If it had not been for the laundryman's goof-up, Dev Anand and Guru Dutt perhaps would not have formed such a formidable bond with each other. The two stalwarts of Indian cinema were known to be close friends and had even worked together in a few films,

but their friendship was cut short due to Guru Dutt's untimely death. Years later, Dev Anand in an interview admitted that he could never find a similar bond with anyone after Dutt's death.&nbsp; 
 
The two charted their journey in the Hindi film industry but became friends when they were both rank newcomers, struggling to find a foothold in Bombay.&nbsp; 
 
 
The shirts were swapped 
 
Dev Anand recalled his first meeting with Guru Dutt in an article in 2011 to Open Magazine. The two met on the sets of Hum Ek Hain in 1946. It was Dev Anand's first film as the lead hero while Dutt was the assistant director on the film set. One fine day, the two happened to cross paths and introduced themselves. After the brief exchange of pleasantries, they started to walk away from each other only to stop short and look back at each other and laugh.&nbsp;

"He gave me a beautiful smile and started to leave. A few seconds later, he turned and stared at my shirt. I looked at his. I realised he was wearing my shirt and I was wearing his. The washerman had interchanged them. We had a hearty laugh and embraced each other. We were to be friends for all times," recalled Anand.&nbsp;

Promises were made 
 
Post that incident, the two started spending a lot of time together on the sets. They would often visit each others' homes, and Dutt's mother would treat Anand to home delicacies. Dev Anand admitted that Guru Dutt was privy to his affair with Suraiya- a love story that was cut short due to familial pressure.&nbsp; 
 
"Often, he’d bring his camera with him and photograph me in Pali Hill, at a gold club that doesn’t exist anymore. Guru was fond of taking pictures, of making pictures. He was hardworking and intelligent. Later, I discovered he was also fond of acting. But I don’t think he was a great actor. He was a better director. He used to waste a lot of footage," said Anand in the interview.&nbsp; 
 
Dutt and Anand even made promises to each other that if Anand ever produced a film, he would take Dutt as the director and if he directed a film, Anand would be his leading hero.&nbsp;

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Dev Anand kept his promise and gave Guru Dutt his break as a director in Baazi in 1951. The film had Balraj Sahni and Guru Dutt as co-writers and Dev Anand produced it under his home banner Navketan Films. The film was a thriller and featured Anand as the lead hero and Geeta Bali and Kalpana Kartik (Anand's Wife) as the female leads.&nbsp;

Baazi was a huge success and permanently established Dev as a star and Guru as a legendary director. 
 
Guru Dutt ended his association with Navketan Films soon after over creative differences with Dev's older brother Chetan Anand. Guru Dutt, though, cast Dev in 1952 in Jaal. The film was also a success and enhanced Dev's image as the romantic-anti-hero.&nbsp; 
 
Guru Dutt was among the few who could fathom Dev's depths as an actor. The actor-director duo then worked together in CID but this time Dutt was only the producer and the film was directed by Raj Khosla. CID remains Dev Anand's best detective movie to date.&nbsp; 
 
Rival or friends? 
 
Anand was at the peak of his career in the 1950s and Dutt too gained popularity for his films. They never considered each other rivals but instead&nbsp;family. Dev considered Geeta Dutt, Guru Dutt's wife,&nbsp;his sister and Dutt called Kalpana Kartik, Anand's wife, Mona Bhabhi.&nbsp; 
 
He was among the first to attend Dev's midnight marriage on the sets of Taxi Driver in 1954 and cheer the couple.

Soon after Jaal, Dev rose to newer heights of stardom with Taxi Driver (1976), House No 44 (1955) and Munimji (1955). Dutt turned producer, director and actor of substance with Aarpar (1954), Baaz (1953) and Mr. and Mrs. 55 (1955).&nbsp; 
 
Post CID, the two worked separately but Dutt was highly instrumental in the success of Navketan's production, Kala Pani, in 1958. Raj and Guru brought in Lachhu Maharaj to choreograph the immortal songs, Nazar Lagi Raja and Hum Bekhudi Mein. Khosla shot all the intense court scenes of the film under Guru's guidance. 
 
In 1960, however, there was a sudden crack in the Guru-Dev relationship. Dev had a string of flops and went to Guru with the hope of reviving their team to deliver a much-needed hit under Navketan films. Guru, however, refused and asked Dev to opt for another director. A hurt Dev vowed to never turn to his friend for help. 
 
Dutt had almost decided to retire from filmmaking as in 1959, Kagaz Ke Phool had flopped and left him shattered. He lost interest in life and began drinking heavily. 
 
Dev&nbsp;Anand though regained his lost popularity with hits such as Kala Bazar (1960), Jab Pyar Kisi Se Hota Hai (1961) and Hum Dono (1962).&nbsp; 
 
In October 1964, the two old friends reconnected and Dutt and Anand discussed a new project that would be produced under Navketan Films.&nbsp; 
 
However, the duo was not meant to see a partnership again. Three days after the conversation, Guru died by suicide. His last words were,&nbsp;"Main bahut thak gaya hoon, thoda sona chahta hoon. (I am too tired. I want some rest)".&nbsp; 
 
Dev was one of the first to enter Guru's room and see his friend's lifeless body.&nbsp; 
 
"He should have made more films. He had so much in him. Thirty-nine is not an age to die," rued Anand many years later about his gifted friend.&nbsp; 
 
The image I want to keep of him is not of that Guru, but of the Guru with whom I shared the most special friendship of my life. Zindagi ki daud mein uske jaisa dost phir kabhi nahin mila. (In life’s run, I never found a friend quite like him.)" 
 
On Dev Anand's 100 birth anniversary, a hat tip to the two stalwarts of Indian cinema and their immortal friendship.&nbsp;

&nbsp;

&nbsp;

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If it had not been for the laundryman's goof-up, Dev Anand and Guru Dutt perhaps would not have formed such a formidable bond with each other. The two stalwarts of Indian cinema were known to be close friends and had even worked together in a few films, but their friendship was cut short due to Guru Dutt's untimely death.

If it had not been for the laundryman's goof-up, Dev Anand and Guru Dutt perhaps would not have formed such a formidable bond with each other. The two stalwarts of Indian cinema were known to be close friends and had even worked together in a few films, but their friendship was cut short due to Guru Dutt's untimely death. Years later, Dev Anand in an interview admitted that he could never find a similar bond with anyone after Dutt's death. The two charted their journey in the Hindi film industry but became friends when they were both rank newcomers, struggling to find a foothold in Bombay. The shirts were swapped Dev Anand recalled his first meeting with Guru Dutt in an article in 2011 to Open Magazine. The two met on the sets of Hum Ek Hain in 1946. It was Dev Anand's first film as the lead hero while Dutt was the assistant director on the film set. One fine day, the two happened to cross paths and introduced themselves. After the brief exchange of pleasantries, they started to walk away from each other only to stop short and look back at each other and laugh. "He gave me a beautiful smile and started to leave. A few seconds later, he turned and stared at my shirt. I looked at his. I realised he was wearing my shirt and I was wearing his. The washerman had interchanged them. We had a hearty laugh and embraced each other. We were to be friends for all times," recalled Anand. Promises were made Post that incident, the two started spending a lot of time together on the sets. They would often visit each others' homes, and Dutt's mother would treat Anand to home delicacies. Dev Anand admitted that Guru Dutt was privy to his affair with Suraiya- a love story that was cut short due to familial pressure. "Often, he’d bring his camera with him and photograph me in Pali Hill, at a gold club that doesn’t exist anymore. Guru was fond of taking pictures, of making pictures. He was hardworking and intelligent. Later, I discovered he was also fond of acting. But I don’t think he was a great actor. He was a better director. He used to waste a lot of footage," said Anand in the interview. Dutt and Anand even made promises to each other that if Anand ever produced a film, he would take Dutt as the director and if he directed a film, Anand would be his leading hero. Dev Anand kept his promise and gave Guru Dutt his break as a director in Baazi in 1951. The film had Balraj Sahni and Guru Dutt as co-writers and Dev Anand produced it under his home banner Navketan Films. The film was a thriller and featured Anand as the lead hero and Geeta Bali and Kalpana Kartik (Anand's Wife) as the female leads. Baazi was a huge success and permanently established Dev as a star and Guru as a legendary director. Guru Dutt ended his association with Navketan Films soon after over creative differences with Dev's older brother Chetan Anand. Guru Dutt, though, cast Dev in 1952 in Jaal. The film was also a success and enhanced Dev's image as the romantic-anti-hero. Guru Dutt was among the few who could fathom Dev's depths as an actor. The actor-director duo then worked together in CID but this time Dutt was only the producer and the film was directed by Raj Khosla. CID remains Dev Anand's best detective movie to date. Rival or friends? Anand was at the peak of his career in the 1950s and Dutt too gained popularity for his films. They never considered each other rivals but instead family. Dev considered Geeta Dutt, Guru Dutt's wife, his sister and Dutt called Kalpana Kartik, Anand's wife, Mona Bhabhi. He was among the first to attend Dev's midnight marriage on the sets of Taxi Driver in 1954 and cheer the couple. Soon after Jaal, Dev rose to newer heights of stardom with Taxi Driver (1976), House No 44 (1955) and Munimji (1955). Dutt turned producer, director and actor of substance with Aarpar (1954), Baaz (1953) and Mr. and Mrs. 55 (1955). Post CID, the two worked separately but Dutt was highly instrumental in the success of Navketan's production, Kala Pani, in 1958. Raj and Guru brought in Lachhu Maharaj to choreograph the immortal songs, Nazar Lagi Raja and Hum Bekhudi Mein. Khosla shot all the intense court scenes of the film under Guru's guidance. In 1960, however, there was a sudden crack in the Guru-Dev relationship. Dev had a string of flops and went to Guru with the hope of reviving their team to deliver a much-needed hit under Navketan films. Guru, however, refused and asked Dev to opt for another director. A hurt Dev vowed to never turn to his friend for help. Dutt had almost decided to retire from filmmaking as in 1959, Kagaz Ke Phool had flopped and left him shattered. He lost interest in life and began drinking heavily. Dev Anand though regained his lost popularity with hits such as Kala Bazar (1960), Jab Pyar Kisi Se Hota Hai (1961) and Hum Dono (1962). In October 1964, the two old friends reconnected and Dutt and Anand discussed a new project that would be produced under Navketan Films. However, the duo was not meant to see a partnership again. Three days after the conversation, Guru died by suicide. His last words were, "Main bahut thak gaya hoon, thoda sona chahta hoon. (I am too tired. I want some rest)". Dev was one of the first to enter Guru's room and see his friend's lifeless body. "He should have made more films. He had so much in him. Thirty-nine is not an age to die," rued Anand many years later about his gifted friend. The image I want to keep of him is not of that Guru, but of the Guru with whom I shared the most special friendship of my life. Zindagi ki daud mein uske jaisa dost phir kabhi nahin mila. (In life’s run, I never found a friend quite like him.)" On Dev Anand's 100 birth anniversary, a hat tip to the two stalwarts of Indian cinema and their immortal friendship.

Dev Anand and Guru Dutt: The friendship that began with swapping of shirts

His box office credentials are unmatched today but Aamir Khan says despite facing initial scepticism of the industry people, he has always been someone who believed in experimenting with film roles.

The actor, who has completed 30 years in Bollywood, walked down the memory lane to reflect on the film choices that set him apart from the crowd and made him feel like a 'lone ranger'.

"When I came into the industry, I was a minority, I was a lone ranger, who was trying to do films that I believed in, but the market did not believe in it and a host of people also did not believe in it," Aamir said in a group interview.

With hits such as "Qayamat Se Qayamat Tak", "Jo Jeeta Wohi Sikander", "Baazi", "Earth", "Sarfarosh", "Lagaan" and "Dangal", Aamir has come to be known as one of the most bankable stars in cinema today but the actor said it has not been an easy ride to stardom.

"I was constantly swimming against the tide to do the films I believed in. Now the tide has changed. So the films that I believed in then and no one else did, have actually become more mainstream today."

Aamir, 53, believes the audiences' sensibilities are changing and if "Jo Jeeta Wohi Sikander" would have released today, it had better chances at the ticket window.

Asked if he thinks the risk has paid off now, he said, "I don't know if I can say that, I was not doing it for a pay-off, I was just doing it. I was not concerned if it will pay-off or not, my focus was to do films that I believed in. When I do a film like 'Talaash', I know it is not going to be the biggest hit of the year but I want to do it."

The actor has bridged the gap between commercial and content-driven cinema but insisted he is not searching for social content in a film.

"I am not setting out for what the next social issue. I have had a mixed range of films like ''Delhi Belly'', ''Thugs of Hindostan'', ''Dangal'', etc, I am getting drawn to stories which I like."&nbsp;

The actor said he reacts to a script like an audience member.

"It has to be something that excites me, engages me, sometimes it might have a message, sometimes it might not. I don't think whether it is commercial or not. I am not able to think like that. I feel my cinema should be good and I want it to be loved by as many people."

He became a star overnight with success of his debut film as the lead actor in "Qayamat Se Qayamat Tak" in 1988 and realised he had become famous when he could no longer use the public transport. In 1973, Aamir appeared as a child actor in his uncle Nasir Hussain's film "Yaadon Ki Baaraat".

"The first time I sensed I had become popular was after ''Qayamat Se Qayamat Tak''. It was quite mad. I did a successful film, but I didn't have the money to buy a car. I used to travel by autorickshaw, bus or a train but after a point, I couldn't," he said.

"I used to ask my uncle, 'Can I borrow your car? I have to go somewhere... There are just people everywhere I go'," he added.

Aamir said he earned Rs 11,000 for his debut.

The actor, who has completed 30 years in Bollywood, walked down the memory lane

His box office credentials are unmatched today but Aamir Khan says despite facing initial scepticism of the industry people, he has always been someone who believed in experimenting with film roles. The actor, who has completed 30 years in Bollywood, walked down the memory lane to reflect on the film choices that set him apart from the crowd and made him feel like a 'lone ranger'. "When I came into the industry, I was a minority, I was a lone ranger, who was trying to do films that I believed in, but the market did not believe in it and a host of people also did not believe in it," Aamir said in a group interview. With hits such as "Qayamat Se Qayamat Tak", "Jo Jeeta Wohi Sikander", "Baazi", "Earth", "Sarfarosh", "Lagaan" and "Dangal", Aamir has come to be known as one of the most bankable stars in cinema today but the actor said it has not been an easy ride to stardom. "I was constantly swimming against the tide to do the films I believed in. Now the tide has changed. So the films that I believed in then and no one else did, have actually become more mainstream today." Aamir, 53, believes the audiences' sensibilities are changing and if "Jo Jeeta Wohi Sikander" would have released today, it had better chances at the ticket window. Asked if he thinks the risk has paid off now, he said, "I don't know if I can say that, I was not doing it for a pay-off, I was just doing it. I was not concerned if it will pay-off or not, my focus was to do films that I believed in. When I do a film like 'Talaash', I know it is not going to be the biggest hit of the year but I want to do it." The actor has bridged the gap between commercial and content-driven cinema but insisted he is not searching for social content in a film. "I am not setting out for what the next social issue. I have had a mixed range of films like ''Delhi Belly'', ''Thugs of Hindostan'', ''Dangal'', etc, I am getting drawn to stories which I like." The actor said he reacts to a script like an audience member. "It has to be something that excites me, engages me, sometimes it might have a message, sometimes it might not. I don't think whether it is commercial or not. I am not able to think like that. I feel my cinema should be good and I want it to be loved by as many people." He became a star overnight with success of his debut film as the lead actor in "Qayamat Se Qayamat Tak" in 1988 and realised he had become famous when he could no longer use the public transport. In 1973, Aamir appeared as a child actor in his uncle Nasir Hussain's film "Yaadon Ki Baaraat". "The first time I sensed I had become popular was after ''Qayamat Se Qayamat Tak''. It was quite mad. I did a successful film, but I didn't have the money to buy a car. I used to travel by autorickshaw, bus or a train but after a point, I couldn't," he said. "I used to ask my uncle, 'Can I borrow your car? I have to go somewhere... There are just people everywhere I go'," he added. Aamir said he earned Rs 11,000 for his debut.

I was constantly swimming against the tide: Aamir Khan on early film choices

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