Reflections on Raj Khosla: A Journey Through Cinema

A Memorable Encounter

In the late 1980s, I had the honor of meeting the renowned filmmaker Raj Khosla. My introduction came through Lalitha Lajmi, the sister of Guru Dutt, who took me to his residence in Marina Apartments, located in Pali Hill, Bandra, Mumbai. This apartment was later acquired by Aamir Khan's family, who continue to reside there today.

A Passion for Cinema

During my research for a documentary titled In Search of Guru Dutt (Channel 4 TV, UK, 1989), my meeting with Raj Khosla left a lasting impression. His deep affection for cinema, coupled with his warm personality and generous spirit, was unmistakable.

Conversations with Raj Khosla

Here are excerpts from two discussions: the first being an audio interview from November 5, 1986, and the second filmed on September 22, 1988.

Raj Khosla: Back in the late 1940s and early 1950s, my aspiration was to become a playback singer. Dev Anand was supportive, but things didn’t pan out as I hoped. One day, he suggested, 'My friend Guru Dutt is directing a film. Why not assist him?'

I replied, 'I’m not interested in filmmaking; I want to sing.'

He encouraged me, saying, 'Just give it a try; things will work out.' That’s how I met Guru Dutt, who inquired about my experience as an assistant. I assured him I was studying filmmaking.

He then asked, 'Do you know Hindi?'

I responded, 'Yes, I do.' However, I had only written in Urdu and Persian. In those days, many Punjabis were fluent in Urdu, and some even in Farsi, but I couldn’t write in Devanagari. He said, 'No problem, start tomorrow.'

I hurriedly learned to read Hindi, and within a week, he asked me to copy some scenes. By then, I had picked up enough Hindi to manage. When I presented the scenes, he asked, 'When did you start learning Hindi?' I replied, 'The day you asked me.' He smiled, and we quickly became friends.

Connections with the Anand Family

Nasreen Munni Kabir: What was your relationship with the Anands?

Raj Khosla: Our families hailed from Punjab and had longstanding ties. Our fathers were college friends, making us the next generation of friends.

When I sought work, Chetan Anand suggested I join Navketan. They were producing Baazi at the time, which led me to work as Guru Dutt’s assistant.

Admiration for Sahir Ludhianvi

Nasreen Munni Kabir: You mentioned your admiration for Sahir Ludhianvi.

Raj Khosla: I was in college when I first encountered Sahir's poetry. I told my father that Sahir would achieve great success.

During my college years, I memorized a poem by Sahir, Sanaa-khvaan-e taqdis-e mashriq kahaan hain. This was later adapted for Pyaasa as Jinhen naaz hai hind par woh kahaan hain. The original lines were too complex for the audience.

One day at Navketan, I sang the entire song to Guru Dutt, having composed the tune myself. He exclaimed, 'Raj, this is perfect for Pyaasa!' Coincidentally, Sahir was already writing for Baazi, so there were no copyright issues.

Guru Dutt had a remarkable ability to grasp emotions, though the relationship between Sahir and him was somewhat distant. Artistically, they were aligned, but personally, they were not as close. I, however, shared a closer bond with Sahir.

Musical Aspirations and Directorial Debut

Nasreen Munni Kabir: Did you ever record any songs?

Raj Khosla: No, I didn’t. In Jaal, there was a song titled Sun Ja Dil Ki Dastaan. Guru Dutt recorded my rendition, but I didn’t pass the test. SD Burman remarked, 'Raj has potential, but...' The song was later re-recorded by Hemant Kumar and became a massive hit.

Nasreen Munni Kabir: Can you share about your first film as a director and C.I.D.?

Raj Khosla: My directorial debut was Milap, produced by TR Fatehchand, who also produced Jaal. Many assumed C.I.D. was my first due to its success, overshadowing Milap.

An amusing incident occurred during C.I.D.'s release in Calcutta in 1957. Heavy rains had canceled flights, so we traveled by train, bringing along a box of beer. The journey from Bombay to Calcutta took 46 hours back then.

As we neared the station, the distributor, a rather portly man, greeted us with garlands, declaring, 'Raj, it’s a hit! Ho gaya kaam!' The garlands reassured us that all was well. We then went to the theater to witness the film's reception. Twenty minutes in, Guru Dutt exclaimed, 'Raj, you’ve created a super-hit! Let’s celebrate!'

The next morning, I found Guru Dutt missing from our hotel suite. After searching, I discovered him fully dressed, with a bowtie, lying in the bathtub, having partied all night. He was truly a delightful person.

Choosing Independence

Nasreen Munni Kabir: Why didn’t you continue directing under Guru Dutt’s banner?

Raj Khosla: After C.I.D., he offered me a significant sum for my next project, which was substantial in 1957. I declined, stating, 'I don’t want to work under a big tree. I’m a small plant. If I work with you, it will always be known as a Guru Dutt film.' He responded, 'Go your own way. You’re welcome to make a film for me anytime.'

Shooting Iconic Songs

Nasreen Munni Kabir: Can you discuss the C.I.D. song Leke Pehla Pehla Pyaar, featuring Dev Anand and Shakila?

Raj Khosla: Dev Anand was one of the most disciplined actors I’ve worked with. I recall him asking, 'Raj, what’s my role in this song?'

I replied, 'The song carries the weight; you just need to walk.' We began filming, and he walked along the promenade for about three minutes. After a few takes, he inquired, 'Am I supposed to walk a mile or something?' I assured him, 'You’re just walking; no singing required.'

He complied, though he had a habit of using his hands while acting. I told him, 'You can’t move your hands; just walk and look handsome!'