In the world of Hindi cinema, rivalries are often cloaked in professionalism. But sometimes, a single moment — or a single scene — can fracture even the most promising collaborations. One such fracture occurred during the making of Namak Haraam (1973), and it changed the trajectory of the relationship between two of Bollywood's biggest icons — Rajesh Khanna and Amitabh Bachchan.
From Anand to Adversaries
In 1971, Anand marked a powerful collaboration between Rajesh Khanna, then the reigning superstar of Hindi cinema, and a rising actor named Amitabh Bachchan. The film was a massive success and earned both critical acclaim and audience adoration. But while Anand cemented Rajesh’s position, it was just the beginning of Bachchan’s meteoric rise. Two years later, Zanjeer turned the tide in Amitabh’s favour, positioning him as the new face of stardom — intense, brooding, and unlike the romantic heroes Bollywood had previously adored.
The changing dynamics of their respective careers cast a long shadow on Namak Haraam, the next project that brought the two together. Helmed by Hrishikesh Mukherjee and written by Gulzar, the film revolved around themes of friendship, class struggle, and betrayal. But behind the camera, another quiet betrayal was unfolding.
A Death Scene and the Battle for Heroism
In his book Rajesh Khanna: The Untold Story of India’s First Superstar, author Yasser Usman quotes lyricist and screenwriter Gulzar, who recalled how the original climax of Namak Haraam was rewritten to suit Rajesh Khanna’s wishes. The actor had already tasted the emotional impact of an on-screen death in Anand, where his character’s tragic end left an unforgettable imprint on viewers. This time too, Khanna wanted the same — to be the one who dies.
“Hrishikesh Mukherjee had promised Rajesh Khanna the death scene,” Gulzar recalled. And so, despite the narrative initially being tilted towards Amitabh’s character, the climax was quietly shifted. When Amitabh finally found out — on the very day of the shoot — he was devastated. “In Hindi films, the one who dies is considered a hero, so both were keen on being heroic,” Gulzar said. “He was crestfallen. He was so hurt that he didn’t speak to me for several days. He felt I had betrayed him.”
Accusations, Anger, and Distance
The professional snub led to a personal fallout. According to Prashant Roy, Rajesh Khanna’s secretary for two decades, the actor became increasingly suspicious of Amitabh’s influence on their shared director. “Kakaji used to be very angry with Amitabh Bachchan. He used to tell his close friends that Hrishikesh Mukherjee is his favourite director, but Amitabh has filled his ears,” Roy recounted in the same book.
The bitterness spilled beyond the sets. Roy claimed that during the entire shoot of Namak Haraam, Khanna believed Bachchan was playing “dirty politics” with the director. After the film wrapped, neither actor worked with the other again. “During my 20 years working with Kakaji, I never saw Amitabh coming to Aashirwaad,” Roy added, referring to Khanna’s bungalow. “Earlier, Hrishikesh Mukherjee used to come quite often, but after Namak Haraam, even his visits were rare.”
Though Namak Haraam became a classic and was critically appreciated for its performances, it marked the end of the Rajesh-Amitabh cinematic pairing. The unspoken coldness endured for decades. When Rajesh Khanna passed away in 2012 at the age of 69, it closed a chapter of Hindi cinema marked by shifting stardom and silent estrangements.
From Anand to Adversaries
In 1971, Anand marked a powerful collaboration between Rajesh Khanna, then the reigning superstar of Hindi cinema, and a rising actor named Amitabh Bachchan. The film was a massive success and earned both critical acclaim and audience adoration. But while Anand cemented Rajesh’s position, it was just the beginning of Bachchan’s meteoric rise. Two years later, Zanjeer turned the tide in Amitabh’s favour, positioning him as the new face of stardom — intense, brooding, and unlike the romantic heroes Bollywood had previously adored.
The changing dynamics of their respective careers cast a long shadow on Namak Haraam, the next project that brought the two together. Helmed by Hrishikesh Mukherjee and written by Gulzar, the film revolved around themes of friendship, class struggle, and betrayal. But behind the camera, another quiet betrayal was unfolding.
A Death Scene and the Battle for Heroism
In his book Rajesh Khanna: The Untold Story of India’s First Superstar, author Yasser Usman quotes lyricist and screenwriter Gulzar, who recalled how the original climax of Namak Haraam was rewritten to suit Rajesh Khanna’s wishes. The actor had already tasted the emotional impact of an on-screen death in Anand, where his character’s tragic end left an unforgettable imprint on viewers. This time too, Khanna wanted the same — to be the one who dies.
Hrishikesh Mukherjee's 1973 film "Namak Haram" starring Amitabh Bachchan, Rajesh Khanna, A.K. Hangal, Asrani and Rekha. pic.twitter.com/qVIUGtCCo3
— Subhash Shirdhonkar (@4331Subhash) June 23, 2022
“Hrishikesh Mukherjee had promised Rajesh Khanna the death scene,” Gulzar recalled. And so, despite the narrative initially being tilted towards Amitabh’s character, the climax was quietly shifted. When Amitabh finally found out — on the very day of the shoot — he was devastated. “In Hindi films, the one who dies is considered a hero, so both were keen on being heroic,” Gulzar said. “He was crestfallen. He was so hurt that he didn’t speak to me for several days. He felt I had betrayed him.”
1973 :: Amitabh Bachchan And Rajesh Khanna With Director Hrishikesh Mukherjee During Shooting of Movie Namak Haram pic.twitter.com/vcHXXpJD8G
— indianhistorypics (@IndiaHistorypic) April 29, 2017
Accusations, Anger, and Distance
The professional snub led to a personal fallout. According to Prashant Roy, Rajesh Khanna’s secretary for two decades, the actor became increasingly suspicious of Amitabh’s influence on their shared director. “Kakaji used to be very angry with Amitabh Bachchan. He used to tell his close friends that Hrishikesh Mukherjee is his favourite director, but Amitabh has filled his ears,” Roy recounted in the same book.
The bitterness spilled beyond the sets. Roy claimed that during the entire shoot of Namak Haraam, Khanna believed Bachchan was playing “dirty politics” with the director. After the film wrapped, neither actor worked with the other again. “During my 20 years working with Kakaji, I never saw Amitabh coming to Aashirwaad,” Roy added, referring to Khanna’s bungalow. “Earlier, Hrishikesh Mukherjee used to come quite often, but after Namak Haraam, even his visits were rare.”
Though Namak Haraam became a classic and was critically appreciated for its performances, it marked the end of the Rajesh-Amitabh cinematic pairing. The unspoken coldness endured for decades. When Rajesh Khanna passed away in 2012 at the age of 69, it closed a chapter of Hindi cinema marked by shifting stardom and silent estrangements.
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