KSG -BB ‘Monkeymooning’ Making Waves In Tinsel Town

By Deepti Duggal 

“The first time you marry for love, the second for money, and the third for companionship”- Jackie Kennedy…. This is not me saying but the wife of a famous American President, although it was not applicable in her life but is definitely apt for our newlywed couple in tinsel town… KARAN SINGH GROVER AND BIPASHA BASU!!

The whole month of April was all about making their relationship public, to the masses being subjected to their minutest wedding planning… but before going into celebrating their Big Fat Wedding here let’s take a tour down memory lane with both Karan and Bipasha ji..
Both have had their respective pasts with regard to relationships, Bipasha being the bold bong girl was always open about her boyfriends, be it with Dino Morea who ultimately became her so called ‘ best friend’ and an agony uncle to all her problems.

The next in line was the dashing and oh so handsome John Abraham and I bet she made a lot of girls jealous when she started a live-in with him, but this solid rock relationship also crumbled down after 11 years and John went to marry some Ms Priya and Bipasha started to date a “Hrithik lookalike” by the name of Mr Harman Baweja.

The Harman-Bipasha love story was a blink and miss story, by the time the people actually started looking at them as a couple, they broke away and Bipasha was left all “Alone” again!!

Karan Singh Grover aka KSG was also in his space of relationships. It started with his gup-chup marriage with a TV actress Sharaddha Nigam which fortunately or unfortunately broke in 11 months flat… oh God .. why such cruelty.. You could have let them celebrate their 1st Anniversary atleast !!

Next came his Co-star, the very dainty and pretty Jennifer Winget, their love story began on sets and culminated in marriage to end in a divorce….reason being that Ms Winget was quite tired of KSG’s roving eye .. and like Bipasha , Mr KSG found himself “Alone” too !!

AND THEN CAME THE MOVIE…. And you guessed it right… by the name of ALONE where our two lonely souls met and cupid struck as both were looking for something called “LOVE” in their lives. After months of denial in spite of the various cozy Instagram pics and Twitter statuses, they finally succumbed and declared it loud and clear that “ Haan humne bhi pyar hai”.

Thus began the preparations of the Punjabi-Bong wedding where the whole of India participated as if it was their “Ghar ki Shaadi”..from Mehendi to Cocktails to Marriage and ofcourse the Reception where the entire Bollywood descended… both looked blissfully happy and utterly cute.

Poor KSG was trolled a lot saying that his track record was like that of Olympics…who gets married after every 4 years… and also that he is the most secular guy in our country.. 1st Marriage to a Sikhni, 2nd to a Christian and 3rd to a Hindu.. now waiting for the 4th to a Muslim !!!!

All said and done, right now they are the most romantic couple that bollywood has seen for a while and yes their honeymoon pics from Maldives on Instagram are making everyone go envy with green…but I have one question in my mind and its really making me think….

Is this marriage for love or companionship or two heartbroken people coming together… only time would tell.. but till then we wish this couple a very very happy wedded life and many years of togetherness…….

Bollywood’s Top Ten Strongest Women Characters

nargis16-mother-indiaMumbai: (IANS) Be it Meena Kumari in `Sahib Bibi Aur Ghulam` or Tabu in `Astitva` – the Hindi film industry has witnessed a range of actresses essaying women-oriented roles powerfully. Here`s a look at the top 10 such portrayals, on the occasion of International Women`s Day Saturday.

* Nargis’ Radha in Mehboob Khan’s “Mother India” (1957): Nargis played Radha, the deserted wife who brings up her two sons on her own and kills one of them when he turns into an outlaw. For the first time in a Hindi film, the female protagonist was portrayed as strong and resilient, conscientious and doughty without losing her femininity.

* Meena Kumari’s Choti Bahu in Guru Dutt’s “Sahib Bibi Aur Ghulam” (1962): In the feudal household where women were content wearing expensive sarees and jewellery and never mind what their husbands did with other women, this wife dared to raise her voice. If her husband liked to drink, no problem. Choti Bahu hit the bottle to have him stay at home. The portrait of a woman as the rebellious seductress opened up new doors in the way the woman was portrayed in our cinema.

* Mala Sinha’s Meena in Yash Chopra’s “Dhool Ka Phool” (1959): The `unwed mother` was an unsung entity until this film came along to shatter every myth about ideal motherhood. Mala Sinha, who was scared of what the film would do to her career, became a counsellor and guide to hundreds of girl students who wanted to know more about pre-marital sex.

* Nutan’s Kalyani in Bimal Roy’s “Bandini” (1963): She can do anything for love. Even kill her beloved’s nagging wife and go to jail. And when a chance to rebuild her life offers itself to Kalyani, she shuns it and runs back to the same man who unintentionally ruined her life. Love has never been blinder and the on-screen heroine never more resolute and passionate.

* Waheeda Rehman’s Rosy in Vijay Anand’s “Guide” (1965): Rosy is so seductive in her whimsicality, such a non-conformist that she dumps her husband for the love of dancing and then dumps her lover when he turns out less than what she had hoped. This film gave the Indian heroine the right to defy stereotypical gender rules.

* Durga Khote’s Parvati in L.V. Prasad’s “Bidaai” (1974): One after the other she sees her sons migrating to the city leaving her alone and defenceless to die in the village. The portrait of the matriarch as an undefeated figure of strength and sustenance was indomitably inspiring. At 65, Durga Khote was cast as the central character.

* Shabana Azmi’s Pooja in Mahesh Bhatt’s “Arth” (1982): Another turning point for the heroine…Mahesh Bhatt’s “Arth” gave us a deserted wife who rebuilds her life piece by piece. Finally at the end she says no to the man who wants to support her. This was the heroine’s first chance to say no to love when it knocked on her door.

* Tabu’s Aditi in Mahesh Manjrekar’s “Astitva”(2000): She dared to tell her husband that she had an affair in his absence and was willing to suffer the consequences. Tabu’s performance as the repressed Maharashtrian housewife who finds her identity after being ostracized by her son and family, was a dazzling display of femininity.

* Smita Patil’s Sonbai in Ketan Mehta’s “Mirch Masala” (1987): The `woman as prey` when under attack had no choice but to pray – until Smita Patil in this film, who refuses to give in to the powerful subedar’s lurid leering advances. The metaphor of the chilli factory as the fortress for female protection showcased Patil’s powerful performance.

Special Article: Campus Life In Karan Johar’s Movies

 (By Mukta Singh) Bollywood’s leading producer-director Karan Johar is known for his highly stylized and larger than life movies. His depiction of college life and campuses has made him the darling of many young Indians with movies like ‘Kuch Kuch Hota Hai’ and ‘Kabhi Khushi Kabhi Gham’ firmly etched in their memories.

Karan Johar manufactured a unique campus life in his first directorial venture ‘Kuch Kuch Hota Hai’. A campus that never existed on this planet! It made us believe that college life was all about celebrating Friendship Days, playing basketball, falling in love, and holding on to the same guy forever in the hopes of marrying him.

He cemented this idea with another unrealistic campus life shown in ‘Kabhi Khushi Kabhi Gham’.  With ‘Pooh’ (not Winnie the Pooh) Karan Johar had ‘corrupted’ an entire generation of teenaged girlz with “I am too fake to be real’ virus. Even today you will find obsolete versions of Pooh/Pooja in circulation in this mortal world. Not a hair out of its place, since they have been straightened out to perfection, with French manicured nails to tuck that one careless strand of hair behind their ear, lots of kohl and gloss, these girls were your prototypical bitches in college. 

But when we went to college in the real world this manufactured reality crumbled under its own feathery weight. Who had the time to play basketball other than those who were on the team or got in through sports quota or both? Who had the time to transform from an ugly Betty to Pooh between assignment deadlines and half emptied cups of too hot chai? Who had the time to enjoy in any other way than college fests and hanging out in Kamla Nagar even if you are broke?

This college life fantasy is so strong that even after we face the reality of our mundane and ‘not so happening’ college life we continue to believe that Kajols, Kareena Kapoors, Shah Rukh Khans and Hritik Roshans do exist somewhere and studying happily in their colleges.  But we are not fortunate enough to be in their college!

After making movies like ‘Agneepath’ which was a clear departure from his trademark style, he is back to touch base with his core constituency. His core constituency has always been young Indians who cherished his style cinema since their teen ages. His latest movie titled ‘Student of the Year’ is about a school campus which is supposed to be located somewhere in India. But one good look at the trailer and you come to know that this movie is not even remotely connected to anything Indian!

With ‘Student of the Year’ Karan Johar is going to launch not one but three newcomers in Bollywood. The newcomers Sidharth Malhotra, Alia Bhatt and Varun Dhawan belong to families who are big names in the industry. The movie is expected to hit theaters in October this year.

Rakhi Special: Sisters Of Bollywood

Karishma Kapoor and Hritik Roshan play siblings in ‘Fiza’

(By Aastha-Mukta) One of the many relationships which Bollywood depicts in its movies is the bond between a brother and sister. There were times when brother-sister relationship had only one connotation, an overprotective brother playing bodyguard for his sister. Times changed but poor sister did not get much of leverage in our Bollywood movies. There were film makers who insisted on a sister’s role but their sole purpose to keep her in the script was to get her raped from a villain so that the hero could take revenge. Post liberalization everything changed and brother-sister relationship became immaterial in the highly materialized world.

Although we do not have many high points for brother-sister relationships in Bollywood certain movies are known as ‘landmarks’ for showcasing sibling love. In the 70’s film ‘Hare ram hare Krishna’ had Dev Anand who devotes his life in bringing back his sister (played by Zeenat Aman) from the dark world of Drugs. He found his sister wildly gyrating to the tunes of ‘Dum Maaro Dum’ and to bring her back to the family fold he takes an emotional course. Dev saab’s onscreen song ‘Poollon ka taro ka sabka kahana hai’ is even today is patented for occasions like ‘Raksha Bandhan’ or ‘Bhai Dooj’.

The 80s were the ‘dark ages’ when it comes to portrayal of  bro-sis love as the sister character was constantly raped and the revenge drama followed.  It was only in the 21st century the film makers could found new perspective. Karishma Kapoor played a memorable sister role in ‘Fiza’. She was a strong headed and brave character, ready to sacrifice anything and determined in bringing back his brother from the quagmire of terrorism.

Karishma’s attempt to play sister onscreen was appreciated by the critics because for an A lister to player a sister was a risk which no other actress would take.  She was followed by Juhi Chawla  who played the character of a loving  yet strong women in ‘Nikhil My Brother’ by helping her brother and taking the responsibility  in every possible way who suffers from AIDS .  In another movie ‘Iqbal’ the sister goes a step further as she becomes her brother’s voice in ‘Iqbal’. She helps him in realising his cricketing dreams.

Recently in ‘Jaane Tu Ya Jaane Na’ the sibling relationship looks real. The siblings (played by Jenelia D’souza and Pratiek) are seen having pillow fights, screaming and running around the house all the time. But yes when the time comes they share their emotions and the brother tries to protect her sister by warning about the wrong choice she is about to make in choosing her partner.

Bollywood continues to believe that sister-brother relationship does not offer much room to male character-dominated screen plays.  Nearly four years since ‘Janne Tu’ release the audience has not witnessed bro-sis bonding on screen. With the promises of Zoya Akhtar who is planning to cast the cousins Kareena and Ranbir Kapoor together, we hope to experience the magic of the relationship sometime soon again.