That era is aptly called �The Golden Age of Hindi Cinema� because the films of those times flowered from the hearts of filmmakers who were the embodiment of a composite, pluralistic culture. Housefull is replete with details, and insights into those times and the people who lived, worked and shaped those images and sounds.Hits or flops have never bothered me; that�s why I don�t like to peep into my past. I came to Bombay from Lahore with just ` 35 in my pocket. I am always on the go; my mind is always racing ahead. You know after Jewel Thief I could have bought half of Bombay. I was more popular than ever before, and could have gone on signing films left and right but I decided it was time to switch gears.In those days filmmakers were more liberated than we are today. Raj Kapoor�s Awara was responsible for my sexual awakening. Nargis looked so sensuous. Cinema has progessed technologically, not content wise. Bimal Roy and Guru Dutt gave us a direction which we failed to follow. Most of the parallel cinema never reached out to the people it was actually about, and sometimes talked down to them. It was mostly limited to the cities� exhibition spaces and hence could not force a broader change.He [Raj Kapoor] didn�t go to college but was a well-read man. He had a great memory and an acute sense of right and wrong. I saw him as an embodiment of Krishna, a karmayogi. For him work was everything and he could go to any extent for it.LekhTandonHousefull talks of days of greater harmony and films that shaped the minds of the next generation. Those were the days when the redoubtable Ustad Bismillah Khan and Pandit Ravi Shankar gave music to films... . Ziya gives fresh insight by weaving together interesting anecdotes about some landmark films. After graduation he [Shakti Samanta] had two choices: either to join the Indian Air Force or the film industry. He was selected to join the IAF but his mother would not stop crying.That�s when he decided that he would join the film industry. AshimSamanta Ziya Us Salam, a film critic with The Hindu since 2000, has been writing regularly on cinema. Having contributed to numerous anthologies, he is a dispassionate observer of the changing trends in Indian cinema, from the times of Alam Ara to Pyaasa, DoBighaZamin,Mughal-e-Azam,Sholay,tomorecontemporaryfarelikeTareZameenPar,AWednesday,GangsofWasseypur,etc.HehasservedonthejuryoftheInternationalFilm Festival of India (non-feature film, 2011) and been part of the jury for Best Writing on Cinema in 2008. His forthcoming book, Delhi: Four Shows, is to be published shortly by Om Books International.