Maine aur kyaa kiyaa
Posted on: November 29, 2024
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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In this article, I have taken up for discussion the tragic story of the first super star of the Marathi stage and films whom I had followed during his rise in Marathi stage and films in my younger days. He was stated to be the highest paid actor – both for stage and films – during 1960s and 70s. A series of his Marathi stage plays, and films brought him stardom and a massive fan following. He also worked in two major Hindi films as second lead actor during his period of stardom. However, he could not handle his sudden adulations and glamour. The result was that he became arrogant, unprofessional and finally alcoholic. In 1983 onwards after reforming himself, his stage career was on the pick up when he suddenly passed away. The name of that actor was Dr. Kashinath Ghanekar.
I feel that in a way, Dr. Kashinath Ghanekar’s acting career on stage mirrored that of the career of Rajesh Khanna in Hindi films, more or less, with the same timeline. Rajesh Khanna also could not properly handle his sudden stardom post-‘Aaraadhana’ (1969). With the successful arrival of another star, Amitabh Bachchan, his perceived professional rivalry with him made Rajesh Khanna insecure. Similarly, with the arrival of Dr. Shriram Lagoo on the Marathi stage with the super success of his Marathi plays, starting with ‘Nat Samraat’ (1970), Dr Kashinath Ghanekar felt insecure. The fear of losing stardom and the fan following took them to alcohol and the mood swings. Both had their broken marriages. The resultant eccentric behaviour and unprofessional attitude led to the downfall in their career.
Dr, Kashinath Ghanekar (14/09/1930 – 02/03/1986) was born in Chiplun town of Ratnagiri district. He was the youngest among eight brothers. His father, Dr Balkrishna Ghanekar was a doctor by profession in Chiplun. Kashinath completed his Matric in Chiplun and went to Gogate College, Ratnagiri where he got interested in drama. He got his first role in a drama in the college. He came to Bombay (Mumbai) and got admission in Grant Medical College, Byculla where his elder brother was also studying. Kashinath passed Bachelor of Dental Surgery (BDS) with a Gold Medal having stood first in the rank from University of Bombay (Mumbai). In 1957, he opened his dental clinic in Worli, Mumbai. He also worked for some time as a Lecturer in Grant Medical College.
Kashinath had an extreme passion for theatre from his college days. During his spare time from his Dental Clinic, he participated in amateur Marathi plays under the guidance of Ramchandra Varde to whom he regarded his theatre guru. In order to observe the acting of some of the stalwarts of Marathi theatre at that time, Kashinath started working as a prompter in the plays. In due course of time, he started getting small roles in plays and a few Marathi films in the 50s.
In 1952, Kashinath got supporting roles in Pu La Deshpande’s plays, ‘Tuja Aahe Tujpashi’ (You have your stuff) and ‘Sundar Mee Honaar’ (I shall be beautiful). With the popularity of Hindi films in the 1960s, the audience had started preferring films than the plays. As a result, Marathi theatre was passing through a lean period. In 1962, Kashinath got the lead role of Chhatrapati Sambhaji Maharaj in Vasant Kanetkar’s play. ‘Raigadala Jevhaan Jaag Yete’ (When Raigad awakens). This was Kashinath’s first professional play which reversed the trend and brought back theatre audience to such an extent that all shows of the plays ran houseful. This was due mainly to the power-pack performance of Kashinath with his immaculate dialogue delivery. This play made him the super star of Marathi theatre. He had become so busy with tours that he had to give up the responsibility of his dental clinic to a dentist friend.
In 1963, Kashinath got the role of ‘Lalya’, a misguided youth in Vasant Kanetkar’s play, ‘Ashrunchi Zhaali Phoolen’ (Tears became Flowers). This play also became a super hit with houseful shows. The audience waited for him after every show to have a glimpse of him and personally appreciate his role. Dilip Kumar and Raj Kapoor had specially come to watched one of the shows of this play after learning about the popularity of Kashinath’s role of ‘Lalya’. He also got critical appreciations of his role from some of the prominent theatre personalities of that time. Later, Hindi film, ‘Aansoo Ban Gaye Phool’ (1969) and ‘Mashaal’ (1984) was made based on this play.
Apart from Marathi, Kashinath Ghanekar was fluent in Gujarati, Hindi and English. He was approached by a few of the producers of Gujarati theatre to work in their plays. He declined the offer despite the higher remuneration Gujarati theatre used to pay to their main actors those days. The reason was that both Marathi and Gujarati plays were mostly staged during Saturdays and Sundays, and he did not want to work to the disadvantages of his producers of Marathi plays.
The tremendous popularity Kashinath got from these two plays and the massive fan following confirmed his super star status. This made him arrogant and egoistic. His frequent unprofessional behaviour with fellow actors and directors of plays forced the producers to boycott Kashinath. He remained out of work for a couple of years. During this period, he got addicted to alcohol which further precipitated his problems. On the personal front, his marriage with Dr. Irawati Bhide, a gynaecologist was on the rocks when he revealed to her that he was in love with Kanchan, the daughter of Sulochana Latkar, a supporting actor in Hindi and Marathi films. Sulochana Latkar opposed the marriage proposal mainly because Dr Irawati was her family friend.
During his lean period of theatre, Kashinath turned towards Marathi and Hindi films. His first Marathi film after the theatre boycott was ‘Pathlaag’ (The Chase,1964) which was a commercial success. The film got the National Award for the Best Feature Film in Marathi. Kashinath received the Maharashtra State Film Award for the Best Actor. The film was remade in Hindi as ‘Ham Saaya’ (1966) and in Tamil as ‘Idhaya Kamalam (1965). Thereafter, Kashinath did successful Marathi films like ‘Madhuchandra’ (1967), ‘Ekati’ (1967), ‘Deo Maanus’ (1968), ‘Garambhicha Bapu’ (1970) etc. During this period, he also got into two Hindi films, ‘Daadi Maa’ (1966) and ‘Abhilaasha’ (1968). Both these films were successful at the box office. In ‘Gupt Gyaan’ (1974), he performed the role of a Professor in a medical college. In all, he worked in 19 Marathi films and 3 Hindi films.
Kashinath Ghanekar’s first love was Marathi theatre. He always longed for the clapping sound and the appreciative audience in the theatre which he used to get in his plays. These he missed in the films. He was eager to return to theatre for which he refused many film offers. By this time, a new superstar in Marathi theatre, Dr Shreeram Lagoo had emerged with his super performance in Marathi play, ‘Natsamraat’ (King among the actors) in 1970 and ‘Himalayachi Saawali’ (Shadow of the Himalayas) in 1972 among others. Kashinath developed an inferiority complex against Dr. Shreeram Lagoo whom he perceived to be his professional rival. The fear of insecurity, the losing of his stardom and fans made him to fall back on his addiction to alcohol. His eccentrics behaviour made his producers, director and fellow actors difficult to work with him. He was without any work for three years despite doing two successful Marathi films during 1976-77.
In the begnning of 1980s, Kashinath decided to reform himself. There was a perceptible change in his attitudes towards others. Perhaps his association with Kanchan for a decade which had brought this change. He started getting roles in few new Marathi plays. In 1983, Sulochana gave her approval for the marriage of her daughter, Kanchan with Kashinath by which time, he had got divorce from his first wife. After marriage, the feeling of responsibility led him to start a new inning. His close friend, the producer of his popular play, ‘Ashrunchi Zhaali Phoolen’ decided to relaunch the play with Kashinath. It was on a tour of Vidarbha for staging the play, he had stayed in a hotel in Amaravati for the next day play to be staged there. On March 02, 1986. the day of staging the play, a large audience had come to watch the play. Kashinath Ghanekar had not turned up at the venue of the play on his expected time. When persons were sent to his hotel, they found him motionless in his hotel room having died of a massive cardiac arrest. He was 55.
Kashinath Ghanekar’s father had resented against his foray into plays and films as he felt that it was not a noble profession for a cultured family. It was said that they were not in talking terms for a long time as the father wanted him to continue his dental practice. Kashinath Ghanekar’s regret throughout his life was that he could not win the admiration of his father for his work in Marathi theatres even during his peak period of popularity when he had a massive fan following.
As mentioned earlier, during his filmy career, Dr Kashinath Ghanekar worked in two Hindi films – ‘Daadi Maa’ (1966) and ‘Abhilasha’ (1968) in the second lead role. ‘Daadi Maa’ (1966) was produced and directed by L V Prasad under his banner of Prasad Productions. The star cast included Ashok Kumar, Bina Rai, Dilip Raj, Mumtaz, Dr Kashinath Ghanekar, Tanuja, Rehman, Shashikala, Mehmood, Durga Khote, Chand Usmani, David, Karan Diwan etc. Dr. Kashinath Ghanekar had got the role in this film on the recommendation of Raja Parajape to L V Prasad who had met him in connection with buying the rights of his Marathi film, ‘Paathlaag’ (1964) fo its Tamil remake.
I had watched this film in the theatre when it was released in 1966. Recently, I watched this film once again on the video sharing platform to recapitulate the story which is broadly presented below:
A rivalry has developed between Pratap Singh (Ashok Kumar) and his stepmother, Rani Maa (Durga Khote ) on the issue of property. Rani Maa believes that her son has been killed by her stepson, Pratap Singh on the issue of property matter. Her widowed daughter-in-law (Purnima) is pregnant, and Rani Maa hopes to get a boy from her so that when he grows up, he can take a revenge against Pratap Singh for his father’s death and claim the property.
Parvati (Bina Rai), the wife of Pratap Singh is unable to conceive. Dr. Bharti (Rehman), the brother of Parvati is ready to treat her. Being Rani Maa’s supporter, Pratap Singh is angry with Dr Bharti. He warns Parvati not to get in touch with Dr. Bharti anymore. When he learns that Parvati is still talking to Dr. Bharti, in a fit of anger, Pratap Singh expels Parvati from his house who is pregnant. Dr Bharti takes her to his home. Rani Maa’s daughter-in- law runs away from home to keep her yet to be born child away from the family feuds. Parvati gives birth to a son. At the same time, Dr. Bharti brings a newborn baby whose mother dies at the time of delivery. He requests Parvati to take care of the baby as well. Parvati accepts the orphan and treats him as her own child.
After few days Pratap comes to claim his son and instead takes away the orphan boy. Dr. Bharati reveals the secret to Parvati that that the orphan boy actually is Rani Maa’s grandchild. Parvati does not reveal this secret to anyone. When Pratap Singh is unable to take care of the child, he calls back Parvati to return to his house. She agrees with a condition that he should also take care of an orphan boy which she has adopted (in reality, he is her own son). Pratap Singh agrees to raise the child.
Over a period of time, Parvati’s son grows up as Somu (Kashinath Ghanekar) and the actual orphan boy which Pratap Singh treat as his own son, grows up as Shankar (Dileep Raj). Pratap Singh treats Somu differently than Shankar. While Shankar is a college going, Somu has been given to look after the farming operations. However, Somu and Shankar keep their relations cordial. Somu loves Saguna (Tanuja), a village girl and Shankar is in love with his college mate Sheena (Mumtaz).
Both Parvati and Shankar are in favour of ending the family feuds by patching up with Rani Maa. Shankar visits Rani Maa for the patch up, but she flares up with the proposal as she presumes that Shankar is the son of Pratap Singh. Ganga (Shashikala), the sister of Pratap Singh, add fuel to the family feuds. Her husband, Mahesh (Mehmood) tries his best to minimise the damage. In the meanwhile, Somu is expelled by Pratap Singh from his house for his love affairs with Saguna, the daughter of his caretaker (David) who takes care of Pratap Singh’s farm.
When Pratap Singh comes to know that Somu is not an orphan but is the son of Rani Maa’s daughter-in-law, he makes attempts to kill Somu. Knowing that now the things will go out of hand, Parvati reveals the secret to Pratap Singh that Somu is their own son, and Shankar is the grandson of Rani Maa. Rani Maa also comes to know that her grandson is Shankar. She comes to Pratap Singh’s house to take him away. However, Shankar refuses to go with her. He pleads that time has come to forget about the past and stay united as a family.
The film ends with the marriage procession of Somu with Saguna and Shankar with Sheena with all the two factions of the family joining the procession.
The film had seven songs written by Majrooh Sultanpuri which were set to music by Roshan. Four songs have been covered on the Blog. I am presenting the 5th song from the film, ‘maine aur kyaa kiyaa balam yehee to kah diyaa’ rendered by Asha Bhosle and Mahendra Kapoor. The Tonga song is picturised on Tanuja and Dr Kashinath Ghanekar.
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Sources of Information on Dr. Kashinath Ghanekar:
1. ‘Naath Haa Maaja’ – A memoir in Marathi by Kanchan Ghanekar (1989).
2. ‘Aathwaniteel Dr Kashinath Ghanekar’ – Interview of Kanchan Ghanekar in Marathi – Doordarshan Sahyadri – 16/09/2022.
Video Clip:
Audio Clip:
Song-Maine aur kyaa kiyaa (Daadi Maa)(1966) Singers-Asha Bhonsle, Mahendra Kapoor, Lyrics-Majrooh Sultanpuri, MD-Roshan
Both
Lyrics:
maine aur kyaa kiyaa
balam yahee to keh diyaa
ke jo naa jaane preet kyaa
aise beimaan se lagaayaa hai jiyaa
ki maine aur kyaa kiyaa
maine aur kyaa kiyaa
sanam yahee to keh diyaa
ari oo baawaree meraa aa dil nahee liyaa ri
toone dard le liyaa
ke maine aur kyaa kiyaa
main to tere nainon ka rang dekhoon
rang dekhoon
chori chori chaahat kaa dhang dekhoon
dhang dekhoon
ho o o o
tum aise dekhte ho kyaa
tum aise dekhte ho kyaa
jaise chor tum ho
waise main naheen piyaa
ke maine aur kyaa kiyaa
haathh mere behke to ruk gayee kyun
ruk gayee kyun
bojh taley nainon ke jhuk gayee kyun
jhuk gayee kyun
ho o o o
ye ik nazar mein kyaa huaa
ye ik nazar mein kyaa huaa aa
banke mom kyun pighal gayaa badan teraa
ke maine aur kyaa kiyaa
dhoondhe teri chhaayaa ko tan meraa
tan meraa
main jo rukoon chaltaa hai mann meraa
mann meraa
ho o o suno jee morey saajanaa
suno ji morey saajanaa
jaane ye tumhaaraa kab huwaa mera jiya
ke maine aur kyaa kiyaa
maine aur kyaa kiyaa
balam yahee to keh diyaa
ke jo naa jaane preet kyaa
aise beimaan se lagaaya hai jiyaa
ari o baawaree mera dil naheen liyaa ri
toone dard le liyaa
ke maine aur kyaa kiyaa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
December 1, 2024 at 9:56 pm
Sadanand ji,
It is pained to read about Dr. Ghanekar’s tragic end. His story serves as a powerful reminder of how insecurity and jealousy can destroy a brilliant career. Dr. Ghanekar’s rise to stardom was overshadowed by a fear of losing it to others, like Dr. Shriram Lagoo, leading him down a path of alcoholism and unprofessionalism.
This insecurity, instead of motivating him to grow, caused a downward spiral.
True talent thrives only when nurtured with confidence, not consumed by jealousy.
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December 2, 2024 at 8:35 am
Gandhi Vadalpatla ji,
Yes to the last line of your comment.
In the memoirs of Kanchan Ghanekar, it is mentioned that Kashinath Ghanekar was pampered by his mother, being the youngest. During his childhood, his mother used to serve him special food depriving his other brothers. Probably, from the childhood, he was under the inpression that he was a special person, and he carried this impression in his acting profession.
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