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Rajesh Khanna had the ‘arrogance of Napoleon’, his house was furnished as ‘a temple to himself’: When BBC journalist witnessed Kaka’s fall

The earliest signs of the decline of Rajesh Khanna's career were documented by a BBC journalist in 1973.

Rajesh Khanna- downfallRajesh Khanna was the most sought after Bollywood star in the 60s and 70s. (Photo: Express Archives)

While many have told stories of Rajesh Khanna habitual tardiness, a BBC journalist named Jack Pizzey managed to document his first-hand experience of being made to run around in circles trying to get an audience with the late star. Shot in 1973, the documentary Bombay Superstar provided rare insight into Khanna’s ways, his sudden marriage to Dimple Kapadia, and the earliest phase of his eventual downfall. In the documentary, Pizzey described Khanna as having ‘the arrogance of Napoleon’, as he reflected on his ‘humbling experience’ of waiting five days just to interview him.

“The biggest star of the biggest film industry in the world is probably someone you’ve never heard of. Film stars are adored in India in a way that they haven’t been in the West, since the great days of Hollywood. People in India are film crazy. At least one new film is released here every day, and stars are so well-known, they don’t need their names on the posters,” Pizzey said in his opening narration.

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Over shots of a film crew preparing for a day’s work, he said, “It’s 10 on a sticky summer morning, and the biggest star should be arriving at this studio. The superstar is Rajesh Khanna. He has the charisma of Rudolph Valentino, the arrogance of Napoleon, and he’s late. There’s nothing the director can do about it. He rewrites, yet again, the lines that his star should be speaking by now. He sweats and waits. Everyone is sweating and getting ready, and waiting.”

Rajesh Khanna Rajesh Khanna breathed his last on July 18, 2012. (Photo: IMDb)

The director, Hrishikesh Mukherjee, was shown passing time by fine-tuning dialogue, while others on set played games and napped. The filmmaker said, “We are waiting for our hero. One very big problem is that our main stars work in many films simultaneously. They do about 10-12 films together.”

Two hours later, Khanna still hadn’t shown up. “What will you say to him when he arrives?” Pizzey asked the director, who replied, “He will come himself and explain to me why he’s late.” Pizzey asked, “And you will accept what he says?” Mukherjee responded, “That depends on what explanation he gives me.” Pizzey asked the director if all this waiting is increasing costs for the production, and the filmmaker said, “Fortunately, the labour is very cheap here.”

Read more – Rajesh Khanna declined Rs 3.5 crore per episode offer to appear in Bigg Boss as career hit rock-bottom, was rejected by channel when he agreed

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Pizzey also documented his many attempts to interview Khanna, which saw being being turned away at the gate of his house on the first try. “On the Bombay coast, where the palms are stirred by the breeze of the Arabian Sea, the star lives in an impregnable dreamhouse. Getting in to interview Rajesh is like trying to get an audience with royalty. Only if a king says, ‘Come to my palace at 3’, he probably means it,” Pizzey narrated.

amitabh bachchan Rajesh Khanna and Amitabh Bachchan in Namak Haraam. (Photo: Express Archives)

The crew eventually gained access to Khanna’s outhouse, and Pizzey reported, “Inside, the star has furnished it as a temple to himself. We read magazines about him, wait for another appointment that he doesn’t keep, and study his film awards. We arrange for another time to see him; sunset the next day. But it’s the same story; sunset arrives, but Rajesh doesn’t. For five days, this humbling experience of waiting for Rajesh goes on.”

The latter half of the documentary follows Khanna to a set in Kashmir, where he keeps the crew waiting even longer. Meanwhile, he is shown to be getting agitated over the failure of his five most recent films, and retaliating after being snubbed at the Filmfare awards. Khanna’s career spiralled shortly afterwards.

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