{"id":6052,"date":"2016-03-11T14:45:31","date_gmt":"2016-03-11T09:15:31","guid":{"rendered":"http:\/\/13.201.39.237\/?p=6052"},"modified":"2026-07-17T21:59:50","modified_gmt":"2026-07-17T16:29:50","slug":"no-dharma-films-no-koffee-with-karan-chunky-pandey-bangladesh-dhallywood","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=6052","title":{"rendered":"No Dharma Films, No Koffee with Karan. But Chunky Pandey was a Superstar in Bangladesh"},"content":{"rendered":"\nI<\/span>n a recent interview, Chunky Pandey\u2019s daughter, Ananya, said that even though she belonged to a filmy family, she\u2019d had her share of struggle. One of those struggles was watching her father struggling \u2013 as in, he never got a Dharma film, nor was he invited to <\/span>Koffee with Karan<\/span><\/i><\/a>. But to quote Chunky Pandey from <\/span>Lootere<\/span><\/i> (1993), \u201cMain nahin banna chahta hu mahan, main sirf zinda rehna chahta hu.\u201d He never wanted to be great, he wanted to survive \u2013 a philosophy can that can sum up his Bollywood career.\n\nYet there is one place where Pandey was only met with superstardom and unflinching adoration. That place is <\/span>Bangladesh<\/span><\/a>. How, you ask?\n\nPost-<\/span>Aankhen<\/span><\/i> (1993), the <\/span>David Dhawan<\/span><\/a> blockbuster comedy he did with <\/span>Govinda<\/span><\/a>, Pandey had claimed in a couple of interviews that he practically had no work. Then, in 1995, he got a call from Monowar Kokhon, one of the leading directors of Bangladesh to make his debut in Dhallywood (Dhaka + Hollywood).\n\n\"chunky\n
\n

Post-Aankhen<\/em> (1993), the David Dhawan blockbuster comedy he did with Govinda, Pandey had claimed in a couple of interviews that he practically had no work.<\/p>\n

Chiragdeep International<\/p>\n<\/figcaption>\n<\/figure>\n\n\nThe Bangladeshi industry back then was notorious for their sex and sleaze outings. Legend has it that to woo the audience, many directors would add porn clips between scenes. Some movies were so weird that you could label them <\/span>BDSM<\/span><\/a> \u2013 you know, Bangladeshi Dance Song and Massage. (Those days are thankfully behind us.)\u00a0\n\nWith few options in Bollywood, Pandey dived right in and was an instant success in Bangladesh. He would go\u00a0 on to do <\/span>six <\/span>movies with other prominent Dhallywood directors that included <\/span>Badal Khandakar and<\/span> Rafiqul Islam. The people loved him; dubbed him as Bangladesh\u2019s <\/span>Amitabh Bachchan<\/span><\/a>. That kind of admiration was unimaginable for him in India, where he\u2019d already spent more than a decade trying to hit it big.\n\nLike Hindi cinema, most of his Banglageshi movies were typical commercial masala outings with all song, dance, and action, and some sleaze. Whatever it was, a star of his stature \u2013 with a legit Bollywood career \u2013 had never come to Dhallywood before. He was an enigma, a connection between the Bangladeshi audience and the fabled land of Bollywood. And this helped him to build an everlasting legacy across the border.\n\nPandey probably caught the attention of filmmakers in Dhaka after he starred in two Bangla movies \u2013 <\/span>Mandira<\/span><\/i> (1990) and <\/span>Adhikar<\/span><\/i> (1992) \u2013 with <\/span>Bengal<\/span><\/a>\u2019s reigning superstar Prosenjit. And when Bangladesh was beckoning, Indo-Bangla joint ventures in movies were at an all time high, with stars from Tollywood and Dhallywood coming together for one movie after another. Pandey saw this as an opportunity he shouldn\u2019t let go.\u00a0\n\n

With few options in Bollywood, Pandey dived right in and was an instant success in Bangladesh. <\/p><\/blockquote> \n\nBut no matter how hard you try, you are bound to hit a roadblock while looking for Pandey\u2019s Bangladeshi movies, mainly because they are not catalogued properly even though they are widely available on platforms like YouTube. So you have to keep searching until you locate this treasure trove of entertainment. It\u2019s not an easy task, but I did manage to watch four films because I belong to the Gurukul generation, and with a bit of parampara, pratistha, and anushasan,<\/span> I went on a trip for which you need no drug.\n\nDhallywood films from back in the day are not everyone\u2019s cup of tea, but I am sure Pandey needed something to help him sail through this industry known for its mind-numbing sleaze and objectification of women. His arrival did herald a change and his movies relatively were less titillating.\n\nPandey\u2019s first Dhallywood outing was <\/span>Swami Keno Asami<\/span><\/i> (Why My Husband is a Criminal). A joint venture between Tollywood and Dhallywood, this film by Manowar Khokhon starred Bangladeshi actors Jasim and Shabana with <\/span>Rituparna Sengupta<\/span><\/a> from Tollywood. Pandey is seen in Dashavatharam-style role \u2013 he played an orthopaedic surgeon, teacher, dancer, fighter, and whatnot.\n\nThe plot focuses on the daredevil police officer Ratna (Shabana) who takes on Khoka Choudhury for indulging in illegal activities. Choudhury saab, obviously upset at this gets the dreaded Ali (Jasim) to finish off Ratna. But by some twist of fate, it is revealed that Ali and Ratna are husband and wife, married off when they were kids. When Choudhury\u2019s machinations leave Ratna paralysed, it is Pandey who cures her, manages to woo Ratna\u2019s sister Ritu (Rituparna Sengupta), and joins their crusade against Choudhury.\n\n\"saaho\"\n

\n

After a lucrative career in Dhallywood, Pandey returned to Bollywood and resumed acting. In 2019, he was seen in Saaho<\/em> and Housefull 4<\/em>. <\/p>\n

UV Creations\/ T-Series<\/p>\n<\/figcaption>\n<\/figure>\n\nWhat\u2019s most interesting part about <\/span>Swami Keno Asami<\/span><\/i> is the number of Bollywood movies it draws inspiration from. Ratna\u2019s cop track is borrowed from <\/span>Tejasvini<\/span><\/i> (1994); parts of Pandey\u2019s role are inspired by <\/span>Phool aur Angaar<\/span><\/i> (1993); Ali\u2019s is directly lifted from <\/span>Narsimha<\/span><\/i> (1991); and another scene involving Jasim forcing a groom to marry a motorcycle is taken straight from Mithun\u2019s <\/span>Daata<\/span><\/i> (1989). As far as pastiche filmmaking goes, <\/span>Quentin Tarantino<\/span><\/a> has nothing on them.\n\nPandey continued his Bangladesh journey unabated, with some \u201cwomen-centric\u201d movies. He teamed up again with Manowar Khokon, and much of the cast, for <\/span>Meyerao Manush<\/span><\/i> (Even Women are Humans)<\/span>.<\/span><\/i> Pandey plays the wayward Ronnie, brother to Ratna (<\/span>Shabana<\/span><\/a>), who wants to get rich quick and becomes a \u201cgourmand gangster\u201d who wants to eat chicken fry every day. But when the gang orders him to kill Ratna, he finally rebels. In this trial, terror and tribulation, Ronnie and Ratna are helped by Raja Mastan (Jasim), whose track is totally lifted from <\/span>Rajinikanth<\/span><\/a>\u2019s <\/span>Baasha<\/span><\/i> (1995).\n\nThe other two Chunky Pandey movies that I managed to track down were <\/span>Phul r Pathor<\/span><\/i> (Flower and Stone) and <\/span>Prem Korechi Besh Korechi <\/span><\/i>(I Have Loved and I Don’t Give a Damn). <\/span>Phul r Pathor<\/span><\/i> is a dubbed version of the Hindi movie called <\/span>Kasam<\/span><\/i> (2001). It boasts of a stellar Bollywood cast including <\/span>Sunny Deol<\/span><\/a>, Neelam, <\/span>Naseeruddin Shah<\/span><\/a>, Sharath Saxena, and Sadashiv Amrapurkar.\n\nBut amid all his Dhallywood outings, <\/span>Prem Korechi Besh Korechi<\/span><\/i> stands out \u2013 in fact it is the only one that can claim to be a not-so-weird addition to Pandey\u2019s oeuvre. It\u2019s a pretty straightforward remake of <\/span>Salman Khan<\/span><\/a>–<\/span>Kajol<\/span><\/a>\u2019s <\/span>Pyar Kiya to Darna Kya <\/span><\/i>(1998), where Pandey plays\u2026 not Salman Khan, but the role essayed by <\/span>Arbaaz Khan<\/span><\/a> in the original. And he was, well, not that bad.\n\n

We might sum up Pandey\u2019s Dhallywood career as \u201cit\u2019s so bad it\u2019s good\u201d, but he achieved what he set out to do \u2013 he went, he acted, and he conquered.<\/p><\/blockquote> \n\nWe might sum up Pandey\u2019s Dhallywood career as \u201cit\u2019s so bad it\u2019s good\u201d, but he achieved what he set out to do \u2013 he went, he acted, and he conquered. Success was not elusive to him in Bollywood but he always played second-fiddle, forever friendzoned. But in Bangladesh cinema, he dethroned the likes of Rubel, Dipjol, Manna, Jasim, Salman Shah, and the young Shakib Khan, to be declared the undisputed king. And this was no cake walk.\u00a0 After all Jasim, who was Pandey’s frequent collaborator, was one of the first action stars of Bangladesh, while Salman Shah got the nation in frenzy when his movie <\/span>Keyamat Theke Keyamat<\/span><\/i>, a remake for\u00a0 <\/span>Qayamat Se Qayamat Tak<\/span><\/i><\/a> (1988), released in 1993. Salman Shah reportedly committed suicide, something that\u2019s still disputed by his family, becoming a superstar in his death. Stars like Rubel, Manna, and Shakib Khan came to fill up the void left by him. And even then, with all this competition, Pandey managed to take Bangladesh by storm. It is difficult to pinpoint why he was such an instant hit, but probably that\u2019s what Bollywood gives you \u2013 an identity beyond borders.\n\nThough millennials in Dhaka might not recognise Pandey or many might be quick to dismiss his contribution, films like <\/span>Swami Keno Asami<\/span><\/i> are still extremely popular in rural Bengal as well as Bangladesh.\n\nAfter a lucrative career in Dhallywood, Pandey returned to Bollywood and resumed acting. In 2019, he was seen in <\/span>Saaho<\/span><\/i><\/a> and <\/span>Housefull 4<\/span><\/i><\/a>. However, he still fondly talks about his time in Dhaka, where he even went for his <\/span>honeymoon<\/span><\/a>. It\u2019s like that first love that you seldom forget. There\u2019s a sense of nostalgia you can\u2019t really get rid of. Afterall, what makes an actor is fandom \u2013 it doesn\u2019t matter if it comes from your successes in Bollywood or Dhallywood.\n","protected":false},"excerpt":{"rendered":"

After the success of Aankhen in 1993, Chunky Pandey practically had no work. That\u2019s when directors from Dhallywood, the Bangladesh film industry, came knocking on his door. Pandey dived right in and became an instant superstar.<\/p>\n","protected":false},"author":300,"featured_media":6056,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[10008,10009,702,10010,2762,10011,8335,10012,10013,1107,9510,1035,1036,10014,10015,10016,10017,10018,1494,9080,5395,10019,9057,462,10020,10021,5414],"class_list":["post-6052","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-aankhen","tag-adhikar","tag-amitabh-bachchan","tag-baasha","tag-chunky-pandey","tag-daata","tag-david-dhawan","tag-dhallywood","tag-dharma-films","tag-govinda","tag-housefull-4","tag-kajol","tag-koffee-with-karan","tag-lootere","tag-mandira","tag-meyerao-manus","tag-narsimha","tag-pyar-kiya-to-darna-kya","tag-qayamat-se-qayamat-tak","tag-quentin-tarantino","tag-rajinikanth","tag-rituparna-sengupta","tag-saaho","tag-salman-khan","tag-swami-keno-asami","tag-tejasvini","tag-tollywood"],"yoast_head":"\nNo Dharma Films, No Koffee with Karan. 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But Chunky Pandey was a Superstar in Bangladesh"}]},{"@type":"WebSite","@id":"http:\/\/13.201.39.237\/#website","url":"http:\/\/13.201.39.237\/","name":"Arr\u00e9","description":"In every person lies a creator and in every creator, an enterprise.","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"http:\/\/13.201.39.237\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"http:\/\/13.201.39.237\/#\/schema\/person\/d02bb18b01515f2557e5627b38dc3821","name":"Sayantan Mondal","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/5e810fe24580c72ac5736e627ac2d10ecc638bea5a40143f3d0b4e7664c094f7?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/5e810fe24580c72ac5736e627ac2d10ecc638bea5a40143f3d0b4e7664c094f7?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/5e810fe24580c72ac5736e627ac2d10ecc638bea5a40143f3d0b4e7664c094f7?s=96&d=mm&r=g","caption":"Sayantan Mondal"},"url":"http:\/\/13.207.105.184\/?author=300"}]}},"jetpack_featured_media_url":"http:\/\/13.207.105.184\/wp-content\/uploads\/2026\/07\/1579412081.png","_links":{"self":[{"href":"http:\/\/13.207.105.184\/index.php?rest_route=\/wp\/v2\/posts\/6052","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/13.207.105.184\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/13.207.105.184\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/13.207.105.184\/index.php?rest_route=\/wp\/v2\/users\/300"}],"replies":[{"embeddable":true,"href":"http:\/\/13.207.105.184\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6052"}],"version-history":[{"count":1,"href":"http:\/\/13.207.105.184\/index.php?rest_route=\/wp\/v2\/posts\/6052\/revisions"}],"predecessor-version":[{"id":6055,"href":"http:\/\/13.207.105.184\/index.php?rest_route=\/wp\/v2\/posts\/6052\/revisions\/6055"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/13.207.105.184\/index.php?rest_route=\/wp\/v2\/media\/6056"}],"wp:attachment":[{"href":"http:\/\/13.207.105.184\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6052"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/13.207.105.184\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6052"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/13.207.105.184\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6052"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}