Wednesday, November 22, 2017

Actress Shyama remained immortal in her works.


Shyama, the veteran actor remained immortal in her works. Veteran Bollywood actor Shyama passed away on the morning of November 14, 2017 at the age of 82. Her daughter Shirrin told indianexpress.com that her mother was suffering from a lung infection, and her health deteriorated further because of that. The cremation took place at 2.30 pm at Marine Lines in Mumbai today. The actress was known for her roles in movies like Aar Paar, Barsaat Ki Raat, Sawan Bhadi, Milan and Sharada. In a more than four-decades-long career, Shyama acted in about 175 movies. She won the Filmfare Award Best Supporting Actress award for her performance in Sharada. It is very sad. The film fraternity and viewers were shocked to hear her death. She was one of the very beautiful actresses of the 1950s and 1960s. Her dance performances, powerful acting and great expression still haunt the viewers. She rose to stardom with Guru Dutt’s film Aar Par. Her lips in Geeta Dutt’s song “ae loji hari piya hui teri jeet re”, “ sun sun sun sun zalima” became super hit. OP Nayyar composed the music of the film. Aar Par was a super hit film of 1954. She did well opposite Dilip Kumar in the film Amar. Madhubala was the other lead actress of the film. She did well in Raj Kapoor’s film Sharda. Meena Kumari played the lead role in the film. It was a super hit film of 1957. Shyama did not fear even negative characters. In Sharda in the later part of the film her role was negative. Shyama (born Khurshid Akhtar; 7 June 1935 – 14 November 2017) was a Hindi movie actress. Her best known roles were in Aar Paar (1954), Barsaat Ki Raat (1960) and Tarana. She was also noticed for her versatility through her performances in Milan, Bhai-Bhai (1956), Mirza Sahiban (1957), Bhabhi (1957) and Sharda, for which she was awarded the Filmfare Award for Best Supporting Actress. She was the actress in late 50s who has been most responsive to the rhythm and lyrics of the music directors and poets. Songs picturised on her such as "Ae dil mujhe bata de", "O chand jahan wo jaye", "Ae lo main hari piya", "Dekho, wo chand chhup ke karata hai kya ishare", "Chhupa ke meri aankhon ko", Sun Sun Zalima and "Ja re ka re badara" are examples of her sensitive acting. She did a double role in Do Bahen(1959) portraying twins who were completely different in characters. Shyama arrived in Mumbai from Lahore in the 1940s. As a young girl, she acted in a few films like Noorjahan's husband Shauqat Rizvi's Zeenat (1945) and Meerabai (1947). Director Vijay Bhatt gave her the stage name Shyama, by which she is credited in her movies. She had starring roles in Guru Dutt's classic Aar Paar, and later in Barsaat Ki Raat, which was perhaps her best performance. She was a major star in the 1950s and 1960s and acted in more than 150 movies many in starring roles. Johnny Walker and Shyama had worked in films like Choo Mantar, Aar Paar, Musafir Khanna, Khota Paisa and Khel Khilari Ka. She was married to cinematographer Fali Mistry in 1953, and the couple had two sons, Faroukh and Rohinton and a daughter Shirrin. Fali Mistry passed away in 1979, thereafter she continued to stay in Mumbai. Her close friend were actress Ameeta and Johnny Walker. Nasir Khan, Johnny Walker’s son expressed his grief on hearing the news. In an interview with Mid-Day, he said, “It’s really disheartening to know about the demise of Shyama aunty. She had done several films with my father and in a lot of them she was opposite him also. In fact, in the film that was made on his name ‘Johnny Walker’, she was the heroine with him.

Monday, November 20, 2017

Gayatri Bose songs were very popular in 1950s.


Romantic Singer Gayatri Bose sang many romantic songs during 1950s and 1960s. Some of the songs were for children also. Her song “amar sondhya pradip jolbe angina” composed by Robin Chatterjee was one of the successful songs. Her song “shuktara akashero konete” was one of the other songs. One of her other songs was “ei phalgun hok obosan” which was composed by Shyamal Mitra. There was another song “amar jibone pradeep jalate” which became very popular in the 1950s. Gayatri Bose showed her immense romantic andaz in the song “poddokoli sakal khoje” which was very melodious. Some of her other notable songs included “oi baaje kini rini rini”, “gun gun gun bhramara”, “aakash kandey baatash kaande”, “e mon kemon kore jeneche”, “dure pahar jeno koto”, to mention a few. Gayatri Bose sang many melodious songs in the 1950s. They included “aaj malonche moushami howa”, “andhare prodip mor”, “swapnabhara ei banatal”, “prothom mukul tumi jhorona”, “dekho dekho krishnachura”, “o meghe meghe”, etc. There was strong competition between a number of female singers during the golden age including Sandhya Mukherjee, Geeta Dutt, Alpona Banerjee, Pratima Banerjee, Ila Bose, Shipra Bose, Nirmala Mishra and others. That was one of the reason Gayatri Bose could not dominate the music arena but she had her own identity and singing style which was appreciated by the audience. She had also sang in Uttam Kumar’s films like Bidhilipi where Sandharani acted opposite Uttam Kumar. The music of the film was composed by Kalipada Sen. There were four songs in the film which were sung by Gayatri Bose, Mrinal Chakravarty and Alpona Banerjee. All the songs were very successful. Sandhya Mukherjee and Geeta Dutt sang majority of songs of actress Suchitra Sen. So in the film arena Gayatri Bose’s talent was not exploited to that extent. But she sang brilliant songs in the modern song arena and for those reasons the songs should be preserved.

Monday, November 6, 2017

Jaikishan and Rafisahab cannot be forgotten.


Jaikishan Dayabhai Panchal is remembered on 12th September and 4th November, his death anniversary in 2013. The listeners of music all over the world wished happy birthday to legendary composer Jaikishan better known as Jaikishan Dayabhai Panchal on 4th November, 2012. He was part of the legendary duo Shankar Jaikishan who dominated bollwood music during the 1950s and 1960s. Rafi had a very sweet relationship with Shankar Jaikishan but unfortunately their relationship had not been glorified in bollywood history. Whenever contribution of composers relating to classic creations involving Rafi are highlighted the name of Naushad, Roshan, Madanmohan, OP Nayyar are glorified and the contribution of Shankar Jaikishan is ignored. If Rafi’s stylish andaz relating to westernized compositions are adequately it is Shankar Jaikishan who had used it to perfection. They had used Rafi for singing romantic songs with Japanese orchestration in Love in Tokyo including songs like “aja re aa zara aa”, “Japan, Love in Tokyo”, “ o mere shahekhuba”, etc. In Biswajeet’s April Fool SJ’s composition for Rafi including “aa gale lag ja” had westernized background. SJ’s composition for Rafi in Shammi Kapoor’s An Evening in Paris like “akele akele kahan ja rahe ho”, “raat ke humsafar”, had loud French music with echo effect and Rafi’s intonation was also westernized. Shankar Jaikishan gave a completely different style of music to Rafi in Rajender Kumar’s Aarzoo with songs like “aji ruth kar ab”, “chalke teri aankho se”, “ai nargisi mastana”, etc. SJ had given songs addressing children to Rafi including “nanne munne bache teri mutthi me kya hai” in Boot Polish, “hai na bolo bolo”, “re mamma re mamma re” in Shammi Kapoor’s Andaz and “chakke p chakka” in Brahmchari. Rafi pronounced the words with childish accent and SJ used the orchestration to attract children. There were ghazals also given by SJ for Rafi including “rukh se zara nakab” in Jeetender’s Mere Huzoor, “unke khayal aye to” in Raj Kumar’s Lal Patthar, “saaze dil ched de” in Pradeep Kumar’s Rajhaath, etc. Besides SJ’s creation involving Rafi in somber mood had created great impact including songs like “teri zulfon ki judai to nahi maangi thi” in Dev Anand’s Jab Pyar Kisi Se Hota Hai, “ehsaan tera hoga mujhpar” in Shammi Kapoor’s Junglee, “yaad na aye” in Rajender Kumar’s Dil Ek Mandir. Shankar Jaikishan had used Rafi’s classical andaz in the songs “radheke tune bansoori churai”, “ajahu na aye”, etc., and combined the ragas with devotional andaz. SJ had given music in almost 200 films within the span from 1949 to 1971, and at least each year they composed music for approximately 10 films. As Rafi was given predominance over other male singers SJ had use him in regular intervals even without doing injustice to Mukesh, Manna Dey, Kishore Kumar, Talat Mehmood and others. Songs like “kaun hai jo sapno me aya” from Jhuk Gaya Aasman, “to bura maan gaye” from Ayee Milan Ki Bela, “yeh ankhen” from Jab Pyar Kisi Se Hota Hai, “tujhe jeevan ki dor se” from Aasli Nakli, “dheere dheere chal” from Love Marriage, “badan pe sitaren lapete hue” from Prince, “mai kahin kavi na banjayun” from Pyar Hi Pyar, “mai gayun tum so jao” from Brahmchari, had not lost their flavour even 40 years after their creation due to sheer brilliance of Shankar Jaikishan. It is really tragic neither Shankar Jaikishan had received the accolades that they deserved nor Rafi’s association with them had been glorified but history says that the combination of Rafi with Shankar Jaikishan had produced invaluable creations which had become immortal over the period of time. Rafi had a dream run in the 60s, mainly in the films of Jubilee Kumar, Rajender Kumar for more than a number of reasons. Firstly Rajender Kumar acted in the production and direction of biggest banners of bollywood in the 60s. Secondly from 1963 to 1966, all his films ended up in silver jubilee showing his immense popularity and strong presence in the box-office. Shankar Jaikishan was equated with God in the early 60s and the main reason of the box-office success of Jubillee Kumar’s films was the superlative music given to him by both SJ and Naushad. In the film Ayee Milan Ki Bela, all the songs of SJ, picturised on Rajender Kumar and sung by Rafi became super hit The immortal songs include “mai pyar ka diwana“, “aha aye Milan ki bela“, “tum khamseen ho“, “to bura maan gaye“, “o sanam tere ho gaye hum“. Rajender Kumar and Saira Banu’s online chemistry in the film helped in the success of the film. SJ’s composition in the film Aarzoo, Humrahi and Sasural for Rajender Kumar and Rafi were equally rich. The brilliant songs include “chalke teri aankhose“, “ae nargisi mastana“, “aji ruth kar ab“, “yeh aansoo meri dil ki zubaan hai“, “teri pyari pyari surat ko“, “mujhko apne gale laga lo“, to mention a few. Sadhna complimented the powerful performance of Rajender Kumar in Aarzoo. The brilliant combination of Rafi, SJ and Rajender Kumar, continued in the film Dil Ek Mandir and Jhuk Gaya Aasman. Prominent songs include “yaad na jaye“, “jahan koi nahi“, “dil ek mandir hai“, “o priya kaun hai jo sapno me aya“, “kahan chal diye“, to mention a few. SJ Rafi and Rajender Kumar continued in the film Aman, where songs like “surahidar garden koel si hi awaz” still mesmerizes the listeners. Rafi, Rajender Kumar and SJ created history even in the film Suraj. The songs “kaise samjhayun“, “chehere pe giri zulfein“, “itna hai tujhse pyar mujhe“, “baharon phool barsao” had become immortal over the years. Rajender Kumar and Vaijayantimala’s screen presence were as majestic as the voice of Rafi and the quality of music of Shankar Jaikishan. The other films where the magic combination of Rafi, Rajender Kumar and Shankar Jaikishan made people speechless include Zindagi and Sangam, with the prominent songs being “pehle milethe sapno me” and “meherban likhoon“. When Shammi Kapoor was informed about Rafi’s death in 1980, he was told by the informer that he had lost his own voice. In other words it was said that Rafi’s voice had reached the soul of Shammi Kapoor, whose success in bollywood films was largely dependent on the golden voice of Rafi. Shankar Jaikishan had contributed in around 22 films of Shammi Kapoor and without the magical duo Rafi’s combination with Shammi Kapoor would not have fulfilled the popular demands of the musical audience. If SJ’s composition for Raj Kapoor mark the music catered to the masses, the composition for Rajender Kumar mark the sophisticated tunes catered towards the cultured audience, the compositions for Shammi Kapoor mark the westernized andaz addressed for the young generations. Shammi Kapoor brought the rock and roll andaz of Hollywood films in hindi films, and SJ and Rafi combined together to bring the energetic andaz of Shammi Kapoor who was considered to be a rebel star in the 60s. In fact his style was imitated by Joy Mukherjee and Biswajeet who were also blessed with melodious songs sung by Rafi in the 60s. SJ, Shammi Kapoor and Rafi combined together to give superhit songs in the film Junglee, including “ehsaan tera hoga mujhpar”, “meri yaar shabba khair”, “chahe koi mujhe jungle kahen”, etc. Saira Banu made her debut opposite Shammi Kapoor and the Subodh Mukherjee film became a trend setter for other directors of producers of the 60s. SJ, Shammi Kapoor and Rafi created the same magic in the film Janwar. Songs like “tumse achha kaun hai”, “lal chari maidan khari” became superhit along with romantic performance of Rajashree in the film. SJ, Shammi Kapoor and Rafi combination in the film Raj Kumar was equally sublime with songs like “hum hai rajkumar”, “tumne pukara aur hum chale ayen”, “tumne kisiki jaan ko”, to name a few. Sadhna was sublime along with Shammi Kapoor in the film. SJ, Shammi Kapoor and Rafi created magic again in the film An Evening in Paris. All the songs of the film became super hit including “aji aisa mauka”, “aasman se aya farishta”, “raat ke humsafar”, “akele akele kahan ja rahe ho”, “mera dil hai tera”, “diwane ka naam to pucho”, to name a few. The foreign locations of Paris were as majestic as the European music of SJ and modernized performance of Sharmila Tagore in the film. The brilliant combination of SJ, Shammi Kapoor and Rafi again created magic in the film Brahmchari. All the songs in the film including “dil ke jharoke me”, “chakke pe chakka”, “mai gavun tum so jayo”, “aajkal tere mere pyar ke charche” created storm in bollywood films. Shammi Kapoor won the filmfare for best actor for his performance in Brahmchari, and Shankar Jaikishan won the film fare for best music director for the same film, while Rafi won the filmfare for best singer for singing the song of the same film. Again Rajashree was sublime in the film. SJ, Shammi Kapoor and Rafi were equally brilliant in the film Prince where Vaijayantimala acted opposite Shammi Kapoor. Rafi’s songs “muqabla hum se na karo” was as hit as “badan pe sitaren lapete hue”. The same combination came up with brilliant songs in the film Laat Sahab. The songs “sawerewali gari se chale jayenge” and “aye chaand zara chup ja” became superhit. Nutan contributed well opposite Shammi Kapoor. The magic combination of SJ, Shammi Kapoor and Rafi contributed even in GP Sippy film, Andaz. All the songs of Rafi like “dil use do jo jaan deden”, “hai na bolo bolo”, “re mamma re mammare” became superhit. Hema Malini performed for the first time opposite Shammi Kapoor. The brilliant combination of SJ, Hasrat Jaipuri, Shailendra, Shammi Kapoor and Rafi ended with sad demise of Jaikishan in 1971. Articles after articles can be devoted on the magic combination who even created magic in other films like Tumse Accha Kaun Hai, Jawan Muhobbat, etc. Critics argue that OP Nayyar and Ravi also contributed in Shammi Kapoor’s films, but their music was also influenced by Shankar Jaikishan’s tunes. The films and the songs of Shammi Kapoor, Shankar Jaikishan and Rafi should be preserved for the future generations. A big section of music lovers agree that had Jaikishan not died in 1971, Rafi’s dominance in bollywood music not suffered at all. In fact SJ’s tunes were brilliant and were specifically catered towards the likings of common mass. They were not that technical which could not reach the audience. Besides SJ gave tunes in around 10 films per years all along the 50s and 60s, the era when Rafi was unbeatable.