Why Bollywood Stars Deeply Admired Late Pramod Kumar Bajaj (P. K. Bajaj)

The decades of the 1970s, 80s and 90s… a time when there were no mobile phones and no social media. News had to be gathered through hard work, and every word was carefully crafted. In those days, the Delhi-published film magazine Mayapuri was considered the heartbeat of the Bollywood world. During that era, A. P. Bajaj (Anand Prakash Bajaj) and his son Pramod Kumar Bajaj (P. K. Bajaj) would frequently travel from Delhi to Mumbai. These long journeys, a bag full of files, and a single purpose in mind — to understand cinema closely and present it to readers with honesty and dignity.

Gradually, Mayapuri established a strong reputation in Bollywood. As A. P. Bajaj grew older and could no longer travel frequently, P. K. Bajaj took on the responsibility of strengthening the magazine’s presence in Mumbai.

In the 1990s, whenever Pramod Ji visited Mumbai, it felt as if a small caravan accompanied him. His close writer friends Pannalal Vyas, Z. A. Johar, and sometimes even I — skipping college — would join him. Early in the morning, we would set out by car toward film studios: sometimes Mehboob Studio, sometimes Film City, Natraj Studio, Seth Studio, Filmistaan Studio, or even the bungalows in Juhu where shooting often took place.

The moment producers and directors saw Pramod Ji arrive on set, they would be delighted. They would warmly welcome him and ensure we were comfortably seated and well looked after. Such was the prestige of Mayapuri that major stars would pull their chairs closer to sit beside Pramod Ji.

Amid the dazzling lights, the movement of cameras, and the hustle of actors preparing for their shots, Pramod Ji’s calm presence stood out. Even within chaos, he seemed to find stillness.

On the set of the film “Chand Ka Tukda”, when we arrived, director Sawan Kumar Tak warmly embraced him and said, “Bajaj Ji, the set feels incomplete without you.” Sawan Kumar Tak shared a very close bond with Mayapuri. Whenever Pramod Ji visited his residence in Juhu, they would sit for hours discussing films, songs, and sometimes life itself. Once Sawan Kumar said, “If Bajaj Ji praises a film, consider half the victory achieved.” Even when Pramod Ji wrote about a film’s shortcomings in Mayapuri, his words were balanced in such a way that they inspired rather than hurt.

Dharmendra shared a brotherly bond with Pramod Ji. Whenever they met, Dharmendra would place a hand on his shoulder and say in Punjabi, “Bajaj Ji, today whose film will you shake up? But honestly, you have a very pure heart.” Once at Mehboob Studio, during a break, Dharmendra shared stories from his village while Pramod Ji listened intently. Later, when an article based on that conversation was published, Dharmendra’s eyes became moist. He said, “You captured my heart.”

With the legendary producer-director Dr. Ramanand Sagar, Pramod Ji shared a spiritual connection. Even when Sagar Sahab was extremely busy after the historic success of the television epic Ramayan, he would still make time for Pramod Ji. Once he said emotionally, “Your words carry calmness, and calmness is the greatest peace.”

Director Shakti Samanta, whose office was also in Natraj Studio, often joked with him, “Bajaj Sahab, do you watch films or read them?” Once during a light drizzle on a set, while others rushed around, Pramod Ji calmly observed the scene and said, “This rain will make the scene even more alive.” Shakti Samanta laughed and said, “You could easily become a director.”

Producer-director Pramod Chakravorty was extremely warm toward him. On seeing Pramod Ji he would say jokingly, “Pramod to Pramod — welcome! Now the film will be seen with the right perspective.”

Conversations with Ramesh Sippy often turned into serious discussions about the evolving language of cinema. Once Sippy remarked, “Responsible journalism can guide cinema in the right direction — just like Mayapuri does.”

Rakesh Roshan and Pahlaj Nihalani also invited him warmly to their sets. Roshan once said, “Your presence makes us feel that a genuine viewer is sitting among us.”

Pramod Ji met Lata Mangeshkar through Sawan Kumar Tak. Their interactions were always dignified and respectful. During an interview, when he asked how she stayed away from controversies, Lata Ji smiled and replied, “Because editors like you publish the truth.” She once blessed him saying, “Your pen carries grace — maintain it.”

With Asha Bhosle, the conversations were more lively. She appreciated his simplicity and once joked, “The way Sulena writes about my songs with such depth must be your training.”

Manoj Kumar admired the patriotic special issues published by Mayapuri. He once said, “When I read your articles on Independence Day and Republic Day, I feel the same spirit that I try to express in my films.”

Rajesh Khanna experienced many ups and downs in life. When others distanced themselves from him, Pramod Ji wrote a sensitive article about his struggles. Later Rajesh Khanna held his hand and said, “You showed me not as someone falling, but as someone rising again.”

Mithun Chakraborty once recalled his early struggle and said, “When I was new, Mayapuri gave me the same space it gave to big stars. Editors like Bajaj Ji are rare.”

The reserved actress Nutan once shared personal struggles with him during an interview. When the article was published, she said, “The editor did not hurt my soul. He protected my emotions.”

Raaj Kumar, known for his distinctive style, once said to him, “You are Bajaj Sahab’s son? Jaani, your editing also has power.”

Sridevi, who was usually quiet with journalists, opened up during a conversation with him. After the interview she laughed and said, “You speak as if someone from my own family is asking.”

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The Kapoor family shared a warm relationship with the Bajaj family. The entire Bajaj family received a special invitation to Rishi Kapoor’s wedding. Rishi Kapoor once told him, “In the artificial world of journalism, at least you are not artificial.”

Pramod Ji often shared a memory of his first meeting with Raj Kapoor at R. K. Studio. When Raj Kapoor looked through an issue of Mayapuri, he said, “Writing about cinema is not easy, but you write with responsibility.” For Pramod Ji, those words were like an award.

His relationship with Gulshan Kumar was based on trust. Gulshan Kumar once said, “The confidence I receive from your pen is greater than any award.”

Shah Rukh Khan once mentioned in a program that as a child he used to read Mayapuri and the children’s magazine Lotpot. “Growing up in Delhi, I first discovered the world of films through Mayapuri. My dreams began there,” he said.

Amitabh Bachchan once told senior Mayapuri journalist Z. A. Johar, “Dignity and restraint in journalism are rare — and Mayapuri has maintained them.”

Salman Khan, known for being selective about interviews, always showed respect for Mayapuri. Even when he kept journalists away from sets, he made exceptions for Mayapuri reporters because of the long-standing friendship between his father Salim Khan and the Bajaj family.

Aamir Khan also showed immense warmth. Whenever Pramod Ji visited his sets, Aamir would personally ensure he was comfortable and often insisted he stay for lunch. In the film “Ghajini”, even including Mayapuri magazine in the storyline reflected his affection for the publication.

Amid all this admiration, Pramod Kumar Bajaj remained the same humble person. He was a bridge — between artists and audiences, producers and readers, cinema and society. No arrogance, no showmanship.

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He often said, “Our job is to understand cinema and write about it honestly.”
Today Pramod Sir is no longer among us. But he has left behind a legacy for all of us.

He was not only the founder and editor of Mayapuri — he was an era.
An era where words carried dignity, relationships were genuine, and love for cinema was pure.
And perhaps that is the greatest legacy any person can leave behind.