In an exclusive interview with senior most journalist Bharathi S Pradhan for Lehren Retro, 92 Yr. Old legendary music director Anandji Bhai (Kalyanji-Anandji fame) recalls his fond memories & brotherly bond with actor-filmmaker Manoj Kumar. The musician shares some unheard & exciting stories from their early industry days & also compliments the star Bharat Kumar's musical & cinematic sense by talking about their collaborations like Upkar, Purab Aur Paschim & other ventures. #anandji #kalyanjianandji #manojkumar #upkar #purabaurpaschim #anandjiinterview #kalyanjianandjisongs
Category
✨
PeopleTranscript
00:00Anandji, when he came to make a movie,
00:04you thought that he would change the cinema?
00:11Because he was the first person in the cinema.
00:14To give a message to the country and to give a song, it was very difficult.
00:20Chansi mehbhu, maho meri kabu, aisa mehne socha tha.
00:29Gaana laghi haam, gai?
00:33Jav zero diya meri bharat ne, bharat ne meri bharat ne.
00:41Mujhe nahi kuch ni tumse bhi ti baat hai kise bhi guzali.
00:44Mere rati, aise to meri meri.
00:46Aise kaana laghi, mohi miri, aise gaana laghi.
00:49Mere rati sa aise aise kaana laghi.
00:50Aise third-year-sing arotti kuen lagha?
00:52Mere rati koi lagha nahi.
00:54Mere rati, koid lagha nahi.
00:55Mere rati, min tuh nii lagha mohi, tun koi ka gaana dung ga.
00:56Achha?
00:57Tum ka tumara baap hihi lagha hai.
01:11Anandji bhai,
01:13We lost Manuj Kumar Ji, whom you have worked very closely with.
01:19Vridharini Shukur.
01:20I mean, that was also his own film.
01:23Uppkar, Purabhar Pashchim,
01:25I mean, you have made such a proud song that
01:30people can't even tell them.
01:34They can't even tell them.
01:35They can't even tell them.
01:37Correct.
01:38The reality of the life.
01:40But Manuj Ji, I was very proud of him.
01:45He knew everything about the village and the country.
01:50And when we talk about it, we charge ourselves.
01:53That we need to do something.
01:55Like Jay-Jag Dishwaray.
01:57He had an arti.
01:58Correct.
01:59He said that if it is arti,
02:01I didn't want to film it.
02:03I mean, that's what I mean.
02:05I said, that's what I mean.
02:07Obviously.
02:08It doesn't happen in the village.
02:10Correct.
02:11So, they say, how do we do it?
02:12They say, how do we do it?
02:13They say, how do we do it?
02:14How did you do it?
02:15We just called it to our singers.
02:19They didn't keep anything in the village.
02:21Like in the temple.
02:23People sit in the temple.
02:25The sound was already loud.
02:27That's how they put it,
02:29and they put it in a mile.
02:32The rhythm is not allowed.
02:34The rhythm is not allowed.
02:35And the rhythm is not allowed.
02:36The sound of the village, the temple.
02:38If they listen,
02:40the instrument is allowed to put it.
02:41What do we do to do it?
02:42Okay.
02:43Okay.
02:44So, if you look at it, many people think that they listen to the art,
02:48so they think that they sit in a temple.
02:50That's right.
02:51It doesn't seem to be a film.
02:52I mean, it's a film, but it's not a film?
02:55I mean, it's a decoration.
02:58It's a filmic license.
03:01We do a lot of things, which we don't need.
03:05So, actually, your first encounter was when you were a hero in Himalaya.
03:12They didn't make a picture, but they were a hero.
03:15Yeah.
03:16So, your relationship started from there?
03:19Yes, I was literally, because in those days,
03:21actors, dancers, all came for sitting.
03:24Sitting, right?
03:25They were sitting.
03:26The song was not in two minutes.
03:28The phone was not.
03:29So, they sat down and said,
03:31what are we going to do, what are we going to do,
03:32what are we going to do, what are we going to do.
03:33And all of them are going to do.
03:35They're going to say,
03:36they're not going to do this, they're not going to do that.
03:38They're going to do that.
03:39They're going to do that.
03:41Yeah, they're going to do that.
03:42They're going to do that.
03:43They're going to do that.
03:44If a guy was in the background.
03:45They did come to do that.
03:46They're going to do that.
03:47disputes.
03:48So, when we are in Himalaya and in Himalaya,
03:51when the actor and hero were sitting
03:53and were riding in Himalaya,
03:56then you thought that this knowledge is...
03:58What is the knowledge of Sangeet?
04:00I can tell you about it.
04:02Did you know that there is knowledge?
04:04If someone comes to a new director,
04:06we can tell you about it.
04:08What is the story of the camera?
04:10What is the story of the camera?
04:12What is the opening of the long shot?
04:14I start with the film with the opening of the long shot.
04:16I feel like this is the camera.
04:18This is the chakra.
04:20Correct.
04:22Going with this thing.
04:24I feel like this is natural.
04:26I don't know about it.
04:28So, you gave them a song,
04:32Chand Si Mehbhu.
04:34Do you remember that song?
04:36Chand Si Mehbhu,
04:38maho meri kabu,
04:40aisa mene socha tha,
04:42aisa mene socha tha,
04:44aisa mene socha tha,
04:46aisa mene socha tha,
04:48aisa mene socha tha,
04:50aisa mene socha tha,
04:52aisa mene socha tha
04:54Toh woh mukesh ji ke aawaz me thi.
04:56Yeah.
04:57Toh aapne,
04:58leekin Manoj ji ke saath,
05:00aapne 2-3 different types of aawaze di hun ko na.
05:03Yeah.
05:04Mahindra Kapoor bhi tha hai.
05:05What kind of song?
05:06Depending on the song.
05:07Depending on the song.
05:08Okay.
05:09Mahindra Kapoor bhaut chahiye tha,
05:11ish liha ki village tha,
05:13village ki gaanyi hoote,
05:14folk hoote,
05:15haa.
05:16Hoopar ki haawaz me thi.
05:17Hoor rustic.
05:18Hoor rustic hoote hai.
05:19Toh woh,
05:20achi lagte hai hai.
05:21Meri desh ki dharti.
05:22Ya, upkar.
05:23Dulan chali.
05:24Hmm.
05:25Thori, sare ka gaanyi jitne bhi aaya hai.
05:27So, sabne kao hai hai.
05:28Aapka woh,
05:29Meri desh ki dharti.
05:31My god, abh bhi bhi,
05:33loog,
05:34sunte hai,
05:35react karte hai,
05:36matlab,
05:37timeless.
05:38Absolut.
05:39Nay, nay, woh,
05:40dekhe, habhi,
05:41Meri desh ki dharti hai.
05:42Hmm.
05:43Ye mungkhoda hai hai.
05:44Hmm.
05:45Raiter laya tha,
05:46ish desh ki dharti.
05:47Haa.
05:48Gulshan,
05:49ka ish desh ki dharti.
05:50Gulshan Bhavra.
05:51Haa.
05:52So, ish band hojaata.
05:53Musically, ish.
05:54Ish desh ki dharti.
05:55Meri, aise lamma chalata hai.
05:56Yaar, ish ko meri karna chahi haapne ko.
05:57Kauke meri desh ki,
05:58personal hai.
05:59Ho, Manoj Kumar ka idea tha.
06:01Kya?
06:02Ki, usko meri karna chahi hai.
06:04Sabha.
06:05Sabha.
06:06Hmm.
06:07Hmm.
06:08Ish desh ki dharti aisa ho ga.
06:10Meri desh.
06:11Yeh lagta hai.
06:12Toh bheala hai, meri mei personal lagta hai.
06:14Haa.
06:15Meri country ki baat.
06:16Hmm.
06:17Any third person can come and say,
06:18tabhi suze island baut accha hai.
06:19Correct.
06:20Yeh karte karte woh meri desh ki dharti.
06:23Buna.
06:24Lekin,
06:25chaar din,
06:26usma diskaya.
06:27Achha.
06:28Yeh, eek word peh.
06:29Word peh.
06:30Matlab,
06:31meri karna chahi liye chaar din lag gya.
06:34Haa.
06:35Haa.
06:36Haa.
06:37Haa.
06:38Haa.
06:39Haa.
06:40Haa.
06:41Haa.
06:42Haa.
06:43Haa.
06:44Haa.
06:45Haa.
06:46Honk.
06:47Yeah.
06:48Haa.
06:49Haa.
06:50Haa.
06:51Haa.
06:52Behaal特別 at.
06:53Haa.
06:54Haa.
06:55Araan.
06:56Gold at.
06:57in my country's country.
06:59It was very good.
07:02It was like a whole day,
07:04in the morning, 9.00 in the morning,
07:06the other night,
07:103-4.00 in the morning, I had parts of it.
07:13I had parts of it, and I had parts of it.
07:15So, I had to do everything.
07:16Okay.
07:17But the singer also had to do it.
07:18Yeah.
07:19It's not tired, then I'll sit down.
07:21Correct. Correct.
07:21Mahindra Ji, I feel like...
07:22Mahindra Ji said, you can't hear your voice.
07:26So, the whole work was a lot of fun.
07:28It didn't get any tension.
07:29It's like, Nipto,
07:31it's happening, it's happening, it's happening.
07:33In the past, he was listening to us,
07:35it wasn't you, but in the past, he was listening to us,
07:37Mahabharat.
07:40That's his voice, you know,
07:42the whole room would be sound with his voice.
07:46Yeah.
07:46It's like Ravindra Ji.
07:48So, his voice was listening to us.
07:50He had a strength in his voice, which...
07:52He was very thin.
07:53Yeah.
07:54Voila.
07:55That's true.
07:56That's true.
07:57That's true.
07:58So, you were a singer with the singer?
08:01Yeah.
08:02Okay.
08:03With the coordination with the producer and the director.
08:05And the director.
08:06And the requirement.
08:07Yeah.
08:08Yeah.
08:09Yeah.
08:10Yeah.
08:11Yeah.
08:12Yeah.
08:13Yeah.
08:14Yeah.
08:15Yeah.
08:16Yeah.
08:17Yeah.
08:18Yeah.
08:19Yeah.
08:20Yeah.
08:21Yeah.
08:22Yeah.
08:23Yeah.
08:24Yeah.
08:25Yeah.
08:26Yeah.
08:27Yeah.
08:28Yeah.
08:29Yeah.
08:30Yeah.
08:31Yeah.
08:32Yeah.
08:33Yeah.
08:34Yeah.
08:35Yeah.
08:36Yeah.
08:37Yeah.
08:38Yeah.
08:39Yeah.
08:40Yeah.
08:41Yeah.
08:42Yeah.
08:43Yeah.
08:44Yeah.
08:45Yeah.
08:46Okay.
08:48Yeah.
08:49Yeah.
08:50Yeah.
08:51Yeah.
08:52Yeah.
08:53Right.
08:54Yeah.
08:55Yeah.
08:56Yeah.
08:58Who is the singer? Pranji.
09:00Pranji's character is changing the first time.
09:01Correct.
09:02From villain to divine person.
09:05Yes.
09:06If you listen to the song, if you like the song,
09:08then you will keep it in the song.
09:12Then you will sing it.
09:13Malang.
09:14Now we don't understand the malang.
09:17The poor.
09:18He will be able to do this, he will do this, he will do this.
09:21Correct.
09:22And this song is originally the first time.
09:25Correct.
09:26Now we were scared of it.
09:28First of all, there was a picture in the film.
09:30So how do we do it?
09:33I said, let me leave it.
09:34He said, let me leave it.
09:36I said, let me see.
09:37Let me see, no one will heal.
09:38Okay.
09:38In the film, no one will be out.
09:40So when this song happened, it was completely.
09:44At the beginning, it was like, what will happen, what will happen.
09:47Pranji's coming and sitting here,
09:49then I saw that the villain is Pranji's character.
09:53I like it.
09:55He said, when you see your Messiah is in front of me,
09:57then it will experience you.
09:58And the moon will show you,
10:00and the sun will show you.
10:02The sun will show you.
10:04Boy, the sun will come,
10:06The sun will come.
10:07The sun will come.
10:09What was the sun?
10:10The sun will come.
10:14He was singing like, wow, wow.
10:16Is that something?
10:18Yes, he was singing like, wow.
10:20He was singing like, wow, wow.
10:22So Pranth Sahib, when he was sitting there,
10:26he was a different thing.
10:28He was a different one.
10:30He was a different one.
10:32He must have been in a different mood.
10:34But mark, he gave such performance
10:38that the whole world is seeing.
10:40When he was singing.
10:42He was singing like, wow.
10:44Correct.
10:46Correct, yes.
10:48So he was performing.
10:50Yes, yes.
10:52So everything used to be very lively.
10:54Okay.
10:56So everything used to be very lively.
10:58Okay.
11:00So everything used to be very lively.
11:02So everything used to be very lively.
11:04Okay.
11:06So they would have been enjoying themselves
11:08in Punjabi.
11:10Patricia Pavani
11:12Yeah, Vadiya Vadiya Vadiya
11:13Eine of whatever going on, that's true.
11:16Can you give me a little bit of background on which
11:18they were a hero in Himalaya
11:20between that good one,
11:22he was a hero esta by another.
11:24And until that song was so great,
11:26it became such a big hit,
11:28very big hit.
11:29Himalaya,
11:31He gave him the voice of Mukesh Ji.
11:35So that became a big hit.
11:37That was a very big hit.
11:38Very big hit.
11:39Straight away. Straight away Sixer killed him.
11:41I was like, how is this job?
11:44Straight away?
11:45Fortunately, the music director thought that
11:49the film is about it,
11:51why don't we give ourselves a lot?
11:53Okay.
11:54We will give ourselves a lot.
11:57Luckily, that year, this song was passed.
11:59Okay.
12:00We will give ourselves a lot.
12:02However, the idea was very good.
12:06Okay.
12:07We will give ourselves a lot of information about it.
12:11Yeah.
12:12So that's the work.
12:13Right.
12:14So that's the work.
12:15Yeah.
12:15So after that,
12:17when he came to you for Upkar,
12:20I think 1967?
12:22Yeah.
12:23I think around 1967.
12:241967.
12:24So when he came to you for Upkar,
12:26how do you have talked about it?
12:28I mean, how did you talk about it?
12:30Yeah.
12:31I mean,
12:32that's the work.
12:32I mean,
12:33that's the director,
12:34producer,
12:35and actor.
12:37And you noticed that you've been the actor,
12:38like,
12:40you've been the actor.
12:42I've become the filmmaker.
12:44When we meet, we also know that I was thinking about a picture and now in the process of my village.
12:58They were always talking about it.
13:00They wanted to do something.
13:02So, they had these ideas in their minds?
13:05We were talking about the songs, but when we were talking about the picture, we knew how to do it.
13:12He is a village, he is a village, he is a village, he is a village, he is a village, he is a village, you have to see a village.
13:22When you were the artist when you were making a character, you had thought about him that he would change the cinema?
13:34He was the first person in the cinema.
13:36No, but all of us don't know, the story is made of a story, and it's been a bit of a story.
13:41Romantic films were made at that time?
13:44Yes, romantic films, the country's death.
13:46To give the message to the country and to give the songs, it's very difficult.
13:52Yes, because now it's a documentary.
13:54Yes, it's a documentary.
13:55Yes, it's a documentary.
13:56It's a documentary.
13:57It's a documentary.
13:58It's a documentary.
13:59It's a documentary.
14:00It's a documentary.
14:01Yes.
14:02So that was a big challenge for you?
14:04Yes, it's a challenge.
14:06You don't think of it as a big thing?
14:10No, no.
14:11Just it's a work.
14:12Okay.
14:13So you have two or three songs that were very, very, very big, big, big chart busters.
14:21Would you remember anything about how you sat and composed them?
14:25How much time did it go?
14:27What was the contribution of it all?
14:30It's like that one song was the first time we had.
14:35That was already with you.
14:36That was already with you.
14:37Yes.
14:38I thought that we have to make a song.
14:39Okay.
14:40It's like a song that came out.
14:41It's like a song that came out and it came out.
14:42Okay.
14:43It was like a song that was amazing.
14:44Okay.
14:45And then the singer came to work with him, and he said, okay, we'll keep it, we'll do something.
14:52And then the whole thing is like this.
14:55Now, what was the song about Mendra Ji from Manna Babu?
15:01He said, why was it a song for self?
15:05It was a little technical side.
15:08I said, Manna Babu, the song is on the scale, but the song is soft.
15:13Why did you want to sing it?
15:15Because we didn't sing it.
15:17And we were inspired by the song, and we said, which song is,
15:22I'm the one who loves my love, I'm the one who loves my love.
15:26I'm the one who loves the love.
15:30So that's how we sing it.
15:33They sing it for the song, it's for the song, it's for the song.
15:36It's for the song, it's for the song, it's for the song.
15:40Yeah.
15:41So, this is the song.
15:42So, they did it.
15:44It was fun.
15:45It was fun.
15:46It was fun.
15:48So, inspire each other.
15:50Correct.
15:51The problem is how to ease.
15:54How do we ease?
15:56How do we ease?
15:58Manoj Ji had a good year for music?
16:01Yeah.
16:02Poetry, I had a sense.
16:04Okay.
16:06Then, after tuning, one can understand what to do.
16:11What should we do?
16:12What should we do?
16:13What should we do?
16:14What should we do?
16:15What should we do?
16:16Correct.
16:17So, this is the song.
16:19Which song is your favorite song?
16:23Okay.
16:24I feel like it will be the song.
16:29It will be the song.
16:30It will be the song.
16:31It will be the song.
16:33It will be the song.
16:34We did this song.
16:35I would love it.
16:36We could sing among my native peoples.
16:40After that, we would give the song.
16:42And I'd given this song.
16:43Yes.
16:44And we would love it.
16:46And then, we would use a song.
16:48We would love it.
16:49So, we would have a song.
16:51We would have a song for this song.
16:52Unadowlady My tierra.
16:53It was the song in the song.
16:54So we all know.
16:55It's a song.
16:56It's just...
16:57For the song.
16:59That's why you get to know the song.
17:06What is the rhythm of the rhythm?
17:09So, what is the rhythm of the rhythm?
17:12So, when you live in the village, you can be very rich in the temple.
17:16Why do you go to the temple?
17:19Prasad.
17:20Prasad.
17:22Okay.
17:24So, what is the instrument, what is the style of the instrument?
17:31That's all.
17:33So, what is Manojji.
17:35So, if you do something else?
17:37You take something else and put it into it.
17:40Okay.
17:41So, you take the rhythm of the rhythm?
17:43Yes.
17:45You have to use the rhythm of the rhythm.
17:48So, when you do something else, you have to be a problem.
17:52Correct.
17:53So did you feel that Manoj Kumar and your association and co-ordination,
18:02so did you go to the shooting and see what he was doing?
18:06Yes.
18:07Yes.
18:08Okay.
18:09Yes.
18:10Yes.
18:11Okay.
18:12Yes.
18:13Yes.
18:14Yes.
18:15Yes.
18:16Yes.
18:28Yes.
18:29Yes.
18:31Yes.
18:32Yes.
18:33And you read certain, you have done it, yes.
18:39Andy Yubmb Paula, Maine, New York City, New York City, New York City University of Tries拔.
18:42That was very challenging for us.
18:43Yes.
18:45And very encouraging.
18:46We have to blend together with each other, and then we have to blend together with the era and music, and we have to do everything.
18:55That's right, yeah.
18:56There was a montage, that the girl came here and then she was going to be able to understand.
19:01So there was a montage for a couple of minutes, so I was working on the background, so I was getting frustrated.
19:10So I thought, Sahih Ji, everything is fine, and I said, I didn't understand.
19:15I said, I have to do the tabla, when I was doing a tabla, I would like to do tabla.
19:21When I saw the tabla, I would put it all over there.
19:25I would say, ah, stop, stop, stop, stop.
19:27I would say, I'm not going to understand, but I have no guilt.
19:31I could never give it.
19:33I would like to have to bring this tabla to me, but it's a tabla.
19:37So I would say, I would say, I would say, I would say, I would say, I would say.
19:42So in montage, you had to put the instrument that you had to put it in the montage.
19:47First, you put it all together, and you put it all together, and you put it all together, and you put it all together, and you put it all together.
19:54Correct. Yeah, yeah.
19:56And which one of your favorites is your favorite Purbur Pashchini?
20:00There were so many chart-buster songs that were there.
20:04Which one?
20:07Okay. Correct.
20:19So when you get to do this, you put it all together.
20:22When you put it all together, you put it all together.
20:25So when you put it all together, when you put it all together,
20:30then you put it all together.
20:32The reason was that, you said, oh man, this is a good thing.
20:36So when you start it, that was our song.
20:39You liked that very much.
20:41That's right.
20:42But that had so many other songs also.
20:45See, so many songs, but it is important.
20:47Yeah, but personally, you thought that you had to do something.
20:50No, you did not do it.
20:51Because when there was a story, that there was nothing in India,
20:56that there was a place in India,
20:58that there was a place.
21:00Yeah, yeah.
21:01So when you put it all together,
21:02you can do it, you can do it, you can do it.
21:05That was it.
21:06That was it.
21:07At that time he kept it, 1970.
21:10We are proud that we are lucky to have this kind of a director,
21:13who can do something musical and awakening.
21:17And at the same time, be so proud of Bharat, right?
21:21Yeah.
21:22I mean, in those days he was the first person, right?
21:26They thought about musicals.
21:29At the beginning, they thought about how to do the story of the city.
21:32They thought about the story of the city.
21:36So, slowly, slowly, it is going to be a nation.
21:40It's very realistic.
21:43So, slowly, slowly, it is going to be a nation.
21:49And to bring it to the truth, it is difficult to do it.
21:53To do the truth, it is going to be a flop.
21:56So, to do the musical, it is a very big thing.
21:59But it is also true that it was Lal Bahadur Shastri who asked him,
22:04Jaye Jaye Wan, Jaye Kistan.
22:06That slogan was made for something to make.
22:09It is a way of making a story.
22:11You can write a better story.
22:16I have a literary interview, but you can do that.
22:21That is a suggestion to one another.
22:23Yeah.
22:24Because Manojji has said to myself that Shastri Ji had said to him,
22:31Jaye Jaye Wan, Jaye Kistan.
22:33Yeah.
22:34That is how Upkara came about, isn't it?
22:36Yeah.
22:37So, the relationship was good.
22:39They had to come with their children.
22:42Shastri Ji's children.
22:44That's right.
22:45So, did you also meet Shastri Ji's children?
22:48Shastri Ji's children, we have to meet them.
22:50They are great people, great people, great people.
22:53Because they are not able to smile.
22:55Okay.
22:57Do you have any other ideas about Manojji?
23:04Manojji's children, we have a little bit of a picture.
23:08Sometimes we were saying, it's been a long time.
23:10They said, yeah, I want to show you this.
23:12So, they were always doing something,
23:14and then they were doing something,
23:15and then they were doing something.
23:17But he wasn't nice.
23:18Okay.
23:19He was the director, he was the actor,
23:23he was the producer.
23:25I said, Manojji, do this work.
23:27Now, what will you change?
23:28You will be the same.
23:30So, you have to change the music character,
23:32you have to change the cameraman,
23:33so you can get something new.
23:35Yeah.
23:35I said, the music director,
23:36I said, why not?
23:38As a friend, I can advise you with this.
23:40So, you did not have a problem,
23:42when they were...
23:43No, no.
23:44See, this business.
23:44With the other people.
23:45Today, we are wearing this sari.
23:47It means that this is good.
23:49You want to change.
23:51So, you didn't feel bad when he shifted
23:54after Purubar Parchim and he took...
23:56I was worried about him.
23:58After recording,
24:00he came to eat food,
24:01and I sat down and sat down.
24:03Okay.
24:04Because there was a little change there.
24:07The village,
24:07in the country,
24:09came out and took a little bit away.
24:10Hmm.
24:11Under current was it.
24:12So, there were all these things.
24:14Hmm.
24:15Correct.
24:15Correct.
24:16Roti kapda or makaan or...
24:18Yeah, that's it.
24:19So, you buy...
24:20But you didn't feel bad that he shifted?
24:23It's bad to say,
24:23you don't have a right to do.
24:27You don't have a right to do.
24:31We will do everything.
24:33Okay.
24:33So, you were all right about that.
24:35We had a temperament.
24:37We need to go to novelty.
24:38We need to go to everything.
24:39We need to encourage everything.
24:41Now, like...
24:42Kailanji Bhai's temperament.
24:43That Lakshmi Piyar is our assistant.
24:45Hmm.
24:46So, they told us that we were all about it.
24:48We were all about it.
24:48We were all about it.
24:50We were all about it.
24:50We were all about it.
24:52We were all about it.
24:53These boys are very good.
24:54Very good.
24:54They will take it.
24:55They will do good work.
24:56Okay.
24:57So, when Lakshmikan Parallel started singing, you felt proud that our children...
25:03Yes.
25:04No.
25:05You can't do anything.
25:07Everything is destiny.
25:09You don't have to do anything.
25:11It's just your turn.
25:12You don't have to do anything.
25:13No, you don't have to do anything.
25:14Neither does anyone want to sing a song and go to an university.
25:16This is the age of our school.
25:17You don't have to sing a song.
25:19I have to sing a song, you don't have to sing a song.
25:20That's what I am a song, you don't have to sing a song.
25:21Just how many people do sing a song.
25:24This is their song, you know?
25:26And, of course, I get to sing a song now.
25:29So, when does Manoj Ji have been to that last club, because you have a association of many years...
25:33who are at the stage there?
25:35Manoj Ji, how much is there?
25:37His association of many years of state, has been to be tears in it.
25:40It was a symbol of the band in the next two years.
25:43Yes, it was called the band.
25:45Once again, it was called the band.
25:48She used to sit and sit.
25:51They used to tell me about the band and the band would be like the band.
25:55These band would be the band, there would be the band,
25:58you would go to the band, you know what I want to do.
26:01Then after the band would do all the band.
26:04They would do that as well.
26:06They would dance they would dance.
26:08and then everything goes on.
26:09It's all just fine.
26:11Yes, yes.
26:12But the songs are 5 or 6 songs.
26:15But in the session, the chapter is 15.
26:17It's less than a song.
26:19So, it's all getting together.
26:22Yes, it's a friendship.
26:24So, if you all want to shoot and develop,
26:29you'll see the print.
26:30You'll see the button and the phone will see.
26:33It's all gone.
26:34Good.
26:35So, when Manoj Ji started working with other people,
26:41was your friend recommendations?
26:43Yes.
26:44You have friends.
26:45No one's a friend.
26:47You're left with a friend,
26:49but it's not a friend.
26:51As for you, you have to explain yourself a friend.
26:54Okay, okay.
26:55So, when you first write your own friends,
26:57you think you should be able to go on.
26:59And if you don't have a friend,
27:01you're up at home.
27:02Okay, okay.
27:03Okay. So, Dosti remained whether it worked or not.
27:06See, Dosti, the timeline is always the same.
27:09The same person doesn't get the same,
27:11he doesn't get the same,
27:12he doesn't get the same,
27:13he doesn't get the same.
27:15He doesn't get the same.
27:16He doesn't get the same.
27:18He doesn't get the same.
27:20I've never been forgotten.
27:22He's the aim for life.
27:24Today, he's the same,
27:25he's the same,
27:26and he's the same.
27:27One to one, he's the same.
27:29He's the same.
27:30We've just lost Manojje.
27:32And you have a very long association with them.
27:36So, when did you meet them at the end?
27:40No, I didn't get the same.
27:42Because Dosti was also Dosti.
27:44We didn't have to do any work.
27:46We didn't have to do any work.
27:48But it was a lot of fun.
27:50In a situation,
27:51we had to say,
27:52what is going on, what is going on?
27:53Discussing the same.
27:55But he was not giving well.
27:57He had something.
27:58He was trying to avoid it all the time.
28:00Yes, you get the same.
28:02Okay.
28:02Now, it's been 2-3 times.
28:06Not so, first of all,
28:07we had to go to Nepal and go to Nepal.
28:09Right.
28:09When we were doing work,
28:10we had to get the same.
28:11But when we were doing something,
28:13then we would talk about it.
28:14We would talk about it.
28:15Right.
28:16We would talk about it.
28:18and discusses the same.
28:19We would talk about it,
28:20which was not going on.
28:22Okay.
28:23Yes.
28:24He was definitely looking at that.
28:26Oh.
28:27It's a fun story, it's a fun story.
28:28Correct.
28:29Correct.
28:30But not yet didn't go, why was the reason?
28:31We took the film and we took the film.
28:33Which one was the real?
28:34Which one was a fun film?
28:35Many characters are in the film.
28:37We discussed them.
28:38What do we have done?
28:39What do we have done?
28:41This one was done with our ideas.
28:44What did we have done with our ideas?
28:46And this one was done with our ideas,
28:48that kind of discussion used to go on.
28:50So, if you have a Hindu philosophy, he doesn't like the Hindu philosophy.
28:56Okay.
28:58He doesn't like the Hindu philosophy, he doesn't like the Jadugrara.
29:02So, if he doesn't like the superstition, he doesn't like it.
29:06He doesn't like it. His faith is fixed.
29:08Okay.
29:09He has a trust in Ram.
29:11Okay. So, towards the end, you couldn't meet him because he was not here.
29:18No, unfortunately not.
29:19Okay.
29:20All right.
29:21I think he was not giving well for a long time.
29:35He was not well for some time.
29:36He was hiding, not meeting anybody.
29:38That's right.
29:39That's right.
29:40So many problems of his life, you know.
29:43Everything.
29:44But you must have really felt personal loss when he passed away, isn't it?
29:48Of course.
29:49Of course.
29:50You can't do it.
29:51You can't do it.
29:52That's right.
29:53That's right.
29:54That's right.
29:55That's right.
29:56That's right.
29:57That's right.
29:58That's right.
29:59That's right.
30:00That's right.
30:01That's right.
30:02That's right.
30:03That's right.
30:04That's right.
30:05That's right.
30:06That's right.
30:07That's right.
30:08That's right.
30:09That's right.
30:10That's right.
30:11That's right.
30:12That's right.
30:13That's right.
30:14That's right.
30:15That's right.
30:16That's right.
30:17That's right.
30:18That's right.
30:19That's right.
30:20That's right.
30:21That's right.
30:22No.
30:23That's right.
30:24He's a man.
30:25He's a daughter.
30:26I've ever been a daughter.
30:27He's a daughter.
30:28I haven't been a daughter.
30:30I haven't been a daughter yet.
30:31He's a daughter.
30:32I said, I'll take my father to you.
30:35I'll take my father to you.
30:36Okay.
30:37Okay.
30:38I said,
30:40four days after four days,
30:42I said, sit down.
30:43What's the song?
30:44I'll stop.
30:45Listen.
30:45I'll tell you.
30:47I said, you won't.
30:48I'll tell you won't.
30:51I said, listen.
30:53I said, you don't have any questions
30:55or any of you have to go through.
30:58I said, you're my mind.
30:59I'll tell you so much.
31:02I said to him, he said,
31:05I said, I have a right.
31:07I told him,
31:09I said, why did you think of Ram?
31:12Why did you think of Ram?
31:15Why did you think of Ram?
31:18Why did you think of Ram?
31:20Why did you think of Ram?
31:22I said, yes, I took it.
31:24The whole thing was changing to the character.
31:27So I said, challenging the other things happened.
31:30That's right, yeah.
31:32When I was doing a lot of work,
31:34I was able to do a lot of work,
31:36but I would say,
31:38I will give you that.
31:40That's correct.
31:42It was stimulating to me,
31:44if you were to challenge me,
31:45I would say,
31:46that's true.
31:47That's true.
31:49It was fun to work.
31:51It wasn't bad.
31:52That's correct.
31:54Someone said,
31:56I said, I had a lot of fun.
31:58Show business was fun.
31:59It was fun to work with writers,
32:00and it was fun to work with new writers.
32:02It was fun to work with new writers.
32:04It worked with new producers.
32:05It was fun to work with new producers.
32:07Yeah.
32:08Transcription by CastingWords