Dance master Saroj Khan was one of the finest choreographers in Hindi cinema. Throughout her illustrious career, she contributed numerous iconic songs to Bollywood. However, she was also involved in several controversies among them, a disagreement over a song with composers Laxmikant-Pyarelal and Bappi Lahiri, and another with actress Rekha during the shooting of the film Sheshnaag released in 1990. In a conversation with Lehren, Saroj Khan later addressed the misunderstanding with Rekha and shared that their relationship had since returned to normal. So let’s revisit this flashback interview of Saroj Khan in the latest episode of Lehren’s podcast. #sarojkhan #rekha #sheshnaag #lehrenpodcast #podcast
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00:00I don't like the moments of my life, but I don't like it.
00:03I don't like the girls, but I don't like the girls.
00:05I don't like the girls like that.
00:08We don't get a flimfer award.
00:11Why do we do labor?
00:13If I give a bad dance, you will give me that amount.
00:17I give a good dance, you will give me that amount.
00:21I feel like you are allergic to me.
00:25I call you on the wrestling, you don't come.
00:28I don't like it.
00:31Or you change the dance master.
00:35Let's talk about the fact that you were shooting in the studio.
00:41You were dancing.
00:43How did you tell her?
00:48The producer gave us a lot of time.
00:52The recording was 26.
00:54It was 28.
00:56We were meeting three days for the rehearsal.
00:59My group and us, and we composed that at night.
01:03We requested the producer that Rekha Ji send us.
01:07Because it's very difficult dance.
01:09Rekha Ji didn't come.
01:11I said that for three days there was a lot of time.
01:14There was no movement in the shooting.
01:16But until the time I noticed that shooting was the first time.
01:19The time I came, it was the first time.
01:20The makeup dress was not worn.
01:22The makeup was put on.
01:23I was sitting outside.
01:25I went outside.
01:26So I asked him, what is the issue?
01:28He said that the shooting is cancelled, I don't have time.
01:30So I said, Rekha Ji, I feel that you are allergic to me.
01:34I call you on rehearsal, you don't come to the shooting.
01:39They say that I don't have time.
01:41Or you change the dance master.
01:44You say to the producer, I don't want to work with Saroj.
01:48Something is bad.
01:50You don't want to work with me?
01:52Say to Ayub Ji.
01:54Suddenly she turned her face and saw her eyes.
01:58So I said, I don't have to say anything wrong.
02:01But I feel you should shoot today.
02:04I will do the shooting.
02:06I have to do it.
02:07Because she is ready.
02:09The secretary came and said, what did you say?
02:13I said, I don't have to say anything.
02:15Basically, she is crying away.
02:18Then I went up.
02:20I told her that I didn't say anything wrong.
02:23I didn't say anything wrong.
02:24She said, I respect you so much.
02:26I respect you so much.
02:27And you say like this, that I don't love your work.
02:30I said, no.
02:31I didn't say anything.
02:32I felt that everybody has got their own favourites.
02:34See, I don't say no.
02:36Now, if Govinda calls Chini Prakash, it's because he likes him.
02:40His style suits him.
02:42Sure.
02:43Okay?
02:44If Dimple Kapadia will call Chini Prakash, I should not mind it.
02:47Just because she is my student means she must call me.
02:50No.
02:51Shri Devi calls me because she likes me.
02:54So, Rekha has got her favourite Kamal.
02:57So, why should I mind it?
02:59I mean, we basically, all the dance directors should never mind it.
03:03We have our own students.
03:05We have our own understanding.
03:07who makes your core feelings and everyone doesn't.
03:09It's like other girl who will call Chini.
03:10Some of the girls are always like the same.
03:11Many of the heroes have asked me this question.
03:15So, I say, if you all feel that way, call me, see it.
03:19If you don't like it, no problem.
03:24When Vinod and Mehera were very top,
03:31was the misunderstanding of my and Vinod.
03:36So I said to him that I will not cry for the women, I will change the moment.
03:42But if you look at me, Vinod Mehra Bindiya were the only two people supporting me in this industry.
03:50Till I touched Hero. They used to call me.
03:54So I told Rekha, you can tell me that you don't want to dance with me, you can dance with Kamal.
03:59There's no problem.
04:01But someone's shooting will cancel 4-4 days. That's not right.
04:06No, this is not. I will do this whole song and I will show you how I can dance.
04:10Let's go, that work is good in the mood and spirit.
04:13I think she has never danced so beautifully.
04:16It didn't affect your work at all? No, no, not at all.
04:20That controversy has become like papers.
04:24But there was no misunderstanding between us.
04:26She danced very very well.
04:28She went to the extent of doing all the knee movements, this movement that.
04:33She didn't change even one beat of it.
04:35She said, I will keep this hand here.
04:38No, I will not change it. I will not take it here.
04:40It was that much.
04:41Maybe because of the tension between us, she did that.
04:44But she did the best.
04:46She has danced very beautifully.
04:48Very beautiful.
04:49She also came to hear that the dance of Rekha Ji in Sheshanag,
04:53the dance of Nagina in Shri Devi Ji will be better than Shri Devi Ji.
04:58Is this okay?
04:59No, I can't say that.
05:01Because Nagina's situation was something else.
05:04This situation is something else.
05:06No doubt.
05:07Both of them are snake and chamele.
05:10But it is also very different in both dances.
05:13And Lakshmi Ji has also very different music.
05:16It is very different.
05:18Okay.
05:19You can understand the performance of the film.
05:22In the performance of the film,
05:24you can understand the performance of the dance with the dance.
05:27Why?
05:28What happens?
05:29At which time?
05:30Very, very.
05:31You don't have to say anything.
05:33There is an example.
05:34Ram Lakhan, Teza and Tridev.
05:38What are they running on?
05:39Songs.
05:40Songs.
05:41That goes without saying.
05:42I shouldn't say.
05:43That is like being too much.
05:45You're saying more, you're looking at yourself.
05:47That's not.
05:48Means it's understood now.
05:50The songs have taken lead.
05:52People are enjoying songs and now people are getting conscious about it.
05:57Now, every producer you talk to,
05:59they will say,
06:00you can make one item like Tezaapka.
06:02You can make one item like Tezaapka.
06:03You can make one item like Tezaapka.
06:05So, they are realizing it.
06:07Now, Jadugur, we have seen the songs.
06:10They are very good, very well picturized.
06:12They are seen.
06:14So, when did this happen?
06:16After everybody is shaken up.
06:18Then,
06:19I will give you an example.
06:22We don't get a film fair award.
06:24Why do we labor?
06:26If I have a good dance,
06:28you will give me that amount.
06:31If I have a good dance,
06:33you will give me that amount of money.
06:35If I have a good dance,
06:36you will give me the amount of money.
06:38If I give them a work,
06:39then there will be no aim in life.
06:40If I have succeeded,
06:41then I will give them an award.
06:42We are not doing that.
06:45If your dance director says that your work is not good, then they will say that it is not good,
06:50then what do we do?
06:51Sometimes artists come, sometimes go, and who is going to get a reward?
06:55This is the last sentence.
06:57So, we are now competing.
07:00Now I am competing with myself.
07:04Or I am getting a good dance master.
07:07I am getting 2-3 good dance masters in front,
07:10which I think I am competing with myself.
07:12But there is no aim in my life.
07:15Because they can't go for Oscar awards and all that.
07:18At least we should bank on Flimfer.
07:20Why don't you all start this award, Lehre Awards?
07:23And start respecting dance masters and all that.
07:26So, people should learn.
07:28Shukriya, thank you.