The Nawab and his showgirl

It was not love at first sight for them but it lasted till the cricket legend passed away yesterday. It all started in 1965 when leading Bollywood actress Sharmila Tagore met the sauve captain Mansoor Ali Khan Pataudi at a common friend’s party.

But it was not easy for Tiger to win his lady love’s heart so he gifted her a refrigerator to win her heart. But finally it was roses that did the trick. ”She batted for four years,” Pataudi declared in several interviews later.

Family bids adieu

Like any Bollywood love story, there were hurdles with both set of parents throwing spanner in it. While Sharmila's parents were not open to the idea of their daughter getting married to a Prince, Pataudi’s parents were not happy with having a sex symbol as their daughter-in-law. Eventually both relented and the duo got married in 1969 and she became Ayesha Sultana after converting to Islam.

Their marriage broke all stereotypes as Sharmila went on to give hits like ‘Chupke Chupke’, ‘Mausam’, ‘Amar Prem’ among others. She once said in an interview, 'I haven't given up anything (after marrying Tiger). He is very liberal in his views. I've gained a lot of experience and gained another culture, cuisine, and way of dressing. I've benefited a lot.' This is one love story which lasted 42 years.

The Original Divas of Bollywood– Part 4: Parveen Babi

Parveen Babi was one of the most popular actresses of the 70s and early 80s and was known for the glamour and sensuousness that she brought about in Hindi cinema.

She lived a life full of zest and fun, a glimpse of which, we also saw in many of her roles. Along with her contemporaries like Rekha, Hema Malini and Zeenat Aman, she was responsible for bringing about a sea of change to the way Indian women were portrayed on screen. She played a crucial role in changing traditional mindsets and changing pre-conceived notions concerning women.

Parveen Babi was born in the year 1949 in a Muslim family based in Junagadh as Parveen Wali Mohammad Khan. She was born to her parents only after 14 years of her. Her father, an administrator with the Nawab of Junagadh, passed away when she was only seven years of age.

She landed her first film, ‘Charitraheen’, opposite cricketer Salim Durrani, while she was still in college. Though the film was a major failure at the box-office, Parveen Babi was instantly noticed. Her next two films also bombed but Parveen was accepted by the film fraternity and was signed on for almost nine films. Her fifth film, ‘Majboor’, finally put a rest on the initial flops of her career. Though she only played the role of an arm-candy to the reigning superstar of the time, Amitabh Bachchan, the film had opened the doors of success for her.

The landmark film of her career was the film ‘Deewar’, as it established Parveen Babi as the ultimate glamour girl of Bollywood. Her image as the chic Western woman with trademark long locks and a feisty spirit found base with the film. Her portrayal as a woman who drank freely and indulged in pre-marital sex with her lover, (Amitabh Bachchan) was in defiance to the ‘norms’ of the society at that time. In a way, the film helped in bringing about a slight change in the way women were perceived.

After ‘Deewar’ Parveen’s career, once again, hit a low phase with many of her films getting trashed at the box-office. However this spate of flops could not hinder her success as ‘Amar Akbar Anthony’ turned out to be a goldmine for her. Though her role was not too significant, it is said that her role was the best amongst the other leading ladies of the film. Parveen was once again ruling the roost in Bollywood. She acted in many notable films like ‘Namak Halaal, ‘Shaan’, ‘The Burning Tran’, ‘Suhaag’, ‘Kaala Patthar’ and ‘Pati Patni Aur Woh’ among many others. In fact, her performance in her cameo in Manoj Kumar’s ‘Kranti’ was said to be much better than that of the leading lady of the film, Hema Malini.

Throughout her career, Parveen Babi had to face constant comparison to fellow actress Zeenat Aman. The two ladies were always singled out because they were both considered sex-symbols, had long legs, flowing tresses, spoke anglicized Hindi, and starred in offbeat roles. They were also said to be the favorite leading ladies of Amitabh Bachchan. There was said to be a lot of rift between their fans over who really was the ultimate glamour queen of the industry.

A great deal of credit for Parveen’s successful filmy career should be given to Amitabh Bachchan since most of her major hits were films that carried his star power. There can be no doubt that Amitabh Bachchan was the reigning superstar of the Hindi film industry, and acting alongside him bore positive results for Parveen. Parveen Babi was second only to Jaya Bachchan with regard to the maximum number of films opposite Amitabh Bachchan. They were even rumored to be having an affair with each other at that time.

“Most of my films with Parveen were superbly successful. The audience liked us as a pair. She brought in a new, bohemian kind of leading lady to the screen. We'd work on all these films and go our own way. But because we belonged to the same social circle we'd visit each other, listen to music. She was a very fun loving, light-hearted person. Always full of joie de vivre!” – Amitabh Bachchan

Parveen Babi never got married in her lifetime but she had a few relationships, some of which were tumultuous and had a negative impact on her. She dated some high profile names (mostly married) of the industry like Danny Denzongpa, Kabir Bedi and Mahesh Bhatt. She reported put her career on hold and took off with then boyfriend Kabir Bedi who was to play the title role in an Italian television serial, Sandokan. Her relationship with director Mahesh Bhatt was the one which remained the most talked about. The movie ‘Arth’, directed by Mahesh Bhatt, was the story of his extra-marital relationship with her, though he never really acknowledged it. Mahesh Bhatt, once again, presented her life on the silver screen with ‘Woh Lamhe’ featuring Kangana Ranaut as Parveen Babi.

After acting in her last movie, ‘Akarshan’, Parveen disappeared from public view all of a sudden. It is said that it was a combined result of her association with spiritual philosopher, U.G. Krishnamurthy, the release of the film, ‘Arth’ and her disturbed state of mind (she was said to be suffering from schizophrenia) that led her to abandon everything and move away to New York. She returned to Mumbai in the year 1992, and had become unrecognizable owing to her bloated figure. Upon her return, she accused many high profile dignitaries, which included Bill Clinton and Amitabh Bachchan, of plotting to kill her. In 2002, she claimed that she had evidence against Sanjay Dutt in the 1993 serial bomb blasts case. She never turned up for the court hearings saying she feared for her life.

Parveen had become a recluse by then and hardly anyone came across her. In 2005, she was found dead in her apartment. She had reportedly been dead for three days and, apparently, no one had noticed her slipping away from life. For a woman who led such a glorious life, the end to her life was largely abrupt and undeserving. She, who had entertained millions, died a lonely death after years of isolation. Irrespective of what her life had become, the ultimate queen glamour had given her all to her career and the people she loved. She was very different from the ‘herd’ of actresses and her uniqueness was the main element with which she ruled more than a million hearts.

The Original Divas of Bollywood: Part 3– Rekha

She was the woman who mesmerized millions of fans with her sensuality and brought about a change in Bollywood by rising to the top at a time when only "beautiful" actresses were chosen in films.

Today, despite being in her fifties, she continues to stir the imagination of men and women alike, owing to the aura of mystery that has always surrounded her.The person who made being 'divaesque' fashionable and kept generations of fans constantly bewitched with her bare existence– that's Rekha for you and here is her Bollywood journey.

Not many know that Rekha was born as Bhanurekha Ganesan, into a filmy family, of sorts. Her fathers was Tamil actor Gemini Ganesan and Telugu actress Pushpavalli. Her Bollywood debut was with the film 'Sawan Bhadon' in the year 1970 though she had already worked in a Telugu and Kannada film respectively. Though her first few films performed quite well commercially, she was never given much appreciation, since she was considered ugly.

"I was called the 'Ugly Duckling' of Hindi films because of my dark complexion and South Indian features. I used to feel deeply hurt when people compared me with the leading heroines of the time and said I was no match for them. I was determined to make it big on sheer merit," Rekha had once said. (Those people probably had no clue what an icon Rekha would become in the years to come.) Rekha took matters into her own hands and took to yoga, nutritional food and a disciplined lifestyle to change her plump and unattractive looks into a slender and beautiful woman. The ugly duckling had indeed transformed into a swan for everyone in the industry to see.

"I devoted thirty-one years of my life to this industry and in turn this industry has given me everything that I can be proud of - name, fame and the perks that go with stardom."

Her first film, where she was lauded for her performance, was 'Do Anjaane' where she starred opposite Amitabh Bachchan. The film was a commercial as well as critical success and it launched Rekha's success story in Bollywood. The movie 'Ghar' opposite Vinod Mehra was considered a milestone in Rekha's career with respect to her performance. Her portrayal of a rape victim who struggles to come to terms with life was beautifully brought forth by Rekha and, indeed, remains one of Rekha's best works till date.

In the same year, 'Muqaddar Ka Sikander' was released which was again, opposite Amitabh Bachchan, and it turned out to be the biggest hit of the year. The film established Rekha as the top actress in the industry and also led to the beginning of the adulterous affair between her and Bachchan, who was already married.

"Well loneliness is still a part of me, but being alone is not necessarily being lonely."

Rekha's affair with Amitabh Bachchan has captured the fancy imaginations of millions of fans who doted on the pair that went on to star in a total of 10 films together, viz. 'Muqaddar Ka Sikander', 'Do Anjaane', 'Namak Haraam', 'Mr. Natwarlal', 'Ganga Ki Saugandh', 'Suhaag', 'Alaap', 'Khoon Pasina', 'Immaan Dharam' and 'Silsila'. The two, reportedly, had a full fledged affair behind the scenes in spite of Bachchan's marital status. In fact, the love love triangle featuring Bachchan, wife Jaya and Rekha was captured in the film 'Silsila' which would be the last time they would be working together.

Of the affair, Yash Chopra states, "I was always on tenterhooks and scared (during Silsila) because it was real life coming into reel life. Jaya is his wife and Rekha is his girlfriend – the same story is going on (in real life). Anything could have happened because they are working together." Amitabh Bachchan finally buckled to media and family pressure and called it quits with Rekha. Their affair, though unsuccessful, has remained one of the most popular subjects till date and even today, if the two happen to be seen at the same event, the media goes into a frenzy trying to capture each one's reactions.

After the turmoil in her personal life, came a new dawn in her career. She went on to act in films which brought her a great deal of appreciation from all quarters. She starred in art films and those which were woman-centric. Her role in 'Umrao Jaan' fetched her a National Award for Best Actress. Her role of a courtesan with a heart of gold showed how much Rekha had grown as an artist. Later the film was remade with Aishwarya Rai stepping into Rekha's shoes, but it sank without a trace.

Films like 'Utsav', 'Ijaazat', 'Khubsoorat' and 'Khoon Bhari Maang' were some films which Rekha acted in when she was at the peak of her career, and her wonderful performance in the films was celebrated all over. During the 90s, Rekha's career started sliding and the only notable films were 'Kama Sutra: A Tale of Love' and 'Khiladiyon Ka Khiladi', for which she won the Filmfare for Best Supporting Actress.

Most recently, we saw Rekha as the seductive crooner in 'Parineeta', mother and grandmother to Hrithik Roshan in 'Koi Mil Gaya' and 'Krish' respectively. Though her contemporaries have easily sunken in the roles of mothers and grandmothers with ease, playing such roles more than often, Rekha has always been very selective of her work and rarely fits into out minds as the typical mother figure of Bollywood.

Rekha has always been the ultimate symbol of sensuality and mysteriousness and has lived on in the minds of people despite almost disappearing from the movie scene for such a long time. At a time when the current batch of actresses try every move to bag attention, Rekha commands all that attention without even saying a word. This, only proves the stature she achieved in the industry owing to sheer talent and hard work and, of course, being the diva that she always was. (MensXP.com)

The Original Divas of Bollywood: Part 2– Zeenat Aman

Zeenat Aman was one of the most iconic actresses of the 70s and the 80s and was the one who completely transformed the way actresses were portrayed in films.

She was the first Indian woman who was considered to be a sex-symbol owing to her bold appearances in the films that she acted in. She changed the perception of movie-goers towards women characters, who, before her arrival, were mostly cast in meek and submissive roles.

Zeenat Aman was born to a Hindu mother and a Muslim father Amanullah Khan, the scrip-writer of classic movies like 'Mughal-e-Azam' and 'Pakeezah', in 1951. Her parents separated when she was a child and later, when Zeenat was 13, her father passed away. While her mother re-married and moved to Germany, Zeenat Aman made her base in India to pursue a career, that has been exemplary for all struggling actresses.

She made her her way into the industry after winning the Miss Asia Pacific title in 1970, being the first Indian woman to do so. Her debut film was 'Hulchul', directed by O.P. Ralhan, which was failure, as was her second film, 'Hungama', also by the same director. It was her third film, 'Hare Rama Hare Krishna', which catapulted her to instant fame and stardom. Her portrayal as a the westernized and emotionally disturbed junkie 'Janice/Jasbir' won her accolades from all quarters and she took away the limelight from the leading lady Mumtaz, who was the reigning queen of the industry at that time.

Zeenat went on to win the Filmfare for her role in the film and the song Dum Maaro Dum became a cult song which is considered evergreen. Quite recently, Deepika Padukone performed on the remixed version of the song but it could not shake the popularity of the original song at all. For the first time, the Indian audience had accepted a not-so-pure female character with open arms, and Bollywood opened its doors for an unconventional actress like Zeenat Aman.

'Yaadon Ki Baraat' folowed, and her hip guitar act in the song Churaa Liya was a major hit with the audiences. Zeenat constantly broke barriers in the film industry and chose roles that were different from the ones that were being churned out for 'regular' actresses of her generation.

In the span of 3 years, Aman gave herself to roles which were considered 'unconventional' before. She played the role of an opportunist who dumbs her lover for a millionaire in 'Roti Kapda Aur Makaan', an ambitious woman who contemplates abortion for the sake of her career, a carefree hooker in 'Manoranjan', a woman involved in an extra-marital affair in 'Dhund' and a girl who falls in love with her mother's one-time lover in 'Prem Shastra'. Slowly but steadily, Aman was help change the long-held notions about women, in films, who always swore obeisance to their lovers/husbands.

After acting in a number of films, Zeenat landed a role in the Raj Kapoor film 'Satyam Shivam Sundaram'. The film drew flak for showing something that was totally opposed to its theme i.e. a film about eternal beauty showcasing only Aman's sex-appeal. The film was more in news for Aman's barely there saris and her lip-lock with co-star Shashi Kapoor. No actress of her time would even think about plunging into such a daring act. But Zeenat Aman, being the trendsetter that she was, never shied away from anything and stood by her film.

Her one chance to get into Bollywood took a dip since the movie 'Shalimar' co-starring Dharmendra and international stars like Rex Harrison and Sylvia Miles crashed at the box-office owing to its pathetic script. 'Don' was the film which set Zeenat Aman's career rolling again after a few miserable movies. She showed her abilities as she matched Amitabh Bachchan's action skills in the film. Her revenge-seeking action heroine role was very much on the lines of a Bond girl and we think Miss Aman would have made a super hot Bond girl of her time.

In the midst of her glittering film career, she developed an affair with the very married Sanjay Khan on the sets of the film 'Abdullah'. Aman was reportedly so smitten by him that when she was asked to guest edit a popular magazine, she made Sanjay Khan the centre spread and their whirlwind affair resulted in a secret nikaah between them. However, they broke up after she was assaulted by Sanjay Khan and his wife Zarine Khan at a party. The physical assault left her eye permanently damaged.

She went on record, many years later, to state that her marriage to Sanjay Khan was one of the biggest mistakes of her life. She said, "I was very vulnerable at that time. A few weeks of madness, that was all it was. Getting married to a married man was never going to work. I was too young, naïve and silly to know what was right for me." She went on to marry Mazhar Khan who was talented but not very successful as an actor.

Her relationship with Khan was an explosive one with the two reportedly at loggerheads each time they met. The two got married all of a sudden which shocked everyone from the industry. Their marriage was as violent as their relationship and Aman even went public accusing her husband of physical abuse. The marriage was on the verge of a breakdown, when Mazhar was diagnosed with renal cancer. Aman then started taking care of him and had, reportedly, spent all her savings when he finally lost his battle to the disease in the year 1988.

Post her husband's death, she continued facing a lot of difficulties as she got embroiled in a bitter fight with her in-laws for the custody of her two sons, Azaan and Zahaan. Aman finally won the custody of her children and concentrated on bringing them up as well as restore her lost dignity with time.

Aman returned to the silver screen and acted in films like 'Bhopal Express' 'Boom', etc. which hardly left an impact in the minds of the audience. Today Zeenat Aman leads a quiet life and is occasionally seen at award shows and events. Most recently, Aman walked the ramp as a showstopper at the IIJW, joining the current crop of actresses and contemporary, who were also at the same platform.

As a final note, we would like to say that Zeenat Aman was one of the best and the most revolutionary things to have happened to Bollywood. She almost single-handedly changed the face of Indian cinema with her bold attitude and willingness to trod any path that challenged her creativity and the pre-conceived notions of people. Zeenat Aman has always been, and will always remain the original diva of Bollywood.

The Original Divas of Bollywood: Part 1: Hema Malini

During the 70s, Bollywood saw the emergence of some young actresses who lent new dimensions to glamour and left the country spellbound.

Actresses like Hema Malini, Sharmila Tagore, Dimple Kapadia, Rekha etc. gifted the much-needed glamour quotient to the Bollywood. Add to this their impeccable acting skills and their graceful portrayal of unforgettable characters on the screen which made much of the cinema of the 70s and the 80s an enchanting experience.

The actresses of the present times strive hard to come close to the stature of the original glamour girls of the yesteryears. Over the course of next few weeks we'll take a look at the lives and personas of these veteran actresses.

We start with the original “Dream Girl”:

HEMA MALINI

She is 62 years old but many feel that she still looks more beautiful and graceful than her daughter who is 34 years younger to her. She was the first (and is probably the only) dream girl of the Bollywood, a feat Aishwarya Rai can only dream of achieving. A Padma-awardee, Hema Malini is one of those few Bollywood actresses who can boast of an acute blend of acting prowess and breathtakingly elegant looks.

Hema Malini was the second Tamil actress to make waves in mainstream Bollywood after Vyjayanthimala. Born as Hema Malini R. Chakravarty in a Tamil Iyengar family in October 1948, her first attempt to act (at the age of 15) in a movie couldn't materialise as Tamil director Sridhar rejected her on the grounds that she was too thin! But this could not deter the young Hema who debuted opposite legendary showman, Raj Kapoor in 'Sapnon Ka Saudagar' just four years (1968) after her rejection.

And this was the beginning for Hema Malini's becoming the most sought after lead actress for the next two decades. She had that rare ability of fitting instantly into a wide array of diverse roles. In fact, she could easily accept challenging roles which most of the heroines of the 1960s refused to do. She played the role of a young widow in Andaaz (1971) and in Lal Patthar (1971) she played a character with negative shades.

In 1972, she lit up the big screen with her glittering double-role performance against Sanjeev Kumar and Dharmendra in the cult hit 'Seeta and Geeta'. The movie earned her her first Filmfare Best Actress Award and till this day, it remains one of the best in her career.

Then came the life-changing blockbuster 'Sholay', a movie which redefined not only the lives of the actors but was instrumental in altering the Indian cinemascape. She etched the role of 'Basanti', the loquacious and affable “tonga-driver” beautifully on the screen and won hearts all across the country. It is said that it was during the filming of 'Sholay' that Hema fell in love with Dharmendra.

The Dharmendra-Hema pair, often considered as the coming together of two polarised extremes of femininity and masculinity, elicited brilliant on-screen chemistry and was seen in as many as 28 films, the most prominent ones being 'Dream Girl', 'Charas' 'Naya Zamana', 'Raja Jani', 'The Burning Train' and of course, 'Sholay'.

During the mid-70s, her fans started calling her "Dream Girl", an allusion to the movie of the same name where she starred opposite Dharmendra. The name was only fitting as she had actually become the most desired, most eligible bachelorette of the country.

By the late 70s, Bollywood was gripped by the movies depicting the valiant action hero who could handle a dozen goons as comfortably as taking a walk in the park. In that testosterone-filled era, Hema helped keep the door open for female-centric movies, especially with her three Gulzar films --- Khushboo(1975), Kinara (1977) and Meera (1979).

In 1980, Hema tied the knot with Dharmendra. She decided that she'll continue acting in movies. In the early 1980s Hema starred in breakthrough films like Manoj Kumar's 'Kranti', Manmohan Desai's 'Naseeb', Kamal Amrohi's 'Razia Sultan' and Vijay Anand's 'Rajput'. Gradually, her attention shifted to the upbringing of her daughters, Esha and Ahna, who were born in 1982 and 1984, respectively.

By 1984, Hema was a working mother, trying hard to strike a balance between family responsibilities and professional commitments. In 1983 she starred in Andha Kanoon which marked the debut of Tamil actor Rajinikanth in Bollywood. In the film she played the sister of Rajinikanth, seeking revenge for the death of her parents. In the late 80s, she delivered hits like Ek Chaddar Maili Si (1986), Rihaee and Jamai Raja (1990), in which she played more matured roles. But her on-screen presence was discernably declining.

In 1992, she made her directorial debut with the SRK-Divya Bharti starrer 'Dil Ashna Hai'. The movie couldn't do well at the box office and Hema's film career started to fade gradually. She was now focusing on dance ballets and Television serials. Dance has always been her first love, something which she never hesitated to confess.

“My interest was dance and in the beginning, I didn't enjoy acting at all. It was my mother who brought me into films and who looked after my career. I remember each time a producer came to meet her, my only reaction was, 'Oh God, another year of my life gone,'” she has been quoted as saying.

Hema Malini has been active in Hindi films for the last forty years and was lately seen playing prominent roles in Ravi Chopra's 'Baaghban' and 'Baabul' and Yash Chopra's love saga 'Veer Zaara' opposite Amitabh Bachchan. She continues to appear in movies occasionally, her last appearance (a cameo) being in the movie 'Bbuddah Hoga Tera Baap'. Hema remains a Bharatnatyam exponent.

In 2000, Hema Malini was conferred the fourth highest civilian award Padma Shri by the Government of India. She was nominated for the Filmfare Best Actress Award for ten times from 1974 to 2004 and won it once ('Seeta aur Geeta', 1972). In 1999, she got the coveted Filmfare Life Time Achievement Award.

Hema forayed into politics when she joined BJP in 2004. She is now a Rajya Sabha MP under the aegis of BJP. She spends most of her time by being involved in charitable and social ventures, while making occasional appearances in films. With her film career less hectic, she is often seen in BJP rallies as well.

It's been 41 since the endearing, drop-dead-gorgeous “Basanti” took the B-town by storm but her charisma refuses to diminish. During the course of her career, she took many risks and always made her own decisions. Her mantra in life has always been “my way or the highway”. She acted in those films which were rejected by the prominent actresses of the 70s. And then she also made a strong decision of marrying already-married Dharmendra which drew her considerable flak.

Many actresses have made unsuccessful attempts to usurp her from the throne. Hema continues to be the real 'Dream Girl' of the Bollywood. She remains the role-model for several aspiring Bollywood actresses. (MensXP.com)

The Original Divas of Bollywood: Sharmila Tagore

Sharmila Tagore is a name which is synonymous with grace, beauty and, her trademark, winged eyes.

However, there's more to this actress than just the above traits. She is not only an actress but a doting wife, mother, homemaker, ex- Censor Board Chief and UNICEF Goodwill Ambassador. She was one of the very first actresses who made being a sex symbol trendy before making her transition as a serious actor.

The Beginning

Sharmila Tagore began her career with Satyajit ray's Bengali film 'Apur Sansar' in 1959 at the tender age of 14. Her Bollywood debut was the film 'Kashmir Ki Kali' opposite Shammi Kapoor, as a beautiful and innocent flower-seller in the heavenly Kashmiri landscape, after which there was no looking back.

Claim to Fame

Sharmila Tagore really burst on the scene when she appeared in a bikini in the film 'An Evening in Paris' becoming the first Indian actress to do so.

The Oomph Factor

Sharmila's oomph factor lies in her ethereal charm and elegance,topped with her infectious dimpled smile. In the older days, her winged eye-liner look hugely added to her aura, not to mention that it was a major trendsetter.

The Calling

Acting came calling to her when she was spotted by renowned filmmaker Satyajit Ray while she was still studying in school, all of 13. Her father was persuaded to let her act, which he did only because the film was a combination of well-regarded Ray and renowned author Bibhutivibhushan Bondopadhyay whose story it was.

Did You Know?

In the film Parineeta, Sharmila Tagore's son, Saif Ali Khan rides on the same train Tagore rides on in Aradhana.

Sharmila Tagore Now

At present, Sharmila Tagore is busy taking care of her ailing husband keeping aside everything else. She retired from the Censor Board in March and was last seen in the movie 'Break Ke Baad'.

Starting off as a gawky teenager in her first film, who had to be shouted at by the director, to the legend that she is considered today, Sharmila Tagore's career has indeed, been a remarkable one. Despite setting the trend of being sexy in Indian cinema, Sharmila Tagore went on to grab performance oriented roles, proving her versatility. After opening the road to future divas of Bollywood, Sharmila embarked on her own journey in the glittering B-town which was not only successful but highly distinguished.e

Golden innings

‘Tiger’, as Mansur Ali Khan Patuadi was often called, was the son of Iftikhar Ali Khan Pataudi, who had the distinction of playing Test cricket for England and India.

Born into royalty, Mansur Ali Khan was the ninth and final Nawab of Pataudi, a princely state which merged into India in 1947.

Cricket was in the family. Pataudi Senior made a hundred on Test debut for England before his playing days prematurely ended when he opposed his captain Douglas Jardine’s tactics in the 1932 Bodyline series. He later captained India before he passed away on his son’s 11th birthday in 1952.

It is said Pataudi Senior had asked bat-makers Gunn and Moore to manufacture a small-sized bat for his son, who was five at the time. Gunn and Moore didn't make bats for kids, but they agreed to make a special one for the boy who would be India's youngest Test captain at the age of 21.

India’s Finest Captain

Pataudi, an Oxford alumnus, went on to play 46 Tests for India, and was captain in 40. This makes him and Iftikhar the only father-and-son duo to captain India.

Pataudi in action for Oxford against Surrey, June 1961.

Pataudi in action for Oxford against Surrey, June 1961.

He is widely recognised as one of the finest tacticians of his time, a trait which helped bring spin bowling to the forefront of India’s gradual rise to the top. It was under him that India registered their first Test series win abroad, in New Zealand in 1968, by a 3-1 margin. India have never won three Tests in an away series since.

Pataudi realised spin was India’s strength and he built upon it. He’d often play three spinners in the side. This is best reflected in the fact that Bishan Singh Bedi, Erapalli Prasanna and S Venkataraghavan all had better averages and strike-rates under Pataudi.

Attacking Style

Pataudi was an attacking batsman. After his schooling in Dehradun, he went to Winchester College, where he made over 2,000 runs in a season. It helped him that his coach George Cox was also an aggressive stroke-maker and encouraged Pataudi’s style of play.

At a time when keeping the ball along the ground was batsmen's mantra, Pataudi loved his lofted drives. His reflexes were sharp and his fielding quick-silver.

In 1960, he made 131 for Sussex against Cambridge at Lord’s. He was Oxford’s captain the next year, becoming the first Indian to receive the honour. This is the time he was involved in a car accident near Brighton beach and lost vision in his right eye.

Describing his post-accident style of play, Author Dean P. Hayes wrote: “As a result of the injury, he preferred a two-eyed stance. His backlift was therefore from the direction of third man, but the bat in the downward swing passed close to the right leg with elbows tucked in, thereby eliminating any chance of gap between bat and pad. In spite of two eyed stance, his off-side play remained a delight, because he quickly positioned himself for the strokes.”

Once asked by a journalist about how he played with one eye, Pataudi said, "I see two balls. I hit the one on the inside." Experts often wonder what he could have achieved as a batsman had he not been impaired.

Successful Debut & Captaincy

He later made his Test debut against England in the Delhi Test of December 1961. In his third Test of the same series, he made an attacking 103 to round off a series win.

Pataudi in 1961.

Pataudi in 1961.

In 1962, midway through the West Indies tour, captain Nari Contractor was famously felled by a bouncer and never played Tests again. Pataudi, in just his fourth Test, became captain. It was a tough tour for him, and he failed to cross 50 in six innings, and India lost all five Tests.

After a brief slump in form, he hit the high notes again by making his highest Test score — 203 not out in Delhi — when England visited in 1964.

His finest innings is said to be the 75 he made in Brisbane in 1968, coming out to bat on a green-top with India 25-5. He had a hamstring injury which impeded his front-foot play and this innings is thus recalled as the one played with one eye and one leg.

Differences with the then chairman of selectors, Vijay Merchant, and India’s historic wins in the West Indies and England in 1971, brought Ajit Wadekar’s captaincy to the forefront. But following the ‘Summer of 42’ disaster in England in 1974, Wadekar was forced out, and Pataudi returned to lead the team again.

Pataudi played his last Test in 1974 — as captain — and made 9 and 9 against the West Indies at the Brabourne Stadium, a game India lost and surrendered a tightly-fought series 2-3.

He also won the Arjuna Award on 1964 and Padma Shri in 1967.

After Cricket

Pataudi worked as an ICC match referee and sports columnist. In 1974-75 he was India's manager. He also dabbled in politics. Earlier this year, he parted ways with the Indian Premier League and sued the BCCI over non-payment of dues.

The only major controversy he courted was in 2005 when he was arrested for killing an endangered animal.

Pataudi, 70, breathed his last today at a New Delhi hospital after a prolonged infection of his lungs. He is survived by wife, former actress Sharmila Tagore, son Saif Ali Khan, and daughters Soha and Saba.

Tiger Pataudi

One of India's most visionary captains and its youngest-ever skipper Mansur Ali Khan Pataudi lost his battle with a lung infection and passed away at a Delhi hospital today evening. Pataudi, who captained India in 40 of his 46 Tests is survived by his wife, yesteryear acting superstar Sharmila Tagore, son Saif Ali Khan and daughters Saba and Soha Ali Khan.

"His condition has deteriorated since Wednesday and he is unable to maintain his oxygen level in spite of maximum treatment. He continues to remain in the ICU (intensive care unit)," news agency IANS quoted Neeraj Jain, senior consultant and chairman of pulmonolgy (chest medicine) at Sir Gangaram Hospital in central Delhi, as saying earlier today.

The 70-year-old Pataudi was admitted to the hospital in August with acute lung infection. The condition does not allow normal passage of oxygen to both the lungs. The patient breathes out more carbon dioxide during infection.

"This disease....had been static since the last three months. It worsened very acutely over the last four weeks," Jain told IANS adding a possible lung transplant was discussed. "The possibility of lung transplant was discussed very early as soon as his condition worsened. But he was not a suitable candidate for it," he added.

India may have won only nine of the 46 Tests under Pataudi, but it was under his astute leadership that India won their first overseas Test against New Zealand at Dunedin in 1968 enroute to winning their first away series 3-1. Pataudi played three spinners in the team for most of his captaincy stint, as he believed that India should play to its strengths. Pataudi, who became India captain at the age of 21, only a few months after an accident permanently damaged the vision in his right eye, scored 2793 runs including six centuries and a highest score of 203* in 46 Tests at an average of 34.91.

Mansur was nicknamed "Tiger" by teammates for his aggressive approach and agility in fielding.

He was born to Iftikhar Ali Khan Pataudi, eighth Nawab of Pataudi and his wife Sajida Sultan, in Bhopal on January 5, 1941; and was educated at Welham Boys' School in Dehradun, Lockers Park Prep School in Hertfordshire, Winchester College, and Balliol College, Oxford. Pataudi was awarded the Arjuna Award in 1964 and was a recipient of the Padma Shri in 1967. Iftikhar and Mansur are the only father-and-son duo to captain India.

Pataudi served as a ICC match referee between 1993 and 1996; and he was also a consultant to the BCCI from 2007 and part of the first IPL governing council but refused to continue in that role following Lalit Modi's sacking as its chairman in October 2010.

ભીંજાવુ છે વ્હાલમના પ્રેમ

ભીંજાવુ છે વ્હાલમના પ્રેમ મા ચાતકની જેમ્,
જોયા કરુ એમને રાત્-દિ’ બસ હોલા ની જેમ્,
વરસતા વરસાદે ઢેલ બની થનગની જઉ,
એમના મિલનની ખ્વાહિશ્ મા,
સપનામા મળવાની ગુજારીશમા,
ખોવાઈ જઉ એમની યાદોમા,
આવુ વિચારુ ત્યારે ખીલી ઉઠુ,
જાણે પંખી બની ઉડતી રહુ,
એમના સ્પર્શ થી તન રણઝણી ઉઠે,
જાણે કે વનમાં ક્યાંક કલાપી કળા કરે,
એક અલગજ જાતનો નશો ચઢે,
વગર પિયુની કમળ પાંદડી પણ કનડે.

લાગણીઓને ફ્રિઝમાં મુકી રાખી છે

મેં પણ લાગણીઓને ફ્રિઝમાં મુકી રાખી છે
ક્યારેક ખુટી પડૅ તો કામ લાગે ને
ખુટેલી લાગણી વાળા લોક હવે દેખાય છે બધે

આંખો ચુરાવાની પ્રેક્ટીશ રોજ કરી રાખી છે
જેથી એમાં શરમ આવી ના જાય
કેમકે કોઇ આખમાં શરમને સંઘરતુ નથી

કુઠારાઘાત માટે દિલને કઠોર બનાવતો જા ઉં છું
જેથી કોઇ દી એ તુટી નાજાય
દિલ તોડવાની જાણે ફેશન થઇ ગઇ છે બધે
જિનદત્ત શાહ

એમ મળવાનું હવે ક્યાં થાય છે?

એમ મળવાનું હવે ક્યાં થાય છે?
યાર, હળવાનું હવે ક્યાં થાય છે?

એક સાંજે આમ છૂટા થઇ ગયા
ને ઝગડવાનું હવે ક્યાં થાય છે?

રાહ જોતો હું કલાકો, યાદ છે
રાહ જોવાનું હવે ક્યાં થાય છે?

ચાંદની પીધા પછી આ હાલ છે
રોજ પીવાનું હવે ક્યાં થાય છે?

રાતભર એ ભીંજવી દેતી હતી
જો પલળવાનું હવે ક્યાં થાય છે?

તાપ એનો એટલો, બાળી મૂકે
બસ, સળગવાનું હવે ક્યાં થાય છે?

આખરે કાફર હતી એ છોકરી
આંખ લડવાનું હવે ક્યાં થાય છે?

હું જ શોધું છું મને આ શહેરમાં
શોધવાનું મન તને ક્યાં થાય છે?

કંઇ થાય નઇ

છાનું રે છપનું કંઇ થાય નઇ
ઝમકે ના ઝાંઝર તો ઝાંઝર કહેવાય નઇ
એક ઘાયલ ને પાયલ બે છૂપ્યા છૂપાય નઇ
ઝાંઝરને સંતાડી રાખ્યું રખાય નઇ

આંખ્યો બચાવી ને આંખના રતનને
પરદામાં રાખીને સાસુ નણંદને
ચંપાતા ચરણો એ મળ્યુ મળાય નઇ

નણદી ને નેપૂર બે એવા અનાડી
વ્હાલા પણ વેરી થઇ ખાય મારી ચાડી
આવેલા સપનાનો લ્હાવો લેવાય નઇ

- અવિનાશ વ્યાસ

રૂપ ક્યાંથી લાવ્યો

મોર, તું તો આવડાં તે રૂપ ક્યાંથી લાવ્યો;
મોરલો મરતલોકમાં આવ્યો.

લાલ ને પીળો મોરલો અજબ રંગીલો,
વર થકી આવે વેલો;
સતી રે સુહાગણ સુંદરી રે,
સૂતો તારો શે’ર જગાયો રે;
મોરલો મરતલોકમાં આવ્યો.- મોર, તું તો..

ઇંગલા ને પિંગલા મેરી અરજું કરે છે રે;
હજી રે નાથજી કેમ ના’વ્યો;
કાં તો શામળીયે છેતર્યો ને કાં તો
ઘર રે ધંધામાં ઘેરાયો રે;
મોરલો મરતલોકમાં આવ્યો.- મોર, તું તો..

એવો કર્જો

પ્રેમ કર્જો તો એવો કર્જો
જે સદાય દિલ ને યાદ રહિ જાય્,

ભલે તમારુ આ શરિર મરિ જાય ,
પણ તમારો અત્મા એને પ્રેમ કરતો રહિ જાય...

દિલ મડવાના આ મોસમ મા
ક્યા છે તુ હે દિલ્!!!
હુ આજે પન તારિ રાહ જોઉ છુ
કે તુ આ વરસે વરસાદ મા મારિ સાથે
પલડવા આવિશ્!!!!!!

જિગર ના ટુકડા

જિગર ના ટુકડા ઓને વિણવા નિકળ્યો છુ.
ના જાણે કોના પ્રેમ ને શોધવા નિકળ્યો છુ.

રાત ના અંધારા મા દિવો લઇને નિકળ્યો છુ.
પ્રેમ ના નગર મા પ્રેમ ને શોધવા નિકળ્યો છુ.

શબ્દો ફકત શબ્દો

શબ્દો ફકત શબ્દો રહે એવું કરો
આ મૌનના પડઘા શમે એવું કરો

આજે ઈરાદો કંઈ જુદો છે ચાંદનો
આ સુર્ય પણ થોડો નમે એવું કરો

બીજા તમારા બાદ પણ ચાલી શકે
રસ્તા તણા પથ્થર હટે એવું કરો

હર પળ ઉદાસીમય રહ્યું વાતાવરણ
એકાદ બાળક ત્યાં હસે એવું કરો

મોસમ વિના આવી ચઢી છે પાનખર
ને ફુલ કોઇ ના રડે એવું કરો

હર હાથ ખંજર થૈ ગયાની છે ખબર
ગુલ પ્યારની દુનિયા વસે એવું કરો

- અહમદ ગુલ

સમય વહી જાય

સમય વહી જાય છે,
જીવન વીતી જાય છે,

સાથી ના સાથ છૂટી જાય છે,
આંખ માંથી આંસુ વહી જાય છે,

જીવન મા મળે છે ઘણા લોકો,
યાદ બહુ થોડા રહી જાય છે !

કોઇને નડતો નથી

કોઇની પણ વાતમાં પડતો નથી,
એટલે હું કોઇને નડતો નથી.

જે ઘડીએ જે મળ્યું મંજૂર છે,
ભાગ્ય સાથે હું કદી લડતો નથી.

કોણે છલકાવ્યા નજરના જામને,
આમ તો હું જામને અડતો નથી.

હામ હૈયામાં છે મારા એટલે,
ઠોકરો ખાઉં છું પણ પડતો નથી

ભરાઇ આવે હૈયું

ભરાઇ આવે હૈયું ને લખાઇ જાય કાંઇક
તમે વાંચો ના વાંચો તમારી મરજી ની વાત છે

જોડયા છે તાર નિઃસ્વાર્થ સબંધો ના કાંઇક
તમે નિભાવો ના નિભાવો તમારી મરજી ની વાત છે

અમારા તો સ્મરણ માં જ રહો છો એવી લાગણીથી કાંઇક
તમે અમને યાદ કરો ના કરો તમારી મરજી ની વાત છે

રાહ જોઇ રહ્યાં છીયે જીવન નાં અંત સુધી કાંઇક
તમે આવો ના આવો તમારી મરજી ની વાત છે

જિંદગી બની ને આવીશ

જીવન માં જિંદગી બની ને આવીશ
દિલ માં તારી ધડકન બની ને આવીશ,

ભૂલવાની મને ના કરશો ભૂલ ,
ભૂલો ની પળો માં પણ હું યાદ બની ને આવીશ,

એ નયન માં ન રાખશો નફરત..
...નયન માં પણ હું તસવીર બનીને આવીશ,

ભલે રહો તમે મારી આંખો થી દૂર..
મિલન માટે હું જ સપના બની ને આવીશ,

મને ભૂલવા ની કોશીશ ના કરશો..
ભૂલવાની બધી કોશીશ વ્યર્થ જશે,

જ્યારે હું આ દુનીયા છોડી દઈશ..
ત્યારે તમારા દિલ માં રૂદન બની ને આવીશ.....

दौड़ में दौड़

शहर की इस दौड़ में दौड़ के करना क्या है?
जब यही जीना है दोस्तों तो फ़िर मरना क्या है?

पहली बारिश में ट्रेन लेट होने की फ़िक्र है
भूल गये भीगते हुए टहलना क्या है?

सीरियल्स् के किर्दारों का सारा हाल है मालूम
पर माँ का हाल पूछ्ने की फ़ुर्सत कहाँ है?

अब रेत पे नंगे पाँव टहलते क्यूं नहीं?
108 हैं चैनल् फ़िर दिल बहलते क्यूं नहीं?

इन्टरनैट से दुनिया के तो टच में हैं,
लेकिन पडोस में कौन रहता है जानते तक नहीं.

मोबाइल, लैन्डलाइन सब की भरमार है,
लेकिन जिग्ररी दोस्त तक पहुँचे ऐसे तार कहाँ हैं?

कब डूबते हुए सुरज को देखा त, याद है?
कब जाना था शाम का गुज़रना क्या है?

तो दोस्तों शहर की इस दौड़ में दौड़् के करना क्या है
जब् यही जीना है तो फ़िर मरना क्या है

Chehra mera

Chehra mera tha or nighae uski,
khamoshi mein bhi baat uski ,
mere chehre pe gazel likhte gaye,
shair kehte huwe aankhe uski thi,
door rehte huwe bhi sada rehta hain,
mujhe ko thame bahe uski.........