THIS week marks the death anniversary of Bollywood legend Dev Anand, who passed away on December 3, 2011, aged 88. Although he is best remembered for starring in a massive number of successful movies, the legendary star’s legacy stretches beyond that because he also launched a lot of newcomers to greatness. Those who are still with us will no doubt remember him this week along with fans around the world. Here is a list of some unknowns Dev Anand (right) helped turn into shining stars across the many decades.
Guru Dutt: Dev Anand made friends with aspiring actor/director Guru Dutt during their days of struggle and promised to help him if he ever made it. Anand kept his word and launched Dutt as a director with blockbuster 1951 hit Baazi. Dutt would go onto establish himself as one of the greatest ever filmmakers.
Kalpana Kartik: She may not be as well known as other leading ladies from the golden era of Bollywood, but Kalpana Kartik delivered winning performances in her day. She made her debut opposite Dev Anand in his home production Baazi (1951) and would later go onto marry him.
Sahir Ludhianvi: One of the greatest lyricists in Bollywood history came to prominence after penning songs for Dev Anand’s 1951 home production Baazi. He had written songs for a few forgettable films before then, but Anand spotted his genius and roped him in for his major movie, which turned the lyricist into an overnight star.
Raj Khosla: Dev Anand hired Raj Khosla to assist Guru Dutt and eventually launched him as a director, which included starring in his first five films. Khosla would go onto have a prolific filmmaking career with classics still loved today and never forgot Anand’s kindness.
Waheeda Rehman: Although Guru Dutt is largely credited with launching Waheeda Rehman into Bollywood with a supporting role in smash hit 1956 movie CID, lead star Dev Anand made it happen by agreeing for her to be cast in the crime thriller.
Jaidev: The ace composer made a mark with a string of successful soundtracks and was the first music director to win three National Awards. He started his incredible musical journey by composing for Dev Anand’s home banner Navketan Films in the 1950s. His collaborations with Anand included the stunning songs in Hum Dono (1961).
Vijay Anand: The visionary filmmaker had got his big break from elder brother Dev Anand, who produced and played the lead role in his successful directorial debut Nau Do Gyarah (1957). The two brothers would form a cinematic dream team with many subsequent successes, including iconic classics like Guide (1965), Jewel Thief (1967) and Johny Mera Naam (1970).
Zeenat Aman: The beauty queen turned actress nearly quit Bollywood after her first two films failed, but then was persuaded by Dev Anand to play a supporting role in hit 1971 film Hare Rama Hare Krishna. That award-winning turn would lead the actress to become one of the biggest stars of the 70s and an icon in her own right.
Tina Munim: Today she is known as billionaire Tina Ambani, but before marriage and in the beginning, acting was her big passion. Dev Anand spotted her talent early on and launched her in hit 1978 film Des Pardes. She had a successful acting career before getting married and concentrating on charity work.
Jackie Shroff: The actor was given his first film break by Dev Anand in his 1982 drama Swami Dada and always remembered that very first opportunity. The following year Jackie would become a superstar with his next film Hero (1983), which was directed by Subhash Ghai.
Tabu: Not many people know that Tabu got her first proper acting opportunity as a teenager from Dev Anand in Hum Naujawan (1985). That same film marked the acting debut of Richa Sharma.
Neeru Bajwa: Today Neeru Bajwa is the undisputed queen of Punjabi cinema and has been helping the industry go global. She got her first break into movie thanks to Dev Anand in her 1998 debut movie Main Solah Baras Ki.
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
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