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Lata Mangeshkar, the ageless voice of India, passes away at 92

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Lata Mangeshkar, India’s most loved singer who had once moved Pandit Jawaharlal Nehru to tears, leaves behind a teary-eyed nation of admirers who grew up listening to her immutable voice give wings to the words of poets and the screen careers of legions of heroines.

India’s Melody Queen, who also composed music for Marathi films and was a producer as well, and had the distinction of being conferred with the highest civilian honours of India and France, passed away on Sunday morning at the Breach Candy Hospital in Mumbai, where she had been admitted because of Covid-related complications on January 11.

Lata Didi, as she was known among her family and followers, was 92 and is survived by her siblings — playback singer and composer Meena Khadilkar, popular singer and restaurateur Asha Bhosale, singer Usha Mangeshkar, and music director Hridayanath Mangeshkar.

She never married, but was close to the late Raj Singh Dungarpur, the aristocratic former cricketer and President of the Board of Control for Cricket in India (BCCI) from 1996 to 1999.

One of India’s most loved voices, Lata Mangeshkar was the recipient of three National Film Awards, seven Filmfare awards, and of course, the Dadasaheb Phalke Award in 1989. She was conferred the Bharat Ratna in 2001, becoming the second singer after M.S. Subbulakshmi to be so honoured, and the French awarded her the Officer of the Legion of Honour.

In 1974, Lata Mangeshkar became the first Indian to perform at the Royal Albert Hall, London. She had indeed come a long, long way since the time when the first song that she recorded for a film — ‘Kiti Hasaal’ in 1942 — was dropped in the final cut.

Born in what was then the princely state of Indore on September 28, 1929, to the classical singer, Marathi theatre actor and writer of musical plays Deenanath Mangeshkar and his wife Shevanti (Shudhamati), Lata Mangeshkar was originally named Hema by her parents, but they later changed it to Lata after the character Latika from one of her father’s musical plays.

Lata Mangeshkar’s association with the performing arts began when she was five and started appearing in her father’s musical plays, and it continued even after her father’s premature death in 1942, thanks to his good friend, the actor and director Master Vinayak (Vinayak Damodar Karnataki), who took the family under his wings.

It was Master Vinayak who took Lata Mangeshkar to Mumbai, paved her way into the world of Marathi cinema, got her to take Hindustani classical music lessons from Ustad Aman Ali Khan of the Bhendi Bazaar Gharana, and introduced her to Vasant Desai, V. Shantaram’s favourite music composer.

But it was not until Master Vinayak’s death in 1948 that the struggling singer-actor found the person whom she considered to be her “godfather” — the music composer Ghulam Haider, who gave Lata Mangeshkar her first big break with the song ‘Dil Mera Toda, Mujhe Kahin Ka Na Chhora’ in the movie ‘Majboor’ (1948). It was her first big break.

Haider took his protege to Shashadhar Mukherjee, the Filmistan boss now better known as Kajol and Rani Mukherjee’s grandfather, for his film, ‘Shaheed’ (1948), but he turned her down because he found her voice to be “too thin”.

Lata Mangeshkar proved him oh-so wrong just a year later when her song ‘Aayega Aanewaala’, filmed on the gorgeous Madhubala in Kamal Amrohi’s debut directorial, ‘Mahal’ (1949), became an ageless hit.

And in one of life’s delicious ironies, Mukherjee’s grand-daughter lip-synced the ‘Dilwale Dulhania Le Jayenge’ song, ‘Mere Khwabon Mein’, which was sung by none other than Lata Mangeshkar, as well as the other numbers picturised on her and Shah Rukh Khan.

Since ‘Mahal’, Lata Mangeshkar was courted by just about every music director of note — from Anil Biswas to S.D. Burman (and his son Rahul Dev, whose first and last song she sang), Naushad (who had asked her to sing like the then reigning nightingale, Noorjehan), Madan Mohan, Shankar-Jaikishan, Laxmikant-Pyarelal (for whom she’s said to have sung 700 songs in 35 years), and Kalyanji-Anandji.

And she worked with every contemporary composer of note — from Anand-Milind, sons of Chitragupt, with whom she had also worked, and Anu Malik, Sardar Malik’s son, to Ilaiyaraaja and A.R. Rahman. It is said she worked with music directors from 13 states in her star-studded career.

After Noorjehan moved to Pakistan, Lata Mangeshkar became the go-to playback singer for every film producer and music composer. She did not disappoint them.

Lata Mangeshkar lent her voice to an endless succession of chart-topping numbers in Hindi cinema, from ‘Allah Tero Naam’ and ‘Rangeela Re’ to the ‘Satyam Shivam Sundaram’ title track, to ‘Lukka Chuppi’ in ‘Rang De Basanti’, apart from songs in Marathi (she also composed the music for several Marathi films in her ‘Anandghan’ avatar), Bengali, Tamil, Kannada, Malayalam, and Sinhala.

In 1974, the Guinness Book of Records listed Lata Mangeshkar as the most recorded artiste in human history, stating that she had recorded “not less than 25,000 solo, duet and chorus-backed songs in 20 Indian languages” between 1948 and 1974. The claim was contested by her long-time rival, Mohammad Rafi, who claimed to have sung around 28,000 songs.

After Rafi’s death, the Guinness Book in its 1984 edition listed Lata Mangeshkar in its entry for ‘Most Recordings’, but it also recorded Rafi’s claim. Later editions of the Guinness Book said Lata Mangeshkar had sung no less than 30,000 songs from 1948 to 1987.

For 73 years, from 1943 to 2015, when she recorded her last song for a film (the Indo-Norwegian production, ‘Dunno Y2…Life Is A Moment’, which was all about gay love), Lata Mangeshkar commanded a fan following and an inimitable reputation with not many parallels in the Indian performing arts.

The late Yash Chopra, who was one of Lata Mangeshkar’s favourite directors, said in an article he had penned for BBC.com on the occasion of the singer’s 75th birthday (not longer after she had sung the famous ‘Veer Zaara’ song, ‘Tere Liye Hum Hain Jiye’, with Roop Kumar Rathod): “I see God’s blessing in her voice.” We are blessed to have that voice live with us forever.

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Aruna Irani looks bereaved as she arrives at crematorium for husband Kuku Kohli’s funeral

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Mumbai, August 26: Veteran actress Aruna Irani looked visibly bereaved as she arrived at the crematorium for the last rites of her husband and filmmaker Kuku Kohli, who passed away on Tuesday at the age of 77 after suffering a cardiac arrest.

A video from the funeral ceremony shows a bereaved Aruna, dressed in white, arriving at the venue. She appeared emotional as she made her way towards the crematorium, with people around her helping her get out of the car.

In another frame, the veteran actress is seen holding someone’s hand as she walks towards the venue.

For the uninitiated, talking about Kuku Kohli, he was best known for directing the 1991 action-romance Phool Aur Kaante, which marked Ajay Devgn’s debut. His other directorial ventures include Haqeeqat, Suhaag, Zulmi, Anari No. 1, Yeh Dil Aashiqanaa and Woh Tera Naam Tha.

While Kuku Kohli’s professional contribution to Hindi cinema is known to all, making him highly reputed in the industry, but his relationship with Aruna Irani remained one of the lesser-known chapters of their lives for many years.

Reportedly, the couple’s love story began on a film set and, interestingly, not on particularly romantic terms. Aruna had earlier revealed that she and Kuku initially shared a “love-hate relationship”. She recalled that he would make the actors wait until Dharmendra arrived on the sets, something that would frustrate her because she was juggling multiple films at the time. Kuku would later console her whenever she was upset, and the equation gradually changed.

Aruna also narrated the story during an appearance on the singing reality show Indian Idol earlier this year.

When host Aditya Narayan mmn had asked her about her experience of working with Kuku, Aruna responded with her trademark wit, “Romance wala experience ya director wala?”

Asked to elaborate on their romantic equation, she said, “Romance to ajeeb baat thi, Kuku ji ka aur mera 36 (chattis) ka aakda tha.”

She then recalled an incident that eventually changed their equation. According to Aruna, she and Suresh Bhatt were joking about Kuku on the sets when the filmmaker asked what they were talking about. Suresh jokingly told him that they were discussing how handsome he looked in a white outfit.

Aruna recalled, “He seriously thought ki main unki tareef kar rahi hoon… then ahista-ahista woh soft hone lage, jab woh soft hone lage to main soft ho gayi… aur pata nahi kab chakkar chal gaya.”

Their relationship, however, was complicated from the beginning. Aruna had revealed that Kuku was already married and had children when they met, and she initially did not know that he had a wife and daughters. She said this was one of the reasons she kept their relationship private for years.

Aruna and Kuku married in 1990, when she was 40. Their marriage remained largely under wraps, and Aruna did not publicly discuss it while Kuku’s first wife, Rita Kohli, was alive. She later explained that she felt it was inappropriate to speak about the relationship publicly out of respect for his first family.

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Toxic Movie Review: Yash’s Toxic Blends Action Drama, Love And Massive Action Into A Layered Saga

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Director – Geetu Mohandas, Cast – Yash, Kiara Advani, Nayanthara, Huma Qureshi, Tara Sutaria, Rukmini Vasanth, Duration – 3h14m, Rating – 4.5

It isn’t an Amar Chitra Katha, but truly a fairy tale for grown-ups — not just in the visual spectacle it promises, but in the layered and complex human emotions that drive its story.

Toxic: A Fairy Tale for Grown-Ups doesn’t fit neatly into one genre. At its heart, it is a Action drama, but the film expands beyond that, weaving together action, love, family, and layered storytelling into a world where every character has a story of their own. Geetu Mohandas brings all these elements together with a distinct visual and narrative style.

Yash takes on a dual role as Raya and his son Ticket, bringing contrasting energies to the film. While Raya anchors the gangster world, Ticket adds another emotional layer to the story.

The film takes its time building its world, allowing its characters and motivations to unfold naturally. Nayanthara’s Ganga and Kiara Advani’s Nadia add emotional depth, with Kiara bringing warmth and vulnerability to her part. Huma Qureshi’s Elizabeth brings a strong presence to the narrative, holding her own within the film’s layered world. Rukmini Vasanth, meanwhile, emerges as a surprise package as Mellisa, bringing an understated yet impactful performance. Tara Sutaria’s Rebecca, Akshay Oberoi’s Tony, Darrell D’Silva’s Salvador and Sudev Nair’s Karmadi each bring their own arc to the story, making Toxic feel like a larger, layered narrative.

The first half has a distinctly massy flavour while keeping the storytelling layered. Geetu Mohandas allows the drama, relationships and gangster elements to simmer before building towards a massive interval block. It is the kind of interval that makes you sit up and wonder what comes next — leaving you wanting more.

But it is the second half that takes Toxic to another level.

The action becomes bigger, more intense, and far more ferocious. What begins as a gangster drama gradually transforms into something much more primal and explosive. The scale is massive, but it is the sheer intensity of the sequences that really stands out. There is a rawness to the world Geetu creates, and the film fully embraces that energy.

At the same time, Toxic never loses its emotional core. Love, family, loyalty, and desire remain woven into the larger gangster narrative, giving the action a personal stake. The relationships between Raya, Ticket, Ganga and Nadia add an emotional layer to what could otherwise have been a straight-up action-driven story.

And just when you think you have figured out where the story is headed, Toxic keeps you guessing. The climax takes an unpredictable turn, adding another layer to the narrative and leaving you with plenty to take away once the film ends. It is a finale that stays with you, rather than simply being about the spectacle of the moment.

Yash anchors the film with a commanding screen presence, shifting between quieter emotional moments and larger-than-life action with ease. His dual performance gives the film another layer, particularly as the differences between Raya and Ticket begin to emerge.

Geetu Mohandas clearly has a larger canvas in mind with Toxic. The storytelling is layered, the characters are given their own arcs, and the film constantly reveals new pieces of its world. It doesn’t always spell everything out, instead trusting the audience to stay with it and connect the dots.

KVN Productions and Monster Mind Creations LLP deserve credit for backing a film that aims big and delivers a memorable theatrical experience, and with Yash leading the charge and Geetu Mohandas weaving together gangster drama, love, layered storytelling, and massive action, Toxic emerges as a massy, primal, and ambitious cinematic experience that is now playing in theatres worldwide.

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Emraan Hashmi unveils the high-octane action world of ‘Gunmaster G9’ in first glimpse

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Mumbai, Aug 25: Actor Emraan Hashmi has unveiled the first glimpse of his upcoming action entertainer ‘Gunmaster G9.’

The glimpse sets the tone for an action-packed narrative while also teasing the chemistry between Hashmi and the film’s lead cast. Taking to Instagram, Emraan shared the teaser, writing, “The World of G9 Begins. Romance. Music. Action.#GunmaasterG9 brings it all together in a story that’s ready to take you on a ride. In cinemas 27th November 2026.#G9 #Gunmaaster Produced by @deepakmukut @hunarmukut @sangeetaahirofficial Presented by @sohamrockstrent Pvt Ltd.”

Soham Rockstar Entertainment Pvt. Ltd. and Deepak Mukut have reunited Emraan Hashmi, Himesh Reshammiya and Datt nearly two decades after their first collaboration in 2005 on “Gunmaaster G9.” The reunion also marks another musical collaboration between Hashmi and Reshammiya, with Himesh composing the music for the upcoming film.

Producer Deepak Mukut said, “With the teaser of Gunmaaster G9 we have kickstarted the film’s promotional campaign. This will build anticipation for the film, as the teaser has all the ingredients that make Gunmaaster G9 a big screen experience.”

Director Aditya Datt added, “Gunmaaster G9 is a film which will see Emraan Hashmi leaves no stone unturned in protecting the love of his life from everything that threatens her. The film combines action, romance and music to give all Emraan Hashmi fans a complete entertainer.”

Emraan Hashmi said, “Adi and I have worked together in the past and we share a wonderful relationship as creative collaborators. We get each other intrinsically and when we are on set, we bring out the best in each other. I play Eshwar in the film— an ordinary dairy farm owner who is willing to go to any lengths for his beloved.”

“Gunmaaster G9” stars Emraan Hashmi, Genelia D’Souza, Aparshakti Khurana and Abhishek Singh. The film is produced by Deepak Mukut, Hunar Mukut and Sangeeta Ahir, and presented by Soham Rockstar Entertainment Pvt. Ltd. Directed by Aditya Datt, the action romance is slated for a worldwide theatrical release on November 27, 2026.

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