Hindi
Deven Varma is no more
NEW DELHI: The veteran actor who began his career in the black and white era and eventually also became producer and director passed away early this morning in Pune. Aged 78, Varma passed away following a heart attack and kidney failure. He had not been well for some time and had suffered from diabetes and heart problems.
He is survived by his wife Rupa Ganguly, the younger daughter of the late thespian Ashok Kumar.
Born on 23 October 1937 in Pune, Verma studied at the Nowrosjee Wadia College for Arts and Science of the Pune University and graduated in politics and sociology before joining the film industry. The college had organised a function in his honour in 2012 to felicitate Verma as an ‘Eminent Wadian’. Varma was born in a family dealing in silver but his father also got film distribution.
Considered a master of comedy since he never used external props or funny looks to evoke laughter and managed this through his excellent timing, Verma is best remembered for roles in films like Angoor where he had a double role, Golmaal, Chori Mera Kaam, Andaz Apna Apna, Bemisal, Judaai, Dil To Paagal Hai, and Kora Kagaz.
He won three Filmfare awards in his career for performances Chori Mera Kaam, Chor Ke Ghar Chor and Angoor in which he acted with Sanjeev Kumar in the Gulzar-directed Indian version of William Shakespeare’s Comedy of Errors.
Apart from Hindi films, Varma also acted in Marathi and Bhojpuri films.
He started his acting career in 1961 with Dharamputra and was last seen in the 2003 film Calcutta Mail. Some of his new films were ‘Dil To Pagal Hai’, ‘Ishq’, ‘Kya Kehna’, ‘Salaakhein’, ‘Mere Yaar Ki Shaadi Hai’ and ‘Hulchul’. Other films among the 149 he acted in include Khatta Meetha, Naastik, Rang Birangi, and Dil.
He also tried his hands at producing films but failed. Besides producing eight films, Varma directed four films namely Nadaan, Bada Kabutar, Besharam and Daana Paani. Throughout his acting career, he remained a favourite of directors like B R Chopra, Basu Chatterji, Hrishikesh Mukherjee and Gulzar.
As a young man, he participated in dramas and youth festivals. It was while doing stage shows as part of a drama group that actor Johnny Whiskey and he started mimicking film artistes on stage. BR Chopra saw him performing in a one-act show at a function of the North India Punjabi Association and picked him for Dharmaputra. He then went overseas for stage shows.
On return, he was taken by AVM Studios on a contract for Rs 1500 a month for three years. He stayed in Madras where he was coached in acting. During this time, another B R Chopra which starred him, Gumrah was released in 1963 and became a big hit. Apart from this and the earlier Dharmaputra, he acted with Ashok Kumar also in the black and white Aaj aur Kal. After Gumrah, he acted in Qawwali Ki Raat (1964) opposite Mumtaaz, which was her first film. He then acted in Devar (1966), Anupama (1966), and a Bhojpuri film Nahihar Chutal Jaiye opposite Kumkum.
He made it big in 1975 after Chori Mera Kaam, which gave him his first Filmfare Award. At one time, he said in an interview that he had the record of working in 16 movies at one time. Films like his personal favourite Deedar-e-Yaar, Esmayeel Shroff’s Ahista Ahista, Jeetendra’s Pyaasa Sawaan, and Yash Chopra’s Silsila were released.
Hindi
Rajesh Ramaswamy exits The Script Room to focus on filmmaking journey
Ad filmmaker steps away from own venture to pursue direction and storytelling
MUMBAI: In a move that has caught the attention of the advertising and creative community, Rajesh Ramaswamy has announced his exit from The Script Room, the company he co-founded, marking the end of a seven-year stint at the helm.
The decision, which came into effect earlier this month, signals a shift in focus for Ramaswamy, who is now looking to immerse himself fully in filmmaking and direction as an independent creative.
Known for blending sharp advertising insight with storytelling craft, Ramaswamy has been instrumental in shaping The Script Room into a creative hub that delivered campaigns, branded content, and original storytelling formats. Over the years, the company collaborated with agencies, directors, and a wide network of writers, while also experimenting with formats such as short films and web series.
Sharing his thoughts on the transition, Ramaswamy indicated that the move is driven by a desire to focus and explore stories he has been developing over time. While he acknowledged the unconventional nature of stepping away from one’s own venture, he also framed it as a necessary leap toward clarity and creative pursuit.
Importantly, The Script Room will continue its operations with its current team and leadership, with Ramaswamy expressing confidence in the group that helped build the company’s identity. The studio, he noted, remains well-positioned to evolve further with fresh talent and ideas.
His exit also reflects a wider industry trend, where experienced advertising professionals are increasingly transitioning into independent filmmaking, tapping into the growing opportunities across digital and long-form content platforms.
As Ramaswamy steps into this new phase, the move underscores a familiar creative instinct, sometimes, the boldest ideas begin with a clean break.
