"We're going to adopt a baby girl," she gushes, excitedly. "We want Vir to have a little sister.

We will be applying to an adoption agency when he turns one. It's a decision Raj and I made even before we got married - we were very clear that we wanted to adopt a girl.

It takes a month to a year for paperwork and other things to come through. As we wanted a small age difference between both the kids, this is the perfect time.

Guess I'm all set for the second one now," she says. Mandira admits it was she who postponed having her son.

"It's 'been twelve-and-a half years of marriage and the baby came into our lives after so long as I was delaying it," she informs, adding, "Now when I keep telling Raj that I just can't imagine how it would be without Vir, he wants to just beat me," she laughs. For now, she says her hands are full with her tot.

"I have to be around him all the time and if I have to leave home for a few hours it becomes unbearable. Vir has given us a new reason for living," she says.

With Mother's Day having just passed, Mandira also says she realised how much her son has taught her. "After a long day of being away from him I come back and realise how there's something new about him - a new face, pout or cry.

And just yesterday Raj said the baby was going to teach me one thing I lacked - patience! I was so fiery around the house and Vir has made me calmer and mellower," she admits (less)

Sources indicate it could have something to do with the fact that no one wants to stay in the houses he had shot his previous scary films in, including Bhoot , Phoonk and Phoonk 2 . The filmmaker who has earlier confessed to using the location like a character has been quoted saying, "In the right context and in the right composition scene, you will almost feel as if the location is alive.

" Perhaps that's why no one wants to live in the duplex apartment in Evershine Nagar, Andheri, where Ajay Devgn and Urmila Matondkar shot for Bhoot almost 10 years ago. Reason being that some people still feel the presence of the ghost of Manjeet (a character in the film) even today - something akin to what RGV had stated after the film's release - that the apartment and the house had become synonymous with Manjeet's ghost.

Aware that no one was willing to stay in the house where Bhoot was shot, the filmmaker had confirmed, "It seems the owner of the apartment uses it to store old furniture." We also learnt that before RGV shot Phoonk in Amba Villa near Versova, it used to be let out for weddings.

But after the film's release, people were wary of booking the venue." According to sources, " Phoonk was about black magic.

So when people learned that Ramu's film had been shot there, they got superstitious. The place is now given out for shoots only.

" Bougain Villa in Madh Island (where Phoonk 2 was shot) is owned by Mandira Bedi and Raj Kaushal. Source say that the couple prefers to rent it out than actually living there.

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The next year, Dev Anand launched his own production house Navketan films. After acting in more than 100 films since then, Dev is all set to release his latest film Chargesheet this September.

He has not only acted, but also directed and produced the film. Dev Anand, who was recently awarded the Padma Bhushan, will now be awarded the Phalke Ratna.

The award will be presented by Dadasaheb Phalke Academy on April 30. Past recipients of this award include Sunil Dutt, Dilip Kumar, B R Chopra, and Manoj Kumar.

??Dev Anand made his debut in Bollywood with Hum Ek Hain in 1946. His first big hit was Ziddi, opposite Kamini Kaushal, in 1948.

The next year, Dev Anand launched his own production house Navketan films. After acting in more than 100 films since then, Dev is all set to release his latest film Chargesheet this September.

He has not only acted, but also directed and produced the film. Dev Anand, who was recently awarded the Padma Bhushan, will now be awarded the Phalke Ratna.

The award will be presented by Dadasaheb Phalke Academy on April 30. Past recipients of this award include Sunil Dutt, Dilip Kumar, B R Chopra, and Manoj Kumar.

??Dev Anand made his debut in Bollywood with Hum Ek Hain in 1946. His first big hit was Ziddi, opposite Kamini Kaushal, in 1948.

The next year, Dev Anand launched his own production house Navketan films. After acting in more than 100 films since then, Dev is all set to release his latest film Chargesheet this September.

He has not only acted, but also directed and produced the film. Dev Anand, who was recently awarded the Padma Bhushan, will now be awarded the Phalke Ratna.

The award will be presented by Dadasaheb Phalke Academy on April 30. Past recipients of this award include Sunil Dutt, Dilip Kumar, B R Chopra, and Manoj Kumar.

??Dev Anand made his debut in Bollywood with Hum Ek Hain in 1946. His first big hit was Ziddi, opposite Kamini Kaushal, in 1948.

The next year, Dev Anand launched his own production house Navketan films. After acting in more than 100 films since then, Dev is all set to release his latest film Chargesheet this September.

He has not only acted, but also directed and produced the film. Dev Anand, who was recently awarded the Padma Bhushan, will now be awarded the Phalke Ratna.

The award will be presented by Dadasaheb Phalke Academy on April 30. Past recipients of this award include Sunil Dutt, Dilip Kumar, B R Chopra, and Manoj Kumar.

??Dev Anand made his debut in Bollywood with Hum Ek Hain in 1946. His first big hit was Ziddi, opposite Kamini Kaushal, in 1948.

The next year, Dev Anand launched his own production house Navketan films. After acting in more than 100 films since then, Dev is all set to release his latest film Chargesheet this September.

He has not only acted, but also directed and produced the film (less)

The two films share a common theme as well, so much so that the basic plotting of the two films is almost identical. Take a look.

Upkar is about a mother Radha (Kamini Kaushal) from an agricultural family in a village. She can only afford to send one son for education to the city.

While Bharat (Manoj Kumar) grows up to be an uneducated patriotic son of the soil, his brother (Prem Chopra) returns from the city burdened with the corrupt idea of progressive living with no respect for the motherland. Cut to Kissan where Kamini Kaushal changes gender to become the farmer-father Jackie Shroff who can afford to send only one son for education to the city.

Prem Chopra from Upkar transforms into the city-bred son Arbaaz Khan in Kissan, while Sohail Khan is the son who stays back in the village to be a farmer with his father. ?Till? debt do us part? How does Sohail feel playing Manoj Kumar? The young actor is quite flattered to have elements from Manoj Kumar?s Upkar coming into his film.

Says Sohail, ?Upkar, Mother India, Deewaar?now Kissan. They?re in the same mould.

Emotional drama about a family torn by ideology. I?m being asked, why I?ve chosen to produce a film that has a village and a farmer family in its background.

It seems our filmmakers have forgotten that a majority of India still lives in the villages. I?ll be proud of Kissan for as long as I?m a filmmaker.

? Let?s hope Manoj Kumar who took great offence to the way he was portrayed in Shah Rukh Khan?s production Om Shanti Om will be pleased with this neo-Upkar produced by SRK?s archrival Salman?s brother (less)

Yeah, the sur and spirits are high. It's one of those wacky loud comedies that seem so much in favour these days.

I'm having fun. But I hope I'm doing it right.

" Divya has discovered an unlikely ally and comrade in her endeavour to be funny in Hello Darling. "Issha Koppiker is so much fun.

And she has done this kind of a comedy before. Remember Kya Kool Hain Hum in which she played this loud, motor-mouthed paan-chewing cop? Isha knows the boisterous sur and how to uthao it.

I really enjoy bonding with her on the sets. She makes sure my spirits are high and the laughter is on even when the camera is off.

" So who says two actresses can't be friends? Divya herself had a nightmarish time with co-actress Ayesha Jhulka on during the making of J.P Dutta's Umrao Jaan.

Divya laughs off the memory-jog. "One experience can't sour my attitude to my co-stars.

Apart from Ayesha every actress I've worked with has been a dream, whether it was Preity in Veer-Zara, Madhuri and Konkona in Aaja Nachle, Aishwarya in Umrao Jaan, Sonam Kapoor in Dilli 6 (she's a sweetheart) or Isha in Hello Darling. But my favourite co-star is Kamini Kaushal with whom I did the serial Shanno Ki Shaadi.

We became close friends thereafter. Though I'm so much younger to her, we really bonded.

" (less)

If you remember the stunning Meena Kumari in Sahib Biwi Aur Ghulam, the gorgeous Mumtaz in that fancy orange western draped saree, Sharmila Tagore and Sadhna in their trendy tight churidaars in Waqt, the sexy Zeenat Aman in Satyam Shivam Sundaram, Sir Ben Kingsley as Gandhi or Aamir Khan as Bhuvan in Lagaan, you will realise that Bhanu is right. The Academy Award-winning costume designer who is now releasing her film memoirs in the book, The Art of Costume Design talks to CS about her journey: I must have spent more than five decades in our film industry and although everybody knows about Gandhi and my Academy Award, nobody really knows how I reached here.

I grew up assisting my photographer father in Kolhapur, a city which was obsessed with cinema and art in the late 1930s. I used to watch Greta Garbo films and be fascinated with her dresses.

I went on to study at the JJ School of Art and then did fashion sketches for Eve's Weekly. At the time, Indians didn't have that much access to fashion magazines and many women followed my illustrations to design clothes.

Slowly, I was asked to design clothes and film actresses like Kamini Kaushal, Nargis started frequenting my boutique. I then moved on to costume designing for B R Chopra.

It was Nargis who introduced me to Raj Kapoor and that's how I got my big break. The time was ripe; India was free and there was a lot of interest in experimenting with Indian outfits and Western fashion.

I want to share all this film history with readers. I have worked with everyone from Guru Dutt to Raj Kapoor to Yash Chopra to Ashutosh Gowariker.

Every filmmaker has a different approach. Raj Kapoor had larger than life characters; Guru Dutt was sensitive and had subtler characters.

But my style of working hasn't changed. When I get a brief, I immediately visualise the character and sketch it.

My illustrations are so detailed that the director can see clearly how the actor will look. Designing for the lead actor is easy; it is the minor characters??-- the dhobi, the barber, the servant??-- that require more effort because that's what creates the mood of the film.

?? When Swades released, the biggest compliment for my work came from a critic who said that for the first time SRK looked the character he played. I'm good at this because I am studious.

I like observing things, people, reading history, doing research. When I get the time, I just visit museums and sketch period costumes and weaponry.

People praise me for the costumes of Gandhi. But my research was perfect.

Some of my first sketches of the Mahatma were done when I was in school. So my research was already half-done even before I started work on Gandhi.

A good costume designer is a student for life! WHAT: Talking about costume drama "Costume design is not just about making actors look beautiful. It is about creating convincing characters," says Bhanu Athaiya.

If you remember the stunning Meena Kumari in Sahib Biwi Aur Ghulam, the gorgeous Mumtaz in that fancy orange western draped saree, Sharmila Tagore and Sadhna in their trendy tight churidaars in Waqt, the sexy Zeenat Aman in Satyam Shivam Sundaram, Sir Ben Kingsley as Gandhi or Aamir Khan as Bhuvan in Lagaan, you will realise that Bhanu is right. The Academy Award-winning costume designer who is now releasing her film memoirs in the book, The Art of Costume Design talks to CS about her journey: I must have spent more than five decades in our film industry and although everybody knows about Gandhi and my Academy Award, nobody really knows how I reached here.

I grew up assisting my photographer father in Kolhapur, a city which was obsessed with cinema and art in the late 1930s. I used to watch Greta Garbo films and be fascinated with her dresses.

I went on to study at the JJ School of Art and then did fashion sketches for Eve's Weekly. At the time, Indians didn't have that much access to fashion magazines and many women followed my illustrations to design clothes.

Slowly, I was asked to design clothes and film actresses like Kamini Kaushal, Nargis started frequenting my boutique. I then moved on to costume designing for B R Chopra.

It was Nargis who introduced me to Raj Kapoor and that's how I got my big break. The time was ripe; India was free and there was a lot of interest in experimenting with Indian outfits and Western fashion.

I want to share all this film history with readers. I have worked with everyone from Guru Dutt to Raj Kapoor to Yash Chopra to Ashutosh Gowariker.

Every filmmaker has a different approach. Raj Kapoor had larger than life characters; Guru Dutt was sensitive and had subtler characters.

But my style of working hasn't changed. When I get a brief, I immediately visualise the character and sketch it.

My illustrations are so detailed that the director can see clearly how the actor will look. Designing for the lead actor is easy; it is the minor characters??-- the dhobi, the barber, the servant??-- that require more effort because that's what creates the mood of the film.

?? When Swades released, the biggest compliment for my work came from a critic who said that for the first time SRK looked the character he played. I'm good at this because I am studious.

I like observing things, people, reading history, doing research. When I get the time, I just visit museums and sketch period costumes and weaponry.

People praise me for the costumes of Gandhi. But my research was perfect.

Some of my first sketches of the Mahatma were done when I was in school. So my research was already half-done even before I started work on Gandhi.

A good costume designer is a student for life! WHERE: At her workshop in Breach Candy I must have spent more than five decades in our film industry and although everybody knows about Gandhi and my Academy Award, nobody really knows how I reached here. I grew up assisting my photographer father in Kolhapur, a city which was obsessed with cinema and art in the late 1930s.

I used to watch Greta Garbo films and be fascinated with her dresses. I went on to study at the JJ School of Art and then did fashion sketches for Eve's Weekly.

At the time, Indians didn't have that much access to fashion magazines and many women followed my illustrations to design clothes. Slowly, I was asked to design clothes and film actresses like Kamini Kaushal, Nargis started frequenting my boutique.

I then moved on to costume designing for B R Chopra. It was Nargis who introduced me to Raj Kapoor and that's how I got my big break.

The time was ripe; India was free and there was a lot of interest in experimenting with Indian outfits and Western fashion. I want to share all this film history with readers.

Penning it down "Costume design is not just about making actors look beautiful. It is about creating convincing characters," says Bhanu Athaiya.

If you remember the stunning Meena Kumari in Sahib Biwi Aur Ghulam, the gorgeous Mumtaz in that fancy orange western draped saree, Sharmila Tagore and Sadhna in their trendy tight churidaars in Waqt, the sexy Zeenat Aman in Satyam Shivam Sundaram, Sir Ben Kingsley as Gandhi or Aamir Khan as Bhuvan in Lagaan, you will realise that Bhanu is right. The Academy Award-winning costume designer who is now releasing her film memoirs in the book, The Art of Costume Design talks to CS about her journey: I must have spent more than five decades in our film industry and although everybody knows about Gandhi and my Academy Award, nobody really knows how I reached here.

I grew up assisting my photographer father in Kolhapur, a city which was obsessed with cinema and art in the late 1930s. I used to watch Greta Garbo films and be fascinated with her dresses.

I went on to study at the JJ School of Art and then did fashion sketches for Eve's Weekly. At the time, Indians didn't have that much access to fashion magazines and many women followed my illustrations to design clothes.

Slowly, I was asked to design clothes and film actresses like Kamini Kaushal, Nargis started frequenting my boutique. I then moved on to costume designing for B R Chopra.

It was Nargis who introduced me to Raj Kapoor and that's how I got my big break. The time was ripe; India was free and there was a lot of interest in experimenting with Indian outfits and Western fashion.

I want to share all this film history with readers. I have worked with everyone from Guru Dutt to Raj Kapoor to Yash Chopra to Ashutosh Gowariker.

Every filmmaker has a different approach. Raj Kapoor had larger than life characters; Guru Dutt was sensitive and had subtler characters.

But my style of working hasn't changed. When I get a brief, I immediately visualise the character and sketch it.

My illustrations are so detailed that the director can see clearly how the actor will look. Designing for the lead actor is easy; it is the minor characters??-- the dhobi, the barber, the servant??-- that require more effort because that's what creates the mood of the film.

?? When Swades released, the biggest compliment for my work came from a critic who said that for the first time SRK looked the character he played. I'm good at this because I am studious.

I like observing things, people, reading history, doing research. When I get the time, I just visit museums and sketch period costumes and weaponry.

People praise me for the costumes of Gandhi. But my research was perfect.

Some of my first sketches of the Mahatma were done when I was in school. So my research was already half-done even before I started work on Gandhi.

A good costume designer is a student for life! Drape details I have worked with everyone from Guru Dutt to Raj Kapoor to Yash Chopra to Ashutosh Gowariker. Every filmmaker has a different approach.

Raj Kapoor had larger than life characters; Guru Dutt was sensitive and had subtler characters. But my style of working hasn't changed.

When I get a brief, I immediately visualise the character and sketch it. My illustrations are so detailed that the director can see clearly how the actor will look.

Designing for the lead actor is easy; it is the minor characters??-- the dhobi, the barber, the servant??-- that require more effort because that's what creates the mood of the film.?? (less)

The 88-year-old versatile actor-filmmaker, who died in London last night, will be remembered for his swagger, which continue to find imitations till date. When his contemporaries like Raj Kapoor and Dilip Kumar stopped playing the leading men in movies, Dev Anand did not lose his innate romantic spirit and continued to woo his young heroines with trademark puff of hair, his sloping walk and smile in movies like Johnny Mera Naam, Des Pardes , Hare Rama Hare Krishna among others.

The actor-director-producer was working till his last. His latest project Chargsheet is ready to release and he was planning a extention of his cult hit Hare Rama Hare Krishna .

But there will be no Dev saab, as he was popularly addressed as by friends and fans, to complete them. In his last interview to PTI in September on his 88th birthday, Dev Anand said that he had still a lot to offer.

"My life is the same and I am at a beautiful stage at 88. I am as excited as I was in my 20s.

I have so many things to do and I am looking forward to the release of Chargesheet . "I am working on a fresh script titled Hare Rama Hare Krishna Aaj on audience's demand.

" His films spoke of his modern sensibilities and desire to portray tomorrow's headlines today. The Bollywood legend always said that his films were expression of his world view and hence dealt with socially-relevant subjects.

His recent movies focused on the themes of present times like Awwal Number, Sau Crore, Censor, Mr Prime Minister and the latest Chargesheet where he played central characters. Even though after Awwal Number , his movies did not do well at the box office, the evergreen hero's mantra was always to think positive.

"I never give myself a chance to get depressed. I think ahead," he would say.

There has always been a hint of romance and intrigue in Dev Anand's personal and professional life which perhaps made him so popular. In 2007, he released his memoirs Romancing with Life where he admitted he has never looked back in his life, always preferring to remain optimistic and confident about future.

Born Dharamdev Pishorimal Anand in Gurdaspur of undivided Punjab to a well-to-do advocate Pishorimal Anand on September 26, 1923, he graduated in English literature from the Government Law College in Lahore. He was the second of three brothers born to Kishorimal Anand.

Dev's younger sister is Sheela Kanta Kapur, who is mother of Shekhar Kapur. His older brother was Chetan Anand and younger one was Vijay Anand.

Love for acting made him leave his hometown and arrive in Mumbai (then Bombay), where he began earning Rs 160 a month at the military censor office at Churchgate reading letters written by soldiers to their families. His first breakthrough Hum Ek Hain in 1946, with Pune's Prabhat studios, did little to boost his film career.

He struck a friendship with fellow actor Guru Dutt and they made a pact: if Dev produced a film, Guru Dutt would direct and if Guru Dutt produced a film, Dev would act in it. Dev Anand was offered his first big break by Ashok Kumar, who picked him up as the lead actor for Bombay Talkies production Ziddi co-starring Kamini Kaushal in 1948 which became a success.

In 1949, Dev Anand turned producer and launched his own company Navketan. As promised, he signed his friend Guru Dutt to direct the crime thriller 'Baazi' (1951).

This creative collaboration was a success. In the late forties Dev Anand got a few offers to star opposite singer-actress Suraiya, an established actress of that time.

While shooting these films, he became romantically involved with Suraiya. The two of them were paired in seven films together -- Vidya (1948), Jeet (1949), Shair (1949), Afsar (1950), Nili (1950) Do Sitare (1951) and Sanam (1951), all successful at the box office.

In these films Suraiya was always first billed in credits to imply she was a bigger star than Dev Anand. She fell in love with him during the shooting of the song Kinare kinare chale jayen ge while shooting "Vidya", where during the shooting, a boat capsized and Dev Anand saved Suraiya from drowning.

On the sets of the film Jeet , Dev Anand finally proposed to Suraiya but her maternal grandmother opposed the relationship as they were Muslim and Dev Anand Hindu, and so, Suraiya remained unmarried all her life. He was offered his first big break by Ashok Kumar.

He spotted Dev hanging around in the studios and picked him as the hero for the Bombay Talkies production, Ziddi in 1948, which became an instant success. Always the one to think ahead, Dev Anand decided to start producing films after Zinddi's success.

In 1949, Dev Anand turned producer and launched his own company Navketan which till 2011 has produced 31 films. His trademark style of dialogue delivery, an array of hats and a penchant for nodding while speaking became Dev Anand's style in films like Munimji, CID and Paying Guest .

His style was lapped by the audience and widely imitated. Taxi Driver (1954) and CID (1956) saw him portraying living in the urban underbelly.

He broke new grounds, playing a smuggler in Jaal , absconding gang member in Dushman , blackmarketeer in Kalabazaar and a murderer in Bombay Ka Babu . Still, critics accused him of being more style than substance.

But, Dev Anand proved his detractors wrong - first with a class act in Kala Paani (1958). Then came Hum Dono (1961) and he finally sealed all doubts with a nuanced performance in "Guide" (1966).

In 1970s, his success story continued with Johnny Mera Naam . "Jewel Thief", directed by younger brother Vijay Anand, was another feather in his cap.

Honoured with the Dadasaheb Phalke Award in 2002, Dev Anand had also been politically active. He led a group of film personalities, who stood up against the 1975 Emergency imposed by then Prime Minister Indira Gandhi.

He actively campaigned against her with his supporters in 1977 Parliamentary elections. He also floated a political outfit, National Party of India, which he later disbanded.

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The Board feels it would be inappropriate for TV audiences in its current form." But sources say that the decision is being considered illogical.

Says a unit source, "There was a movie called "Kaminey" last year and someone as legendary as Dharmendra has been known for his 'kutte kaminey' dialogue. That must've been shown on TV thousands of times.

Even the younger lot uses the word 'kamini' in a fun way now." (less)

The Board feels it would be inappropriate for TV audiences in its current form." But sources say that the decision is being considered illogical.

Says a unit source, "There was a movie called Kaminey last year and someone as legendary as Dharmen-dra has been known for his 'kutte kaminey' dialogue. That must have been shown on TV thousands of times.

Even the younger lot uses the word 'kamini' in a fun way now." (less)

An excited Sham Kaushal said, “It is a big honour and recognition for me and Indian stunt community. I just got an email yesterday morning and I am thrilled.

Recognition in any form is welcome and when it comes from such a prestigious organisation, you feel honoured.” (less)