women. Pratichi Priyambada is a Ph.D Candidate in the Department of History at the University of California, Irvine. She is broadly interested in histories of performance, gender and sexuality, and colonial law. She can be reached at @rhymingrhythm on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Dancing Women: Choreographing Corporeal Histories of Hindi Cinema (Oxford UP, 2020), an ambitious study of two of South Asia's most popular cultural forms ― cinema and dance ― historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, sexuality, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the "women's question" via new mobilities corpo-realized by dancing women.  Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women. Pratichi Priyambada is a Ph.D Candidate in the Department of History at the University of California, Irvine. She is broadly interested in histories of performance, gender and sexuality, and colonial law. She can be reached at @rhymingrhythm on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Dancing Women: Choreographing Corporeal Histories of Hindi Cinema (Oxford UP, 2020), an ambitious study of two of South Asia's most popular cultural forms ― cinema and dance ― historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, sexuality, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the "women's question" via new mobilities corpo-realized by dancing women.  Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women. Pratichi Priyambada is a Ph.D Candidate in the Department of History at the University of California, Irvine. She is broadly interested in histories of performance, gender and sexuality, and colonial law. She can be reached at @rhymingrhythm on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Dancing Women: Choreographing Corporeal Histories of Hindi Cinema (Oxford UP, 2020), an ambitious study of two of South Asia's most popular cultural forms ― cinema and dance ― historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, sexuality, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the "women's question" via new mobilities corpo-realized by dancing women.  Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women. Pratichi Priyambada is a Ph.D Candidate in the Department of History at the University of California, Irvine. She is broadly interested in histories of performance, gender and sexuality, and colonial law. She can be reached at @rhymingrhythm on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Dancing Women: Choreographing Corporeal Histories of Hindi Cinema (Oxford UP, 2020), an ambitious study of two of South Asia's most popular cultural forms ― cinema and dance ― historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, sexuality, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the "women's question" via new mobilities corpo-realized by dancing women.  Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women. Pratichi Priyambada is a Ph.D Candidate in the Department of History at the University of California, Irvine. She is broadly interested in histories of performance, gender and sexuality, and colonial law. She can be reached at @rhymingrhythm on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Dancing Women: Choreographing Corporeal Histories of Hindi Cinema (Oxford UP, 2020), an ambitious study of two of South Asia's most popular cultural forms ― cinema and dance ― historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, sexuality, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the "women's question" via new mobilities corpo-realized by dancing women.  Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women. Pratichi Priyambada is a Ph.D Candidate in the Department of History at the University of California, Irvine. She is broadly interested in histories of performance, gender and sexuality, and colonial law. She can be reached at @rhymingrhythm on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Dancing Women: Choreographing Corporeal Histories of Hindi Cinema (Oxford UP, 2020), an ambitious study of two of South Asia's most popular cultural forms ― cinema and dance ― historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, sexuality, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the "women's question" via new mobilities corpo-realized by dancing women.  Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women. Pratichi Priyambada is a Ph.D Candidate in the Department of History at the University of California, Irvine. She is broadly interested in histories of performance, gender and sexuality, and colonial law. She can be reached at @rhymingrhythm on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dancing Women: Choreographing Corporeal Histories of Hindi Cinema (Oxford UP, 2020), an ambitious study of two of South Asia's most popular cultural forms ― cinema and dance ― historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, sexuality, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the "women's question" via new mobilities corpo-realized by dancing women.  Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women. Pratichi Priyambada is a Ph.D Candidate in the Department of History at the University of California, Irvine. She is broadly interested in histories of performance, gender and sexuality, and colonial law. She can be reached at @rhymingrhythm on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Dancing Women: Choreographing Corporeal Histories of Hindi Cinema (Oxford UP, 2020), an ambitious study of two of South Asia's most popular cultural forms ― cinema and dance ― historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, sexuality, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the "women's question" via new mobilities corpo-realized by dancing women.  Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women. Pratichi Priyambada is a Ph.D Candidate in the Department of History at the University of California, Irvine. She is broadly interested in histories of performance, gender and sexuality, and colonial law. She can be reached at @rhymingrhythm on Twitter.

#KiranPrabha #WaheedaRehman #bollywoodmovies Waheeda Rehman is an Indian actress and dancer who has appeared in mainly Hindi films, as well as Telugu, Tamil, Bengali and Malayalam films. She is noted for her contributions to different genres of films and different roles from the 1950s, 1960s and 1970s. Her accolades consist of a National Film Award,n 2 Filmfare Awards out of 9 nominations, the Filmfare Lifetime Achievement Award and the Centenary Award for Indian Film Personality. Throughout her career, she has been frequently cited as one of Bollywood's greatest, most influential and most beautiful actresses. దక్షిణాది నుంచి హిందీ చిత్రరంగానికి వెళ్ళి తారాపథాన్నందుకున్న తొలితరం తార. వైవిధ్యభరితమైన పాత్రలకు కేరఫ్ ఆడ్రెస్ గా నిలిచిన అభినయ సామ్రాజ్ని, సహజనటి వహీదా రెహమాన్ - జీవిత విశేషాలు KiranPrabha narrates the life sketch of Waheeda Rehman in a most interesting style

India Directed by M. Sadiq

Dr Lubna Al Kazi, one of Kuwait's leading social scientists and Director of Women's Research and Studies Centre was born in Mumbai, India. She lived her girlhood years in Mumbai, studying in a convent school, a member of girl scouts where she had the first lesson in leadership. Here, in Sadaaqa she speaks of those early years in India, of enjoying the Mumbai rain, borrowing books from the makeshift neighbourhood libraries, of buying burnt corn, of meeting the legendary Dileep Kumar and Waheeda Rehman during Eid festivities (Dileep Kumar later named his niece Lubna after her), of Holi and Diwali in Mahabalipuram, of meeting the Beatles during their visit to India and of her legendary uncle Ebrahim AL Kazi who refused to leave India and moulded the theatrical arts of India. This and so much more of those heady years. Sadaaqa a show that celebrates friendship between India and Kuwait with Dr Lubna Al Kazi.

India Directed by Guru Dutt Starring Guru Dutt, Waheeda Rehman and Johnny Walker

Full Biography of Bollywood Actress Waheeda Rehman.

Recorded in New Delhi, 2012 this TV interview was first shown on Rajya Sabha TV. Irfan talking to the Actor Waheeda Rehman (born 3 February 1938) in the longest running celebrity talk show Guftagoo About Guftagoo Guftagoo (Conversations) is India's only uninterrupted, unscripted and unhurried celebrity talk show. Running since 2011 the show has a rich repository of 400+ TV shows varying from 30 to 160 minutes. It's a unique show interviewing distinguished personalities from various fields of arts and culture. The celebrated anchor Syed Mohd Irfan is host of the show whose distinctive style of conversation forms the essence of the show allowing guests to express their raw emotions. The in-depth interviews provide the viewers an intimate look in the inner worlds of the guests invited to the show. It helps them understand the guest`s life experiences, emotional conflicts, inspirations and struggles that brought out the artist in them and shaped the way they perceive the world. This documentation of the life journeys of various artists, also serves as a popular audio-visual archive for anthropological studies. Earlier aired on Rajya Sabha TV for a decade by the name of Guftagoo, show presented to its viewers, the journeys of personalities from various fields, such as Tom Alter, Gulzar, Javed Akhtar, Irrfan Khan, Jaya Bachchan,Naseeruddin Shah, John Abraham, Jackie Shroff, Nandita Sen, Nawazuddin Siddiqui, Milkha Singh, and Shyam Benegal to name a few. Stay tuned. Audio bounce of a TV interview. The entire Guftagoo playlist on YouTube Link Image Courtesy Irfan's Archive --- Send in a voice message: https://podcasters.spotify.com/pod/show/sm-irfan/message

Kritiken zu "Luca", "Skater Girl" und "Fatima - Ein kurzes Leben" Review, Kritik Lockere Filmkritiken zum selbst mitmachen! Meldet euch via Mail (info@tele-stammtisch.de), Facebook, Twitter oder Instagram für den nächsten Podcast an! Website | PayPal | BuyMeACoffee Titel: Luca Original: Luca Startdatum: 18.6.2021 Länge(min): 95 FSK: o.A Regie: Enrico Casarosa Darsteller: Jacob Tremblay,Sacha Baron Cohen, Sandy Martin uvm. Verleih: Disney + Trailer Titel: Skater Girl Original: Skater Girl Startdatum: 11.6.2021 Länge(min): 107 FSK: o.A Regie: Manjari Makijany Darsteller: Amy Maghera,Kamlesh Gill,Waheeda Rehman uvm. Verleih: Netflix Trailer Teilnehmer*innen: Lasse Website | Facebook | Facebook | Twitter | Instagram | YouTube Olli Facebook | Twitter | Instagram Paul Facebook | Instagram PatrickFacebook | Twitter | Instagram Comic Cookies Podcast | Facebook | Twitter | Instagram | Youtube Sarah Facebook | Twitter Stu Facebook | Twitter | Instagram Moviebreak Website | Facebook | Twitter | Instagram Timo Instagram | Letterboxd | DieLiberBros | Podcast Thank you very much to BASTIAN HAMMER for the orchestral part of the intro! i used the following sounds of freesound.org: 16mm Film Reel by bone666138 wilhelm_scream.wav by Syna-Max backspin.wav by il112 Crowd in a bar (LCR).wav by Leandros.Ntounis Short Crowd Cheer 2.flac by qubodup License (Copyright): Attribution 4.0 International (CC BY 4.0) Folge direkt herunterladen

1 Pooja Bedi ने बेटी अलाया की लव लाइफ को लेकर बोली बड़ी बात, कहा- 'मेरे समय में ब्वॉयफ्रेंड-फ्री और वर्जिन होना था जरूरी..' 2 Radhe Your Most Wanted Bhai: सलमान ख़ान ने शेयर किया फ़िल्म का 'ज़ूम-ज़ूम' गाना, चेतन भगत को हुआ यह कन्फ्यूज़न 3 Waheeda Rehman दोस्त आशा पारेख और हेलेन के साथ अंडमान में मना रही हैं छुट्टियां, तस्वीरें हुईं वायरल 4 एंटरटेनमेंट न्यूज़  5 वायरल एंटरटेनमेंट न्यूज़  Support the show: https://www.jagran.com/ See omnystudio.com/listener for privacy information.

On this very first episode of this season, we talk about Lamhe. Lamhe (lit. Moments) is a 1991 Indian musical romantic drama film directed by Yash Chopra and written by Honey Irani, with Rahi Masoom Raza. The film stars Sridevi and Anil Kapoor in the lead roles, along with Waheeda Rehman and Anupam Kher in pivotal supporting roles. (Source: Wikipedia).You can listen and subscribe to our podcast on iTunes / Stitcher / TuneIn or on YouTube. Podcast Summary:We talk about positive body image in the 80s We talk about how professional identity may not be a bad ideaWe talk about the legend that is Sridevi (of course!) and more Quotables:The light just shines through her and she is luminous -TanviPlease revoke my movie Wala podcast card- Flo His understated performance is really understated - Tanvi

Catch up with Bhaskar, as he brings you the best music from the South Asia! Today, we celebrate the birthdays of both Waheeda Rehman, and Deepti Naval, there is a Golden Oldie Zone dedicated to Hema Malini, there is a non-film song from Lucky Ali, and the album of the week is the 1982 classic Saath Saath! Plus there are requests in there too!

CID, Pyasa, Kagaz Ke Phool, Chaudvin ka Chand, Sahib Bibi aur Ghulam are all classics... Guru Dutt's short, tragic life, his huge creative output, his doomed relationships with his phenomenally talented wife Geeta Dutt and with Waheeda Rehman, the leading lady of his most memorable films - Yasser Usman looks at all that in this book on one of the great auteurs of commercial Hindi cinema.

CID, Pyasa, Kagaz Ke Phool, Chaudvin ka Chand, Sahib Bibi aur Ghulam are all classics... Guru Dutt's short, tragic life, his huge creative output, his doomed relationships with his phenomenally talented wife Geeta Dutt and with Waheeda Rehman, the leading lady of his most memorable films - Yasser Usman looks at all that in this book on one of the great auteurs of commercial Hindi cinema.

In this episode, Satish Kaushik tells us about another legendary love story by Yash Chopra - Lamhe! This movie had an enchanting star cast comprising of Sridevi, Anil Kapoor in the lead roles, along with Waheeda Rehman and Anupam Kher in pivotal supporting roles. Tune in for some more trivia about this legendary movie!

In this episode, Satish Kaushik tells us about the blockbuster movie that spoke about how some unfulfilled love stories are for the greater good - Kabhie Kabhie! Studded with some of the biggest stars of Bollywood - Amitabh Bachchan, Rishi Kapoor, Rakhee Gulzar, Shashi Kapoor, Neetu Singh, Waheeda Rehman, Simmi Grewal and more, this film was a directorial gem! Tune in to find out more stories about the making of this movie.

Coolie (lit. Porter) is a 1983 Indian Hindi action comedy film, directed by Manmohan Desai and written by Kader Khan. The film stars Amitabh Bachchan (https://en.wikipedia.org/wiki/Amitabh_Bachchan) as Iqbal Aslam Khan, a railway coolie, with supporting roles played by Rishi Kapoor (https://en.wikipedia.org/wiki/Rishi_Kapoor) , Rati Agnihotri (https://en.wikipedia.org/wiki/Rati_Agnihotri) , Kader Khan, Waheeda Rehman (https://en.wikipedia.org/wiki/Waheeda_Rehman) , Suresh Oberoi (https://en.wikipedia.org/wiki/Suresh_Oberoi) and Puneet Issar (https://en.wikipedia.org/wiki/Puneet_Issar) .  (Source: Wikipedia). You can listen and subscribe to our podcast on iTunes / Stitcher / TuneIn or on YouTube. You can also listen to this episode right here on this player below.   Podcast Episode Summary: We talk about spunky heroines Of course, we talk about THE accident We talk about running ;) Quotables: When Manmoha Desai does it with conviction, coolie happens, and when he doesn't do it with conviction, Suhaag happens - Tanvi This is the school of cinema I subscribe to - Tanvi   This movie has a place in history not just because of the accident but.. - Flo

Join us as we talk about KAbhie Kabhie (1976) . Kabhi Kabhie (English: Sometimes) is a 1976 Indian Hindi romantic drama film, produced and directed by Yash Chopra, starring an ensemble cast of Amitabh Bachchan, Raakhee, Shashi Kapoor, Waheeda Rehman, Rishi Kapoor, Neetu Singh and Simi Garewal. The film is about Kabhi Kabhie is a movie about the love story of generations and how a chain of events brings together old lovers as friends. (Source:Imdb). You can listen and subscribe to our podcast on iTunes / Stitcher / TuneIn or on YouTube. You can also listen to this episode right here on this player below.     Podcast Episode Summary: We talk about the similarities between Silsila and Kabhie Kabhie We talk about all the shayari We talk about Rakhee's beauty and go on and on about Fashion in this movie Quotables:   This is my favourite movies set in yash chopra world - Tanvi She is thinking of her past, as we all do at midnight - Flo I liked ALL the sarees in this movie and would wear them in a heartbeat - Flo  It says you can't have it all - Tanvi

In an effort to engage more with 20th Century Indian history, we play a board game about the Indian Independence movement and discuss Rakeysh Omprakash Mehra’s 2006 film Rang De Basanti. Show Notes: Welcome Torrey Dance! If you’d like to skip the board game talk, jump to 48:21 What we were taught about the decolonization of India (https://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FIndian_independence_movement&t=ZWJjNGFiOWM2ZDJmODAzNzY2YmZjZWZlYzA1ZDYyZDZhMWNiYWJiMixLSUg0WmY1Tw%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F189315153191%2Fepisode-88-playing-with-the-past-gandhi-and&m=1) Gandhi: The Decolonization of British India, 1917-1947 (https://t.umblr.com/redirect?z=https%3A%2F%2Fwww.gmtgames.com%2Fp-630-gandhi-the-decolonization-of-british-india-19171947.aspx&t=MDc5MTVmNzE1YjMwMDNjNTU3YzczZGIzYmZiZDVhYjkwOWIzNjUxYSxLSUg0WmY1Tw%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F189315153191%2Fepisode-88-playing-with-the-past-gandhi-and&m=1) COIN Series (https://t.umblr.com/redirect?z=https%3A%2F%2Fwww.wargamer.com%2Farticles%2Ffour-player-coin-op%2F&t=YjAxZGQ0ZjZlMDE1YmY4OGQ2NGM3NGIwYTMyYmJkNGY4ZDFlN2RmNCxLSUg0WmY1Tw%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F189315153191%2Fepisode-88-playing-with-the-past-gandhi-and&m=1) (INTERVAL (“Rang De Basanti (https://t.umblr.com/redirect?z=https%3A%2F%2Fyoutu.be%2Fc769V25pX08&t=Njk0YTVhMjdmMTZmZjI2YzVkMjg0ZWE2YjFmZjRjMGQyOTZmMmU3YyxLSUg0WmY1Tw%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F189315153191%2Fepisode-88-playing-with-the-past-gandhi-and&m=1) ” from Rang De Basanti) Rang De Basanti (https://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FRang_De_Basanti&t=ZDFkOWNjNzRjMGQxNDM1Mzg0ZDgxMjU2YWE4Y2Q4MmNiZjJhY2FlYyxLSUg0WmY1Tw%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F189315153191%2Fepisode-88-playing-with-the-past-gandhi-and&m=1) Awards aspirations Indian revolutionaries (https://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FRevolutionary_movement_for_Indian_independence%23Notable_revolutionaries&t=MDBjMmY1N2UyNTRkZjZkYjJlNWQxMzM1NWI3MTdhMzYxYjc2ODc0MSxLSUg0WmY1Tw%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F189315153191%2Fepisode-88-playing-with-the-past-gandhi-and&m=1) New Kings of the World by Fatima Bhutto (https://t.umblr.com/redirect?z=https%3A%2F%2Ftwitter.com%2Ffbhutto&t=Zjg2Y2I0NTEyNWJmNjkwNGVhODI3YjAyNGEyMTM0M2YxN2UzNTA0NSxLSUg0WmY1Tw%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F189315153191%2Fepisode-88-playing-with-the-past-gandhi-and&m=1) Arranged! 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We love our listeners, we love them so much that when they suggest great episode ideas we turn them into a series! Join us for our first episode covering the films of Anil Kapoor, starting off with three features from the 1980s.  Show Notes: Thank you Mandy K R (https://t.umblr.com/redirect?z=https%3A%2F%2Fchartable.com%2Fpodcasts%2Fbollywood-is-for-lovers%2Freviews%2FroTEX7Wv&t=ODlkYmE3YWQ4YTAwOGI1NGJmMjk3YmRiMTg1MGI2YTg4YmIzMzU3Nixta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) ! Thank you for suggesting this episode Bollylitsa (https://t.umblr.com/redirect?z=https%3A%2F%2Ftwitter.com%2Fbollylitsa&t=OGJiNzM5ZjhhZjRmMTBmMDY0MTFkZDlmYTcwNDZiNDA5MDBjOWY4MSxta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) and everyone who recommended films! Anil Kapoor (https://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FAnil_Kapoor&t=YzQwZjMyMzYxZmNmYjM0NTE2MmUyMDIzNzQzY2RkMmY1YWU5YjFlMyxta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) was born on a lucky day Split Screen Podcast: The Hollywood Remake Of ‘Parinda’ (https://t.umblr.com/redirect?z=http%3A%2F%2FThe%2520Hollywood%2520Remake%2520Of%2520%27Parinda%27&t=Y2ZkMTQ0ZTNiNzgyZDljNGUzMzZhNGI5YWJkN2ZmZDg5ZjE2OWFhYSxta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) Mashaal (https://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FMashaal&t=YmFlMjNkY2JhMDhkZTVmYTg1MzM0ODAyMjExYjc4OWUyMzYwNTgwMSxta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) Songs: “Foot Pathon Ke Hum (https://t.umblr.com/redirect?z=https%3A%2F%2Fyoutu.be%2FpLFO1QCp_38&t=ZDJjNWU0ZjY2MDYzY2EzZjU0Yzg0NDlkNTFmNDk2MmQxMmU3MWQ2NSxta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) ,” “Holi Aayi Re (https://t.umblr.com/redirect?z=https%3A%2F%2Fyoutu.be%2F6MNxrueCOCg&t=ODAyYmM0MjM1MTdjMzUwZTU3MWJmMmE2MTU1YjU0Y2IxY2EyYTMzYyxta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) ,” “Mujhe Tum Yaad Karna (https://t.umblr.com/redirect?z=https%3A%2F%2Fyoutu.be%2F7B1rLeBQzh8&t=MGQzNDJiNGFiMWM2ZWI2NjM2NmVkMjdjZDllYzBiNzc5NWZhMTVkOCxta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) ,” and “Zindagi Aa Raha Hoon Mein” (https://t.umblr.com/redirect?z=https%3A%2F%2Fyoutu.be%2FVuV6T1YAsV0&t=ODZhOGQ2ZTFhZGZlODg1YTQ2YWI0MmU1MGNmN2YyNWQzYWQ4MTZiZSxta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) (INTERVAL (“Ek Do Teen” from Tezaab) Chameli Ki Shaadi (https://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FChameli_Ki_Shaadi&t=NGE4NzMzMjc0MTE0MWMwMjcxZTBkOGU1YjEzYzNlZDU1MzM1OWY0NSxta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) Come for AK, stay for Amrita Singh (https://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FAmrita_Singh&t=YjEwNGNjZjhkYzk3MDJmYzlmYTQ5Yzk4NzAyMzRkODY0MThkODUxYixta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) Songs: “Utar Aayi Akhade Mein (https://t.umblr.com/redirect?z=https%3A%2F%2Fyoutu.be%2FLEZKg4fev_c&t=ZjcwM2YxOGFjODFlYWNlNTdhNTViNDI5ODNlYThlZDVkODAwNTFhYSxta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) ,” “Tu Jahan Bhi Chalega (https://t.umblr.com/redirect?z=https%3A%2F%2Fyoutu.be%2F58g18RcYhaU&t=NzI4OTBiMjkyYTUyZTA4NjkwOGE4MjBkNmQ0YTk2ZWQ1OWMzNTA0YSxta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) ,” “Mohabbat Ke Dushman,” and “Peena Haraam Hai (https://t.umblr.com/redirect?z=https%3A%2F%2Fyoutu.be%2FeEgd9uWyJm4&t=YmI3OTgwZGVhNjBhMGE2MTU2Y2I3MjdkN2MyZmZiNTFkOWI4NjI0NSxta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) ” Tezaab (https://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FTezaab&t=NTM2YjIyOGYxNTgxOTU1YTk3OTIzZmU5ZDg5OGE2NWFhZGFlODI1Zixta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) Streets Of Fire (https://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FStreets_of_Fire&t=ZmM3YmM0YjNjZmJiNWNhYTJiZDM5MmMxYmMxZDg4OTQ3ZmU0YzJmZixta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) Songs: “Kehdo Ke Tum Ho Meri Warna (https://t.umblr.com/redirect?z=https%3A%2F%2Fyoutu.be%2FoZ9UmKKiiAw&t=YmE4MTg0MjNkMzc2Yjc3MzljOWZjMjczM2E3MWRjNDY1YmVmNzNlMyxta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) ,” “Ek Do Teen Char (https://t.umblr.com/redirect?z=https%3A%2F%2Fyoutu.be%2FsOGWtJt6I0Q&t=OGM0ZmI2NGU4NmZhMGI3YzRmYzc0ZDIzY2FhOWI0MzMxM2ExZjA3Zixta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) ,” and “So Gaya Yeh Jahan (https://t.umblr.com/redirect?z=https%3A%2F%2Fyoutu.be%2FL4FmY6tuCcs&t=N2M3OWIwODNkODQ3MzM3MTU0ZmE0NWFkZDFhMjM1MGUwMGU2YmZiNixta1B5YkxCWQ%3D%3D&b=t%3AkP3Y7y6o3K6ErDt0IV7Cnw&p=https%3A%2F%2Fbollywoodisforlovers.tumblr.com%2Fpost%2F187297636561%2Fepisode-85-anil-kapoors-80s-mashaal-chameli&m=1) ” NEXT TIME: Sacred Games Season 2 Bollywood is For Lovers is a 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Enjoy songs like “Khoya Khoya Chand Khula”, “Phoolon Ke Rang Se” & “Shokhiyon Mein Ghola Jaye” and more from the life of Dev Anand & Waheeda Rehman with RJ Gaurav.

Actress Waheeda Rehman is one of Bollywood's most iconic actress. Apart from Bollywood, the actress has also worked in Tamil, Telugu and Bengali films. Here's an exclusive interview of the actress when she made her comback with movie 'Om Jai Jagdish'. Have a look.

Waheeda Rehman, dazzling star of the silver screen, considered Guru Dutt her mentor. It is an interesting story about how Guru Dutt discovered her. To know more watch the video.

Yester year actress Waheeda Rehman and Asha Parekh are all praises for Kangana Ranauts movie Manikarnika: The Queen Of Jhansi. Check out the video here.

The relationship between Geeta and Guru Dutt started deteriorating and things were never the same. When Guru Dutt lost his life OP Nayyar who was his very close friend bashed both Geeta Dutt & Waheeda Rehman. To know more watch the video. #OPNayyar, #WaheedaRehman, #GeetaDutt

In this episode Shabby And Man chat about the fashion designers behind some of Bollywood‘s recent Weddings & pay heed to Waheeda Rehman’s comment on “ageing” Bollywood heroes Partners, parents and broadcasters Shabby and Man look back on life in two continents over two decades. He started in London. She started in Delhi, somewhere on the way their paths crossed. From hosting the weekend breakfast show together in India to ending up in London. Shabby is one of the most listened to Asian radio presenters in the UK, while Man has been mostly drinking copious amounts of Artisan coffee and contemplating life. (Each episode is approx 10-15 min in English with a smattering of Hindi) Follow us on socials  facebook https://www.facebook.com/shabnam.sahi Twitter https://twitter.com/shabbysahi https://twitter.com/mansahi  Instagram https://www.instagram.com/shabbymanpodcast/