The actor lost by only 1,589 votes from the New Delhi Lok Sabha constituency. The same year he contested the Lok Sabha election against BJP leader L K Advani, then on Cloud 9 following his Ayodhya rath yatra, and gave him the fright of his life. Joining the Congress in 1991 was a shrewd career move. Right through the 1980s, he blended the occasional hit (Souten, Maqsad) with the rare blockbuster (Avtaar) and a stream of flops. After Mehbooba (1975) flopped, his superstar days were over.īut just when critics wrote him off, the actor made a comeback of sorts with Amardeep (1979). But his attitude issues as an actor - coming late for shooting on sets, ego clashes with other stars - ensured that he lost big banners and good directors once the chips were down. A sudden marriage to Dimple Kapadia, almost half his age, got him back in focus. Once the action films' angry young man came with Amitabh Bachchan, Rajesh Khanna's romantic movies (typified by Shakti Samanta films) went out of fashion. Like Dev Anand, Rajesh Khanna too became his own parody. But in his later years, the style degenerated into a bundle of mannerisms. There is a style with which he says: "Pushpa, I hate tears." Rajesh's acting was defined by style. It is easy to empathize with the smiling cancer patient in Anand or the large-hearted bhadrolok in Amar Prem. Few actors have milked tear ducts better than him and fewer have profited more from a broken heart.
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But the actor knew how to wet a handkerchief too. But the actor brought no revolution to the art of celluloid love he just gently blended the playfulness of Dev Anand with a fraction of Dilip Kumar's intensity to this he added his own charm and style.Ĭritics loved him too for doing off-beat movies such as Ittefaq and Aavishkar. Songs were the spine of his movies he revived Kishore Kumar's singing career in Aradhana. He was the king of romance most at home shaking his head and crooning love nothings. And even in those no-sat-TV days, his smile sold toothpaste (Macleans). Who wouldn't when even street fashion was defined by your personality? The belt slapped over shirt, the round-collared guru kurta, a smart ploy to hide a growing waistline, all became a rage. The Amritsar-born actor was too big and too swept away by fame to care. The star had missed his interview appointment five times. BBC journalist Jack Pizzey described him as someone with the charisma of Rudolph Valentino and the arrogance of Napoleon. Unable to find a phrase that captured the phenomenon, the industry finally coined a new term: the superstar. May be, he was the last gasp of innocence when India was getting angry about unemployment and price rise, a hyphen between the simplicity of the years gone by and the uncertainty of the future. Nobody really knows how an actor of average build, middling height and a face often sprayed with pimples hypnotized India. No wonder producers chanted: Upar aaka, neeche Kaka (God above and Kaka, Khanna's pet name, below).
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Between the years 19 almost everything he touched turned to gold - 15 consecutive hits of various degrees. Once he rode into a nation's heart serenading Sharmila Tagore with Mere sapnon ki raani in Aradhana (1969) and followed it up with another blockbuster Do Raaste a few weeks later,Rajesh Khanna rewrote box-office history.
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But doctors treating him at Lilavati hospital hinted at cancer.
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The cause of his death has not been officially announced. And nobody has captured the nation's collective mindspace like the actor, who passed away at Ashirwad, his iconic Mumbai residence, on Wednesday. In the history of Hindi cinema, nobody has induced fan hysteria like Rajesh Khanna. Once when he had fever, a group of college students spent hours taking turns to put ice water on his forehead in a photograph. And girls married his photographs, smudged his car with lipsticks and waited late night outside hotels hoping to catch a glimpse of him. NEW DELHI: Once upon a time, there was a Rajesh Khanna.