Tasweermahal.com, Delhi (2026)

26/04/2026

One of the most handsome actors of all time Vinod Khanna passed away on April 27, 2017, after a painful battle with cancer. Its been His life's work earned him posthumous recognition, including the Dadasaheb Phalke Award, India's highest award in cinema, presented at the 65th National Film Awards.

The late 1960s and early 1970s were an era of change in the Hindi film industry. It was the time when the famous trio of superstars, "Dev, Dilip, and Raj," was going through the transition from lead hero to character actor. The heartthrobs of 60s Rajendra K*mar, Shammi Kapoor, and Manoj K*mar, although they gave some big hits, were largely struggling to replicate the magic of their heydays.

It saw the rise of Jitendra, Rajesh Khanna, and Feroz Khan and the superb reinvention of Dharmendra and Shashi Kapoor. It was also the time when three new future stars quitely started their Innings; they were Angry Youngman "Amitabh," the ever stylish "Shatrughn Sinha," and handsome hunk "Vinod Khannna." The three of them ruled the box office and the hearts of cinephiles for the next two decades.

Interestingly, Khanna and Sinha started their careers in negative roles and transitioned into positive lead roles. While Sinha made the persona of a stubborn, upright action star, Vinod Khanna made a versatile profile and experimented with various kinds of roles. Often believed to be the most handsome hero of his time, Khanna passed away on April 27, 2017 due to complications from cancer. Tasweermahal is remembering the "handsome" super star who is still loved and adored by the masses.

Vinod Khanna, born on October 6, 1946, in Peshawar into the family of Kamla and Krishanchand Khanna, had one more brother and three sisters. After partition, his family moved to Mumbai, where he pursued his education at St. Mary's School, Bombay, followed by DPS, Mathura Road, for a few years, and Barnes School in Deolali, Nashik, after that. He completed his graduation from Sydenham College, Bombay. Khanna initially wanted to be a cricketer but was later bitten by the acting bug.

One of the significant struggles in Khanna's life was his relationship with his father. In his early years, when he expressed his desire to become an actor, his father vehemently opposed the idea, to the extent of threatening him with dire consequences if he pursued acting.

His foray into the film industry began in 1968 when he was noticed by "Suneel Dutt Saab," who cast him in "Man Ka Meet," which was also the first film of Som Dutt, Dutt Saab's brother. Khanna played the antagonist role in Man Ka Meet, which was followed by more supporting roles (often negative) in films like "Purab Aur Paschim (1970)," "Sachaa Jhutha (1970)," "Aan Milo Sajna (1970)," "Mera Gaon Mera Desh (1971)," "Reshma Aur Shera (1971)," "Jaane-Anjaane (1971)," and many more.

His breakthrough came with the success of "Mera Gaon Mera Desh," where he played a dacoit, followed by Gulzaar's "Mere Apne (1971)" with Meena K*mari and Shatrughan Sinha. "Mere Apne" was the film that brought out the depth in Khanna's acting as he played Shyam, a young gang leader caught in the throes of gang violence, which is often cited as one of his finest performances. The film was a critical and commercial success and paved the way for both Khanna and Sinha.

One of the most notable films of Vinod Khanna was Gulzar's "Achanak (1973)," which stands out in Khanna's career as it diverged from the mainstream formula of the time. "Achanak" is inspired by the real-life case of K.M. Nanavati v. State of Maharashtra, which also influenced several other Indian films. In 'Achanak', Khanna delivered a compelling performance as Major Ranjeet Khanna, a character that goes through a tumultuous journey of love, betrayal, and redemption. The film is unique in Gulzar's oeuvre as well, as it did not feature any songs, a rarity for Indian cinema at the time, relying instead on a powerful background score to enhance the narrative.

Khanna went on to star in many successful films, like Hum Tum Aur Woh (1971), which was his first lead role, Ek Hasina Do Diwane (1972), Kuchhe Dhaage (1973), Aarop (1974), Patthar Aur Payal (1974), Hath Ki Safai (1974), Zameer (1975), Qaid (1975), Sewak (1975), Shankar Shambhu (1976), Shaque (1976), Nehle Pe Dehla (1976), Lagaam (1976), and many more.

Khanna's role in "Imtihan (1974)," as Pramod Sharma, a man who turns to teaching in a reform school, challenged the stereotypical roles he had been cast in and displayed his versatility as an actor. His role in the film was based on Sidney Poitier's iconic role in the 1967 British film "To Sir, with Love" and is still remembered for its groundedness.

In 1976, he was cast with Amitabh Bachchan in Prakash Mehra's Hera Pheri (1976), which started their iconic pairing. Together, they went on to star in many blockbusters, such as Khoon Pasina (1977), Amar Akbar Anthony (1977), Parvarish (1977), and Muqaddar Ka Sikandar (1978).

The late 1970s and 1980s saw Khanna rise to stardom with a series of hits, including "Daaku Aur Jawan (1978)," "Main Tulsi Tere Aangan Ki (1978)," "Meera (1979)," "Lahu Ke Do Rang (1979)," "Lahu Ke Do Rang," "The Burning Train," and "Raaj Mahal," among others.

Another unforgettable performance was in his friend Feeroz Khan's "Qurbani (1980)," where he played the suave and fearless Amar. The film's success was not just at the ticket counter but also in its music, which remains popular to this day.

In a surprising turn of events, at the peak of his career in 1982, Khanna took a sabbatical to follow his spiritual guru, Osho Rajneesh. Vinod Khanna's relationship with Osho Rajneesh was one of deep spiritual connection and personal transformation. At the zenith of his cinematic career, Khanna made a decision that stunned many: he became a disciple of Osho Rajneesh, leaving behind his stardom and family to follow a path of spirituality.

Khanna moved to Rajneeshpuram in Oregon, USA, to be closer to his guru and immerse himself in the teachings and lifestyle of the commune. During his time there, Khanna adopted the name Swami Vinod Bharti and engaged in various activities, including gardening, as part of his commune responsibilities.

This period of Khanna's life was marked by a quest for inner peace and understanding, which he sought through Osho's guidance. The actor spoke about the impact of Osho's words on his life, particularly regarding the concept of death and the journey of life.

Khanna's time with Osho was not permanent, however. He returned to India and resumed his acting career after the commune in Oregon was disbanded. Khanna's relationship with Osho was a significant chapter in his life that shaped his perspectives and choices long after he left the commune.

Five years later, Khanna made a successful comeback with films like "Insaaf" and "Satyamev Jayate." His most important film after his comeback was his friend Feeroz Khan's "Dayavan," a big critical and commercial success, which was followed by Faisla (1988), Suryaa: An Awakening (1989), Batwara (1989), and Chandni (1989).

He was cast by Gulzaar in "Lekin," by T. Rama Rao in "Muqaddar Ka Badshaah," by Shomu Mukherjee in "Pathar Ke Insan," by Mahesh Bhatt in "Jurm," by Mukul S. Anand in "Khoon Ka Karz," by Anil Shaerma in "Farishtey," and by K.C. in Police Aur Mujrim.

He also starred alongside his son, Akshaye Khanna, in "Himalay Putra (1997)." After that, he started doing fewer films, often as a character actor. Some of his notable later works include "Wanted," "Dabangg," and "Dabangg 2," where he embraced character roles with the same zeal as his leading roles in his youth.

Khanna married twice; his first marriage was with Geetanjali in 1971, and together they had two sons, Akhsahy and Rahul. The marriage ended in divorce after he moved to Osho Ashram. He later found love again and married Kavita Daftary, with whom he has a son and a daughter.

Vinod Khanna passed away on April 27, 2017, after a painful battle with cancer. His life's work earned him posthumous recognition, including the Dadasaheb Phalke Award, India's highest award in cinema, presented at the 65th National Film Awards.

26/04/2026

Feroz Khan was one of the best-looking actors India ever produced, and he was stylish and charming too. He had the aura no one had and has not witnessed since his departure. Her cousin Zeenat Aman described him in these words: "I read somewhere that Oxford's word for the year 2023 is "rizz," short for 'charisma'. Well, if I've ever known anybody to have rizz, it was Feroz Khan." Tasweermahal can vouch for Zeenat ma'am when she says, "Feroz was suave, charming, and polished," an apt description of the man.

Actor, filmmaker, fashion icon, and trendsetter Feroz Khan is known for his films like Arzoo (1965), Safar (1970), Mela (1971), Apradh (1972), Khotte Sikkay (1974), Kala Sona (1975), Dharmatma (1975), Qurbani (1980), and Janbaaz (1986).

Feroz Khan was born Zulfiqar Ali Shah Khan on September 25, 1939, in Bangalore, India, into a diverse family where the father was from Afghanistan and the mother was of Persian ancestry from Iran. He received his education at Bishop Cotton Boys' School and St. Germain High School in Bangalore. His journey in the film industry began in Bombay, where he made his debut in the film "Didi" in 1960.
Throughout the 1960s and 1970s, Khan established himself with low-budget thrillers and gradually moved to more prominent roles. His breakthrough came with the film "Oonche Log" (1965), and he continued to gain popularity with hits like "Arzoo" (1965) and "Aadmi Aur Insaan" (1969), for which he won the Filmfare Best Supporting Actor Award.

Other notable films include "Tasveer (1966)," "Aurat (1967)," "Raat Aur Din" (1967)," "Anjaam (1968)," "Anjaan Hai Koi (1969)," "Aadmi Aur Insaan (1969)," "Safar" (1970)," "Ek Paheli (1971)," "Upaasna (1971)," "Mela (1971)," "Kashmakash (1973)," "Khotey Sikkay (1974)," "Geeta Mera Naam (1974)," "Kaala Sona (1975)," "Rani Aur Laal Pari (1975)," "Nagin (1976)," "Shankar Shambhu (1976)," "Chunaoti (1980)," "Kachche Heere (1982)," and many more.

He made his directorial debut with the crime drama "Apradh" (1972) with Mumtaz. It was the first Indian film to showcase auto racing in Germany. The success of Apradh was followed by "Dharmatma (1975)," which was inspired by "The Godfather" and marked a significant milestone in Feroz Khan's career as an actor, director, and producer. It was the first Bollywood film shot in Afghanistan. Khan, true to his style, didn't just film there; he made Afghanistan a character in the movie and, in the process, connected with his roots.

His next film was "Qurbani," where he reintroduced "Zeenat Aman" as a new-age woman who is not afraid of her sensuality. The film became a milestone and is still considered a classic. Feroz went on to make films like "Janbaaz (1986)," "Dayavan (1988)," "Yalgaar (1992)," "Prem Agan (1998)," and "Jannaseen (2003)."

Feroz Khan introduced a new level of sensuality to Indian cinema, breaking barriers with bold portrayals. From Mumtaz donning a bikini to Rekha's debut in item numbers, Zeenat Aman swaying on Laila o Laila, Hema Malini in Dharmatma, Sridevi dancing on the beach in chiffon sari or a sukissed Dimple, and Celina Jaitley in Janasheen, he pushed actresses to explore uncharted territories in their careers.

His vision enabled female actors to redefine themselves, taking on roles that were previously unheard of or unseen in the industry. Through his films, Khan paved the way for a more liberated portrayal of women on screen, leaving an indelible mark on Bollywood's portrayal of sensuality.

Feroz Khan's films often showcased opulent homes, exotic international settings, horse races, stylish automobiles, and captivating women, creating a consistent theme of luxury and allure throughout his cinematic ventures.

His last film role was Welcome (2007), which, despite being a multi-starrer, still remembered his cameo.

Khan was married to Sundari Khan and had two children, including actor Fardeen Khan. Often referred to as the "Clint Eastwood of the East," Feroz Khan passed away on April 27, 2009, but his legacy continues to influence the Indian film industry.

26/04/2026

In the early 2000s, when I was a teenager, I fell in love with an actress. She was cute to the core, mischievous, and had a wicked sense of humour. She oozes confidence and charm, and I was mesmerised by that. I loved the way she used to speak and how her eyes lit up and brightened the screen. She was beautiful, supple, and had killer moves. She was also over 80, and her name was Zohra Sehgal.

It's been over ten years since her passing; I am still in love with her, and who the hell is not? She is with us every moment, as beautiful, as mischievous, as lively, and as quirky. They say legends don’t die; they become stronger with time, and at least that's absolutely true in the case of Zohra.

Zohra Sehgal was born on April 27, 1912, in Saharanpur, as Sahibzadi Zohra Mumtazullah Khan Begum. Sehgal's early life was marked by adventure and defiance of the norm. Raised in a traditional Muslim household, she was the third of seven children and described herself as a tomboy. At the age of one, she contracted glaucoma, which led to a loss of vision in her left eye. Despite this, she pursued her passions with vigour, eventually enrolling at Queen Mary College in Lahore.

During her school days, Zohra Sehgal was actively involved in dance and acting shows, where she received praise from teachers and guests for her performances.

Despite her father's lack of support, Zohra Sehgal's passion for dance led her to be selected at Mary Wigman's prestigious dance school in Germany. This remarkable achievement made her the first Indian to attend the renowned institution known for producing top dancers and choreographers globally.

After three years of dance training, Sehgal joined Uday Shankar in 1935, touring extensively across Japan, Egypt, Europe, and the US. Sehgal and French dancer Simkie were the lead dancers of the troupe.

Zohra Sehgal met her husband, painter Kameshwar Sehgal, at an arts centre established by Uday Shankar in the Himalayas. Despite facing opposition due to their age difference and religious backgrounds, they wed in 1942, making an unconventional choice.

She opened "Zoresh Dance Institute" in Lahore with her husband, Kameshwar Sehgal. Zohra Sehgal began working at the Prithvi Theatre in 1945, earning a monthly salary of Rs 400. Her sister, Uzra Butt, was also there. For the next 14 years, she toured India with the group. Concurrently, she also joined the Indian People’s Theatre Association (IPTA).

She acted in several plays for IPTA and even made her film debut in IPTA's first film production, "Dharti Ke Lal" (1946), which was directed by Khwaja Ahmad Abbas. The same year, she appeared in Chetan Anand's directorial "Neecha Nagar", which went on to receive the Palme d'Or at the Cannes Film Festival.

During this phase, she worked with several theatre and film personalities, like K.A. Abbas and Ebrahim Alkazi; she portrayed Begum Qudsia in his play "Din Ke Andhere". Zohra Sehgal also choreographed for Hindi films such as Neecha Nagar (1946), Afsar (1950), Guru Dutt's "Baazi" (1951), the dream sequence song in Raj Kapoor's Awaara (1955), Farar (1955), C.I.D. (1956), and Nau Do Gyarah (1957).

In 1959, tragedy struck as she lost her husband. After that, Zohra moved to Delhi and started working as the director of "Natya Academy". In 1962, she moved to London, England, where she received a drama scholarship. Sehga's first television role came in 1964 with "The Rescue of Pluffles," a BBC adaptation of Rudyard Kipling's story. Next year, she appeared in an episode of the science fiction fantasy series "Doctor Who".

She also anchored 26 episodes of the BBC TV series Padosi (1977). In 1982, she starred in "Courtesans of Bombay (1983)", a docudrama directed by Ismail Merchant. She was cast as Lady Chatterjee in "The Jewel in the Crown", which brought her wider recognition, which was followed by Channel 4's "Tandoori Nights, Partition (1985), Partition (1987), Never Say Die (1987), The Bill (1989), Masala (1990), Firm Friends (1992), Bhaji on the Beach (1993), and Little Napoleons (1994).

Sehgal returned to India in the mid-1990s; her first TV shows here were Mulla Nasruddin (1990) and Ek Tha Rusty (1995). Zohra's first big film in India after her comeback was Mani Ratnam's "Dil Se (1998), where she played the role of Sharukh Khan's grandmother. The younger generation was mesmerised to see her perform and own the sect. She became a fan favourite, which led to her doing many films in the late 1990s and 2000s, like 'The Mystic Masseur' (2001), 'Bend It Like Beckham' (2002), Ham Dil de Chuke Sanam (1999), Saaya (2003), Veer-Zara (2004), Saawariya, and Cheeni K*m (2007).

Zohra Sehgal is also known for her legendary poetry performances and live shows. She first recited the poem at a memorial for Uday Shankar in 1983, hosted by his brother Ravi Shankar. This event sparked invitations for more performances, including a trip to Pakistan for "An Evening With Zohra Sehgal", where she recited verses. No one can match her vigour, her love for life, or the optimism she had. At nearly a hundred years old, when she used to recite "Abhi to main jawan hoon", the people present had to agree that she was indeed a "jawan".

Sehgal's contributions to the arts were recognised with numerous awards, including the Padma Shri in 1998, the Kalidas Samman in 2001, the Sangeet Natak Akademi Fellowship in 2004, and the Padma Vibhushan, India's second-highest civilian honour, in 2010.

Zohra Sehgal passed away on July 10, 2014, but her legacy endures. She remains an inspiration to many, a testament to the power of perseverance and the impact one individual can have on the cultural fabric of the time.

25/04/2026

It's been over six decades since Mughal-e-Azam was released, but it remains one of the most talked-about films of all time. We often talked about its music, sets, costumes, story dialogues, performances, K. Asif's passion, or even the personal relationships of the people involved. Although a few technical things remain underrepresented, like its editing and, above all, the brilliant cinamatography by the legendary "R. D. Mathur."

The film's visual storytelling is a testament to Mathur's innovative techniques and his ability to create images that are both grand and intimate. One of the most iconic sequences in the film is the Sheesh Mahal scene, where the reflection of light and mirrors creates a mesmerising effect, amplifying the emotional intensity of the scene. This particular sequence showcases Mathur's skill in using light to enhance the narrative, creating a visual spectacle that complements the film's dramatic core. On his death anniversary, Tasweermahal is remembering his life and work.

R.D. Mathur was born on January 9, 1915, in Delhi. His journey into the world of cinematography began after obtaining a Bachelor of Science degree from St. Stephen’s College, Delhi, in 1934. With a passion for photography instilled by his father, Mathur ventured to the New York Institute of Photography to hone his skills. His time in Hollywood, working with renowned studios such as MGM and Fox Studios, provided him with a wealth of practical training that would serve him well upon his return to India.

Mathur's career in Indian cinema commenced with Bombay Talkies' film Bhabhi (1938) as an assistant to legendary cinematographer Joseph Wirsching. Her first film as an independent cinematographer was "Anjaan" in 1941, which starred Devika Rani and Ashok K*mar. He quickly became known for his exceptional ability to capture the essence of the actresses he filmed in films like "Basant(1942), Gajre(1948), and Madhosh(1951).

Mathur's technical prowess was evident in his ability to handle both grandiose, big-budget productions and more intimate, small-scale films. He was also an able director, which added depth to his understanding of the scene's emotional requirements.

Mathur made his directorial debut with "Gajre," starring Suraiya and Moti Lal, in 1948, which was followed by Meena K*mari, Jairaj, and Nigar Sultana starrer Maghroor (1950) and Aaghosh (1953), starring Nasir Khan, Nutan, and Shakila.

One of Mathur's most significant contributions was his role in the transition from black-and-white to colour films in India. Mathur's most celebrated work remains Mughal-e-Azam (1960), where Mathur's use of deep-focus photography allowed for all elements within the frame, from the foreground to the background, to be in sharp focus. This technique was used to great effect in the battle scenes, where the vastness of the armies and the detailed set designs were captured in their full glory. The depth and scale provided by this method added a layer of realism to the film, drawing the audience into the grandeur of the Mughal courts.

The transition from black and white to colour in the film was a bold move that Mathur executed with precision. The colorization process in the later re-release of 'Mughal-e-Azam' was a tribute to the original work, although it sparked debates about the authenticity of such enhancements. Despite the controversy, the colourized version brought a new dimension to Mathur's work, allowing a new generation to experience the classic in a different light.

R.D. Mathur's cinematography in 'Mughal-e-Azam' is not just about the grand sets and the elaborate costumes; it's about the subtle interplay of light and shadow, the framing of each shot that tells a story, and the movement of the camera that follows the emotional beats of the narrative. It is a masterclass in visual storytelling that continues to inspire filmmakers and cinematographers around the world.

Mathur's next film was another master piece, H. S. Rawail's "Sunghursh" (1968), adapted from Mahasweta Devi's Bengali novel "Layli Asmaner Ayna," which was entirely shot in colour and is an example of Mathur's ability to transport viewers to the film's set and make them part of the experience.

One more noteworthy work of RD Mathur was "Pakeezah" (1972), which was incomplete when Josef Wirsching died in 1967. A team of cinematographers helped Kamal Amrohi complete the film, which includes Mathur. It was his dedication to his craft; you will not find a single shot that stuck out or broke the seamless visual experience.

Kamal Amrohi retained Mathur for his next "Razia Sultan," another historical epic. The film, although not very successful, is a visual masterpiece, with each frame meticulously thought out and crafted with precision.

Mathur was also part of the dream project of K. Asif, "Love and God," which he started right after Mughal-e-Azam with Gurudutt and Nimmi, but the film got delayed after the death of Gurudutt. Sanjeev K*mar was cast in his place, but K. Asif himself died before the completion of the film. Love and God was eventually released as an unfinished film by K. Asif's widow, "Akhtar Asif," the youngest sister of Dilip K*mar.

Besides K. Asif and Kamal Amrohi, Mathur worked with film maker Sultan Ahmad in films like Heera (1973), Ganga Ki Saugand (1978), Dharam Kanta (1982), and Daata (1989), after which he retired from the film industry.

R.D. Mathur passed away in Delhi on April 26, 2001. His legacy lives on through the timeless imagery of 'Mughal-e-Azam', a true masterpiece of Indian cinema. His work on the film is a reminder of the power of the visual medium and its ability to transport audiences to another time and place, making them witnesses to the majesty of the Mughal Empire.

https://tasweermahal.com/rd-mathur/

25/04/2026

Minoo Mumtaz was an iconic actress and dancer, known for her exceptional dancing skills. A few of her famous dances are “Boojh Mera Kya Naav Re” (C I D), “Reshmi Shalwar Kurta Jali Ka” (Naya Daur), “Dil Ki Kahani Rang Layi Hai” (Chaudahvi Ka Chand), “Saqiya Aaj Mujhe Neend Nahi Aayegi” (Sahib Bibi Aur Ghulam), and many more.

Minoo Mumtaz was born Malikunnisa Ali in Bombay on April 26, 1942, into the family of famous actor-dancer Mumtraz Ali. Minoo Mumtaz's early life was marked by hardship. Despite being a renowned dancer and character artist in the 1940s, her father's career declined due to excessive drinking, plunging the family into difficult times. This led Meenu and her brother, the legendary comedian Mehmood, to start working at a young age to support their family.

Tasweermahal has come to know that her screen name, "Minoo," was chosen by none other than Meena K*mari, who was the sister-in-law of her brother Mehmood.

Minoo began her career as a stage dancer, eventually transitioning to the silver screen, where she first appeared as a background dancer and eventually got to do main dances or small roles in films like Sakhi Hatim (1955), Bara-Dari (1955), Halaku (1956), Ghar Ghar Mein Diwali (1955), Pocketmaar (1956), Bajrang Bali (1956), Delhi Durbar (1956), Sati Pariksha (1957), and many more.

Her breakthrough comes with the song "Boojh Mera Kya Naam Re" from the movie "C.I.D. (1956)," which brought her widespread recognition. In 1957, she got another blockbuster dance number with Reshmi Shalwar, Kurta Jali Ka in Naya Daur (1957), followed by "Dupatta Mera Malmal Ka" in Adalat (1958), "Gora rang chunariya kaali" in Howrah Bridge (1958) with brother Mehmood, "Saba Se Yeh Keh Do" in Bank Manager (1959), "Ab To Baat Badh Chuki" in Chirag Kahan Roshani Kahan (1959), "Janu Janu Ri Kahe Khanke Hai" in Insan Jaag Utha (1959) with Madhubala, "Dil Ki Kahani Rang Layi Hai" by Chaudahvi Ka Chand (1960), and "Saqiya Aaj Mujhe Neend Nahi Aayegi" in Sahib Bibi Aur Ghulam (1962).

Meenu Mumtaz's film career took off in the late 1950s and early 1960s, when she appeared as a dancer and character actress in numerous films. A few of her films where she was cast in acting roles are Aasha (1957), Do Roti (1957), Ek-Saal (1957), Mai Baap (1957), Payal (1957), Karigar (1958), Khazanchi (1958), Yahudi (1958), Zindagi Ya Toofan (1958), Insan Jaag Utha (1959), Paigham (1959), Duniya Na Mane (1959), Chirag Kahan Roshni Kahan (1959), Chaudhvin Ka Chand (1960), Ghunghat (1960), Gharana (1961), Chhote Nawab (1961), Taj Mahal (1963), and Jahan Ara (1964). She was cast as a lead in "Black Cat" opposite Balraj Sahni, Ghar Ghar Ki Baat (1959), and as the second lead in Faulad with Dara Singh and Mumtaz.

Some of her other famous songs include Chhodo Chhodo Ji Baiyan – Baradari (1955), "Teri Gali Kaise Aaoon Sajna" – Pocket Maar (1956), "Sitare Raah Takte Hai" – Black Cat (1959), "Aaja Milke Chale Wahan" – Ghar Ghar Ki Baat (1959), "Tujhe Beqarar Karke"– Rangalya Ratri Asha (1962), Yeh Ras Teri Baaton Ka – Ghar Basake Dekho (1963), "Ye Cycle Ka Chakkar" – Akeli Mat Jaiyo (1963), "Paon Mein Jhanjhar" – Faulad (1963), "Jaan-E-Jaana Yun Na Dekho" – Faulad (1963), "Thodi der ke liye mere ho jaao" – Akeli Mat Jaiyo (1963), "Chaandi ka badan sone ki nazar" – Taj Mahal (1963), "Jab Jab Tumhe Bhulaya" – Jahan Aara (1964), "Ada Qaatil Nazar Barq-E-Bala"– Gazal (1964) and "Tumhari Kasam Tum Bahut Yaad Aaye"—Gaban (1967).

Minoo Mumtaz married S. Ali Akbar, a film director, on June 12, 1963. The couple was blessed with three daughters and a son and went on to settle in Canada. Meenu Mumtaz remained cheerful and connected with her contemporaries, such as the veteran actor Saira Banu, during her visits to India.

She passed away on October 23, 2021, in Toronto, Canada, at the age of 80. She was diagnosed with cancer a few days ago and also had age-related issues.

Please stell us your favourite Minoo Mumtaz dance number.

25/04/2026

One of the most atractive and beautiful actresses of the 1970s and 1980s, Moushumi Chatterjee, is known for her charming smile, her no-nonsence persona, and her sense of humour. Over the years, she starred in iconic films like Balika Badhu (1968), Anuraag (1972), Naina (1973), Roti Kapada Aur Makaan (1974), Anand Ashram (1974), Manzil (1979), Angoor (1982), and many more.

Moushumi Chatterjee was born as "Indira Chattopadhyay" on April 26, 1955, in Calcutta, West Bengal, into a Bengali Brahmin family with roots in Bikrampur, undivided Bengal. Her father served in the Indian Army, and her grandfather was a judge, instilling in her a sense of discipline and justice from an early age. She married Jayant Mukherjee, son of the legendary music composer and singer "Hemant K*mar," and embraced the name Moushumi as her screen name.

Moushumi made her debut with Tarun Mazumdar's 'Balika Badhu' (1967) when she was just a pr***en. Her performance as a child heroine caught the attention of many, paving the way for her entry into Hindi cinema. After her marriage at a very young age, she shifted to Bombay to be with her husband's family. Her father-in-law, the great "Hemant Kymar," always loved her as her daughter and unconditionally supported her. Her Hindi film debut came with Shakti Samanta's 'Anuraag' (1972), where she played a blind girl opposite Vinod Mehra, a major success that earned her a Filmfare nomination for Best Actress.

Following the success of Anuraag (1972), Chatterjee went on to become one of the leading ladies of the Indian film industry. Films like Anindita (1972), Ghulam Begum Badshah (1973), Naina (1973), and Kuchhe Dhaage (1973) followed.

Throughout the 1970s, Chatterjee was one of the highest-paid actresses in Hindi films. She delivered powerful performances in movies like 'Roti Kapda Aur Makaan' (1974), for which she received a Filmfare nomination for Best Supporting Actress. Her roles often portrayed strong-willed women, resonating with audiences across the country.

It was followed by successful films like Benaam, Umar Qaid, Raftaar, Mazaaq, Anari, Zindagi, Anand Ashram, Hatyara, Tumhari Kasam, Swarg Narak, Phool Khile Hain Gulshan Gulshan, Prem Bandhan, Gautam Govinda, Manzil, Ghar Ki Laaj, Maang Bharo Sajana, Jyoti Bane Jwala, and many more.

In 1982, one of her most famous films, "Angoor," was directed by Gulzaar. The film also stars Sanjeev K*mar and Deven Verma. Moushumi had a great pairing with Vinod Mehra, Sanjeev K*mar, and Jitendra; she has done more than ten films with each of them.

By the mid-1980s, Chatterjee gracefully transitioned to character roles, showcasing her range as an actress. She continued to captivate viewers with her performances as a mother, sister-in-law, and other pivotal characters, contributing significantly to the narrative of the films. Some of her famous films of this period include Ghar Ek Mandir, Sindoor, Watan Ke Rakhwale, Waqt Ki Awaz Vijay, Ghayal, Santaan, Udhaar Ki Zindagi, Kareeb, Aa Ab Laut Chalen, Bollywood/Hollywood, Goynar Baksho, Piku, and Shotti Aai to Jibon among others.

Moushumi Chatterjee's legacy in Indian cinema is indelible. Her performances have inspired generations of actors, and her dedication to her craft has set a benchmark for excellence.

Tasweermahal.com

26/04/2026

26/04/2026

26/04/2026

25/04/2026

25/04/2026

25/04/2026

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