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Indian Express
17 hours ago
- Entertainment
- Indian Express
Once a promising young talent, her relationship with director who launched her led to Bollywood actor's downfall and ‘murder'; the case remains open
In Bollywood's rich and extensive history, built by thousands of actors and technicians, there exist certain persons whose personal lives have been more staggering than their professional ones. Not merely due to controversies, but because of the way their lives unfolded and, at times, ended. They have shaken people more deeply with their personal lives than their careers ever did. Actor Priya Rajvansh's story is one such, as she is remembered more for the tragedy that eventually struck her than for the performances she delivered. For the unversed, she was allegedly murdered by people she believed were her own. Born in Shimla, Himachal Pradesh, Priya Rajvansh's (née Vera Sunder Singh) father, Sunder Singh, worked in the Forest Department, and his mother was an English woman from whom she inherited her anglicised accent. Vera was a star even in her school days, long before she entered the film industry. By the time she reached college, her fame had only grown as she excelled in every competition she participated in; be it debates, declamations or dramatics. 'She was free and frank with almost everybody in the know of her, but we young students called her a 'freak flirt', of course in whispered tones,' RP Chaddah, who studied in the same college that she did, wrote in The Tribune in April 2000. 'Some city lotharios were so smitten by her youth, charm, energy and beautiful gait, that they started penning paeans of praise in the form of poems and dedicated their books to Vera,' he added. By the time Vera completed college, she had completely fallen in love with theatre and acting. Thus, she joined the Royal Academy of Dramatic Art (RADA) in London and honed her craft under the guidance of actor-director Laurence Olivier, columnist Shriniwas Joshi noted in The Tribune. During her time in London, a photo of hers somehow found its way to renowned director Chetan Anand, younger brother of Bollywood legend Dev Anand. This changed her life forever. Soon, Chetan launched her as an actor in his war drama Haqeeqat (1964), rechristening her as Priya Rajvansh. The film, starring Dharmendra in the lead role, received widespread acclaim, and Priya's performance, in particular, impressed many. 'Priya unconsciously followed the method school of acting of Stanislavski much before Smita Patil, Shabana Azmi, Naseeruddin Shah or Om Puri,' Chaddah noted. However, Haqeeqat also marked the beginning of her much-publicised and somewhat scandalous relationship with the then-recently-separated Chetan Anand. In/voluntarily, she remained bound to that relationship and did not appear in any film for six years after Haqeeqat. She returned only in Heer Raanjha (1970), again directed by Chetan. In fact, in her 22-year career, she acted in only seven films; all under his direction. Her younger brother, Gullu Singh, has described Chetan Anand as a double-edged sword in her life, even going as far as to calling him 'the biggest tragedy' she ever faced. 'Chetan Anand was the man who made Priya, and also the man who marred her. In fact, he was the biggest tragedy that could ever happen to her. Chetan would never allow Priya to be directed by anyone else. The result was fatal for her career. She was cast in Haqeeqat when she was just 22 and then in Heer Ranjha when she was five years older. Time was passing Priya by, but she could never hear its footsteps. My sister's only problem was her sense of over-commitment to Chetan. She lived with him and his inclinations for over 30 years.' Nonetheless, her performance in Heer Raanjha also received praise. She went on to play notable roles in Chetan's subsequent films such as Hindustan Ki Kasam (1973), Hanste Zakhm (1973), Saheb Bahadur (1977), Kudrat (1981) and Haathon Ki Lakeeren (1986) too. However, according to Joshi, 'her anglicised accent and western femininity did not click with the Indian audience.' Thus, Haathon Ki Lakeeren became her final movie and the Shimla-born woman who loved acting more than anything else ultimately gave up on her dreams. Though she continued her relationship with Chetan, Gullu said she never wanted to marry him. They lived together for nearly 30 years without formalising the relationship. 'She was not a live-in; she was too classy and dignified to be termed a mistress. She could be at best called his companion and true lover,' film journalist Sheila Vesuna wrote in An inherently reclusive person, Chetan's death in 1997 caused Priya Rajvansh to withdraw even further into solitude. But his passing was only the beginning of the tragedies that lay ahead in her life. According to The Print, Chetan left behind a will naming Priya and his two sons from his first marriage, Ketan and Vivek Anand, as joint owners of his Juhu bungalow. Though she owned her own apartment in Mumbai, Priya spent most of her time at Chetan's residence. On March 27, 2000, just three years after his passing, she was found dead at the same bungalow under mysterious circumstances. While many theories, including suicide, emerged, the post-mortem confirmed the cause of death as 'asphyxia due to strangulation'. The investigation soon led to Priya Rajvansh's maid, Mala Choudhary, who lived at the bungalow with her three children. During interrogation, she confessed to the crime and revealed that she committed it with the help of her cousin, Ashok Chinnaswami. But the probe didn't end there. It was reportedly discovered that Mala had an 'illicit relationship' with Ketan and had received Rs 4,000 from a 'close family member' to kill Priya. Apparently, the actor had been facing financial issues and was urging Ketan and Vivek to sell the property. Eventually, the investigation implicated the Anand brothers as well. According to a 2002 PTI report, police alleged that the brothers conspired to kill the actor to deprive her of her one-third share of the property. On July 31, 2002, a sessions court sentenced all four accused, including Ketan and Vivek, to life imprisonment. 'The pain is irreversible, but there is still some solace at hand. I still remember the day Chetan's sons, their maid Mala and his aide Ashok were sentenced to life imprisonment for killing my sister. You would not believe how a very close relation of the conspirators turned hostile towards them. The case reversed when the boy who had blown off the fuse on the day of the murder deposed for Priya. He stood up for a woman he never knew. Actually, it was Priya claiming justice from her grave,' Gullu said, following the verdict. However, in November 2002, the Bombay High Court granted bail to the Anand brothers. Reportedly, in 2011, the High Court accepted their appeals against the guilty verdict. According to a 2024 News18 report, the Priya Rajvansh murder case remains open, with no clear motive or confirmed perpetrators in custody. Though she was intensely private, Gullu Singh once remarked that Priya Rajvansh would never be forgotten, particularly owing to the grace with which she lived. 'She was adored by everybody, right from peons to the top bosses. There is no way her memory can go away. Her elegance, her grace and her dignity will always last,' he said. In conversation with Times of India, he recalled, 'She was the Greta Garbo of the Indian screen, a complete recluse but a better actress and more beautiful than Garbo. She was an elegant woman, a real beauty.'
India Today
18-05-2025
- Entertainment
- India Today
Haqeeqat, a war film forged in India's steely defiance in defeat
As part of our Retro Review series on Hindi films from the past, we revisit 'Haqeeqat', the epic that soothed India's pain of the 1962 Haqeeqat (1964)Cast: Balraj Sahni, Dharmendra, Priya Rajvansh, Jayant, Vijay Anand, Sanjay Khan, SudhirDirector: Chetan AnandMusic/Lyrics: Madan Mohan, Kaifi AzmiBox-office status: HitWhere to watch: YouTubeWhy to watch: For expansive, gritty war scenes shot in Ladakh, capturing both beauty and painMoral of the story: In every defeat there is a victory, even if moraladvertisement'Haqeeqat' isn't a movie. It is the template for almost every war film made in Bollywood since 1964. 'Border' is 'Haqeeqat', 'LoC-Kargil' is 'Haqeeqat', even the recent Tamil biographical film 'Amaran' (2024) is 'Haqeeqat'. Like the beginning of an era that defines everything before and after it, 'Haqeeqat' is a pivotal moment in Indian cinematic epic Indian war films follow a simple stylesheet. They introduce an ensemble, mostly young men - because war is primarily a tragedy where the old cremate their young. The narrative builds with the backstories of these men, full of dreams and hopes. Songs of love, separation and military-camp camaraderie follow as a war looms. And then there is the inevitable death. In eyeball-to-eyeball conflict with a ruthless enemy. As Chetan Anand, the director of 'Haqeeqat', told Satyajit Ray, a war film is a mosaic - of life, love, hate and death. Photo credit: IMDb advertisementIn 'Haqeeqat', Chetan Anand crafts this mosaic with philosophical beauty, creating poetry in the middle of mayhem. He layers it with poignant moments of valour and loss, lyrical songs that epitomise pain and sacrifice. And two hours of raw, intense war. With sweeping shots in black and white of Ladakh, its monstrous deserts, imposing hills and daunting streams, he captures both its horror and magnificence. If not for the inherent tragedy, 'Haqeeqat' would have made you fall in love with war. All's fair, beautiful and horrifying in SCRIPTA lost war, like personal grief, is impossible to revisit. Its humiliation cuts like a shard. Its pain haunts like a silent ghost. So, it was bold of Chetan Anand, the eldest of the Anand brothers, to make a film on India's loss in the 1962 Sino-Indian war. And that too, when the wound was so raw that it was tantamount to sprinkling salt over Anand picks up the defiant resolution of a handful of soldiers to showcase bravery, underlining valour even in retreat, defeat and death. Loosely inspired by the battle of Rezzang La, 'Haqeeqat' shows the heroic last stand of Indian soldiers outnumbered by the Chinese at forward posts in Ladakh. (Much like the battle of Longewala immortalised in JP Dutta's 'Border').advertisementThe battle of Rezzang La was fought by 13 Kumaon, led by Major Shaitan Singh, on November 18, 1962 at 16,000 feet in freezing conditions. On being confronted by the Chinese, who crept up on them before dawn, the 120-140 Indian soldiers fought for five hours, literally to the last man. Major Singh, who sustained multiple gunshots, refused to fall back. For his bravery, Major Singh was awarded the Param Vir Chakra, India's highest military employs the flashforward-flashack narrative that has become the hallmark of such movies. He traces the 1962 tragedy through several sub-plots that finally converge. The film's main arc follows Major Ranjit Singh (Balraj Sahni), whose soldiers have been forced to retreat. To help him evacuate, Captain Bahadur Singh (Dharmendra) fights a heroic battle. In the climactic moments, a local girl - Anand's lifelong muse Priya Rajvansh - joins Bahadur Singh in a till-do-us-part pact. Photo credit: IMDb But 'Haqeeqat' is also a political film. It captures India's disgust with China for the unexpected, brutal war. In one scene, Balraj Sahni rails against Chinese treachery. 'We lobbied for them on international platforms. We followed the five principles of peace. We rolled out the red carpets for their visiting leaders (Chinese premier Zhou Enlai); we even asked them to decorate our soldiers for bravery. And, they put bullets in the chest of the same soldier.' His diatribe is amplified by real footage, lending a docudrama edge to the another, Sahni's character spits disdainfully as a Chinese soldier repeats ad nauseam, 'Hindi-Chini bhai-bhai.' To show his rage against the back-stabbing Chinese, a soldier thrusts his bayonet into Mao Zedong's Little Red Book, the ideological Bible of Communist pride was hurt by the defeat in the two-theatre war in Ladakh and NEFA (now Arunachal Pradesh). Unprepared for high-terrain battles, soldiers were cut down by the Chinese, forcing a retreat and surrender. 'Haqeeqat' stands out because it is cathartic. Its central message of defiance in defeat still AS DEFIANCEIn his epic 'Dr Zhivago', Boris Pasternek describes art as spiritual defiance. India's humiliating loss in 1962 produced two of the greatest calls for defiance in Indian music's history. Lata Mangeshkar's 'Ae Mere Watan Ke Logon,' and Mohammad Rafi's 'Kar Chale Hum Fida' - 'Haqeeqat's' swan lot has been written about Lata Mangeshkar's 'Ae Mere Watan Ke Logon'- a song that starts like a dirge and roars like a revolution. Some day we will revisit the legacy of its writer Kavi Pradeep and composer C now, watan ke logon, remember Rafi, Madan Mohan and Kaifi Azmi for their greatest contribution to cinema.'Haqeeqat' ends with the defiant words of Kaifi Azmi, 'Kar Chale Hum Fida'. Its patriotic fervour rivals 'Mera Rang De Basanti'- the song Bhagat Singh sings to the gallows in 'Shaheed' (1965). Each line is steeped in sacrifice and valour - stirring thamti gayi, nabz jamti gayiPhir bhi badhte kadam ko na rukne diyaKat gaye sar hamare to kuchh gham nahinSar himalay ka humne na jhukne diyaMarte marte raha baankpan saathiyon Kaifi's words soar like the Himalayas in Mohammad Rafi's voice, lifting the spirit like an anthem of the undefeated. In the background, Madan Mohan arranges a feast of light strings that start on a sombre note and then explode with violins and brass instruments that go to war. A fitting requiem for the brave, a symphony of resilience, a daring invite to the embrace of like 'Haqeeqat', this isn't just a song. It is a declaration of India's steely resolve - bent but not broken. Photo credit: IMDb PS: In 1965, after the war with Pakistan, Kaifi Azmi wrote a poem inspired by the Bhagavad Gita. It appears in Chetan Anand's 'Hindustan Ki Kasam' (worth watching, but for the poor print), as an ode to the role of the Indian Air Force in the 1971 India is in the throes of a conflict, Kaifi Azmi's lines are worth remembering:Whether a war is a blessing or a curse,Don't ask this question now,Now that it has been thrust upon usA war can only be a blessing!
Time of India
11-05-2025
- Time of India
Sunday Read: Hacker-proofing hacks
cybersecurity measures Information verification Encrypted communication Social media safety Password management The public is urged to exercise caution with online information, boost digital hygiene, and prepare for emergencies and protect themselves and families from cyber attacks –Chetan Anand, National Cybersecurity Scholar In response to escalating cyber threats, the Information Sharing and Analysis Center (ISAC), in collaboration with National Cyber Security Scholars, has released a new advisory outlining practical. The advisory aims to offer actionable best practices to help individuals and organisations prevent attacks and mitigate their impact.'Given the critical situation the country is facing, it is a matter of immense commitment that our National Cyber Security Scholars have stepped up and volunteered to provide this cyber security advisory,' said Group Captain Aanand Naidu Pola (Retd) Executive Director, ISAC. Chetan Anand, National Cybersecurity Scholar and Cyber Crime Intervention Officer said the advisory addresses emerging cyber threats targeting individuals, networks, and critical infrastructure. 'The public is urged to exercise caution with online information, boost digital hygiene, and prepare for emergencies and protect themselves and families from cyber attacks,' he advisory stresses the importance of verifying all information related to the ongoing conflict, especially content that involves the armed forces, terrorist activities, or government advisories. Citizens are warned against blindly trusting WhatsApp forwards, suspicious links, and PDFs circulated through instant messaging apps. 'There is a high chance of misinformation and psychological propaganda aimed at causing panic or demoralising the public and armed forces,' the advisory states. To combat fake news and disinformation, citizens are encouraged to fact-check before forwarding or sharing any message. Perplexity AI has launched a fact-checking WhatsApp chatbot where users can forward questionable content to +1 (833) 436-3285 for people are urged to install official government apps like NDMA's Sachet and MyGov- and also diaster warning apps and first responder in offline maps from Google Maps to prepare for potential communication outages. In terms of communication and data security, the advisory recommends using encrypted messengers such as Signal, Bridgefy, and CopConnect to ensure private and secure communication, especially during network are also advised to store sensitive documents—such as ID proofs, digital health records, and bank data—on encrypted USB drives or secure cloud services, with strong passwords safeguarding media users have been cautioned to avoid engaging with unverified influencers or handles that might spread falsehoods. It is advised to keep handy the social media handles of local police station/ Police commissioner law enforcement to report disruptive posts. Avoid clicking on unfamiliar links or QR codes, and refrain from forwarding and clicking suspicious or unknown advisory places particular emphasis on password management, advocating the use of good offline password managers in place such as KeePass or PasswordSafe instead of online alternatives vulnerable to breaches. It recommends using different passwords for each platform and updating them frequently. Employees in government and critical infrastructure sectors have been strongly advised to immediately change their banking and email passwords to minimize damage from potential cyber security is another critical area. Users are asked to remove unnecessary and unused apps and content, keep operating systems and apps updated with the latest security patches, Enable access control (fingerprint/PIN/password), and protect their devices with licenced antivirus software. Keep away from the banned appsUsers are advised to stay away from free Wi-Fi available in public places. Connect to a corporate network using VPN, if available. Avoid sharing wi-fi or hotspots with the possibility of power and network failures, users are urged to conserve battery by turning off non-essential features like Wi-Fi and hotspot when not in use, using solar chargers or power banks, and limiting social media and streaming are urged to avoid scanning QR codes in unfamiliar places, rely only on official payment apps like BHIM, PhonePe etc with added access controls such as PIN or biometrics, and keep limited cash reserves at home to fall back on during digital disruptions. Use offline banking and UPI options cautiously.-For emergency preparedness, the public is asked to maintain medical prescriptions, stock essential medications, keep emergency contacts written down, and store health insurance documents.'Citizens should pre-identify safe assembly areas within their communities and practice mindfulness to stay calm and alert,' reads the residing near military zones must act responsibly and refrain from sharing any digital content or social media updates related to troop researchers and professionals working in critical infrastructure sectors must exercise heightened digital vigilance to safeguard sensitive case of cybercrime, individuals are advised to report incidents via the National Cyber Crime Reporting Portal ( or call the helpline 1930, apart from visiting their local police station.
