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By:

Bharati Dubey

17 May 2026 at 7:08:10 am

Ganpati Bappa and the Movies

How Mumbai’s studios and streets celebrated cinema Mumbai: Mumbai’s Ganesh Utsav has always been more than a religious celebration. For generations, it has also intersected with the city’s other great passion-cinema. Long before photographs of stars welcoming Ganpati Bappa at home became an annual fixture on television and social media, the festival had a presence inside Mumbai’s film studios. Beyond the studio gates, Ganesh mandals were also bringing movies directly to neighbourhood...

Ganpati Bappa and the Movies

How Mumbai’s studios and streets celebrated cinema Mumbai: Mumbai’s Ganesh Utsav has always been more than a religious celebration. For generations, it has also intersected with the city’s other great passion-cinema. Long before photographs of stars welcoming Ganpati Bappa at home became an annual fixture on television and social media, the festival had a presence inside Mumbai’s film studios. Beyond the studio gates, Ganesh mandals were also bringing movies directly to neighbourhood audiences by turning ordinary streets into makeshift theatres. Veteran film journalist and analyst Dilip Thakur, who grew up in Girgaon and has observed Mumbai’s film culture over several decades, remembers both worlds. “Ganesh Utsav and cinema have had a very old relationship in Mumbai. It wasn’t only about film stars bringing Ganpati home. The studios, the workers and even the neighbourhood mandals were all part of this culture,” says Thakur. Ganpati Tradition Thakur points to V. Shantaram’s Rajkamal Studio while recalling the early relationship between Mumbai’s studios and Ganesh Utsav. The tradition, he says, can be linked to the period of Navrang, when an elaborate set involving a Ganesh idol and elephants was created at the studio. What began in the world of filmmaking subsequently developed into an annual studio celebration. “During Navrang, a grand set was created with Ganpati and elephants. That became an inspiration for the Ganesh festival at Rajkamal Studio, and the tradition continued,” Thakur recalls. The importance of the celebration lay not merely in its association with a celebrated filmmaker. Studios of that era had large permanent communities of technicians, craftsmen and other workers, and festivals became occasions for everyone connected with the premises. “Studios in those days were like families. Actors, technicians and workers celebrated together. Ganpati was not merely a celebrity occasion—it belonged to the entire studio,” says Thakur. Entry to Devotees Raj Kapoor’s RK Studios in Chembur developed its own distinctive Ganpati tradition. The studio’s Holi celebrations became legendary in the film industry, but its Ganesh Utsav also drew people from outside the film fraternity. The Ganpati was installed close to the main studio building, and devotees could enter the premises for darshan. “People always talk about RK Studios’ Holi, but its Ganpati celebration was also very special. The idol was installed near the main building, and ordinary people could come inside the studio for darshan,” Thakur says. For a movie fan, this meant something unusual: an opportunity to enter the premises associated with Raj Kapoor and some of Hindi cinema’s most famous films while participating in a festival shared by the wider city. The immersion procession added another dimension to the tradition. Different generations of the Kapoor family participated over the years, from Raj Kapoor to Randhir Kapoor and Rishi Kapoor, and later Ranbir Kapoor. The procession travelled from Chembur towards Girgaon Chowpatty, passing through parts of central Mumbai along the way. As round-the-clock television news expanded, cameras increasingly followed the Kapoor family and the procession. “The procession would travel from Chembur towards Girgaon Chowpatty through areas such as Kurla and Sion. Once television news channels began covering it extensively, the RK Ganpati visarjan became a major media event,” says Thakur. The connection survived beyond the studio’s heyday. Thakur recalls that people associated with RK Studios continued the Ganpati tradition for some time even after regular studio activity had ceased. “Even after the studio stopped functioning as before, people who had worked there continued the tradition for some time. That tells you how emotionally connected the workers were to the RK Ganpati,” he says. Mumbai Galli Thakur’s most vivid memories, however, come from outside the studios. Ganesh Utsav once provided an unusual second life for films that neighbourhood audiences had missed during their theatrical runs. During the 1960s and 1970s, local Ganesh mandals organised outdoor screenings with 16mm projectors. A screen—or sometimes simply an available wall—could transform a narrow lane into a neighbourhood movie theatre for an evening. “We called it ‘Galli Cinema’. A 16mm projector would arrive, a screen would be put up, and the entire lane would become a cinema hall,” Thakur recalls. Growing up in Girgaon, he experienced this culture first-hand. Films featuring stars such as Shammi Kapoor and Dev Anand were among those he remembers watching during Ganesh festivities in the 1970s. “I watched many films like this in the 1970s. If you had missed a movie when it was released in theatres, Ganpati celebrations sometimes gave you another opportunity to see it,” he says. There was no streaming, satellite television or instant access to a vast film library. A neighbourhood screening could therefore become an event in itself, attracting families, children and film enthusiasts from surrounding buildings. “There was a different joy in watching a film with the entire neighbourhood. Ganpati brought everyone together, and cinema became part of that celebration,” Thakur says. It was entertainment, but it was also a form of community movie-going that belonged to a particular period in Mumbai’s cultural history. Stars Power As the film industry changed, so did the visibility of its Ganesh celebrations. Home Ganpatis hosted by stars increasingly attracted media attention. Madhuri Dixit, Shilpa Shetty, Salman Khan and Sonali Bendre are among the film personalities whose celebrations became familiar to audiences. Thakur also sees the growth of television as an important turning point. As Mumbai’s entertainment industry became broader and more diverse, Ganesh Utsav was embraced by artists from different backgrounds. “Earlier, you saw the tradition particularly among Maharashtrian artists and film workers. Later, as the industry expanded—and especially with the growth of television—artists from many different backgrounds began bringing Ganpati home,” he observes. Television brought cameras into celebrations that once remained largely private. Social media pushed that transformation further, making celebrity Ganpati arrivals, pujas and immersions instantly accessible to fans. Pull of Girgaon Some film personalities, however, have a relationship with the festival that predates stardom. Thakur points to veteran actor Jeetendra and his enduring association with Girgaon, where the actor spent his early years. “Jeetendra has never forgotten his Girgaon connection. On the first day of Ganesh Utsav, he has continued to visit the area and seek Bappa’s blessings. That relationship goes back to his early years,” says Thakur. For him, such connections are significant because they reveal how a festival can link a star back to the neighbourhood and community that existed before fame. “It is not always about publicity. For many artists, there is a personal memory attached to Ganpati—the building they lived in, the mandal they knew or the neighbourhood where people watched their films,” he says. Khetwadi’s Culture Filmmaker Manmohan Desai was similarly surrounded by the sights and sounds of Ganesh Utsav. His association with the Khetwadi-Bhatkar Street neighbourhood placed him close to an area renowned for elaborate public Ganpati celebrations. “Manmohan Desai lived in an area where Ganpati celebrations were everywhere around him. Khetwadi had that energy—the crowds, decorations and huge pandals. He was also a devotee who would visit Lalbaugcha Raja,” Thakur recalls. The scale, colour and crowds of Mumbai’s public celebrations were part of the cultural environment in which filmmakers lived and worked. It was only natural that some of that energy would eventually make its way onto the screen. Silver Screen Hindi cinema has repeatedly turned to Ganesh Utsav for music, drama and spectacle. “Deva Ho Deva Ganpati Deva” from Humse Badhkar Kaun became one of the songs closely identified with Ganesh celebrations, while “Deva Shree Ganesha” from Agneepath gave a later generation a powerful cinematic Ganpati anthem. “Cinema takes from society, and Ganesh Utsav is such a strong part of Mumbai that it naturally entered our films,” says Thakur. Much of the world he remembers has changed. The 16mm projectors no longer routinely turn Mumbai’s lanes into movie theatres. The old studio system has faded, some historic studios have disappeared, and celebrity celebrations now reach audiences instantly through phones. But the larger relationship between Mumbai, movies and Ganpati Bappa has endured. “From Rajkamal and RK Studios to the gallis of Girgaon, Ganpati and cinema have travelled together for generations,” Thakur says. “The way we watch films has changed and the way stars celebrate has changed, but Mumbai’s emotional connection with Ganpati Bappa has not.”

“Even after Rana’s trial and sentencing, closure will remain far away”

Writer: Kiran D. Tare
Kiran D. Tare
Apr 29, 2025
6 min read

The extradition of Tahawwur Rana, accused of aiding Pakistani military officials in orchestrating the 26/11 Mumbai terror attacks, has reopened a dark and complex chapter in India’s fight against cross-border terrorism. His questioning is expected to reveal new details about the Pakistani state’s alleged involvement and the broader Lashkar-e-Taiba (LeT) conspiracy. In Part Two of this exclusive interview, Kiran D. Tare, Editor, The Perfect Voice, speaks with Atulchandra Kulkarni, IPS (Retd.), former Special DG, National Investigation Agency (NIA), to uncover fresh insights into Rana’s role, the missing local links and why the road to justice remains unfinished. Excerpts…


Has any evidence emerged of local logistical support for the attacks?

As of now, no definitive evidence of local logistical support has come to light. Investigations so far have not uncovered any such angle. However, if Rana were to reveal new information during interrogation, it could open an entirely new dimension to the case.


Regarding the Tardeo office, it is worth noting that Rana did once err: he instructed his business partner to process Headley’s passport and visa applications, despite anomalies and inconsistencies in the documents. These lapses, and others like them, may yet reveal further insights during questioning.


Rana was reportedly in touch with Pakistani military officials, including one Major Iqbal. Does such a person exist?

While the precise name may be inaccurate, there is little doubt that the individual exists. The record now includes ample evidence of at least four or five Pakistani officials linked to the conspiracy.


The larger strategic purpose of Rana’s extradition lies precisely in exposing the Pakistani state’s role in the 26/11 attacks—a role that Pakistan has consistently denied. Headley’s interrogation has already helped uncover details that were previously elusive, offering crucial evidence to establish the complicity of Pakistani institutions.

What role did these Pakistani Army officials play?

Their involvement was substantial. Major Samir, an officer of Pakistan’s Inter-Services Intelligence (ISI), met Headley on several occasions and maintained regular contact with him via telephone and email. A senior ISI functionary with known ties to the Lashkar-e-Taiba (LeT), Samir Ali sought to leverage Headley’s access and connections to advance terrorist objectives.


Samir Ali first introduced Headley to other Pakistani officials. Major Iqbal, for instance, connected Headley to Lieutenant Colonel Hamza, who provided him with financial support and instructed him to strictly follow Major Iqbal’s directions. Hamza, in turn, was Iqbal’s superior and a key enabler.


Brigadier Riaz, another ISI officer closely associated with Zaki-ur-Rehman Lakhvi of Lashkar-e-Taiba, and Colonel Shah, the handler of a figure known as ‘Pasha,’ also played prominent roles. Collectively, these men formed the operational and logistical backbone that enabled the planning and execution of the Mumbai attacks.


Was Hamza the main planner? Is there any official connection between LeT, Rana, or Headley?

Yes, Hamza played a very active role, though Colonel Samir Ali was more operationally active on the ground. And without doubt, Headley has clearly deposed about his links with Lashkar-e-Taiba. He testified that he would visit Khyber Pakhtunkhwa, along the Pakistan-Afghanistan border, ostensibly for drug-related intelligence gathering, but he was, in fact, recruited by Lashkar as early as 2002. For many years, he simultaneously worked for their drug agency and Lashkar-e-Taiba. His depositions revealed a wealth of insider information, including, for example, that Ishrat Jahan was a Lashkar-e-Taiba operative. Given Headley’s deep links with Lashkar-e-Taiba, it is strongly implied that Rana, too, had connections with Lashkar through him.


Headley has said many things. The whole conspiracy seemed designed to look like a Hindu terror attack. Whose idea was that?

Having served in intelligence, I often say that it is a matter of rare fortune for any country to find an agent as resourceful as Headley for Pakistan. He was initially tasked only with reconnaissance — to survey locations and send video footage. But he went well beyond his brief. For instance, he visited Siddhivinayak Temple to observe the finer cultural details — how Hindus dressed, the threads tied around their wrists, and other such cues. By that time, the Malegaon blasts had already occurred and the narrative around “Hindu terror” was gaining currency. Headley sensed an opportunity and sold this idea to his handlers. He even bought Hindu religious threads (dhagas) to build the façade. It was his brainchild, which Zaki-ur-Rehman Lakhvi endorsed. Subsequently, each attacker was issued fake identity cards, supposedly of South Indian university students, to further cement a Hindu identity. Had Ajmal Kasab not been captured alive, the entire operation might have been wrongly attributed to Hindu groups, with no link to Pakistan ever exposed. We were very fortunate, and I salute Sub Inspector Tukaram Omble for his ultimate sacrifice in capturing Kasab alive, which corrected the course of the investigation.


What was Abu Jundal’s role in establishing local connections?

As per Headley’s revelations, he did not know Abu Jundal personally. He recounted seeing Jundal operating out of a control room in Karachi and mentioned a casual encounter with him at a Lashkar camp. That is Headley’s version. It will now be very interesting to hear what Rana has to say on this matter. Abu Jundal was clearly roped in to establish local links. Some may argue that someone from Beed could not direct an operation of this magnitude in Mumbai, but based on available intelligence, this assumption is incorrect. If any local linkages do exist, they are yet to be fully unearthed and will surface during the ongoing investigation.


How credible is Headley’s claim that his school was destroyed during the 1971 war? Is his revenge theory plausible?

I don’t know. I don’t think so. He might have said anything. Everybody in Pakistan is mentally conditioned to not forgive India because of the separation of Bangladesh. They believe that the 1971 war had split their country and hence they have decided not to forgive India. This narrative is frequently reinforced even today. For instance, just days before the Pahalgam attack, Pakistan Army Chief General Asim Munir described Kashmir as the “jugular vein” of Pakistan, vowing never to relinquish it. Such sentiments are deeply embedded in the Pakistani establishment and public psyche.


Now that Rana is in custody, what is the next step?

Under the law, custody can be extended up to 90 days to allow the NIA to complete their interrogation and collect detailed evidence. Investigation will proceed systematically. If needed, crime scene will be recreated. A supplementary chargesheet will then be filed in the same case. Many people ask whether this extradition marks the closure of the 26/11 investigation. The answer is - absolutely not. Rana is merely one co-accused among eight, with seven Pakistani nationals still at large. Even after his trial and sentencing, closure will remain far away. If any fresh leads emerge from his interrogation, further steps will be taken. But the larger challenge remains: key Pakistani military officials will never be handed over, making full justice very difficult to achieve.


Since we have not caught the main conspirators, is this not injustice to the victims?

You have answered your own question. Indeed, it is not yet closure for the victims of 26/11. The primary architects of the attack remain beyond our reach. Justice is still pending. Rana’s extradition was possible largely due to a shift in US policy under President Trump, who declared that the US would no longer shelter undesirable elements. We must proceed with patience and perseverance to bring all culprits to book.


Is there any other example, globally, of an accused being extradited and punished, besides Abu Salem?

Yes, there are several examples. Rana’s case marks the second instance of a terrorism-related extradition. The first was linked to Sikh militancy, way back in 1999–2000, soon after India’s extradition treaty with the United States (signed in 1997) came into force. Since then, numerous criminals, though not always terrorists, have been extradited from the US and other countries. Currently, India has formal extradition treaties with 48 countries, and arrangements (less formal than treaties) with 12 others. Deportation, which is a simpler and faster process, has also been effectively used.


For instance, in the second half of 2023 alone, six suspects were deported to India, thanks to close coordination with countries like the UAE. However, extraditing terror suspects is rare and a monumental achievement because globally, there is often the argument that ‘one man’s terrorist is another’s freedom fighter.’ Many accused exploit asylum laws to delay or escape extradition. Thus, every successful extradition in terror cases is a major diplomatic and legal milestone.

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