Friday, June 29, 2018

Superhit songs of Rafisahab helped Biswajeet establish himself as romantic star.


Romantic film of Biswajeet’s had melodious songs of Mohammad Rafi. Bengali actor Biswajeet Chatterjee after acting in hit films in Bengali namely Mayamrigo in 1960 and Dui Bhai in 1961 went to Mumbai to pursue his acting career there. He made his debut in the film Bees Saal Baad where Hemant Kumar was the producer of the film and also the music composer. In a short period of time Biswajeet got roles to play in films of different producers and directors namely Nasir Hussain, Satyen Bose, Hrishikesh Mukherjee and others. Mohammad Rafi played a very important role in the success story of Biswajeet’s films because most of the films ended up being musical blockbusters. In the film April Fool, released in 1964, Shankar Jaikishan’s composition for Rafi picturised on Biswajeet became super hit including “April Fool banaya”, and “aa gale lag ja”. In Shenai in 1964, Ravi’s composition for Rafi namely “na jhatko zulf se paani” became smash hit. Composer Hemant Kumar used Rafi in Biswajeet’s film Bin Badal Barsaat in 1963 in the song “dil me teri yaad sanam”. Mere Sanam released in 1965 was the greatest hit film of Biswajeet where Rafi was unparallel. OP Nayyar’s stylish westernized compositions were given expression by Rafi in the songs “pukarta chala hoon mai”, “hue hai tumpe aashiq hum”, “humdum mere maan bhi jayo”, “thukre hai mere dilki ay jaan teri aansoon”, “haji baba”, “humne to dilko aapke kadmo pe rakh diya”, “roke kaibaar maine dilki umangko”, to name a few. After that Rafi and Biswajeet went on giving hits after hits. In Do Dil, composer Hemant Kumar composed a soft romantic song for Rafi namely “tera husn rahe mera ishq rahe”, which touched the souls of music lovers. All the songs in the film Yeh Raat Phir Na Ayegi in the year 1966 became super hit. OP Nayyar’s composition in the song “phir milogi kabhi is baat ka yaada karlo” stands out. It was a duet where Rafi was as romantic as Asha Bhosle. Ravi composed excellent music in the film Sagaai, in 1966, where Rafi’s song “nay eh zameen thin a aasman tha” became immortal. LP composed super hit song in the film Aasra, in 1966, where Rafi’s romantic song “sokhiyan nazar me hai” stands out. Laxmikant Pyarellal made the musiclovers spell bound in Night in London in 1967, with Rafi’s songs “night in London”, “o my love” and “bahosh –o –awaz me diwana”. Rafi was sublime in all the songs. LP continued the dream run in the film Jaal in 1967 with Rafi’s songs “akela hoon mai humsafar”, “mizaaz-e-garami”, etc. Shankar Jaikishan composed excellent music in the film Hare Kaanch Ki Churiya in 1967 with hit Rafi number namely “aye janeman” and “panchi re panchi”. Madanmohan was excellent in the film Ghar Ka Chirag in 1967, where Rafi’s song “aaj rota hai kyun” stands out. In the film Vaasna in 1968, all the songs of Rafi composed by Chitragupt became super hit including “itni nazuk nabano”, “yeh parbaton ke dayre”, “aaj is darja pila do”. The Chitragupt and Rafi magic continued in Biswajeet’s next film Pyar Ka Sapna in 1969 in songs like “ay meri zindagi”, “tere chehere se haten ankh to”. Rafi was the major contributor in Biswajeet’s other films like Do Kaliyan, Ishq Par Zor Nahi, Mai Sunder Hoon, Shararat, etc. In the 70s with the advent of action films Biswajeet faded away from the industry. All the giant composers of golden age namely Shankar Jaikishan, OP Nayyar, Ravi, Chitrgupt, Madanmohan, Laxmikant Pyarellal, Hemant Kumar and other composed music in the films of Biswajeet. Rafi’s songs in Biswajeet’s films require recognition and restoration

Composer Chitragupt had memorable combination with Rafisahab.


Chitragupt’s memorable combination with Rafisahab. Chitragupt gave very melodious tunes in the 50s and 60s and as most of his songs were sung by legend of legends Rafisahab, the songs became immortal after creation. Just because the world of music in 1960s was dominated by giants like Naushad Ali, Shankar Jaikishan, Roshanlal Nagrath, Madanmohan Kohli, less known composers like Chitragupt did not receive the recognition he derserved. Rafi’s song “chal ur ja re panchi” composed by Chitragupt in the film Bhabi in 1957 brought tears in the years of numerous viewers. Rafi used his emotions towards fulfillment of the literary value of the song and Balraj Sahani’s lips in the song also require special mention. In the same film “chali chali re patang” sung by Rafisahab and picturized on Jagdeep was require mention. Chitragupt Srivastav, better known as Chitragupt, was born in Karmaini, Bihar in 1917, and due to his experience in the hindu heartland most of his tunes had the fragrance of folk songs. Besides as he was a lecturer in Patna, his academic brilliance did blend with his musical excellence which was given expression by Rafi. Rafi’s song “chaand jane kahan kho gaya” in the film Mai chup Rahungi, composed by Chitragupt, written by Rajinder Kishan, and picturised on Sunil Dutt and Meena Kumari showed the use of light music as well from Chitragupt. Lata Mangeshkar sang the duet song with Rafi. The other hit duet in the film included “koi bata de dil hai kahan” sung by Rafi and Lata in the film. Rafi’s song “itni nazuk na bano” in the film Vaasna composed by Chitragupt created a very romantic appeal. The song of Rafisahab “aaj ek darja pila do” in somber mood flabbergasted the audience. It was picturized on Raj Kumar and used in the film Vaasna. Also Rafi’s song “yeh parbaton ke dayre” became a big hit in the late 60s. Besides Chitragupt gained attention in the late 1950s with the songs of Rafi “chupakar meri aankhon ko” and “chali chali re patang” in the film Bhabhi which were very impressive. Chitragupt’s compositions in somber mood for Rafi had a great impact. One example is “mujhe dard-e-dil ka pata na tha” from the film Akash Deep in 1965. It was picturized on Dharmender. In Sunil Dutt’s film Nartaki, Chitragupt Rafi combination provided the song “zindagi ke safar me akele the hum”, which became hit. The song “raste me hai tere kab se khare” sung by Rafi and Lata in the film Opera House require special mention. In Jeetender’s film Aulad, Chitragupt and Rafi combination produced timeless romantic song “aabke bahar ayi hai tere hi naam ke”, and “aarman tha hume jinka” which became super hit. In Feroz Khan’s film Oonche Log, Rafi’s song “jag dil-e diwana” became super hit. It was very romantic. There was hit song in the film Pyar Ka Sapna titled “ae meri zindagi” sung by Mohammad Rafi. There were other hit songs of Rafi for Chitragupt including “yeh mana ji dil se” in the film Zimbo, “chand kitne door tha” in the film Afsaana, “itni badi duniya” in the film Toofan Me Pyar Kahan, “o duniya ke malik” in the film Shiv Bhakt, “ek baat hai kehne ki” in the film Samson, “mujhe apne sharan me” in the film Tulsidas, “aap moujud yahan” in the film Baaghi, etc. Although Chitragupt gave landmark music in films like Oonche Log, Ganga Ki Lehre, Zabak, Bada Aadmi, etc., he did not get recognition during the golden age due to dominance of Shankar Jaikishan, Naushad, Roshan and others, and may be due to his composition of music in less significant films. He hardly got an opportunity to compose music in big banners like RK or Guru Dutt, otherwise his contribution was very grand during the golden age.

Tuesday, June 26, 2018

Kazi Nazrul Islam was remembered with Manobendra songs.


Remembering Kazi Nazrul Islam by Manobendra Mukherjee’s songs. Poet, composer and singer Kazi Nazrul Islam is remembered on his death anniversary on 29th August, 2017. He was considered to be one of the greatest Bengali talents after Rabindranath Tagore who created songs and poetry during colonial period. He was in fact called bidrohi kobi, meaning rebel poet. Manobendra Mukherjee, the genius of Bengali classical songs had made Nazrul Islam immortal by singing more than 500 Nazrulgeeti during his lifetime. Manobendra Mukherjee died in 1992, but before that whatever records he made in nazrulgeeti still remains the Geeta for new singers who specialize in Nazrulgeeti. Some of the songs that people remember include “eto jol o kajol”. Manobendra showed his classical jugglery in the song “bou katha kou katha kao abhimanini”. The song which Manobendra Mukherjee sang in many concerts included “bagichay bulbuli”. The other song which was very popular in the 70s included “jare haat diye mala gethe”. The same song was also recorded by legendary singer Pandit Ajoy Chakravarty in his own andaz. Manobendra also was brilliant in the song “timir bidary”. Manobendra’s song “noyon bhora jol go tomar aanchol bhora chul” became extremely popular in 80s. His other hit songs included “jhumko lotar chikon”, “keno kaden poran”, “kache amar niba”, “saat bhai chompa”, “aso priyo aro kache”, “jani amar sadhona”, “amar noyone noyon”, “jabar belay fele”, “mor priya hobe”, “sondha se godhuli”, to name a few. Few of Manobendra’s songs had been sung one after the other by other musical giants. For example “sawono rate Jodi”, had been sung by Manobendra. It was also sung by Manna Dey in the film Devdas, where Uttam Kumar gave lips in the song. Besides Manobendra Mukherjee’s song “ado ado bol” was also recorded by genius singer Mohammad Rafi later on. One article is too small to highlight Manobendra Mukherjee’s landmark songs composed by Nazrul Islam, but along with Juthika Roy, Dhirendra Mitra, Firoza Begum, Kamal Dasgupta, Manobendra Mukherjee had glorified Nazrulgeeti in his own classical andaz. The songs should be preserved.

Rafisahab and LP patronized the careers of Jeetender and Dharmender.


Combination of LP and Rafi in the films of Dharmender and Jeetender in the 1960s. Laxmikant Pyarellal faced the greatest challenge in establishing their career in Bollywood films in the 1960s. There were a number of reason for that. Firstly a huge number of legendary composers were dominating Bollywood films in the 1960s ranging from Shankar Jaikishan to Naushad Ali, Madanmohan Kohli to Roshanlal Nagrath, C Ramchandran to OP Nayyar, Salil Choudhury to SD Burman, Vasant Desai to Kalyanji Anandji, to name a few. The list just goes on. Most of these legends were specialists in their own area. LP had to compose music having identity of their own which was very difficult. They faced the acid test in the early 1960s and late 1960s and became famous. Rafi Sahab was one of the biggest contributors in the careers of LP in the 1960s. The article speaks about the contribution of Dharmender, LP and Rafi Sahab and also Jeetender, LP and Rafi Sahab in the 1960s. Here is the list of the films in which LP composed music in the 1960s. 1963 1. Harischandra Taramati 2. Parasmani 1964 3. Aaya Toofan 4. Dosti 5. Mr X In Bombay 6. Sant Gyaneshwar 7. Sati Savitri 1965 8. Boxer 9. Hum Sub Chor Hain 10. Lootera 11. Shriman Funtoosh 1966 12. Aasra 13. Aaye Din Bahar Ke 14. Chhota Bhai 15. Daaku Mangal Singh 16. Dillagi 17. Laadla 18. Mere Lal 19. Naag Mandir 20. Pyar Kiye Ja 21. Sau Saal Baad 1967 22. Anita 23. Chhaila Babu 24. Duniya Nachegi 25. Farz 26. Jaal 27. Milan 28. Milan Ki Raat 29. Night In London 30. Patthar Ke Sanam 31. Shagird 32. Taqdeer 1968 33. Baharon Ki Manzil 34. Izzat 35. Mere Hamdam Mere Dost 36. Raja Aur Rank 37. Sadhu Aur Shaitaan 38. Spy In Rome 1969 39. Aansoo Ban Gaye Phool 40. Anjana 41. Aaya Sawan Jhoom Ke 42. Dharti Kahe Pukar Ke 43. Do Bhai 44. Do Raaste 45. Inteqaam 46. Jeene Ki Raah 47. Jigri Dost 48. Madhavi 49. Mera Dost 50. Meri Bhabhi 51. Pyaasi Sham 52. Saajan 53. Satyakam 54. Shart 55. Wapas 1970 56. Aan Milo Sajna 57. Abhinetri 58. Bachpan 59. Darpan 60. Devi 61. Himmat 62. Humjoli 63. Jawab 64. Jeevan Mrityu 65. Khilona 66. Maa Aur Mamta 67. Man Ki Aankhen 68. Mastana 69. Pushpanjali 70. Sharafat 71. Suhana Safar LP and Rafi Sahab combination stormed Bollywood with the films Parasmani in 1963 and Dosti in 1964. Rafisahab’s songs “wo jab yaad aye” in Parasmani and songs “chahunga mai tujhe”, “rahi manwa dukhki chinta”, “janewalon zara”, etc. in Dosti rocked Bollywood. LP received the first filmfare award in 1964 for their composition of music in the film Dosti. For Dharmender LP composed music in 1966 in the film Aye Din Bahaar Ke. Rafi Sahab’s song “mere dushman” became smash hit. In 1967, LP composed music in the film Farz of Jeetender. All the songs of Rafi Sahab like “mast baharon ka mai aashiq”, “tumse o haseena”, “baar baar din ye aye” became smash hits. In 1968, LP composed music in Dharmender’s films Baharon Ki Manzil, Mere Humdum Mere Dost and Izzat. In the film Izzat, Rafi Sahab’s song “loote dil pe diya jalta nahi hum kya karen” was a masterpiece. Mere Humdum Mere Dost had super hit songs of Rafi Sahab including “najaa kahin ab na jaa”, “chalkaye jam”, “huyi sham unka”, to name a few. In Baharon Ki Manzil all the songs were sung by Lata as they were picturized on Meena Kumari. In 1969, LP composed music in Dharmender’s films Satyakam and Aya Sawaan Jhumke. Rafi Sahab’s songs like “majhi chal”, “awa sawan jhumke”, and other songs became super hit. LP composed music in 1969 in Jeetender’s films Jeene Ki Raah, Dharte Kahen Pukarke and Jigri Dost. All the films became super hit. One of the reasons for the success included the splendid music. Rafi Sahab’s songs in Dharti Kahe Pukarke included the title song “dharti kahe pukarke”. Jigri Dost had fast numbers of Rafi Sahab like “mere desh me pawan chale purwayi”, “raat suhaani jag rahi hai”, “dil me kya hai”, “phool hai baharon ka”, to name a few. Jeene Ki Raah fetched LP the other filmfare award in 1969. Rafi Sahab’s were smash hits like “aane se uski aye bahar”, “aa mere humjoli aa”, “ek banjara hai”, ‘chanda ko dhundte” to name a few. In 1970, LP composed music in Dharmender’s film Jeevan Mrityu. Rafi Sahab’s song “jhilmil sitaron ka aangan hoga” became a runaway hit. LP composed music in Jeetender’s films Humjoli, Himmat and Jawab. Rafi Sahab’s songs in the film Humjoli became bumper hit like “dhal gaye din”, “tik tik tik”, “haye re haye”, “chal shuru ho ja”, to name a few. All the songs of Himmat became bumper hit like “hai shukr kit u hai ladka”, “maan jayiye maan jaiye”, “das gayi nagin ki zulf teri”, to name a few. In Jawab, both of Rafisahab’s songs “chali kahan hansti gaati” and “kis karan jogan jog liya” became hit. By the early 1970s LP emerged as a leading composer in Bollywood music. So they started composing music in the films of Rishi Kapoor, Sanjeev Kumar, Shashi Kapoor and every prominent stars of the 1970s and 1980s. But their launching pad was made with the combination of Rafi Sahab in the films of Dharmender and Jeetender. All these songs and films should be restored.

Monday, June 25, 2018

Happy birthday to Dancing star Jeetender.


The viewers of Bollywood fims wish happy birthday to dancing star Jeetender on 7th April, 2018. Jeetender started his career in the early 1960s with the patronage of eminent director V. Shantaram. He was launched as hero opposite Rajashri in the film Geet Gaya Pattharone in 1964. At that time Jeetender had to face the competition from the rulers of bollywood films like Dilip Kumar, Raj Kapoor, Rajender Kumar and others. Probably Jeetender spend his toughest time of the career to cement his place between 1964 to 1970, when viewers starting recognizing Jeetender and appreciating his acting and dancing skills. The singer played a huge role in the success story of Jeetender was Mohammad Rafi. Rafi’s everlasting songs for Jeetender created a hall mark for super hit music which was one of main reasons for box-office success of the films. In the film Geet Gaya Pattharon Ne, Ramlal Choudhury composed the music. Mahendra Kapoor sang the hit song “ayiye padhariye” for Jeetender. In Jeetender ‘s film Gunahon Ka Devta, released in 1967, Shankar Jaikishan used Rafi in hit songs. Rafi’s song “humko to barbaad kiya hai” became bumper hit. Rafi and Manna Dey’s song “ayi hai bari door se mehmil me” is worth mentioning. Rafi Jeetender combination rocked bollywood with the film Farz in 1967. Laxmikant Pyarellal composed loud music for Rafi in songs like “mast baharon ka mai aashiq”, “baar baar din yeh aye” and “tujhse aye haseena”. Jeetender showed his dancing skills and viewers started calling him jumping juck. At the same time viewers enjoyed the western andaz of Mohammad Rafi in the peppy numbers. In Boond Jo Ban Gayi Mooti, released in 1967, Satish Bhatia composed music of the film. Mukesh’s song “yeh kaun chitrakaar hai” for Jeetender became big hit. In 1968, again Shankar Jaikishan and Rafi combination struck gold for Jeetender in the film Mere Huzur. Rafi’s song “rukh se zara naqab uthayo mere huzoor” had ghazal andaz. Raj Kumar also played important role in the film. Manna Dey sang excellent classical song “jhanak jhanak tori baje payelia”. Rafi was majestic in the songs “wo khushi mili hai mujhko”, “kya kya na sahe humne sitam aap ki khatir”, “gum uthane ke liye mai to jiye jayunga”. Hasrat Jaipuri wrote excellent lyrics for the film. In 1968 Jeetender acted in the film Suhaag Raat. Kalyanji Anandji composed the music of the film. Mukesh’s song “khush Raho” became hit. The Rafi Jeetender combination was back in 1968 with the film Aulad. Chitragupt composed music in the film. Rafi’s song “abke bahar ayi hai” had brilliant melody. The rendition of the song was splendid. Rafi and Lata’s duet song “armaan tha humein jinka” became bumper hit. Rafi and Lata’s duet song “nazuk nazuk badan mora” had folk effect. RD Burman composed music for Jeetender’s film Waris in 1969. All the songs were sung by Mohammad Rafi. All the songs became smash hits including “ek bechara pyar ka maara”, “lehrake aye hai jhoka bahaarka”, “kabhi kabhi aisa bhi hota hai”, etc. The LP Rafi and Jeetender combination dominated the chartbusters in 1969 in the films Jigri Dost, Do Bhai and Jeene Ki Raah. Jigri Dost’s songs of Rafi were super hit including “dil me kya hai”, “mere desh me pavan chale”, “raat suhaani jag rahi hai”, etc. Jeene Ki Raah’s songs were equally hit including “aa mere humjoli aa”, “aane se uske aye bahaar”, “ek banjaara gaye”, “chanda ko dhoonde sare tare nikal pare”. The magic continued in the film Do Bhai. Rafi was sublime in the songs “is duniya me aye duniyawalon”, “o geet nahin ban sakte”, “samne aaj dono jahan kea aa”, “jeena hai tere banker”. Rafi sang around 369 songs for Laxmikant Pyarellal in between 1963 to 1980. In that list at least 100 songs were picturized on Jeetender. LP used Rafi for Jeetender for the title song “dharti kahe pukarke” in the film Dharti Kahe Pukaarke in 1969. LP Rafi Jeetender combination stormed bollywood in the film Humjoli in 1970. All the songs of Rafi became bumper hit including “tik tik tik mera dil dole”, “hai re hai neend nahi aye”, “chal shuru ho ja”. Shankar Jaikishan continued with Rafi in Jeetender’s film Ek Naari Ek Brahmchari. Rafi was sublime in the songs “chirag kis ke ghar ka hai”, “are tu hai buddhu brahmchari”. Rafi LP and Jeetender again created magic in the film Himmat in 1970. All the songs became super hit including “hai shukr ke tu hai ladka”, “o piyo piyo ka zamana aya”, “das gayi nagin”, “maan jayiye”. In the 1970s Jeetender became a leading star of bollywood and never looked back. It is difficult to cover all the songs of Rafi for Jeetender because he had sung almost 100 songs for Jeetender. Viewers of bollywood films were entertained in other films of Jeetender including Banphool, Carwan, Badalte Rishtey, Aasha, etc. All the songs and the films should be preserved and restored.

Happy birthday to Shilpa Shetty.


Happy birthday to Shilpa Shetty. The viewers of bollywood films wish happy birthday to Shilpa Shetty on 8th June, 2018. She had maintained her romantic image and brilliant figure for over 15 years. She had remained indispensable for the last 15 years. Starting her journey with Shahrukh Khan in the film Baazigaar, in the early 90s, she had acted in different types of films. She acted in romantic films like Dhadkan opposite Akshay Kumar and Sunil Shetty. The film had successful songs like “tum dil ki dhadkan me”. She also acted in action thrillers like Prithvi, opposite Sunil Shetty. She was also sublime in off-beat films like Tarqueib. Nana Patekar played the role of the crime-investigator in the film. She was the friend of Tabu, the girl killed in the film. She also had speaking terms with Ashutosh Rana who was initially suspected to have murdered Tabu. Nana Patekar at the end of the film found out the murderer. But Shilpa Shetty showed her acting skills while relying to interrogation of Nana Patekar in the film. Her performance in the film Auzaar opposite Salman Khan and Sanjay Kapoor, also require special mention. Salman Khan was a CBI investigator in the film and was given the task of investigation the unlawful business affairs of Sanjay Kapoor. In fact the underworld involvement of Paresh Rawal, the father of Sanjay Kapoor was at issue. Shilpa Shetty bridged the gap between Salman Khan and Sanjay Kapoor, after Salman convinced her that he concealed his identity for the benefit of Sanjay Kapoor, his friend. Shilpa gave brilliant lips and danced well in the songs “oye oye oye oyeoye”, and other songs composed by Anu Malik. Shilpa Shetty had shown her comedy instincts in a number of films like Chor Machaye Shor. She played the role of the daughter of Paresh Rawal, and got attached with Bobby Deol, who was a subordinate of Paresh Rawal. He pretended to be twin brother, one having a moustache, the other without a moustache. In that comedy drama, Shilpa Shetty should her innocence and comedy instinct along with Bipasha Basu, who also played a significant role in the film. Even at her middle age she had shown dance numbers which could have made young actresses envious about her. For example, in Dostana, released in 2008, she performed in a dance number opposite John Abraham, which amazed the viewers. After marrying Raj Kundra she had reduced signing in as many number of films as she used to do earlier. She also had bought major share of Rajasthan Royals team which played IPL cricket in 2010. In 2011 her team Rajasthan Royals did not fare well in IPL, so she should concentrate in films. In 2013, she had been accused of being part of match-fixing scandal. Both her husband Mr. Kundra and herself faced charges of match fixing. She should act in more films. She should be followed by the new generation of actresses who want to stay fit and contribute in bollywood films for more than 20 years.

Superstar Uttam Kumar's memories still haunt filmlovers.


Uttam Kumar’s death anniversary brings great memories of the superstar of Bengal. Again, 24th July, 2018 will bring memories of Mahanayak Uttam Kumar.In 2011, the walls of the Tollygunge Metro Station had been filled with the pictures of films of Uttam Kumar. In fact the people of Tollygunge cannot associate the place without the existence of Uttam Kumar whose works glorified the different studios which carried on the legacy of Bengali Film Industry. Mamta Banerjee, the Chief Minister of West Bengal had also provided support to revive the Uttam Mancha and take care of Shilpi Sangsad, an organization created by Mahanayak Uttam Kumar to help the needy actors, actresses, technicians, etc. Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak in 1966 based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films. When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc. He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak in 1966, Chiriakhana in 1967, Tapan Sinha’s Jhinder Bandi in 1961, Upahaar in 1955 and Jotugriha in 1964, Ajoy Kar’s Harano Sur in 1957, Saptapadi in 1961, Suno Bara Nari in 1960, Agradoot’s Bipasha in 1962, Surjo Toron in 1958, Agragami’s Sagarika in 1956, Shonkhobela in 1966, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen. Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc. Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures. Out of his 205 films, around 37 of them ended up being blockbusters, around 50 were super hit films and around 50 were hit films. Actor Shatrughun Sinha in his interview before Bengali media had disclosed that when he was working in Pune Film and Television Institute, the graduates had unanimous view that Uttam Kumar, Raj Kapoor and Dilip Kumar were the greatest superstars of celluloid and had Uttam Kumar acted in more number of bollywood films, he would have remained as great a legend as Dilip Kumar or Raj Kapoor. Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, Manobendra Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs. Actor Shatrughun Sinha in his interview had said that during his student life in Pune Film and Television Institute, the upcoming actors used to debate about the charishma of Uttam Kumar, Raj Kapoor and Dilip Kumar. Although there was no unanimity about the finest actor among them, there was consensus about one fact had Uttam Kumar established himself in bollywood films by acting in more number of films, he would have been equally an international figure like Raj Kapoor or Dilip Kumar. Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future.

Monday, June 11, 2018

In 20th Kolkata International Festival, Amitabh Bacchan, Shahrukh Khan gave great speeches.


Amitabh Bacchan, Shahrukh Khan gave fantastic speech in inauguration of 20th Kolkata International Film Festival. The 20th Kolkata International Film Festival 2014, started off with a brilliant inauguration in Netaji Indoor Stadium on 10th November, 2014. It was a brilliant occasion by every standard. Mamta Banerjee, the Chief Minister of West Bengal managed to invite the major dignitaries from different parts of the world and especially India. The 8 day film festival started with the inauguration on 10th November, 2014. The legends who graced the occasion included Amitabh Bacchan, Jaya Bacchan, Aishwarya Rai Bacchan, Abhishek Bacchan, Tanuja, Shahrukh Khan and many others. The August gathering also saw Bengali legends like Ranjit Mullick, Madhabi Mukherjee, Moushumi Chatterjee, Moonmoon Sen and others. Shahrukh Khan in his short speech made sure that he could say something in Bengali. This is the third time he had inaugurated a film festival and he said in his own words that honest creation is what the spectators expect from the creators. Amitabh Bacchan gave an extended speech. He did huge homework for that. He emphasized on women empowerment. He mentioned that both in Bengali films and hindi films, the directors and writers emphasized on women’s social standing. Sarat Chandra Chatterjee’s Parineeta, Biraj Bahu told the same. Tagore’s stories also reflected them. While directors like Bimal Roy with films like Bandini, Sujata, Mehboob Khan with films like Mother India showed women’s individuality in Indian society, renowned Bengali directors like Satyajit Ray in his films Charulata, Pather Panchali had showed the different facets of women characters and also it was shown in films of other giants like Tapan Sinha who showed it in films like Jotugriha. Amitabh Bacchan’s speech was par excellence. Australian Filmmaker Paul Cox gave a brilliant speech explaining the importance of film festivals which brings expression of different countries and connects the countries together. Amol Palekar, Irfan Khan, Tanuja, Jaya Bacchan all congratulated the Bengali audience and the love for films in Bengal. Mamta Banerjee invited everyone and talked about the film festival showing films of 60 countries in Kolkata for the next 8 days. She also said what Bengal thinks today India thinks tomorrow. So Bengali writers, filmmakers and actors had been inspirations for other directors, actors of other parts of the world. So she expected everyone to enjoy the festival for the next few days.

Shriman Satyawadi became hit due to sublime performances of Shakila , Raj Kapoor.


Raj Kapoor and Shakila were brilliant in Shriman Satyawadi. In the late 1950s and early 1960s, due to high box office of blockbusters, the hit films did not get that recognition. For example, in 1960, Raj Kapoor’s film Shriman Satywadi was released. Due to super hit box office report of Jis Desh Me Ganga Behti Hai and all time blockbuster Dilip Kumar’s Mugha-i- azam, Shriman Satyawadi got lost in the crowd of brilliant films. But the film was successful. SM Abbas directed the film. Mahipatray Shah produced the film. The music was composed by Dattaram. Raj Kapoor was shown as an honest man whose father was an honest medicine seller. His father was falsely implicated by Mehmood’s father Radhakrishan. He deliberately kept narcotic drugs in his shop so that police could arrest him. He got a heart attack and died. Raj Kapoor was brought up by his neighbor uncle who send him to industrialist Nazir Hussain for job in Mumbai. Nazir Hussain and his daughter Shakila allowed Raj Kapoor to work in their advertisement company. Mehmood joined the same company and created a cream and pharmaceutical products which adulterated content. Consumers got skin diseases and one person died. Raj Kapoor left the company and did other jobs and finally worked as journalist in the Newspaper company owned by Moni Chatterjee. In the last scene Raj Kapoor went with Moni Chatterjee in the house of Radhakrishan to tell the truth relating to adulterated products. His son Mehmood shot a bullet on Moni Chatterjee. In a tassle with Raj Kapoor, Mehmood fell in an acidic pool and died. The film proved that honesty was the right policy. The music of the film became super hit. Mukesh’s songs “haal-e-dil hamara”, “ai dil dekhe hai humne” became bumper hit. Rafi’s song “rang birangi botal ka kaisa hai jadoo” was as big hit as Suman Kalyanpur’s song “kyun ura jata hai anchal” and Manna Dey’s bheegi “hawaano me” as well as Mahendra Kumar’s song “ek baat kahoon vallah”. Dattaram’s music was as brilliant as lyrics of Hasrat Jaipuri. Mehmood in a comedy cum villainish role was impressive. Nazir Hussain and Radhakrishan played very impressive roles. Raj Kapoor probably acted only in one film opposite Shakila. Both the artists matched each other. They should have been cast in more roles. The film and the music require restoration.

1958 films are remembered for brilliance of Vaijayantimala, Dilip Kumar


1958 is remembered for brilliance of Dilip Kumar and Vaijayantimala.By 1958, the scenario of Indian films changed. From the dominance of few superstars like Dilip Kumar, Raj Kapoor, Ashok Kumar, the Bollywood industry also propagated sophisticated actors like Balraj Sahani, Bharat Bhushan, Pradip Kumar and others. Actresses like Vaijayantimala topped the list adding competition to Nargis, Madhubala, Meena Kumari and others. Directors like Bimal Roy, Ramesh Saigal, Satyen Bose did a great job. In respect of music in addition to Naushad Ali, Shankar Jaikishan, the other composers did magic including Dattaram, Salil Choudhury, SD Burman, OP Nayyar and others. Madhumati was the greatest blockbuster of 1958. It was produced and directed by Bimal Roy, and written by Ritwik Ghatak and Rajinder Singh Bedi. The music for the film was composed by Salil Choudhury with lyrics written by Shailendra. The film stars Dilip Kumar and Vyjayantimala acted the lead roles along with Pran and Johnny Walker. On a stormy night, Devendra (Dilip Kumar), an engineer, drives down a hill road with his friend to fetch his wife and child from the railway station. A landslide blocks their path and the friends take shelter in an old mansion off the road. Devendra finds the house uncannily familiar. In the large front room, he finds an old portrait which he recognizes. His friend and the old caretaker join him, and Devendra, amidst flashes of memory from another life, sits down to tell his story while the storm rages outside. In Madhumati Anand (Dilip Kumar) had come to Shyamnagar Timber Estate as its new manager. An artist in his spare time, he roamed the hills and fell in love with Madhumati (Vyjayantimala), a tribal girl whose songs have haunted him from a distance. Anand's employer, Ugra Narayan (Pran) was a ruthless and arrogant man and as Anand refused to bend down to him like others, he incurred his wrath. Anand also had enemies among his staff including Tiwari. Sent away on an errand, he returned to find that Madhumati had disappeared. He learned that Madhumati had been taken to Ugra Narayan, and confronted him but was beaten unconscious by Ugra Narayan's men. While Ugra Narayan's men were taking Anand's body out of the palace, his men met with Madhumati's dad (Jayant) who had to fight for her own daughter's death. He did it and won but died laying down in the road while Charandas (Johnny Walker) hided the body and took it to the hospital. It was a film relating to re-incarnations. All the songs in the film became bumper hits like Lata’s “aaja re pardesi”, “zulmi sang aankh lari”, Rafi’s “tute hue khwabone”, “jangal me mor naacha”, to mention a few. The entire team of Madhumati took away all the filmfare awards. Dilip Kumar was adjudged the best actor
, Johny Walker the best supporting actor, Salil Choudhury the best music director, Bimal Roy the best director. The film also received the national award for best film in 1958. Chalti Ka Naam Gaari was the second biggest hit of the year. Very significantly all the 3 brothers Ashok Kumar, Anup Kumar and Kishore Kumar acted in the film. It was directed by Satyen Bose. In the film the brothers owned a garage. Ashok Kumar fell in love with Veena, but could not marry her. From that time he hated women. His brother Kishore Kumar fell in love with Madhubala. KN Singh played the role of villain in the film. The music of SD Burman became super hit with songs like “haal kaisa hai janabka”, sung by Kishore Kumar and Madhubala. Yahudi was the third biggest hit film of 1958. Dilip Kumar played the character of a yahudi, or jew in the film. It was a love story made in the backdrop of Roman Empire. At the end of the film Dilip Kumar became blind. Sohrab Modi, Meena Kumari, Nigar Sultana and Dilip Kumar gave landmark performances. The music of Shankar Jaikishan was outstanding with Mukesh’s hit song “yeh mera diwanapan hai”. Phir Subah Hogi was the fourth biggest hit film of 1958. The film was produced and directed by Ramesh Saigal and starring Raj Kapoor and Mala Sinha in lead roles. The movie was an adaption of Fyodor Dostoevsky's immortal novel, Crime and Punishment. Ram (Raj Kapoor) is a poor law student who supports his education with money orders from his mother and things he pawns. While struggling with his poor finances, he save a boy from accident. Seeing the poor condition of the boy's family he gives all his savings for the boy's treatment. Ram keeps visiting the boy and falls in love with the boy's elder sister Sohni (Mala Sinha). Sohni's father Gopal is addicted to liquor which Harbanslal keeps providing him with. Harbanslal has a mean motive in doing so as he wants marry Sohni. To prevent Sohni's arranged marriage with Harbanslal, Ram decides to rob the pawn broker. But he is caught in the act, and he murders the pawn owner. Ram's conscience keeps telling him to admit his crime. But he never picks up the courage to do so. The police inspector on the case keeps suspecting Ram for the crime. With no proof he, too, is helpless. Ram learns that police have already arrested another thief and have charged him with this robbery and murder. On the last day when the court is to rule in the case, Raj makes up his mind and admits. He pleads saying how he was acting in self-defense against real villains of the society. The court sentences him for three years of imprisonment. Sohni promises that she will wait for his release and then marry him. Raj Kapoor, Rehman and Mala Sinha’s performances were outstanding. The music of Khayyam was very impressive with hit songs of Mukesh, “chin-o-arab hamara”, “wo subah kabhi to ayegi”, “phir na kije meri gustakh nigahon ka gila”, to name a few. Sadhna was the 5th biggest hit film of 1958 with Vaijayantimala and Sunil Dutt in the lead roles. It was produced and directed by BR Chopra. The music was composed by Dutta Naik. Lata’s song “aurat ne janam diya mardon ko”, became super hit. Vaijayantimala received the best actress award for playing a complex role of tawaif in the film. Phagun was the 6th biggest hit film of 1958 with Bharat Bhushan and Madhubala in the lead roles. The film was directed by Bibhuti Mitra. OP Nayyar’s music stormed Bollywood. Rafi’s song “mai soya ankhiyan miche” became super hit. Raj Kapoor’s Parvarish was the 7th biggest hit film of 1958. It was directed by S Banerjee. Dattaram composed the music of the film. Raj Kapoor and Mehmood were born together, but due to accident in the hospital, Nazir Hussain could not identify who was his real son. He was a Thakur. Mala Sinha’s father Harnam Singh gave word to him to marry his daughter with his actual son. Radhakrishan, the uncle trained Raj Kapoor and Mehmood. Raj Kapoor sacrificed his solvent family and deliberately consumed alcohol to show Mehmood was the actual son. At the end the reality was revealed. The music of Dattaram was impressive, with Mukesh’s song “aansoo bhari hai” and Manna Dey’s song “masti bhara yeh sama” became super hit. If the films of 1958 are summarized, it will be seen that while historical films, social films, all created impact on viewers mind. While directors like Bimal Roy, Satyen Bose and others made realistic films, the actors like Dilip Kumar, Raj Kapoor, Bharat Bhushan, made significant contribution. Actresses like Vaijayantimala, Madhubala, Mala Sinha, Meena Kumari created sensation. Music directors like Salil Choudhury, OP Nayyar, SD Burman, Khayyam made significant contribution. Singers like Rafi, Mukesh, Talat, Lata, Geeta Dutt and others were very prominent in the films. The films and the songs should be restored.

Guru Dutt, Rafisahab and music in his films.


Melody in Guru Dutts films and combination with Mohammad Rafi. Today, 9th July is the birthday of noted Director Guru Dutt. He was born in 1925 on this day. Rafi became a living legend in the mid-50s after dominating bollywood films over ten years and singing for nearly all the giant productions and leading actors of bollywood. He had very strong combination with thinking actor Guru Dutt. Guru Dutt had created his image in bollywood films in different categories being a thoughtful director and producer, dynamic actor, good choreographer. One of the numerous reasons for which his films became super hit in the 50s and 60s include the brilliant songs sung by Rafi during the golden age. Rafi’s songs in Guru Dutt’s Aar Paar, composed by OP Nayyar became super hit. It was followed by Mr and Mrs. 55 released in 1955. Songs picturized on both Guru Dutt and Johnny Walker had melody and sweetness. Rafi’s songs like “dil pe kiya aisa jaadu”, “muhobbat karlo aji karlo”, “sun sun sun sun zaalima”, composed by OP Nayyar, created landmark in the mid-50s and Rafi emerged as the greatest singer of bollywood films during that time. The same combination of Guru Dutt, OP Nayyar and Rafi gave everlasting hit in the film 12 O Clock with songs like “mai kho gaya”. When Guru Dutt used SD Burman for composing songs in the film Pyaasa and Kaagaz Ka Phool, Rafi was used brilliantly for the legendary music of those films. Both the films won national and international awards and remain a landmark in the field of story-telling. Rafi’s songs “sar jot era chakrae” picturised on Johnny Walker and “hum aapke aankho me” and “yeh mahalon yeh takhton yeh taajon ki duniya” picturised on Guru Dutt had emotions, passions, comedy, tragedy everything embedded in them. Rafi’s duet combination with Geeta Dutt was bolstered in the film. The lyrics were outstanding as well. The films marked the best music given by SD Burman in his entire lifetime. Guru Dutt can boast himself to have given lips in one of Rafi’s best ghazals sung in the history of bollywood films titled “chaudavi ka chaand”. Guru Dutt picturised the song sequence with colour, showing his passionate relationship with Wahida Rehman in the film Chaudavi Ka Chand. Ravi’s music in the film showed the pardanashin culture of muslims in India during the early 60s. Rafi also sang songs for Guru Dutt in the film Saanjh Aur Sawera, composed by Shankar Jaikishan. The title song “yehi hai who saanjh aur sawera” sung by Rafi became very popular. Meena Kumari balanced the powerful performance of Guru Dutt in the film. The other films where Rafi had contributed for Guru Dutt include Bharosa where Ravi composed melodious tunes including “yeh jhuki jhuki naina” picturised on Guru Dutt and Asha Parekh. Guru Dutt’s music in the film Baharen Phir Bhi Aayegi composed by OP Nayyar, created sensation in the mid -60s. It was a tragedy, that Guru Dutt died before the release of the film and could not see the success of the film. The songs sung by Rafi and picturised on Dharmender mesmerized the audience and still haunts people all over the world. One of those brilliant songs include “aap ki haseen rukh me aaj naya nur hai, mera dil machal gaya to mera kya kasoor hai”. The uniqueness of Guru Dutt’s relationship with Rafi lies in the fact that whether the composer was OP Nayyar or Shankar Jaikishan or SD Burman or Ravi, the music composed for whom had philosophical thoughts embedded in them and Rafi gave expression to the mesmerizing lyrics of evergreen tunes which had become immortal over a period of time. The films and the songs should be preserved and restored.

Wednesday, June 6, 2018

Mahanayak Uttam Kumar's death anniversary brings memories of the superstar.


Uttam Kumar’s death anniversary brings great memories of the superstar of Bengal. Again, 24th July, 2017 will bring memories of Mahanayak Uttam Kumar.In 2011, the walls of the Tollygunge Metro Station had been filled with the pictures of films of Uttam Kumar. In fact the people of Tollygunge cannot associate the place without the existence of Uttam Kumar whose works glorified the different studios which carried on the legacy of Bengali Film Industry. Mamta Banerjee, the Chief Minister of West Bengal had also provided support to revive the Uttam Mancha and take care of Shilpi Sangsad, an organization created by Mahanayak Uttam Kumar to help the needy actors, actresses, technicians, etc. Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak in 1966 based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films. When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc. He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak in 1966, Chiriakhana in 1967, Tapan Sinha’s Jhinder Bandi in 1961, Upahaar in 1955 and Jotugriha in 1964, Ajoy Kar’s Harano Sur in 1957, Saptapadi in 1961, Suno Bara Nari in 1960, Agradoot’s Bipasha in 1962, Surjo Toron in 1958, Agragami’s Sagarika in 1956, Shonkhobela in 1966, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen. Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc. Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures. Out of his 205 films, around 37 of them ended up being blockbusters, around 50 were super hit films and around 50 were hit films. Actor Shatrughun Sinha in his interview before Bengali media had disclosed that when he was working in Pune Film and Television Institute, the graduates had unanimous view that Uttam Kumar, Raj Kapoor and Dilip Kumar were the greatest superstars of celluloid and had Uttam Kumar acted in more number of bollywood films, he would have remained as great a legend as Dilip Kumar or Raj Kapoor. Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, Manobendra Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs. Actor Shatrughun Sinha in his interview had said that during his student life in Pune Film and Television Institute, the upcoming actors used to debate about the charishma of Uttam Kumar, Raj Kapoor and Dilip Kumar. Although there was no unanimity about the finest actor among them, there was consensus about one fact had Uttam Kumar established himself in bollywood films by acting in more number of films, he would have been equally an international figure like Raj Kapoor or Dilip Kumar. Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future.

Multitalented Kishore Kumar was remembered on birth anniversary.


Kishore Kumar had been remembered on his birth anniversary on 4th August, 2017. Kishore Kumar died on 13th October, 1987. Kishore Kumar, the master entertainer had been one of the most colourful personalities of bollywood who just became more and more and more popular over the years, now it is almost 26 years after his demise. In respect of his acting performances hardly any actor even dared to imitate him as his improvisations were spontaneous. The part that is followed by numerous singers all over the country is his singing style. When KK acted as hero in bollywood films he showed his acting capability even in playback singing like the song “c a t cat, cat mane billi” in the film Dilli Ka Thag. He brought out all the sounds of the animals that were named in the song. In the film Chalti Ka Naam Gari, in the song “paanch rupaiya bara ana” he imitated SD Burman and in every paragraph he had created a new style which justified the lyrics. In Half Ticket he showed the childishness in the song “chil chil chillake” composed by Salil Choudhury, which became very popular among children. He even sang the ladies version of the song “o sawariya” in the film Half Ticket, when he was teasing Pran during a song sequence. He had acted opposite many versatile actresses like Nutan in Dilli Ka Thug, Madhubala in Jhumru, Vaijayantimala in Aasha, to name a few. All his innovations created history when he concentrated in playback singing only in the 70s. He made the audience realize that he was singing for Dev Anand, or Rajesh Khanna or Big B, to name a few. His songs “gata rahe mera dil” from Guide, “roop tera mastana” from Aradhana, “kuch to log kahenge” from Amar Prem, “tere mere Milan ki” from Abhimaan have created history over the years. With Big B he had a tremendous combination and had sung in almost all the films of Big B till 1987, including Don, Shaan, Mr. Natwarlal, Do Aur Do Paanch, Amar Akbar Anthony, Muqaddar Ka Sikandar, Kaalia, Silsila, etc. The list can go on. In the 80s, it was KK all the way, when he had no competitors. All his songs in Big B’s film Namakhalal, Sharaabi, became record hits. Even in Rishi Kapoor’s Saagar, his song “saagar kinare” had romantic appeal. Composers like RD Burman, Bappi Lahiri, Rajesh Roshan could not think about any composition without KK. He provided playback for almost all the leading actors of bollywood in the 80s, namely Amitabh Bacchan, Rishi Kapoor, Vinod Khanna, Anil Kapoor, Mithun Chakravarty, Kamal Hassan, and others. He became the legend of legends and all the actors of the 70s and 80s are indebted for his colourful playback. After his death Kumar Shanu, Abhijeet, Vinod Rathod, Babul Supriyo and other singers had established themselves by following his style of singing. It has not happened with any other playback singer of bollywood. His styles were very entertaining, romantic and filmic. Articles after articles can be devoted to the master entertainer and it can be said that he had remained alive all over the years in his numerous films and thousands of songs. His films and songs should be preserved.

Happy birthday to Raakhee Gulzar.


Happy birthday to Rakhee. The viewers of bollywood films wish happy birthday to Rakhee on 15th August, 2018. She had contributed in bollywood films for more than 30 years. She had contributed both as a leading actress and also as a character actress. Rakhee came to limelight with her successful film Sharmilee opposite Shashi Kapoor in the early 70s. The songs of the film composed by SD Burman became very successful, including the songs “khilte hai dil yahan”, “megha chaye aadhi raat”, etc. Rakhee played a double role, one being calm and quite named Kanchan and the other who was outspoken named Kamini and created attention. In the mid-70s Rakhee acted in landmark roles including the one in the film Kabhi Kabhi opposite Big B and Shashi Kapoor. She loved a poet played by Big B, but had to marry Shashi Kapoor. The poetry of Big B created a great impact in the life of Rakhee. The songs of Mukesh and Lata composed by Khayyam in the film including “mai pal do pal ka shayar hoon” and “kabhi kabhi mere dil me” made the viewers spellbound. Rakhee acted in many landmark films opposite Big B including Shakti Shamanta’s Bengali film Anusandhan, hindi film Barsaat Ki Ek Raat, Kala Patthar, Kasme Wade, etc. In the early 80s Rakhee played the role of her lifetime opposite Dilip Kumar in the film Shakti. She played the role of the mother of Big B, who faced the hostility between Dilip Kumar and Big B, one being the protector of law, while the other being the lawbreaker. The scenes where she praised her law-abiding husband her performance had outcast Big B, and viewers said that Rakhee’s performance was as brilliant as Dilip Kumar in Shakti. The film became super hit. She was brilliant in the film Shaan. She played the role of the wife of Sunil Dutt. After the death Sunil Dutt, her small interaction with Shashi Kapoor and Amitabh Bacchan, who were the brothers of Sunil Dutt in the film, had shown the class of acting of Rakhee. Rakhee by that period of time created her own class in character roles. She was outstanding opposite Suresh Oberoi in the film Shraddhanjali. In the 90s, Rakhee played many character roles in films like Anil Kapoor’s Ram Lakhan, Shahrukh Khan and Salman Khan’s Karan Arjun, Bobby Deol’s Soldier, to name a few. She had acted in more than 100 films and continues to act in many contemporary films. Rakhee had also acted in many character roles and challenging roles. Her performance in Aparna Sen’s film Parama requires special mention. She had affair with a middle-aged neighbour. When the truth relating to her extra-marital affair was known to her husband, she lost her value in the family. She showed the helplessness in the respective story. She had performed in both commercial films and parallel cinema and in both forms of films she had kept a mark. She was sublime in the other Bengali film Shubha Maharat. The viewers expect her to continue the good work in the years to come.

Great Rafisahab was remembered on death anniversary.


Mohammad Rafi had remained one of the greatest singers of all times.
On his death anniversary on 31st July, 2017, great Rafisahab is remembered all across the world. He is considered one of the greatest singers of all times. Rafisahab remained an eternal singer. Even after more than 36 years of death, his songs had remained immortal and relevant even today. Relationship with Shankar Jaikishan. Shankar Jaikishan composed music in almost 195 films in that golden age. One of the great reasons of Shankar Jaikishan’s huge success was due to the great combination with immortal singer Mohammad Rafi Sahab. 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, released in 1966 including songs like “aja re aa zara aa”, “Japan, Love in Tokyo”, “ o mere shahekhuba”, etc. In Biswajeet’s April Fool, released in 1964 SJ’s composition for Rafi including “aa gale lag ja” had westernized background. At the same time Rafi’s song “tumhe chaha” with Suman Kalyanpur was a great rendition in pensive mood. SJ’s composition for Rafi in Shammi Kapoor’s An Evening in Paris, in 1967, 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, released in 1965 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 which was produced by Raj Kapoor and released in 1954, “hai na bolo bolo”, “re mamma re mamma re” in Shammi Kapoor’s Andaz, released in 1971 and “chakke p chakka” in Brahmchari, in 1969. 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”, “kya kya na kahe” 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 has 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. Relationship with OP Nayyar. Whenever the name of OP Nayyar appeared in the minds of the audience, the name of immortal singer Mohammad Rafi had come together, without whom OP Nayyar was incomplete. The relationship between the two greats can be compared as tea and milk. OP Nayyar started his career with the film Kaneej in 1949. Guru Dutt had created his image in bollywood films in different categories being a thoughtful director and producer, dynamic actor, good choreographer. One of the numerous reasons for which his films became super hit in the 50s and 60s included the brilliant songs sung by Rafi during the golden age. Rafi’s songs in Guru Dutt’s Aar Paar, released in 1954 and composed by OP Nayyar became super hit. It was followed by Mr and Mrs. 55 released in 1955. Songs picturized on both Guru Dutt and Johnny Walker had melody and sweetness. Rafi’s songs like “dil pe kiya aisa jaadu”, “muhobbat karlo aji karlo”, “sun sun sun sun zaalima”, composed by OP Nayyar, created landmark in the mid-50s and Rafi emerged as the greatest singer of bollywood films during that time. In many of the songs Geeta Dutt did a great job in duets sung along with Mohammad Rafi. The same combination of Guru Dutt, OP Nayyar and Rafi gave everlasting hit in the film 12 O Clock with songs like “mai kho gaya”. Also in CID, OP Nayyar and Rafi combination created gold with songs like “aye dil mushkil jeena yahan”, “leke pehla pehla pyar”, “ankhon hi ankhon me”, etc. The magic combination of Rafi and OP Nayyar mesmerized the audience in Dilip Kumar’s Naya Daur. The super hit songs “saathi hath barana”, “mangke saath tumhara”, “mai bombai ka babu”, contributed a lot in the absolute success of the film. OP Nayyar received the filmfare award for the best music director only once in his career. Credit goes to Rafisahab for the great rendition of each songs of Naya Daur. The brilliant combination of OP Nayyar and Rafi continued in Raj Kapoor’s film Do Ustad. All the songs in the film became extremely popular including “tu ladki mai ladka”, “ruk ruk ruk, chor na de diwane”, “nazron ke teer mare kas kas kas”, etc. Rafisahab was the first choice of OP Nayyar, and inspite of Raj Kapoor’s voice having closeness with Mukesh and Manna Dey. OP Nayyar gave all the songs of Do Ustad released in 1959 to Mohammad Rafi Sahab. Even in Bharat Bhushan’s Phagun, OP Nayyar composed all the songs for great Rafi Sahab. So of the most super hit songs included “kaun se pardesi mera dil le gaya”, “tum rooth ke mat jana”, “mai soya ankhiya miche”. Qamar Jalalabadi’s words were as brilliant as Rafisahab’s velvety voice. Joy Mukherjee’s film Ek Musafir Ek Hasina did brilliant business in the early 60s. Raj Khosla’s musical thriller released in 1962 addressed every section of the society with romantic performance of Joy Mukherjee and Sadhna. All the songs of Rafi and Asha picturized on Joy Mukherjee and Sadhna became super hit. It includes songs like “aap yuhin agar humse milte rahe”, “mujhe dekhkar aapka muskurana”, “phir tere shahar me”, “mai pyar ka rahi hoon”, “bahut shukhriya, bari meherbani”, “humko tumhari isqh ne”, to name a few. Rafi was elegant as ever in the songs “phir tere shahar me” and “humko tumhare ishq ne”. OP Nayyar was probably at his best in the film and his blend of eastern and western music created the romantic mood for the film. Joy Mukherjee, Rafi and OP Nayyar’s magical combination continued in the film Phir Wohi Dil Laya Hoon. Most part of the film released in 1963 was shot at picturesque locations of Jammu & Kashmir and the landscape was as romantic as the songs sung by Rafi and Asha in the film. The prominent songs included “banda parwar, thamlo jigar”, “lakho hai nigahon me”, “nazneen bara rangeen hai wada tera”, “aanchal me sajalena kaliyan”, “zulf ke chayon me chehere ka ujala lekar”, to name a few. Rafi had shown his excellent classical skills in the songs “zulf ke chayon me”, and “aancal me sajalena kaliyan”. Asha Parekh showed her dancing skills to perfection in the film. Rajender Nath played the role of the relief character in the film. In fact OP Nayyar maintained the same standard of music in Shammi Kapoor’s film Kashmir Ki Kali and Biswajeet’s film Mere Sanam which were made after Phir Wohi Dil Laya Hoon. Joy Mukherjee’s combination with OP Nayyar continued in the film Humsaya. In that film Sharmila Tagore got the lead role opposite Joy Mukherjee. By that time due to emergence on new actors and actresses in bollywood films, Joy Mukherjee’s popularity declined and the film also did moderate business. In respect of the songs, Rafi’s song “dil ki awaaz bhi sun” became hit. But OP Nayyar gave a number of songs to Mahendra Kapoor was well which did not strike gold in the box –office. Besides Rafi’s western romantic mood is utilized by OP Nayyar in a very stylish way in the songs “Diwana hua badal, sawan ki ghata chayi” and “Yeh Chand Sa Roshan Chehera” in the film Kashmir Ki Kali, 1964 picturised on Shammi Kapoor and “Humne to dilko aap ke kadmome rakh diya, is dil ka kya karenge yeh ab aap sochiye” in the film Mere Sanam, 1965 and “Phir Miloge Kabhi is baat ka wada karlo, humse ek aur mulakat ka wada karlo” in the film Yeh Raat Phir Na Ayegi, picturised on Biswajeet. In all these songs the sarengi and santoor had played a very pivotal role accompanied by the intoxicating appeal of Rafi’s voice. In the film Baharen Phir Bhi Aayegi, Rafi’s ghazal “aap ki haseen rukh” composed by OP Nayyar and picturised on Dharmender was extremely romantic and made the audience spellbound in the early 60s. OP Nayyar composed peppy numbers for Rafi Sahab in Dharmender’s film Muhobbat Zindagi Hai in 1966. Rafisahab’s song “na jaane kyun” was as brilliant as “tumhari mulakat se” and “yeh purnur chehra yeh dilkash ada”. The list of films where OP Nayyar and Rafi’s magic flabbergasted the listeners just goes on including films like Tumsa Nahi Dekha, Basant, Phagun, Kismat, etc. One article is too small to explain the domination of OP Nayyar and Mohammad Rafi in bollywood films of the 50s and 60s. But the songs and the films had not become obsolete and listeners can listen to them again and again. The songs and the films should be restored. Relationship with Naushad Ali. Naushad Ali is remembered for his brilliant tunes over a period of 50 years down the memory lane. In the 40s, he composed music in many films including Anmol Ghari, but he stormed bollywood with romantic songs in Dulari, including “suhani raat dhal chuki” sung by Rafi, all the songs of Andaz, where he composed Rafi’s songs for Raj Kapoor and Mukesh’s songs for Dilip Kumar. In the 50s, Naushad’s composition in Baiju Bawra made the listeners speechless. He won filmfare award for the best composer for his brilliant classical presentation in songs like “o duniya ke rakhwale”, “man tarapata”, “tu gangi ki mauj”, etc., sung by Rafi and Lata. Rafi’s range was used to perfection and from that time the Rafi Naushad combination provided gems after gems. The different ragas and their timings were explained by Naushad in the film. Bharat Bhushan and Meena Kumari gave able lips in the songs composed by Naushad. Songs of Uran Khatula, like “wo dur ke musafir” sung by Rafi for Dilip Kumar also shook bollywood in the mid-50s. In the 60s Naushad was unstoppable. His composition in Kohinoor for Rafi titled “madhuban me radhika nachere” and “do sitaron ka zameen” picturised on Dilip Kumar displayed the brilliance of Hindustani ragas. Naushad’s composition in Rajender Kumar’s Mere Mehboob, Naushad displayed the ghazal culture of Lucknow and Aligarh. The songs “mere mehboob tujhe meri muhobbat ki kasam”, “ai husn zara jag”, etc. sung by Rafi and picturised on Rajender Kumar was per se excellent. Naushad composed light songs in Mughal-i-azam for Lata including “pyar kiya to darna kya”, “mohe panghat ke nandlal”, and again composed thumri sung by Bare Ghulam Ali Khan in the same film. Naushad also composed Bhojpuri music for Dilip Kumar in the film Ganga Jumna. The songs “nain lar jaihe” sung by Rafi was one of the examples of Naushad’s control of Bihari folk tune. Naushad was at his best in Dilip Kumar’s Leader. All the songs in the film sung by Rafi and Lata flabbergasted the listeners, including “ek shahenshah ne banwake haseen tajmahal”, “teri husn ki kya tareef karun”, “mujhe duniya walon”, etc. Naushad was excellent in Dilip Kumar’s Ram Aur Shyam. All the songs sung by Rafi and Lata in the film including “aye hai baharen dekho”, “yeh raat dulhan bangayi”, “mai hoon saki”, etc. Critics consider Dil Diya Dard Liya as one of the best creations of Naushad. All the songs in the film became superhit including Rafi’s “dilruba maine tere”, “koi sagar dil ko behlata nahi”. Naushad Rafi and Dilip Kumar continued with their level of excellence in the film Aadmi, with Rafi’s songs like “na aadmi ka koi bharosa”, “aaj purani rahon se”, etc. Besides, Naushad composed excellent music in Rajender Kumar’s Palki, Saathi, Ganwar, etc. Rafi’s hit songs in those films included “dil-e-betaab ko seene se lagana hoga” sung with Suman Kalyanpur. Naushad faded away from film music in the 70s, causing huge loss to the film industry. The classical gharana related to thumris, kajris, ghazals, etc., faded away with Naushad. Music became popular, but lost its class. Naushad received Dadasahab Phalke for his excellent contribution to bollywood music. His songs and the films should be preserved and restored. Relationship with Roshanlal Nagrath. Whenever any reference relating to everlasting singer Mohammad Rafi comes, the attention goes to the big budget films and songs for big banners. Rafi is known the most for singing catchy numbers for Shammi Kapoor under the composition of Shankar Jaikishan and classical songs for Dilip Kumar under the composition of Naushad Ali. Although Rafi had sung brilliant songs for all the leading actors of 40s, 50, and 60s, much had been written about the successful films where both the songs and the films did excellent business. But Rafi had sung excellent songs for Pradeep Kumar under the composition of Roshanlal Nagrath, where even if the mass was not touched, the class was addressed and the royal andaz of singing showed the range of Rafi to suit his voice for any form of playback singing. The magic of Roshanlal Nagrath, Pradeep Kumar and Mohammad Rafi started in Aarti released in 1962. Phani Majumdar directed the film. Four of the songs of Rafi stand out, “aapne yaad dilaya”, “ab kya misaal doon”, “baar baar tohe kya” and “tere bin lage na jiya”. Some of them were solo songs, while others were duet songs sung with Lata Mangeshkar. There were other duet songs of Rafi with Asha Bhosle, but the ones in pathos andaz like “aapne yaad dilaya” mesmerized the audience. The lyrics of Majrooh Sultanpuri, the composition of Roshanlal Nagrath, the voice of Mohammad Rafi and lips of Pradeep Kumar made the viewers spellbound. None of the songs had lost their charm even today. The magic continued in the film Tajmahal in 1963. M. Sadiq directed the film. Pradeep Kumar played the role of Shahjahan while Beena Roy played the role of Mumtaz Mahal. Here the combination was different with Sahir Ludhiyanvi writing the songs for Roshan which were sung by Mohammad Rafi. Four of Rafi’s songs were masterpieces including “jo wada kiya wo nibhana parega”, “paon chulene do phulonko inayat hogi”, “chandi ka badan”, and “jo baat tujhme hai”. Roshanlal Nagrath won the filmfare award for the best composer only once in his life, that was for the composition of the music of the film Tajmahal. He deserved it many more number of times. Sahir Ludhiyanvi won the best lyricist award for the lyrics of the film. Rafi was as outstanding as Pradeep Kumar in the role of Shahjahan. The magic continued in the film Chitralekha in 1964. Kidar Sharma directed the film. Pradeep Kumar, Meena Kumari and Ashok kumar played the main roles. Rafi’s song “man re tu kahe na dheer dhare” is still considered one of the 10 best bhajans Rafi had sung. Sahir Ludhiyanvi wrote the songs of the film. Rafi’s other song “cha gaye badal” was equally impressive. The Roshan, Rafi, Pradeep Kumar combination continued in the film Bheegi Raat in 1965. It was directed by Kalidas. Rafi’s songs in the film “dil jo na keh saka”, “aise to na dekho”, “jane wo kaun hai kya naam hai”, “mohabbat se dekha” all were masterpieces. Some were duets with Suman Kalyanpur, while the others were solo songs sung by Mohammad Rafi. Lyrics were written by Majrooh Sultanpuri. The words were excellent. Rafi was unparallel in all the songs. The combination continued in the film Bahu Begum in 1967. It was directed by M. Sadiq. Rafi’s songs “hum intezar karenge tera qawamat tak”, “dhoond ke layun kahan se”, “vakiv hoon ishqgade” were all masterpieces. While some had ghazal andaz, the others were stand out qawallies with Manna Dey. Roshan was as brilliant as Mohammad Rafi as Sahir Ludhyianvi. In the same year, the combination was sublime in the film Noorjahan. Rafi sang the songs “aap jab se kareeb aye hain” and “wo mohabbat wo wafayen” in style. For a change the lyrics were written by Shakeel Badayani. The unfortunate death of Roshanlal Nagrath in 1967, ended the journey of Rafi with Roshan and Pradeep Kumar. Otherwise masterpieces after masterpieces could be created. Rafi’s archive should preserve the songs of Pradeep Kumar and Roshan, which showed the royal andaz of music existing in the courts of Mughals, Pathans and Sultans in India. Relationship with Madanmohan Kohli. If any composer had utilised the ghazal andaz of Mohammad Rafi to the best of his potentiality it is Madanmohan whose name appears in the minds of the lovers of music across the nation. Madanmohan’s father Rai Bahadur chunnilal send his son to Dehradun to join the army. Instead he left the army and joined All India Radio in Lucknow. He came in contact with Ustad Faizz Khan, Ustad Ali Akbar Khan and carried on their legacy in the compositions he made for 30 years which can be classified as masterpieces. As Madanmohan was not associated with the Big Banners like RK or Navketan, he was not categorised with any star of bollywood during 50s, 60s, 70s. Further he never wanted to balance the popular test of music and excellent class of classical compositions he created. But the compositions were so rich in lyrics and tunes that the musical pandits had no way but to admire them. The golden age of bollywood music was categorised with the excellence of Mohammad Rafi and as such if any composer neglected Rafi and tried to reach the summit of popularity they have invited their own downfall. Madanmohan did not make such a mistake. He started his career with the film Ankhen in 1950. He also composed music for Raj Kapoor’s film Ashiana in 1952. His notable songs for Rafi in the film Railway Platform, 1956, include “basti basti parbat parbat”. In Gateway of India, 1957, Madanmohan used Mohammad Rafi for the song “do ghari woh jo pass aa baithe” picturised on Bharatbhushan. It was very successful and strengthened the everlasting bond of Rafi with Madanmohan. Rafi’s intoxicating appeal in the song “kabhi na khabhi kahin na kahin koi na koi toi ayega” in the film Sharabi, 1964, composed by Madanmohan can be classified one of the best songs in sombre mood. The most majestic ghazals of Rafi composed by Madanmohan include “kisiki yaad me apnako hai bhulaye huye” and “baad muddat ke yeh ghari ayi” from the film Jahan ara, 1964, picturised on Bharat Bhushan. Talat Mehmood’s song in the same film “phir wohi sham wohi gham wohi tanhai hai” was also based on ghazal andaz. The classic lyrics were written by Rajinder Kishan. The film titled Ghazal, in 1964, was based on ghazals and Rafi was outstanding by every standard in the song “rang aur noor ki baraat kise pesh karun.” In the same year Rafi’s patriotic flavour was bolstered in the song “kar chale hum fida jan-o-tan sathiyon” in the film Haqeeqat, where Rafi’s ghazal titled “hoke majboor usne bulaya hoga” shared with Bhupinder Singh, Manna Dey and Talat Mehmood was sensational. The majestic lyrics were written by Kaifi Azmi. In the film Neela Akash, 1965, picturised on Dharmender, Rafi’s song “akhri geet muhobbat ka sunayun to chalun” showed the tragic note of Madanmohan. In the film Need Hamari Khwab Tumkhari, all the songs were sung by Rafi including “husn ne jab isq se takraya tha”. Returning back to ghazals, Rafi’s song “aap ke pehlu me akar” in the film Mera Saya, 1966, was as outstanding as Lata’s title song “tu jahan jahan chalega mera saya saath hoga”. The lyrics were written by Raja Mehendi Ali Kahan. Raj Khosla’s crime thriller ended up becoming a musical blockbuster just like Woh Kaun Thi, in 1964, where Madanmohan’s composition “naina barse,” “lagja gale”, etc. for Lata Mangeshkar was probably the most immortal creation in the history of film music, with Sadhna giving life time performances in ghostly characters in both these films. The landmark ghazal “tumhari zulf ke saye me sham karlunga” in the film Naunihal, in 1967, is probably one of the five best ghazals Rafi did sing in his life. Experts in music realise that ages will pass, but no second singer can provide blood and flesh in the superlative ghazal of Madanmohan the way Rafi had done in this song. Kaifi Azmi has written sensational lyrics for the abovementioned song. People started thinking that Rafi and Madanmohan were made for each other. The belief was put to action in the next film Dulhan Ek raat ki, in 1967, picturised on Dharmender in the song “ek haseen sham ko dil mera kho gaya. In the film Chirag, 1969, “teri aakhon ke siwa duniya me rakkha kya hai” Madanmohan combined ghazal with light orchestration to try to inspire the common listeners in understanding these type of songs. In the film Heer Ranjha, 1971, picturised on Rajkumar, Rafi’s song “yeh duniya yeh mehfil” was well acclaimed by music lovers. Rafi was outstanding by every standard in the song “tum jo mil gaye ho” in the film Hanste Zakhm, 1973, where Madanmohan synchronised lightning with his own orchestration. Madanmohan also gave a tremendous break to Bhupinder Singh in the song “dil dhoonta hai, phir wohi, fursat ke raat din” written by Gulzar in Sanjeev Kumar’s Mausam in 1975. Rafi had the song “chari re chari kaise gale me pari.” Madanmohan’s last performance with Jaidev brought out Rafi’s Himalayan range in the film Laila Majnu in 1977. Rafi’s songs “tere dar pe aya hoon,” “barbad muhobat ka duya saath liye ja”, picturised on Rishi Kapoor showed his master spirit of adapting to tunes of middle east which was the geographical location where the story was based. Madanmohan died in 1975, without even seeing the success of Laila Majnu, it appeared like out of seven sur in every octave one sur had gone, because, the majestic combination of Madanmohan with Rafi cannot be forgotten through ages. Rafi’s archive should restore Madanmohan’s combination to let the next generation know about the high esteem with which Madanmohan addressed Mohammad Rafi during the golden age of film music. Articles after articles can be written to show the indispensability of Rafisahab during the golden age. For listeners the intoxication still continues. Rafisahab’s voice sunke lagta hai sunte jay bas suntey hi jay. His admirers pay their respect and homage to the noble soul.

Greatest actor of all times Chabi Biswas was remembered on his birth anniversary.


Remembering legendary actor Chabi Biswas on his birth anniversary. The nation remembers legendary actor Chabi Biswas on his birth anniversary
on 12th July, 2017. His superlative class of performance had been acknowledged by brilliant directors like Satyajit Ray, Hrithik Ghatak, Raj Kapoor, Tapan Sinha, but he had remained unsung, unhonoured, unlamented. Ray had a very serious personality and hardly required any improvisation as his innovative scripts had almost everything embedded in them. But Chabi Biswas brought out his own dimensions in the role of Feudal Lord in the film Jalsaghar released in 1958. He combined the aristocracy and the dignity of the feudal lord in the colonial period and at times astonished Ray himself with his dynamic performances. He even sold his wife’s ornaments to organize a musical program in his banquet room to maintain his dominance as a feudal lord. Singers from renowned classical gharana came and performed in the show and the entire village was invited to witness it. With the loss in revenue and poverty during British regime, he committed suicide by dying on horseback. He was sublime in the film Debi released in 1960, where he visualized Goddess Kali in the human form in Sharmila Tagore, his daughter –in –law. The entire concept was related to his belief and his son Soumitra took exception about the thing but was helpless. Sharmila Tagore became sick as it was awkward on her part to see his father-in-law touching her feet as she was believed to be Debi, the human form of Goddess. Chabi Biswas was majestic in his classic role in the film Kanchenjungha released in 1962. Ray experimented with a remote subject where the greatness of the Himalayas freed the mental blockade of middle-class bengalies. Arun Mukherjee, one of the unemployed youth even did not accept the job offered by big industrialist played by Chabi Biswas. At the end of the film Chabi Biswas realized the greatness of the great mountain range and surrendered before it. The film could not be understood by mass audience as it dealt with the concept of realization although the colourful photography of Ray in Darjeeling was well appreciated. But critics had acclaimed Chabi Biswas and said that he was the last name for the depiction of aristocracy in any form. His dignified performance in the films of legendary directors like Ajoy Kar, Tapan Sinha, Prabhat Mukherjee, Agragami, Agradoot had not been forgotten by the mass. He had remained sublime in Prabhat Mukherjee’s Bicharak (1958) in the role of a charishmatic advocate, Tapan Sinha’s Kabuliwala (1957) in the role of an Afghan father, Ajoy Kar’s Suno Baranari (1960) in the role of a wealthy Barrister, Agragami’s Headmaster (1959) in the role of an old headmaster, Bijoli Baran Sen’s film Manik, where he played the role of a handicapped grandfather, Sudhir Mukherjee’s Dadathakur (1962) where he played the role of Sharat Pandit, Premendro Mitra’s film Chupi Chupi Ase (1960) where he played the role of a detective in a crime thriller film, to name a few. He died in a tragic accident in 1962 and Indian celluloid lost one of its greatest actors ever. His films should be preserved for projection of dynamism, class, dignity, aristocracy and majestic demeanour.

Tuesday, June 5, 2018

Happy birthday to Neha Dhupia


Happy birthday to Neha Dhupia. The viewers of bollywood films wish happy birthday to Neha Dhupia on 27th August, 2018. Neha Dhupia, the daughter of Commander Pradip Dhupia of Indian Navy, had attracted public attention after winning the Miss India Universe 2002 crown in that year. After beginning her career in the film Qayamat: City Under Threat, she impressed the viewers with challenging role in the film Julie where her glamour was used to perfection. But she got a notable role in the film Kya Cool Hai Hum in 2005. She acted opposite Ritesh Deshmukh where Tusshar Kapoor and Isha Koppikar were the other pair. Isha Koppikar, the police officer in the film was sent by Anupam Kher to investigate a case relating to a habitual offender. Tusshar Kapoor was suspected to be a murderer and Isha Koppikar was sent to his house to monitor his activities. Ritesh Deshmukh had an affair with Neha Dhupia and married her at the end of the film. The film was serio-comic in nature and Neha Dhupia performed very well in her respective role. She also got a purposeful role in the film Shootout At Lokhandwala. The film was related to a real-life story where the Bombay police had trapped the underworld group in a house in Bombay and fired at them. Sanjay Dutt gave a memorable performance in the role of Encounter specialist in the film opposite Vivek Oberoi who played the role of a mafia don. Neha Dhupia did her part very well. She did even better in the film Chup Chup Ke, in the role of the sister of Kareena Kapoor. Shahid Kapoor pretended to be dumb in the film and stayed in their house. Neha Dhupia acted as a mediator between Kareena Kapoor and Shahid Kapoor and helped in the marriage between the two. Neha Dhupia knew that Shahid Kapoor could speak but never informed Sunil Shetty or Om Puri or any other member of the house about it. Although the film was related to the serio-comic relationship between Om Puri, Paresh Rawal and Rajpal Yadav, Neha Dhupia kept her mark in a reserve role and in some of the sequences even acted better than Kareena Kapoor. She was even impressive in her supporting role in the film Singh is Kinng, where Katrina Kaif and Akshay Kumar had the lead roles. Singh is Kinng also did good business in India and abroad. But if her performance in the earlier films like Sheesha and new films like Mithya are compared it will be found that initially the stylish screen presence and bold performance of Neha Dhupia was publicized by the producers. These days the acting skills of Neha Dhupia are used. She had been bold enough to act in the role of a prostitude in the film De Dana Dan in 2008. The role required comedy timing and she did extremely well. In 2009, her performance in the film Raat Gayi Baat Gayi bagged her the nomination for Star Screen Award for the best actress in a supporting role. She had two releases in 2010 where her two films, Action Replay and With Love to Obama had different roles. Although her performances in the films were appreciated the films did not do good business. In 2012 she had acted in the film Rush where Imraan Hashmi, Sagarika Ghadke and Aditya Pancholi had played important characters. In 2013, she acted in the film Ungly with Sanjay Dutt, Imran Hashmi and others. Unless she grabs any glamourous role in near future she will not remain in the rat race where the competition between Priyanka Chopra, Katrina Kaif, Kareena Kapoor, Sonakshi Sinha is very keen.

Ashok Kumar, Dilip Kumar and Raj Kapoor dominated bollywood films of 1950.


The biggest Bollywood hit films of 1950. The 1950s began with new types of films in Bollywood. While stars like Ashok Kumar already himself in Bollywood arena, new stars like Dilip Kumar, Raj Kapoor rose to stardom. Actresses like Nargis, Madhubala, Geetawali, Nalini Jayant, Suraiya dominated Bollywood films. In the previous decade in the 1940s, Dilip Kumar’s Andaz and Raj Kapoor’s Barsaat were the biggest blockbusters. Samadhi was the years’s biggest blockbuster of 1950. It was directed by Ramesh Saigal, who was one of the top directors of Filmistan with films like Shaheed (1948), Samadhi (1950) and Shikast (1953). The music was composed by C. Ramchandran, with "Gore Gore Banke Chhore" (Oh Fair Lad) sung by Lata Mangeshkar and Amirbai Karnataki, and picturised on Kuldip Kaur and Nalini Jaywant, becoming a popular song. Ashok Kumar played the lead role in the "patriotic spy-thriller", "the film turned out to be the year's biggest hit with a gross profit of ₹ 75 lakhs". The 2nd super hit film was Babul. By 1940s Dilip Kumar already established himself as tragedy king with the success of the film Andaz. Babul had Dilip Kumar in another tragic role, where he was teamed with Nargis and Munawwar Sultana. It was directed by S. U. Sunny. The music composer was Naushad Ali, and he had Shamshad Begum give playback for seven out of the twelve songs in the film. A famous song by Talat Mehmood and Shamshad was "Milte Hi Anken Dil Hua Diwana Kisika". Shamshad Begum along with Suraiya, Lata and Geeta Dutt were dominating Bollywood music at that time. Naushad Ali had Talat Mehmood singing for the first and last time under his baton. The famous Talat solo was "Husnwalon Ko Na Dil Do Yeh Mita Dete Hain" (Don't Give Your Heart To The Pretty Ones, They Destroy It). The songs of this film made Talat the "most sought-after ghazal singer". Over a period of time Mohammad Rafi started singing almost all the songs for Dilip Kumar. The film was a big success and grossed an estimated ₹ 70 lakhs. The third biggest hit film was Dastan. Dastan was directed by A. R. Kardar, with Raj Kapoor, Suraiya, and Veena in the main roles. The film was a tragic melodrama narrated in a flashback by Suraiya's character. This was the only film in which Raj Kapoor and Suraiya starred together. The "waltz-type rhythm" song "Tara Ri Tara ri" sung by Suraiya and Mohammed Rafi, became a popular number. Inspired from the film Enchantment (1948), it's referred to as "one of the biggest commercial hits,” with a business of 65 lakhs. Very significantly Naushad Ali used Rafisahab to sing songs for Raj Kapoor and not Mukesh. Suryaiya sang for herself. The 4th biggest hit film was Jogan. Jogan directed by Kidar Sharma, featured Dilip Kumar and Nargis. It was described as Dilip Kumar's "most powerful portrayal as a one-way love seeker". It had Nargis playing a Meera-like Sadhvi and has been referred to as a "most famous classic". The film grossed ₹ 62 lakhs. Incidentally Rajender Kumar made his debut in Bollywood films in a small role in the film Jogan. The music was composed by Bulo C Rani and all the songs were sung by Geeta Dutt, including the hit song “ghunghat ke pat khol” The fifth biggest hit film was Sangram. Sangram starred Ashok Kumar and Nalini Jaywant again. Written and directed by Gyan Mukherjee for Bombay Talkies, it had music by C. Ramchandran. A popular song from the film was "Yaara Wai Wai, Yaara Wai Wai". The film as a box-office success commercially, earning a gross profit of ₹ 50 lakhs. In conclusion it can be said that 1950s began with black and white films. But performances of Ashok Kumar, Dilip Kumar and Raj Kapoor were per excellence. The directors like Kidar Sharma, AR Kardar, Mehboob Khan and others really made a fantastic impact. Naushad Ali, Hunslal Bhagatram, Shankar Jaikishan and C Ramchandran dominated music. Talat, Rafi, Mukesh dominated male singing while Suraiya, Shamshad Begum, Geeta Dutt and Lata dominated female playback songs. With passing of time new actors like Bharat Bhushan, Pradeep Kumar competed with Dilip Kumar, Raj Kapoor.