Tired of mass produced wall-art? Bollywood posters are the new way to decorate your home environment!

Over the years I have collected a large amount of Hindi film posters which are, unfortunately, stored away in containers, rarely to be enjoyed…until now! A few years ago I decided to spruce up my apartment  and dug out some of the 20 x 30 sized posters (the easiest size to find frames for), hung ’em up,  and here you can see the result.



No matter your room’s color scheme or style, you can find Bollywood posters to match…or you can do as I did, and  just mix it up. For my living room I chose three unrelated, but marvelous, posters to sit above my sofa.



As you can see, I am particularly attracted to film posters from the 1950s/60s. From left to right they are: Basant Pictures’ mythological Chandrasena (1959), Filmistan’s romantic thriller Nagin (1954), and Fine Art Pictures’ 1966 fantasy/adventure Jadoo.



On this wall are some fun lobby cards from one of my favorite films, Wadia Brothers’  Zimbo Comes to Town (1960), which of course costars this blog’s namesake, Pedro The Ape Bomb.



Both lobby cards have a nice art deco design and mid century modern look to them, which I really like.



Both cards also feature nice shots of the cast: Azad, Chitra, Shammi Aunty, Bhagwan, and of course, Pedro The Ape Bomb.



Moving into the dining room I have a gorgeous poster from the 1954 swashbuckler Saltanat which stars Manhar Desai and Shyama.



Here is a closer look.



In the hallway you’ll find my holy grail of Bollywood posters, director Akkoo’s Gorilla (1953). 

The very first Bollywood memorabilia I ever bought (this must have been around ten years ago) were lobby cards from Gorilla, and the film has fascinated me ever since. Last year, two different posters from the film showed up on Ebay and I grabbed ’em both! This is the 20 x 30 poster. The other poster is a 30 x 40 and has completely different, yet just as awesome, graphics.



Now, to check out my office (which, by the way, never really looks this neat…I had to tidy up before taking this snap, and as you can see I just pushed the debris over to the side. Unfortunately, that was not far enough away so that it wouldn’t end up in the shot! Argh)



It is no coincidence that a majority of the posters displayed, as well as about half of what makes up my collection, are from the films of Homi Wadia. I love Wadia Brothers/Basant films, and their posters were always great. Here are three fine examples: Zimbo Comes to Town (1960) starring Azad and Chitra (and Pedro the Ape Bomb), Zimbo Finds a Son (1966) starring Azad, Tabassum, and Master Sachin (and Pedro the Ape Bomb)….



….and Atom Bomb (1947) starring John Cawas and Sona Chatterjee.


Now to the other side of my office, which doubles as a guest room.



The poster on the right is from Basant Pictures’ 1949 mythological Veer Ghatotkachh.  It is one of my favorite posters.



The graphics on mythological posters of the 50s and 60s are always so nice. I might one day swap out all of the film posters in my apartment and replace them with ones from mythologicals.



On the corner wall is my “Bollywood Beefcake” display featuring a lobby card from Dara Singh: Iron Man (1964) (showing Dara Singh and Nishi),  an 11 x 18 poster from Zimbo (1958), and a calendar page featuring a 1990s shirtless Sunil Shetty (back when he still had a hairy chest).

So there you have it, a completely Bollywood-ized apartment! You can often find Bollywood posters inexpensively on Ebay, so give it a try. New ones or old ones, they make fine decor for any home!

From an old issue of Filmindia magazine, the caption for this publicity photo of Bharat Bhusan and Usha Kiran from the (evidently unreleased) movie Dharti-ke-Bhagwan cracks me up.

It was a cloudy Sunday so I chose to spend it inside plopped down in front of the television watching old mythologicals. One was the 1975 film Maya Machhendra starring Abhi Bhattacharya as Sage Machhendra, Kanan Kaushal as Tilottama, and Master Satyajeet as Ghoraknath. Here is a magazine advert for the 1940 film Alakh Niranjan which takes off where the legend of Maya Machhendra ends, with the further adventures of Ghoraknath, the young disciple of sage Machhendra.

The director of Alakh Niranjan is Bhal G. Pendharkar who made quite a few mythologicals over the course of his five decade career which began during the silent era. He was the elder brother of actor Baburao Pendharkar, who appeared in several of his films including Vande Matram Ashram (1926), Voice from the Sky (1934), Bhakta Damaji (1942), Valmiki (1946), and Shilanganache Sone (1949), and he was half-brother to actor/director Master Vinayak who also worked in a few of his films. The female lead in Alakh Niranjan is Leela, Bhal Pendharkar’s wife, and a busy actress of the 1930s and 40s.


Over the course of India’s film history, hundreds of movies were released in any given year. But what about those pictures which were started but never completed? Or those that were completed but which sat on the shelf, never to see the light of day? Then there are the productions which were announced in the trades or on the back of press books but never got further than a advertising artists’ rendering ? I don’t know which category Cosmopolitan Films’ Daughter of the Sea fits but this ad, which appeared in the July 1945 issue of The Talkie Herald, makes me think that we are all the worse off for it never having seen a theatrical release.

It would appear that this was to be Cosmopolitan Films’ maiden voyage, as I can find no information about the studio prior to this announcement…nor, for that matter, after. It certainly does make one wonder who might have been in the “all star cast”, though. Personally, I am picturing Baburao Pehalwan or Benjamin supplying the “hair raising stunts beneath the sea” ably helped by Shanta Patel as the love interest and co-hair raiser. Surely, Bhagwan or Agha would have brought the comedy relief.  What do you think?







Even if you are only a casual fan of Bollywood, you must get a copy of this fabulous book by Todd Stadman!  Funky Bollywood!


This is no dry, dull academic essay (of which there are way too many of out there already), instead you will find a witty, sharp, and fun filled read awaiting you as Todd discusses a wide range of 1970s Hindi (and regional) action flicks and the people who made them.




Not only is it a fun read, but it is illustrated with tons of gorgeous photos, posters, and advertising memorabilia!




Funky Bollywood is just as colorful as the decade it covers, and you will apprecaited the author’s genuine love for these films. Get your copy of Funky Bollywood, you will not be disappointed! Available at Amazon.com. Just follow the link: Funky Bollywood at Amazon.com

We all know Mahipal from his dozens of mythologicals, fantasies, stunt films, and thrillers, but did you know he also made socials? Well, here is proof! Mahipal starred opposite Nigar Sultana and Roopmala in the 1955 drama MADHUR MILAN.


Possibly the film didn’t do well at the box office. It appears to be the only credit for its director, K.G. Punwani, and it certainly did nothing to turn around Mahipal’s career as a B-film artist. But that’s OK, I think we all preferred Mahipal in his action avatar, anyhow!



Among my favorite filmi ads is this one for the 1954 comedy Chalis Baba Ek Chor starring Kamini Kaushal (who also produced). Cute and colorful, you just know this has got to be one fun film!

Just as much fun is this song from the film, “Teriy Teriya” which you can listen to here: https://www.youtube.com/watch?v=Ehvwebv8OU8



Born in Ahmedabad, Ajaz Khan for a time labored as a taxi driver in New York City, while longing to work as an actor. Upon his return to India, he pursued his thespian dream, becoming a familiar face on television with roles in Karam Apna Apna, Kya Hoga Nimmo Ka, Rahen Tera Ashirwad, and Kahani Hamare Mahabharat Ki. Ajaz gained further exposure on reality television when he was crowned winner of Zoom TV’s Bollywood Club. And as a “wild card” entrant on season 7 of the very popular show Bigg Boss he gained even more fans and suddenly became a household name. Along the way, he had supporting roles in several feature films including Ek…The Power of One (2009) starring Bobby Deol, the Ramsey Brothers’ comedy/thriller Bachao…Inside Bhoot Hai (2010), Ram Gopal  Varma’s Rakta Charitra (2010), as well as several well received Telegu language films opposite the likes of Mahesh Babu, Ram Charan, and Nithiin. Back in Bollywood, Ajaz had the opportunity to work with living legends Shatrughan Singha in Rakhta Charitra 2 (2010), Naseeruddin Shah in Allah Ke Banday (2010), and Amitabh Bachchan in Bbuddah…Hoga Terra Baap (2011) . Having shown his stuff in character and negative parts, he earned a starring role in a low-budget drama titled The World of Fashion (2011), a movie he admits he would just as soon forget. But, as unremarkable as the film may have been, Ajaz deserves every bit of praise for giving an impressive performance and for showing that he had what it takes play a hero.




Fast forward a few years, and a lead role in Lakeer ka Fakeer (2013) let his star truly shine. This hard hitting film shows how the actions of Mumbai’s underworld affects the lives of everyday people, and Ajaz received very positive reviews from critics and viewers alike. Lakeer ka Fakeer paved the way for lead roles in Ya Rab (2014) and the upcoming releases Love Day  and I Love Dubai. Currently he is filming for Puri Jagannadh’s Telugu language feature Rogue. No doubt, we will be seeing a lot of Ajaz Khan in the near future.


Ajaz Khan, Sonu Sood in Athiradi Vettai Tamil Movie Stills

Ajaz with Sonu Sood in the Telugu film DOOKUDU


Ajaz is known to be outspoken and blunt, but if you follow him on Facebook or Twitter then you already know that he also shows a great sense of humor, has a heartwarming devotion to his young son, and a gratefulness for those who have stuck by him through thick and thin. As a fan, I am delighted that he took the time to chat with me about his career; and as a film journalist, it is a pleasure to spread the word to English speaking audiences about this very talented personality. Hollywood, take note!

Mike Barnum:   Your family had no connection to show business, so how did your interest in such a career come about?

Ajaz Khan:      I did some plays in school and people said I was good. Then, when I grew up I did an ad for a local 5 Star hotel. People liked my face and I was told I should go to Bombay and try my luck. But my family was against it. I was from a middle class family and they did not want to support me as Bombay is expensive and we didn’t have a lot of money. But, I decided that if I don’t take a chance and face the risk, I cannot do anything. I came to Bombay and I tried my luck. I got my start in television and did several shows. I got [roles in] Karam Apna Apna and Kya Hoga Nimmoka. Again, after that, I have no work, so I am in a downer. But I did not give up. Along came the reality show called Bollywood Club on Zoom TV. I won that show and then I got a part in Ram Gopal Varma’s film Rakhta Charitra along with one other film, plus a chance to work with fashion designer Vishal Kapoor at the PANACHE Runway show in Kathmandu, as a showstopper along with Zarine Khan. So, I got very, very big chances from there on and I became a little bit known.

MB:        Your popularity soared with your entry into the competition show Bigg Boss [For you non-Indian’s reading this, Bigg Boss is similar to Big Brother, except that the contestants are all celebrities.]   


Fellow BIG BOSS contestant Sangram Singh supports Ajaz at the promotion of YA RAB



AK:         After Bigg Boss, everything is history. People loved me so much. My honesty, my upfronting, my confidence. They liked it, and they loved me, and I am so thankful to my friends and to people who made me what I am.

MB:        Two of your most impressive roles are in Lakeer ka Fakeer and Ya Rab.

AK:          Working in Lakeer ka Fakeer and in Ya Rab were great experiences. These are my two solo hero films. So these were my first time. I did Lakeer ka Fakeer all on location. It was realistic cinema and I learned a lot. Then I got Ya Rab with actor Vikram Singh. It was written by Ikram Akhatar who is a very big writer, and director Mahesh Bhatt promoted it. And that was a very good experience to work with Manzar Sehbai, who is a known actor from Pakistan. The experience was mind-blowing and I learned from both films that I can take the responsibility of playing the protagonist and justify the character.



With Manzar Sehbai in YA RAAB


MB:        And  both roles are very different.

AK:         In Lakeer Ka Fakeer I am playing someone who is a normal middle class guy named Fakeer Mohammad, who has a dream to really be something in life. In small slums, the dreams are small, but he dreams to drive taxi in Dubai. And he has a lot of problems because of the area that he lives in, which is notorious for crime. But the police system, politicians, and gangsters, they exploit him and make him into something else. A very different character from who I play in Ya Rab where I am an ACP officer named Rann Vijay Singh. He is from a rich family, very different guy from Fakeer, you know. Very sophisticated, very classy, very responsible. But at the same time he can die for the country.




MB:        You did not stick to just Hindi language cinema, you have been very successful in regional films.

AK:         For fans I would recommend my south films Dookudu with Mahesh Babu, Baadshah with NTR, and Nayak with Ram Charan. All of my south films are very good and they were very good experiences. They work very professionally, they give you respect and they respect actors also. Acting has no language, it is only expression.



Ajaz Khan shows his kind and gentle side



MB:        Most of your roles have been very heavy, very serious. But you are known to have a great sense of humor and you have done a few lighthearted parts. Do you see comedy roles in your future?

AK:         Yes, for sure you will see me in comedy roles. Jhol Company Public Limited is a comedy, in fact. A dark comedy. Love Day is a friendship comedy film. I like to show my comedy side more because I am a hero inside, not a villain. I Love Dubai is also a comedy film, Ikram Akhtar’s debut film, where I play a bad boy comedy villain. Yes, I am doing comedy. I love comedy.



Ajaz takes on Rufy Khan in the Ramsey Bros. horror-comedy BACHAO – INSIDE BHOOT HAI


MB:        Rohit Shetty signed you on for a role in one of his films.

AK:         Singham Retuns has already released and Rohit Shetty ji promised me, but he did not give me any more work till yet. But I believe his promise that he is going to give me something. He is man of his word, so let’s see. There are a hundred people who promise me, but only one, Ram Gopal Verma, has followed through. He made his promise, so he is the man with the steel balls and he is a legend. Rohit Shetty is making two films, so let’s see. If he does, then I believe.

MB:        You have had the opportunity to work with some of the greats of Hindi cinema, including Amitabh Bachchan, and while doing Bigg Boss you got to know Salman Khan.

AK:         One of my very, very close friends [director] Puri Jagannadh called me for a cameo part in Bbuddah…Hoga Terra Baap. The film was to be with Amitabh Bachchan. I said “Wow!” and without giving it a second thought I did that role. It was a great experience to meet Mr. Bachchan. I learned so many things. He is so energetic and so punctual and on-time and extremely cooperative. He respects new actors and he taught me many new things. We had fun. As for Salman Khan, everybody knows that he is a very good mentor and a very good guy. He supported me a lot inside and outside, he loved me as a brother and, insha’Allah, in the future we will work together. I wish them both a long life and a happy future.



Ajaz with co-stars Harsh Nagar and Sahil Anand on the set of his upcoming film LOVE DAY







Mighty aka: Mighty Gill


Not long after I got hooked on Bollywood I began to explore India’s bounty of regional cinema, and when I got to that country’s Punjabi language films it was Harbajan Mann’s feature from 2004 Asa Nu Maan Watna Da that ramped up my interest in Pollywood (an interest which has grown steadily over the years, almost surpassing my interest in Hindi language films, in fact). Not much later I learned that Aryan Vaid, one of my favorite Bollywood actors, had lensed a Punjab film titled Ek Jind Ek Jaan (2006). I scooped up the DVD of the movie just as soon as it was released. Today it remains one of my top three favorite Punjabi films.




Ek Jind Ek Jaan is a delightful movie; colorful, sentimental, family oriented, and full of wonderful songs and dances. It introduced me to people I would come to recognize as regulars in Punjabi cinema, like Deep Dhillon, Gurpreet Ghuggi, and B.N. Sharma. I was already quite familiar with the film’s stars Raj Babbar and the aforementioned Mr. Vaid, but it was my first time seeing actresses Nagma and Prabhleen Sandhu, both of whom are very good.  Then there was Mighty Gill. As one of the featured leads he also made quite an impression, and it turned out that this was only his 3rd film. In fact, it was also his final film! So what happened to his career, I wondered? Mighty was charming, talented, handsome, and had a very good screen presence. I wanted to know more about him, particularly why it was that there seemed to be so few “Mighty Gill” films!

It took a bit of searching, but I managed to locate the former actor (billed simply as ‘Mighty’ in his two Hindi films), who now resides with his wife and son in Australia. Born Mantej Singh Gill in a small town in Punjab, his family eventually shifted to the city of Chandigarhi. His lineage is that of a landlord family of Jatt Sikhs whose main occupation was farming and agriculture. Mighty’s parents were both government workers, but he himself was not particularly interested in a 9-5 desk job, so he chose to work in real estate, helping others make the right investment in agricultural, commercial, and residential properties.




The screen name ‘Mighty’ came from his childhood nickname, which his mother used to call him. Directors liked it, and it stuck. It also fitted the muscular build he had sculpted over the years. As a child he was quite weak and fragile and was prone to bullying by his classmates. “They gave such a hard time to me,” says Mighty. “But during my last years of study I got into bodybuilding and worked extremely hard. Maybe it was a hidden anger for being bullied that pushed me to extremes. Now I feel thankful to them. Most of those people are out of shape now!” he says with a laugh.

After some modeling work and appearances in music videos, Mighty Gill found an opportunity to act in films. Here for the first time he gives the lowdown on his time in front of the camera.

Mike Barnum:    Your family had no show business connection, so what led you to a career in film?

Mighty Gill:       I never thought to step into modeling or films, professionally… things just happened. I was doing my graduation in Mumbai and later, for fun sake, I enrolled in a short term acting course. It was not of much use, but I made contacts from there.

MB:        And Tezaab – The Acid of Love (2005) was your first film?



TEZAAB – THE ACID OF LOVE was a remake of the American film UNFAITHFUL


MG:       Yes Tezaab was my debut. Somehow I came in contact with its director, Mr. Shakeel Noorani. At that time he was in a financial mess and wanted to make a quicky film to set the meter rolling. He wanted to remake a South Indian film using a new star cast. He took screen tests and I was selected out of few other contenders. I was made to see that original Tamil movie, and I liked it… it was a clean, family film, an innocent love story. The search for the female lead was on during that time and I was happy as I had signed a three film contract with Gems Movies. But destiny had different plans and I was unaware of it.

MB:        As it would turn out, Tezaab would not end up being a family film at all.

MG:       Family drama and love stories were failing at the box office during that time, around 2003-2005, and bold movies were doing good business. Noorani was not in a position to take any risk and he and his team of assistants decided to make a bold film with a bold theme. They convinced me, and I felt that since he was a family man I knew he wouldn’t make a bad, vulgar film. So now [instead of remaking the Tamil film], we were doing a copy of the American film Unfaithful. Mahesh Bhatt, at the same time, was making a movie titled Murder with Emraan Hashmi, which was also an adaptation of Unfaithful, so there was a race. But because of strong backing, and being good strategists, the Bhatt camp took all the honey.



Shruti Sharma and Mighty Gill in a publicity shot from TEZAAB – THE ACID OF LOVE


MB:       Your costars in Tezaab were Parvin Dabbas and Shruti Sharma. But I understand that things did not go smoothly.

MG:        Irrfan Khan and Shruti Sharma were originally signed for the film, and we even had a photo shoot together. Irrfan Khan backed off later, and Parvin Dabbas was selected [to replace him] for the role of the husband. Parvin is a good actor and was very professional. Shruti Sharma, being a non-professional, gave such a hard time on the shoot.

MB:        She was difficult?

MG:       I had a big fight with Shruti a couple of times during the shoot. We stopped shooting. The director and his team knew they had made a wrong choice with casting Shruti. They used to have to show her the contract papers in order to get work done. She and I were never friends and we used to talk only in front of camera. No ‘hi’ or ‘hello’… nothing of that sort.

By the time Murder was released our film could not find buyers. I want to tell you one thing, the bedroom scenes for Tezaab were shot very aesthetically, initially, and the film shaped up nicely, but in order to sell the film the bedroom scenes were shot again, and their duration was increased. The director wanted to sell it at any cost. It was at this time when I felt so hurt. I was made to do such things that I never wanted to do. I remember during the shooting of bedroom scenes, when they were using a body double of Shruti, I used to cry my heart out in the dressing room. The film makers tried to pacify me and were telling me that it’s just a part of my duty.



Mahesh Bhatt’s MURDER, which was also a remake of UNFAITHFUL, reached the screen first, causing the makers of TEZAAB to switch gears in order to get their film noticed.


MB:        That must have been very difficult to have signed on to something and then have the whole essence of it change as it did.

MG:       I did it, being a professional and committed to my work, but after that my heart changed forever and my craze for filmdom vanished. After giving the last shot for the film I went to a secluded beach and cried and cried.

MB:        Was your experience with the Punjabi film Ek Jind Ek Jaan a more positive one?



Mighty Gill with Prabhleen Sandhu and Raj Babbar in EK JIND EK JAAN


MG:       You know, my experience with Tezaab was not really that bad, because eventually I realized what kind of person I am truly. I am certainly not attracted towards glamour and glitz. I got to know that I can work only in my space. And doing Ek Jind Ek Jaan was fun. Everything related to that film was good…the story, music, promotions, cast and crew, etc. Sadly, Punjabi audience rejected its main lead pair of Aryan Vaid and Nagma. Aryan is a good actor, but [as a hero] he just couldn’t make a connection with audience of Punjab. These days Punjabi audiences have more liking for singers turned heroes. Raj Babbar was also in the film and he and Nagma are well known [in Punjab], and they are good and humble too, but the film failed miserably at the box office.

This film has done good for me because the blame (black spot) that I have done an erotic film was washed off after its release. People in my circle remember me for Ek Jind Ek Jaan.



Donna Kapoor and Mighty Gill in a scene from EK JIND EK JAAN


MB:        Besides Tezaab, you appeared in one other Hindi film titled Utthaan (2006).

MG:       Utthaan was made by my known friend Ujjwal Chatterjee.. I paid him a visit on sets and just did 1-2 scenes casually.



Mighty (far right) had a supporting role in the Hindi film UTTHAAN which starred Priyanshu Chatterjee (standing)


MB:        Many performers in Bollywood have complained recently of the casting couch system. Was this also a problem for you?

MG:       Casting couch does exist in Indian film industry. Not just for girls, but for boys too. I remember once a famous film star’s secretary, who was a bisexual, told me that if I join their group I will do five films in a year, but if not, I will be reduced to doing one film in five years (laughs).

MB:        Had you ever considered the production side of film making?

MG:       These days directors are asking me to either produce or invest in films, but I cannot do this. It’s a risky business; in fact it’s 98% risk. One needs a great effort and tons of good luck and a stronghold to succeed in films. I have seen that out of 100% film fraternity, only less than 10% are earning well… the rest are just wasting time and money… but it’s a craze for glamour. Name ‘n fame, which keeps them going on and on. The television industry in India is doing good, though. There is a regular income in that. A little effort and perseverance can help you get good work [in television].



Mighty in a scene from UTTHAAN


MB:        You made only a handful of feature films and then vanished from the screen. What happened?

MG:       I was losing my motivation. It was not a question of my bread and butter, so I set my mind and I just quit. I am not much of a social type; you know, going to parties and showing off. I just wanted like-minded people to work with.  I am a very simple person. To work in the film industry it doesn’t matter how you work in front of the camera, but how you carry yourself off of it.

MB:        So, no regrets at leaving the film industry behind?

MG:       I was certainly not cut out for all of that and I thought to quit. I am glad that I made that right move. Now I am happy and doing things my own way. And no pressure to look good all time! I have a beautiful wife and I feel content. I am happy and I have no regrets. I believe in living life proudly the way you want to live. I am blessed with a lot of good things in life. Although my priorities have changed now, and I spend most of my time and energies in my business and family, deep inside my heart I do still crave for good cinema. The element of simplicity has vanished in today’s films. We are getting superior in terms of technology, but on the creative side we are losing our grip. So I will end this with lyrics from Pink Floyd. “There will be war, there will be peace. Everything one day will cease. All the iron will turn to rust, and all proud men will turn to dust”



The June, 2001 issue of HEALTH AND NUTRITION magazine featured a buff Mighty Gill on the cover


Though his acting career may not have reached the ‘mighty’ heights that (at least in my opinion) it could have, he still left a mark on Indian film history. And while he is not particularly keen on his work in Hindi cinema, with the Punjabi film Ek Jind Ek Jaan, Mighty Gill has at least one picture that he can one day very proudly show his kids and grandkids.



A curry western? Judging from this advertisement for the 1947 film Namak, one could certainly be forgiven for thinking it to be an oater straight out of Hollywood! The action packed plot involves a robber known as Sher who becomes guardian to two orphaned kids – Gogo and Sofi, the offspring of another criminal, named Smith, who is killed in an explosion. This B-grade feature stars Dulari, Bhim, Dilawar, Habib, and Chandrashekhar.