showed his mastery in casting in Post Master and Monihara.
Satyajit Ray was a master of casting whenever film direction was in question. He experimented with Rabindranath Tagore’s epic literature Teen Kanya in his film Teen Kanya. He chose the stories Post Master, Manihara and Shamapti.
In Post Master, Ray’s choice of Anil Chatterji in the role of Post Master showed his immense class in casting of characters. Anil Chatterji displayed the uneasiness of a Post Master in adjusting in village conditions very well. He listened to the rural music of the old villagers. He got frightened to weird mannerism of Nripati Chatterji who played the role of a village beggar. He faced fever, and even in sleep he dreamt about the weird beggar.
Ray’s casting of Chandana Banerjee in the role of the little girl was equally excellent. The girl lost her parents at a young age and served the Post Masters in the village. She took care of Anil Chatterji when he got fever and treated him like an elder brother. Anil Chatterji taught him to read and write. When he got transferred and a new Post Master came in his place, Chandana Banerjee made the viewers weep through her passionate expression. She got attached with the Post Master and did not even take the money offered to her by Anil Chatterji when he left the village.
In Manihara, the casting of Kali Banerjee and Konika Majumdar in the lead roles also showed Ray’s class. Kali Banerjee was a zamindar and Konika Majumdar was his wife. She had a troubled past. She was possessive towards her jewellery. When Kali Banerjee went to Kolkata for work, she asked one of her friends to reach her to her native town.
Konika Majumdar died. When Kali Banerjee returned back, her ghost came and appeared before Kali Banerjee. Kali Banerjee looked at her hand full of jewellary which later turned into a skeleton. A road passer told the story to a visitor who was also a ghost. Kali Banerjee’s frightened expression amazed the viewers.
Ray was a great artist and his illustration helped him to cast the right actors and actresses at the right roles. The characters came out of classic novels and mesmerized the viewers with conviction and accuracy. The film should be preserved for Tagore’s brilliant literature, Ray’ s powerful direction and the effortless performances of main actors and actresses in the film.
Nirmala Mishra said Carribean humming gave her song “emon ekta jhinuk”.
Eminent singer Nirmala Mishra gave an exclusive interview in Anandabazar Patrika on 16th October, 2011. At an age of 73 years she talked about many unknown facts.
She disclosed that her father Mohinimohan Mishra was Pandit, Sangeet Ratna and Sangeet Nayak. He went to Benaras to get those degrees in music. Nirmala Mishra’s second brother who was also a great talented singer was given poison and did not survive, otherwise would have been a great singer.
She was very mischievous during childhood, that was the reason she was called “jhamela”. She got typhoid 6 times, for that reason her eyesight was affected. Everyone prescribed her to sing light songs, but her father was upset as he was an eminent classical singer. Ustad Bade Ghulam Ali Khan had many times given her medicine for voice.
Eminent singer Dhananjoy Bhattacharya had helped her in her initial days of career. When composer Nochiketa Ghosh composed a song and asked her whether she could do Carribean humming, she said yes. Nochiketa Ghosh thought about Lata Mangeshkar for the song. But she did the humming, and got the song “emon ekta jhinuk khuje pellam na”. It became super hit. In the same way she got the song “o tota pakhire” from the brilliant composer Prabir Mojumdar.
She was called by superstar Uttam Kumar a number of times in his own house whenever Supriya Debi cooked a delicacy of prawns. She was asked to sing songs many times. She talked about her husband also who wrote the song “ami je tomar chirodiner hasi kannar saathi” which was later recorded and became a big hit.
Nirmala Mishra said that just as Lata Mangeshkar was called the melody queen of Mumbai, Sandhya Mukherjee the melody queen of Kolkata, similarly she was considered the melody queen of Orissa. She had sung many Oriya songs and majority of them had become hits.
Romantic singer Gayatri Bose sang many romantic songs during 1950s and 1960s.
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.
The demise of Basu Chatterjee at 93 age was a big blow to realistic films in India. He gave a lifetime break to actors Amol Palekar and Zarina Wahab. Amol Palekar caught the attention of the viewers with his performance in the film Rajnigandha, directed by Basu Chatterji, where he acted opposite Vidya Sinha, the successful actress of the 70s. Salil Choudhury’s music in the film including songs sung by Lata, Yesudas and others like “janeman janeman”, “ranjigandha”, etc., created special impact on the viewers. Amol Palekar’s performance in the other film of Basu Chatterji, titled Chitchor also impressed the viewers. In that film a new pair of Zareena Wahab was created with Amol Palekar who was accepted by the viewers. The film revolved around the romantic story of Amol Palekar that took place in forest locations. The performance of Master Raju in the role of a child artist was also impressive. The music of the film composed by Ravindra Jain including songs like “gori tera gaon”, “tu jo mere sang me”, etc., sung by Hemlata and Yedudas was very impressive.
Even the films based on classic literature of Sarat Chandra Chatterjee made in hindi by Basu Chatterjee still remain in the minds of viewers. Films like Swami, Apnapan still haunt the viewers. Shabana Azmi, Utpal Dutt, Girish Karnad did a great job in these types of films.
His film Ek Ruka Hua Faisla was also a great experiment.
Basu Chatterjee's films hovered around the common man. He showed the life of simple man, like the employee Amol Palekar in film Chitchor. The simple village life really impressed the audience.Basu Chatterjee's film Choti Si Baat, with Amol Palekar and Vidya Sinha was also a great experiment. Ashok Kumar did a great job in the film. His films require restoration and preservation
Happy birthday to Mithun Chakravarty.
The viewers of bollywood films wish happy birthday to Mithun Chakravarty on 16th June, 2020. He had contributed in bollywood films for more than 30 years and had also contributed in Bengali films as well.
He brought revolution in the world of dancing in bollywood films. His film Disco Dancer, was related to the struggle of a young man in establishing him in the world of dancing. The music of the film composed by Bappi Lahiri played a big role in the success of the film. All the songs in the film became super hit including “I am a disco dancer”. Kishore Kumar, (Bappi Lahiri’s own relative), and Bappi Lahiri contributed a lot in the success of Mithun Chakravarty.
Mithun Chakravarty acted in successful films in the 80s, including Dance Dance, Pyar Jhukta Nahi, etc. Some of films were dance oriented films, while the other ones were action oriented. Although Mithun’s husky voice was criticized at times, his action sequences had always been appreciated.
Mithun Chakravarty won a number of national awards for his excellence in Bengali films, mainly related to films of intellectual directors like Mrinal Sen and Buddhadeb Dasgupta. His performances in films like Mrigaya and Tahader Katha require special mention. At the same time he acted in many commercially hit films like Anyay Abhichar and Kalankini Kankabati.
In the last 5 years, Mithun had kept his mark in character roles. Last year his performance in the role of a solicitor in the film Yuvvraaj was appreciated. He did a fantastic job in Akshay Kumar’s Chandni Chowk to China released in 2010. His emotional performance had made a lot of viewers cry. He tried to convince Akshay Kumar that those who tempted him to go to China and create name and fame were not his friends or well-wishers but were flatterers. Mithun had matured over the years. In 2012 he did a great job in the film Housefull 2. He acted along with Akshay Kumar, John Abraham, Rishi Kapoor and proved his worth in the role of dacoit. These days whenever he is given any character role, he uses his long experience for the last 30 years in giving expression to the respective character. He played the role of the ancestor of Salman Khan in the film Veer, for two generations he maintained the bravery and glory of the pindary clan.
Mithun had also acted in negative characters and did a great job in those roles as well. His comedy performances in films like Agnipath can inspire many new actors of modern days. Besides Mithun had also been a great human being as he contributed in relief operations during natural calamities and human causes like raising funds for Thalasemia patients or people suffering from cancer, etc.
Mithun Chakravarty also appeared in Sourav Ganguly’s program Dadagiri and there also showed his excellence in answering questions. His success story from the beginning of a middle-class Bengali family can be a learning example for many youngstars. He is a hardworker. He is required all over India, in Dance India Dance program, in Dadagiri, bollywood films, Bengali films, everywhere. He had also been a member of the Rajya Sabha and there too he did a good work.
The viewers expect him to continue the brilliant work that he started years back.
Manobendra Mukherjee was one of the legendary classical singer of Bengal who had simplified classical ragas and used them in Bengali modern songs.
His romantic song “ami eto je tomay bhalobesechi” written by Shyamal Gupta and composed by himself had classical touch embedded in it. His other own composed song “emni kore porbe mone baki jibon dhore” was also a masterpiece related to classical andaz.
Manobendra Mukherjee’s pure classical numbers were even more melodious. One example is “ei moushumi mon shudhu rong bodlay”. In this song there was a small alaap or khanak taken at the place “mori je hay” where Manobendra had used the sargam by uttering in “aa aa” form. It was brilliant.
There were other romantic songs like “boroshaklanto o duti nayan mele”. The song had been composed by Anal Chatterji. Manobendra Mukherjee had another master piece “bolo raat bolo se kothay”. The song was totally raga oriented.
Manobendra Mukherjee was sublime in the song “ei nil nil jal sagore” composed by Probir Mojumdar and “tomar pather prante moner monidip jele rekhechi” composed by Satinath Mukherjee. Some of his own compositions like “ei ganga sei padda” and “sei bhalo ei bosonto noi” had absolute romantic andaz.
Manobendra Mukherjee had given adequate expression to songs composed by Himangshu Dutta including “birohini chiro birohini”, “tumi je andhar”, “biroho barisha”, etc. The songs were difficult in nature and Manobendra was probably the most classically trained singer to do justice to them.
Manobendra had also sung some of the songs created in thumri style. One example was “koto je soyechi betha” composed by Chinmoy Lahiri. One more classical number included “tumi to dariye acho”.
Articles after articles can be devoted to Manobendra Mukherjee whose classical touch was as elegant and stylish as Neil Harvey’s wristy strokes.
Ajay Devgan and Tabu were brilliant in film Drishyam. They should have won awards for their acting in the film.
Ajay Devgan and Tabu did a great job in the film Drishyam. The film was originally made in Malayalam and Mohanlal played the lead role in the film.
The hindi version is directed by Nishikant Kamat. It had been produced by Kumar Pathak, Ajit Andhare and Abhishek Pathak. The music had been composed by Vishal Bhardwaj.
In the film Ajay Devgan had Cable business in a remote village at Goa. He lived peacefully with his wife played by Shriya Saran and two daughters. Once his daughter went for camping with her college friends. At that camp Rishabh Chaddha (played the role of Sam), the son of Inspector General played by Tabu took ofscene photos of her from his mobile phone and blackmailed her. In haste Ajay Devgan’s daughter hit him with an iron rod and he was killed. Shriya Saran and the daughter buried the body in the garden of the house and told Ajay Devgan about everything.
Ajay Devgan made a plan, took the family on holiday, went to Panaji by bus, stayed in a hotel, saw a film and returned back keeping all the bills of expenses. Tabu very seriously interrogated him because one of the police officers Gaikonde saw Ajay Devgan driving the yellow car of Sam.
The rest of the film was related to the interrogation. The police tortured Ajay Devgan and his family in the custody, and finally the younger daughter told that the body of Sam was buried in the garden. But when the surrounding area was dug, the body of a dead goat was found.
Tabu was suspended along with Gaikonde. Ajay Devgan very intelligently used the stories of films and buried the body in the new foundation of police station.
The acting of Ajay Devgan, Tabu were per excellence. Both of them deserve a number of awards for outstanding performance. The film had very unique storyline. The film had done business of 42 crores in 5 days but is destined to do better.
The music was good and the song “dum ghutta hai” by Rahat Fateh Ali Khan, Rekha Bhardwaj stands out. Everyone should watch the film.
Happy birthday to Shilpa Shetty.
The viewers of bollywood films wish happy birthday to Shilpa Shetty on 8th June, 2020. 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.
Happy birthday to Manoj Kumar.
The viewers of bollywood films wish happy birthday to Manoj Kumar on 24th July, 2020
. He is almost 80
years old now. He started his career as a romantic hero, then showed his skills in the field of direction and created a separate identity as a patriotic hero. He later on earned the name of Bharat Kumar.
Harikishan Giri Goswami, better known as Manoj Kumar, was a big admirer of Tragedy King Dilip Kumar. He was obsessed with Dilip Kumar’s performance in the film Shabnam, in 1949, and kept the name of the character of the film, which was Manoj Kumar.
Although he started his career in the film Fashion in 1957, he got recognition with a lead role in the film Kaanch Ki Gudiya in 1960. Vijay Bhatt directed Hariyali Aur Raasta in 1962 changed the destiny of Manoj Kumar as a romantic hero. The songs of the film were composed by genius of genius Shankar Jaikishan, and with Mala Sinha’s assistance Manoj Kumar reached the hearts of millions of music lovers in the country. The songs in the film including “ifteda-e-ishq”, “yeh hariyali aur yeh raasta”, sung by Mukesh and Lata astonished the viewers. The film became super hit.
In the mid-60s, Manoj Kumar landmark roles in suspense thrillers like Woh Kaun Thi, 1964, and Gumnaam, 1965. Woh Kaun Thi was a horror film of Raj Khosla where Manoj Kumar played the role of the doctor who got scared with the ghostly appearance of Sadhna, who played a double role in the film. He solved the mystery in the film got Prem Chopra arrested at the end after realizing that his wife had a twin sister who was used as a ghost. The music of Madan Mohan was brilliant and Lata’s songs “naina barse rimjhim”, “lagja gale”, etc., created sensation.
Gumnaam was a murder thriller which stormed bollywood in the mid-60s. More than seven friends were given offer of going for holidays, but the flight was hijacked and the friends had to land at an island. Each of them was killed one after the other and no one knew who killed them. Manoj Kumar solved the mystery and unearthed the truth that Tarun Bose was the actual murderer. The music composed by Shankar Jaikishan was extraordinary with songs like “jane chaman shola badan” sung by Rafi and Sharda, “gumnaam hai koi” sung by Lata, “is duniya me jeena ho to”, “hum kale hai to kya hua dilwale hai” sung by Mohammad Rafi, etc.
Manoj Kumar started his second innings with patriotic films like Shaheed, Upkaar, Purab Aur Paschim, Roti Kapra Aur Makaan, Kranti, moved the viewers and earned him respect. He directed of those films and got filmfare award for best director for excellent work in films like Upkaar and Roti Kapda and Makaan. His film Upkaar also received the national award for best film in 1967, and he gave life to the slogan of PM Lal Bahadur Shastri titled “jai jawan jai kisan” with Upkaar. In fact Upkaar, was the highest grosser film in 1967, surpassing all the other super hit films like Ram Aur Shyam, Jewel Thief, etc. The songs in Upkaar composed by Kalyanji Anandji were also brilliant including “mere desh ki dharti” sung by Mahendra Kapoor and “kasme wade pyar wafa sab” sung by Manna Dey. After Upkaar a big section of the crowd used to call Manoj Kumar as Bharat Kumar, as his patriotic feelings used to reflect in his creations.
His other successful films as hero also include Patthar Ke Sanam, Anita, Aadmi, etc. He acted with childhood idol Dilip Kumar in Aadmi and Kranti. The songs of most of his films were of excellent class. Naushad’s creation in Aadmi, and Rafi’s songs like “na aadmi ka khoi bharosa”, “aaj purani rahon se”, etc., had remained invalueable assets over the period of time.
The viewers expect him to continue the excellent work as a director in the years to come.
Satinath Mukherjee was one of the versatile classical singers who did not get dues during the golden age. The 50s and 60s were categorized with notable classical and semi-classical singers in the Bengal arena where Manobendra Mukherjee, Manna Dey, Dhananjoy Bhattacharya, Akhil Bandhu Ghosh and other giants galvanized the world of modern songs.
Satinath Mukherjee, the guru of notable singer Shyamal Mitra, had a huge partnership with lyricist Shyamal Gupta and presented his flora of classical ragas in Bengali modern songs. His songs “pashaner buke likhona amar naam”, “bono patho majhe”, “jibone Jodi deep”, etc. were milestones of Bengali modern songs.
He sang separate private songs involving “raag pradhan” which described the movement of separate ragas like Imon, Baghesri, Darbari Kanada, Behag, Ashawari, etc. His song on raag bageshri included “elo jochona se tobu”. His song on raag bairagi included “dake na keno je banshi”. His song on raag behaag included “gelo je logon chole”. His song on raag bhairav included “jagiche bhore probhat robi”. His song on raag bhupali included “kotha je banshori baaje”. His song on raag darbadi kanada included “e bedona kemone sohi”. His song on raag desh thumri included “boroshar rate jagi”. His song on raag kalawati included “baje keno beena”. His song on raag komol ashavari included “modhu rati bhor hoi”. His song on raag madhab todi included “ke jano dake nishibore”. His song on raag manj khamaj included “tomare bhulite ogo”. His song on raag nandkauns included “kotha tumi ghanashyam”. His song on raag pahari thumri included “emono dine se kothay”. His song on raag patdeep included “kano janina baje”. His song on raag yaman included “na go na jeyona”.
Some of his classical songs included “bojhona keno ami je koto eka”, “jedin jibone tumi”, “baluka belay kurai jhinuk”, to name a few. Very significantly most of the songs were composed by himself.
As a composer he used to be considered a giant of giants. His compositions for other legendary singers included “tomar pother prante moner monideep jele rekhechi” and “bhule gechi kobe” sung by Manobendra Mukherjee, “eto alo aar eto hasi gaan” sung by Shyamal Mitra, “ami cheyechi tomay” sung by Dhananjoy Bhattacharya, “tomar moto amiyoto koto soyechi” sung by Pannalal Bhattacharya, to name a few.
Besides his own student Dipak Maitra had sung few songs composed by Satinath Mukherjee included “koto kotha bola holona”. Satinath Mukherjee is associated with the compositions for the two maestros in Indian music namely Mohammad Rafi and Lata Mangeshkar.
Lata’s first record in Bengali namely “akash pradeep jale” and “koto tara” were the compositions of the genius Satinath Mukherjee. Satinath Mukherjee’s landmark compositions for Mohammad Rafi included “ekhono biday bolona”, “pakhitar buke jeno teer merona”, etc. It is very sad that Satinath Mukherjee’s immense musical talents were not used in Bengali films. He had sung rare songs like “majhe nodi bahe re” in Tapan Sinha’s film Atithi, songs in Uttam Kumar’s film Bon Palashir Padabali, etc.
Otherwise Satinath Mukherjee, the sincere student of Ustad Bare Ghulam Ali Khan was one of the revolutionary singers and composers who remained an institution by himself. His students included singer and composer Jotileshwar Mukherjee who carried on the legacy of Satinath Mukherjee. The songs and creations of Satinath should be preserved and restored.
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.
Remembering legendary actor Chabi Biswas on his birth anniversary.
The nation remembers legendary actor Chabi Biswas on his birth anniversary
on 12th July, 2020. 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.
Jaikishan was remembered on his death anniversary on 4th November, 2019. He had left the world in 1971, and the great combination of Shankar Jaikishan got effected due to his death. The country remembered the great musical duo. At the same their combination with Shailendra and Rafi require special mention.
Poet and lyricist Shailendra had glorified the world of bollywood music with his romantic words. He had tremendous combination with legendary composer Shankar Jaikishan. Both of them in turn had magical relationship with immortal singer Mohammad Rafi.
The magic combination came together in the film Boot Polish with the song “nanhe munne bacche tere mutthi me kya hai” which had become immortal over the years. In the film Shikast, the combination came together in the song “gham me jal raha hai”.
In the mid-50s, all of them Shailendra, SJ and Rafi became superstars and icons in their individual departments. SJ composed excellent song with the words of Shailendra sung by Rafi,Mukesh and Lata in Raj Kapoor’s film Shree 420 titled “ramaiya vasta maaiya”. In 1955 the film ended up being blockbuster. In Seema, the song “kahan jaraha tu” stands out. Manna Dey’s song “tu pyar ka sagar hai” was also a masterpiece.
Rafi made the audience spellbound with the song “duniya na bhaye mohe” in the film Basant Bahar. Shailendra and SJ were brilliant as ever. Rafi’s song “mai rickshawala” in the film Choti Behen had realistic andaz. In Dev Anand’s Love Marriage, Rafi’s songs “kaha ja rahe the” had romantic andaz. In Shararat, the combination got together with the song “ajab hai dastan” which was very melodious.
The same soft romantic Shailendra with SJ and Rafi changed their gears in aggressive songs of Shammi Kapoor in the film Junglee with the songs “yahoo, chahe koi mujhe jungle kahe”, “ayi ayi ya suku suku”, etc. The combination made the audience spellbound in Rajender Kumar’s film Sasural with the song “ek sawal mai karoon.”
In Shammi Kapoor’s song “dil tera diwana” in the film Dil Tera Diwana, really the song balanced the lightning and rain. The combination continued in Shammi Kapoor’s film Professor with the songs “mai chali mai chali”, “khuli palak me” etc. The same combination brought tears in the eyes of the audience in Rajender Kumar’s film Dil Ek Mandir with the song “yaad na jaye”.
The magic combination continued together in the blockbusters of the mid 60s, including Biswajeet’s April Fool in 1964, Shammi Kapoor’s Janwar and Rajkumar in 1965, Rajender Kumar’s Humrahi in 1963, Ayee Milan Ki Bela in 1964, Aarzoo in 1965, Suraj in 1966, Joy Mukherjee’s Love in Tokyo in 1966, Dev Anand’s Pyar Muhobbat in 1966, Uttam Kumar’s Choti Si Mulakat in 1968, to name a few.
The unfortunate death of Shailendra in 1966 ended the marathon that was played by Rafi and SJ with the immortal lyricist for more than 20 years. His lyrics were used in films that were released later after his death in films like Shammi Kapoor’s Bhramchari, Rajender Kumar’s Jhuk Gaya Aasman and Dharti, Jeetender’s Mere Huzoor, to name a few.
Articles after articles can be devoted to the genius Shailendra, Shankar Jaikishan and Rafi who had produced only gems after gems during the golden age of Indian music. They had made the audience laugh, smile, cry and repent with the words, tunes and rendition of voices. The songs and the films should be preserved.
Remembering Hasrat Jaipuri, Shankar Jaikishan and Rafi on the death anniversary of Hasrat Jaipuri.
17th September is remembered as the death anniversary of eminent poet Hasrat Jaipuri. 15th April is celebrated as the birth anniversary of great poet and lyricist Hasrat Jaipuri. Renowned poet and lyricist Hasrat Jaipuri was born on 15th April, 1922 as Iqbal Hussain. In 1940, Hasrat Jaipuri came from Jaipur to Mumbai. Prithiviraj Kapoor heard him in a mushaira and recommended him to Raj Kapoor when he was making the film Barsaat.
The epic combination of Hasrat Jaipuri and Shankar Jaikishan started from Barsaat. The first 2 songs written by him became super hit namely “jiya beqarar hai” and “chor gaye balam”. The pen of Hasrat Jaipuri glorified RK Films and other bollywood films for the next 30 years.
Rafi, SJ and Hasrat Jaipuri was an equally brilliant combination like Shailendra, SJ and Rafi. Hasrat’s song sung by Rafi titled “teri teri pyari pyari surat ko” in Rajender Kumar’s film Sasural became super hit. In Shammi Kapoor’s Junglee almost all the songs sung by Rafi became immortal hits. In that list, Hasrat’s song “ehsaan tera hoga mujhpar” touched the souls of music lovers all across India. The song was sung by Rafi and Lata and both the versions were very melodious.
Hasrat’s lyrics for Rafi “tum mujhe yu bhula na paoge” became super hit in the late 60s. It was composed by SJ for Shammi Kapoor in the film Pagla Kahin Ka. Hasrat’s song “ajahu na aye balma” in the film Saanjh Aur Sawera was a sensational song. Rafi exhibited his classical andaz and tune of Shankar Jaikishan was excellent by every musical yardstick. Hasrat Jaipuri received the filmfare award for the best lyricist for Rafi’s song “baharon phool barsao” in Rajender Kumar’s film Suraj.
Rafi’s other songs written by Hasrat Jaipuri and composed by SJ included “unke khayal aye to” in Raj Kumar’s Lal Pathar, “badan pe sitare lapete hue” in Shammi Kapoor’s Prince, “awaaz deke hume tum bulayo” in Shammi Kapoor’s Professor, “aji ruuth kar ab” in Rajender Kumar’s Aarzoo, “dekha hai teri aankho me pyar hi pyar beshumar” in Dharmender’s Pyar Hi Pyar, “dhire dhire chal chand gagan me” in Dev Anand’s Love Marriage, “rukh se zara naqab uthalo” in Jeetender’s Mere Huzoor, “teri zulfon ne judai to nahi maangi thi” in Dev Anand’s Jab Pyar Kisi Se Hota Hai, “kaun hai jo sapno me aya” in Rajender Kumar’s Jhuk Gaya Aasman, etc.
Hasrat Jaipuri contributed in Raj Kapoor’s blockbusters like Awaara, Shree 420, Jis Desh Me Ganga Behti Hai, Sangam, etc, Rajender Kumar’s blockbusters like Ayee Milan Ki Bela, Dil Ek Mandir, Humrahi, Sasural, Zindagi, etc, Shammi Kapoor’s hit films Janwar, Brahmchari, Raj Kumar, Andaz, etc., Joy Mukherjee’s Love In Tokyo, Biswajeet’s April Fool, Uttam Kumar’s Choti Si Mulakat, to name a few.
Raj Kapoor’s greatest hit film in his illustrious career remained Sangam. In the film Hasrat Jaipuri’s words “yeh mera prempatra par kar” sung by Rafi and picturised on Rajender Kumar had remained immortal. Hasrat Jaipuri wrote it for a girl named Radha. Raj Kapoor kept the name of Vaijayatimala Radha in the film Sangam. Rafi’s voice at the end of the film brought tears in the minds of the audience with the words “kitum nazaar na hona” when Raj Kapoor and Vaijayantimala immersed the ashes of Rajender Kumar in Prayag Sangam at the end of the film.
Hasrat Jaipuri died in 1999. One article is too small to highlight the works of the legends Hasrat Jaipuri, SJ and Rafi. In fact Hasrat Jaipuri worked with other composers of the golden age as well. But the songs written by Hasrat Jaipuri for Rafi which were composed by Shankar Jaikishan still stand out as the most romantic masterpieces in the history of bollywood cinema.
Combination of Mohammad Rafi, Roshanlal Nagrath and Pradeep Kumar.
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.
Saswata Chatterjee and his wife, Subhashis Mukherjee and others stormed Zee Bangla Tumi Je Amar.
Prasenjit Chatterjee and Rachana Banerjee, the anchors of the program of Zee Bangla Tumi Je Amar, stormed Zee Bangla Tumi Je Amar with the celebrities invited on 1st April, 2014. The celebrities included Subhashis Mukherjee and his wife Ishita Mukherjee, Saswata Chatterjee and his wife Mahua Chatterjee, Rupanjana and her husband Rezaul and others.
In the second round, three scenes from three films of Saswata Chatterjee were shown and his wife Mahua Chatterjee was asked which one of the roles he liked the most. The roles were in films like Kahaani, Bhuter Bhobiswat and others. His wife Mahua Chatterjee liked the role of Bob Biswas, the serial killer in the film Kahaani. There were three dishes also produced before Mahua Chatterjee. She was asked if ilish fish was offered to Saswata Chatterjee, what would have been the vegetable with which he would have loved to eat, whether Pui Sakh or Kachu. She said it was Kachu.
In the second round, three scenes from three comedy films were shown to Subhashis Mukherjee and his wife Ishita Mukherjee. The films were Pather Panchali where Tulsi Chakravarty played a comedy role, Jamalaye Jibonto Manush where Bhanu Banerjee played a comedy role and Pyaasa where Johny Walker played a comedy role. Both Subhashis Mukherjee and Ishita Mukherjee agreed that they liked the role of Tulsi Chakravarty in the film Pather Panchali the most.
Rupanjana was asked about the name of the school in which Rezaul studied. She answered it was St. Zaviers. Rezaul also acted in Bengali films recently. He said he had taken tips from Rupanjana as well.
Prasenjit Chatterjee said that whenever he met Subhashis Mukherjee he always found him god-fearing. He did the pronam at every part of the house and then only got out of the house. In the Bhoolbhulaiya round, all the husbands had to go to the bhoolbhaiya and bring an ornament for the wives. They met Palash Adhikari, Subhashis, Fatik Purokayet and others. Each of those participants who previously showed their acting skills in Zee Bangla Mirakkel Program showed their comedy instincts in this show as well. Prasenjit Chatterjee and Rachana Banerjee anchored the program very well.
Farooq Sheikh and Deepti Naval were excellent in film Kisi Se Na Kehna.
Actors Farooq Sheikh and Deepti Naval were a brilliant intellectual pair who stormed Bollywood films in the 1980s. They were cast in different experimental characters after the pair of Naseeruddin Smita Patil and Om Puri Shabana Azmi.
Kisi Se Na Kehna was a light-hearted comedy film made by Hrishikesh Mukherjee in 1983. The film was produced by Ashok Raut or Jayant Pathare. The music was composed by Bappi Lahiri.
In the film Farooq Sheikh became the general manager of the firm run by SN Banerjee. He fell in love with Deepti Naval who was the niece of SN Banerjee. Utpal Dutta, the father of Farooq Sheikh wanted to get him married to girl who knew Indian traditions and did not know the language.
Utpal Dutta himself went to see a number of girls and found that the ones who were modern learned poor culture and were disrespectful towards elders. He asked Farooq Sheikh to marry only that girl who knew not a single letter of English.
Sayeed Jaffery helped Farooq Sheikh and Deepti Naval to get married. He asked Deepti Naval and SN Banerjee to pretend that they were from the village and never heard any English word in life. Deepti Naval faced huge trouble as she was a learned doctor, but she managed the false relationship.
Deven Verma, her cousin brother was the relief character in the film who was seen with different girlfriends at different times. At the end of the film when Utpal Dutta faced a heart attack, Deepti Naval had to give an injection to save him and told the truth. At the beginning Utpal Dutta told her to leave his house but after hearing the version from Sayeed Jaffery reconciled the situation.
Hrishikesh Mukherjee gave a great message in the film. He showed the world that development is not based on roughness created by advanced education but the humbleness earned by traditional knowledge. Farooq Sheikh and Deepti Naval after creating havoc with brilliant performances in the films Saath Saath, Katha, Chasme Badoor, continued the dream run in the film Kisi Se Na Kehna.
Utpal Dutta had a class of his own when it came to acting. Right from negative roles in the films Barsaat Ki Ek Raat to comedy roles in Golmaal and social roles in Kisi Se Na Kehna, he became the pride of the industry in character roles. Sayeed Jaffery was a great actor and showed his class in films like Shatranj Ki Khiladi, Masoom and many other films. The music of Bappi Lahiri was impressive with Asha Bhosle’s song “kisi se na kehna” which was very soft and melodious. The film should be restored and preserved.
The viewers of Bollywood fims wish happy birthday to dancing star Jeetender on 7th April, 2020
. 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.
Melody in Guru Dutts films and combination with Mohammad Rafi.
9th July is the birth anniversary
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.
The listeners of film songs wish happy birthday to legendary singer Suman Kalyanpur on 28th January, 2014. Suman Kalyanpur glorified Indian music of the 50s and 60s, with her romantic rendition of landmark songs. She had sung songs in many languages. She had sung almost 200 duet songs with immortal singer Mohammad Rafi.
Shankar Jaikishan in the 60s made immense number of experiments in bollywood film music. Right from westernized compositions to Indian classical songs to folk tunes, the compositions had a wide variety. Rafi was the automatic choice of the legendary musical duo, with his tremendous range and romantic appeal. Suman Kalyanpur sang landmark duet song with Rafi under the composition of giant composers during the 60s, including Naushad “dil-e-betaab ko sinese lagana hoga”, in Palki, Madanmohan “baad muddat ke yeh ghari aye”, Jahanara, Roshan “rahe na rahe hum”, in Mamta, Khayyam “parbaton ke pero par sham ka basera hai”, in Shagun, to name a few. Suman Kalyanpur sang many immortal duet songs with Rafi in the 60s and 70s under the composition of Shankar Jaikishan.
In Dil Ek Mandir, the title song “dil ek mandir hai” was sung by Rafi and Suman Kalyanpur with utmost elegance in 1963. The song was sung after the death of Rajender Kumar in the film and therefore the singers displayed the tragic andaz in the song. Rafi had his own solo songs in the film like “jahan koi nahi” and “yaad na jaye” which immortal over a period of time. Suman Kalyanpur’s solo song “juhi ki kali meri ladli” also had a soothing appeal. In Saanjh Aur Sawera, in 1964, the classical song “ajahuna aye balma, sawan bita jaye” was probably one the most immortal duet sung by Suman Kalyanpur with Rafi composed by SJ.
In 1964, Biswajeet’s April Fool had a number of romantic songs of SJ sung by Rafi. Rafi was unparallel in the song “aa gale lag ja”. Suman Kalyanpur accompanied Rafi very well in the songs “tujhe pyar karte karte” and “kehdo kehdo jahan se kehdo”. In Sunil Dutt’s film Beti Bete, the song “agar terii jalwa numai na hoti” showed the melodious impact of duet of Rafi and Suman Kalyanpur under the composition of Shankar Jaikishan. The duet “tumne pukara aur hum chale aye” sung by Rafi and Suman Kalyanpur composed by SJ in Shammi Kapoor’s Rajkumar again stormed box-office in 1964.
In 1966, Rafi and Suman’s duet “itna hai tujhse pyar mujhe mere raazdaar” in Rajender Kumar’s super hit film Suraj stands out as the most romantic song of the film. Rafi sang for Rajender Kumar while Suman Kalyanpur sang for Vyjayantimala.
In the late 60s, Shankar Jaikishan’s rock and roll composition for Shammi Kapoor in the film Brahmchari had probably the most entertaining duets of Rafi with Suman Kalyanpur titled “aajkal tere mere pyar ke charche har jawanpar”. The brilliant orchestration was loud but rhythm –oriented as well. The film ended up being blockbuster and the music of the film played a very important role in the success of the film. Shankar Jaikishan composed a very romantic duet in Uttam Kumar’s film Choti Si Mulakat, titled “tumhe dekha, tumhe chaha” Rafi and Suman. Rafi sang Uttam Kumar’s portion while Suman Kalyanpur had sung Vaijayantimala’s portion. The list of Rafi Suman duets under Shankar Jaikishan was too long.
In the early 70s, SJ’s composition for Suman Kalyanpur in Shammi Kapoor’s film Andaz was well received by the audience. The song “hai na bolo bolo” was sung by Rafi, Suman Kalyanpur, Sushma Shreshta and Pratibha.
After the death of Jaikishan in 1971, many producers and directors who were involved with Shankar Jaikishan shifted towards RD Burman and Laxmikant Pyarellal. So Suman Kalyanpur’s scope of singing duets with Rafi reduced down inspite of Shankar providing good tunes to both Suman Kalyanpur and Rafi. Shankar Jaikishan composed hit song of Suman in Dharmender’s film Resham Ki Dori, “behnane bhai ki kalayi se” in the mid -70s. Rafi’s duets with Suman Kalyanpur under the composition of Shankar Jaikishan require both restoration and publicity.
Happy birthday to Dimple Kapadia.
The viewers of bollywood films wish happy birthday to Dimple Kapadia on 8th June, 2020. She had been considered as one of the most dynamic actresses of bollywood films after Shabana Azmi and Smita Patil.
She started her career with a bold, sizzling demeanor in Raj Kapoor’s Bobby in 1973 opposite Rishi Kapoor. Raj Kapoor introduced the concept of teenage romance in the 70s and his effort got justice due to brilliant performance of both Dimple and Rishi Kapoor. Dimple’s smart, dashing lips in the songs “hum tum ek kamre me bandh ho”, “jhoot bole kowa kate”, “mujhe kuch kehna hai” sung by Lata and composed by LP just flabbergasted the audience of the 70s. Viewers thought both Dimple and Rishi Kapoor were made for each other.
But after Rajesh Khanna married Dimple Kapadia, he stopped her acting, and bollywood films lost one of the most promising actresses for 13 years. Again she made a classic comeback in Ramesh Sippy’s Saagar. The film showed a triangular love story with Kamal Hassan and Rishi Kapoor. The brilliant locations, powerful music composed by RD Burman, all contributed for the success of the super hit film. Rishi Kapoor was always considered to be the most romantic actors produced by Indian films. He proved it again in Saagar. Dimple balanced the sacrificing performance of Kamal Hassan who died at the end of the film to save Rishi Kapoor and allow Dimple marry her. All the three performers were brilliant in the lips given in the songs “o maria”, “saagar kinare”, “yeh to bata tera naam kya”, etc., sung by Lata, Bal Subhramanium, Kishore Kumar, etc.
In the mid -80s, Dimple acted in most of the successful commercial films opposite leading stars like Anil Kapoor, Jackie Shroff, Sunny Deol, etc. She was brilliant in Feroz Khan’s Jaanbaaz. In fact her smart performance balanced the cowboy image of Anil Kapoor in the film. She was sublime opposite Jackie Shroff in the film Kaash.
In the late 80s, producers and directors experimented with her in challenging roles. She was exceptional in Gulzar’s film Lekin. Lata’s songs “yara silli silli”, Suresh Watkar’s “surmai sham” composed by Hridaynath Mangeshkar were landmarks of classical music in Indian films. Dimple Kapadia portrayed the character of rajasthani folk community who were used for crying in funerals in the film Rudaali. She played the role of her lifetime and got national and international awards. Her lips in Lata’s song “dil hum hum kare” composed by Bhupen Hazarika, still haunts the listeners 20 years after its creation.
Her other successful films include Ram Lakhan, opposite Jackie Shroff, Krantiveer and Prahar opposite Nana Patekar. Her performance in the off-beat films gave her a special place just like Shabana Azmi and Smita Patil. Even in her middle-age she amazed viewers with brilliant performance in the film Dil Chahta Hai opposite Akshay Khanna who was at least 15 years younger than her. She again amazed the viewers in character roles opposite Rishi Kapoor in the films Pyar Me Twist and Farhan Akhtar’s Luck By Chance. Whenever she acted opposite Rishi Kapoor she always did a great job.
In 2010, her film Tum Milo Toh Sahi had addressed the concerns for the middle-aged couples and bachelors in Mumbai. Her performance was as brilliant as that of Nana Patekar in the film. The viewers expect her to continue the brilliant work in the future and go on astonishing the viewers with dynamic performances like before.
Death Anniversary of Mehmood and remembering him with Shankar Jaikishan and Rafi.
The viewers of Bollywood films remember Mehmood on his death anniversary on 23rd July, 2018. The viewers of bollywood films remembered Mehmood and showed their respect to legendary comedian Mehmood on 29th September, 2017. He was an indispensable actor during the 60s and 70s. He had acted in different types of roles ranging from serious ones in Choti Behen to villainish roles in Pyaasa and obviously serio-comic roles in Gumnaam. He was the other comedian other than Johnny Walker, who had given lips in majority of songs in landmark films. His combination with Subha Khote and Dhumaal, was as brilliant as the legendary pairs of Dharmender Hema Malini or Shashi Kapoor Nanda.
Shankar Jaikishan had always been known to set trends and not follow any existing system created by the other compositions. SJ used Lata to her limit in Barsaat in the late 40s, during a time when the other female singers like Noorjahan, Suraiya, Samshad Begum, Rajkumari were also prominent in singing playback songs in bollywood films. SJ never stuck one single team and that was one of their secrets of success in bollywood films. In respect of Mehmood, it was a tradition for most of the composers to use Manna Dey to sing for Mehmood, most of which were very very successful. SD Burman used Manna Dey to sing “duniya bananewale” in the film Ziddi for Mehmood, where he used Rafi to sing the songs for Joy Mukherjee like “bolo bolo, aye dildaar”, etc. RD Burman used Manna Dey to sing the songs “sawaariya” and “ek chaturnaar” in the film Padosan for Mehmood. LP used Manna Dey to sing “o mere maina” in the film Pyar Kiye Ja, for Mehmood.
There are numerous other examples where Manna Dey was used by the composers to suit Mehmood. Shankar Jaikishan had something else in mind. He used Manna Dey in very serious classical songs like “sur na saje” in Basant Bahar, emotional songs like “tu pyar ka sagar hai” in Seema, or folk songs like “chalet musafir” in Teesri Kasam. When it came to Mehmood, SJ experimented with Rafi, and those songs probably are considered the most successful songs of Mehmood in his entire career.
The song “ajahu na aye balma sawan bita jai” in the film Saanjh Aur Sawera, picturized on Mehmood, stands out as one of the most classically oriented compositions of SJ for Rafi. The song had both appeal for the mass and also the class. The song “hum kale hai to kya hua dilwale hai” in Gumnaam, became a trademark song of Mehmood. Rafi almost reproduced the style of dialogue throwing of Mehmood in the song and it appeared to the masses that the song was sung by Mehmood himself. SJ used Rafi to sing the song “mai rickshawala” in the black and white era in the film Choti Bahen, during a time when Mehmood’s image was not created.
Mehmood almost made people cry in the film and the credit goes to Rafi’s emotions in the song. In the film Zindagi, Rafi’s song for Mehmood titled “ghungharwah mora cham cham baje”, became big hit. The other hit songs of Rafi for Mehmood composed by SJ include “o gori chalona hans ki chaal”, “zindagi mujhko dikhade raasta”, “mai hoon jaani tera”etc.
Rafi’s presence was felt in the films Beti Bete, Bhai Bhai, etc. where Mehmood had prominent roles and SJ composed the music of those films. Even the song “bakhma bakhma” in the film Shatranj became successful. Even in the duets that were sung for Mehmood, SJ created a new trend in allowing Suman Kalyanpur to sing some of the songs with Rafi or Sharda to sing some of them, in addition to Lata who had sung around 440 duets with Rafi during the golden age. The songs and the films of the legendary combination of Shankar Jaikishan, Rafi and Mehmood should be restored for their filmic appeal and versatile creations.
Tragedy-oriented songs of Dilip Kumar were given adequate expression by Rafisahab.
Rafisahab had great combination with Tragedy King Dilip Kumar. The most pathos oriented and tragedy oriented songs of Dilip Kumar were given right expression by Rafisahab.
In film Deedar, in 1951, Rafisahab’s song “meri kahaani bhoolne wali” for Dilip Kumar gave the right tragedy expression. It was composed by Naushad sahib.
In 1956, film Uran Khatola had a fantastic tragedy song. Rafisahab sang “o door ke musafir hum ko bhi saath le le re”. This song was picturized on Dilip Kumar with garland from his shoulders flew to Nimmiji’s shoulder at the end of the film when both of them died together. Shakeel sahib wrote the lyrics while Naushad sahib composed the music.
In Dilip Kumar’s Madhumati, Rafisahab’s song ‘tute hue khwabone humko yeh sikhaya hai” was the best tragedy oriented song. It was composed by Salil Choudhury. In Dilip Kumar’s Yahudi, Shankar Jaikishan used Mukeshji to sing the tragedy song “yeh mera deewanapan hai”.
In 1966 film of Dilip Kumar titled Dil Diya Dard Liya, 3 of Rafisahab’s songs stand out as great tragedy songs, including “guzren hai aaj ishq me”, “koi sagar dil ko behlata nahi” and “dilruba maine tere”. All the songs were composed by Naushad sahib.
In 1967, Rafisahab’s song “aaj ki raat mere dil ki salami lele” was the best tragedy song of film Ram Aur Shyam. Naushadsahab composed the music of the film.
In 1968, Rafisahab’s song “aaj purani rahon me” in film Aadmi was the best tragedy song of the film. Naushad sahib composed the music. Dilip Kumar’s expression was outstanding.
In 1971, Rafisahab’s song “na tu zameen ke liye” in film Daastan was another landmark tragedy song. It was composed by Laxmikant Pyarelal.
Whenever there used to be tragedy songs, Rafisahab gave the best expression for Dilip Kumar. The acting of Dilip Kumar was as outstanding as the singing of Rafisahab. The songs and films require restoration.
The owner of velvette voice Talat Mehmood was remembered on his death anniversary on 9th May, 2020
. The listeners of bollywood music wish happy birthday to legendary singer Talat Mehmood on 24th February, 2015
. He was a leading performer in bollywood films during the 40s, 50s and 60s.
Along with Rafi, Mukesh and other leading singers of bollywood Talat Mehmood sang notable songs in the films of leading stars of bollywood. He rendered his voice for most of the actors of the bollywood during the 40s and 50s including Dilip Kumar, Raj Kapoor, Bharat Bhushan, and others. His landmark songs included “dil-e-nadan tujhe hua kya hai” composed by Ghulam Mohammad and picturised on Bharat Bhushan, in the film Mirza Ghalib in 1954, “koi nahi mera” composed by Shankar Jaikishan and picturised on Dilip Kumar in the film Daag in 1952, “mai dil hoon ek armaan bhara” picturised on Raj Kapoor in the film Anhonee in 1952, etc. He sang landmark songs for Dilip Kumar also in the films Footpath, Devdas, etc. All the leading composers of bollywood films of that age namely Naushad Ali, Shankar Jaikishan, Roshan Lal Nagrath, Madanmohan Kohli , OP Nayyar, Salil Choudhury, SD Burman and others used him in different films.
His other landmark songs included “phir wohi sham” composed by Madanmohan and picturised on Bharat Bhushan in the film Jahan-ara released in 1964. Talat Mehmood acted in a number of films including Dil-e-Nadan opposite Shyama, Raftaar opposite Nadira, Waris opposite Suraiya, Ek Gaon Ki Kahani opposite Mala Sinha and also showed his acting talent in those films. He had been mainly associated with ghazals and soft romantic songs. His vibrating technique in rendition had charmed many listeners of the golden age.
He also sang light songs for many composers. His other songs included “jalte hai jiske liye” composed by SD Burman in the film Sujata, “humse aya na gaya” composed by Madanmohan in the film Dekh Kabira Roya, “itna na mujhse tu pyar bara” composed by Salil Choudhury in the film Chaya, “aye mere dil kahin aur chal” composed by Shankar Jaikishan in the film Daag, to name a few..
Talat Mehmood had a number of basic discs in Bengali as well. His landmark songs included “chander eto alo” and “alote chayate” composed by Robin Chatterjee, “duti paakhi duti teere” composed by Kamal Dasgupta, etc. The sweetness of his voice was well appreciated by the Bengali listeners as well. His songs and films should be preserved and restored.
The viewers wish happy birthday to Sonakshi Sinha on 2nd June, 2020. Sonakshi Sinha, the daughter of renowned bollywood actor Shatrughun Sinha had started her acting career with the bollywood film Dabanng opposite Salman Khan. The big question that comes in the minds of many viewers is that whether there is any future of her in the industry. She is acting Dabaang 3 opposite Salman Khan which is got released in 2019.
Before considering her potentiality, the careers of noted actors and actresses can be looked at. While the sons of legendary actor Dharmender, namely Sunny Deol and Bobby Deol, and the son of Showman Raj Kapoor, namely Rishi Kapoor, and in the third generation Ranbir Kapoor, had got equal success like their fathers, there is a line of actors and actresses who had not achieved the desired stardom.
Hema Malini ruled bollywood films during the 70s. She was associated with biggest bollywood hits of that age including Jugnu, Sholay, Seeta Aur Geeta, etc. But her daughter Esha Deol had an average career so far. Same is the case of Tanuja’s daughter Tanisha. Although Kajol was successful, Tanisha could not reach stardom.
Fardeen Khan’s stardom is nowhere compared with Stylish actor Feroz Khan, while Tushar Kapoor had not been a match to Jeetender. Even Abhishek Bacchan when compared with the success of Big B, looks a mediocre, who had hit films but is not the ruler of bollywood.
The biggest challenge that is faced by the sons and daughters of stars is the comparison that is made with their fathers of mothers. The viewers see their performance with the mindset that they will have the same qualities as that of their star parents. In some case, they have their individuality, in other cases where they try to imitate their parents, the viewers never accept it.
Keeping that in mind Sonakshi Sinha also has a very strong challenge to rise up to the occasion. She had remained successful as a model. But if the fate of other star daughters are seen in the recent times (Anil Kapoor’s daughter Sonam Kapoor is still struggling), Sonakshi Sinha will have a monumental task to get acceptance from the viewers.
Sonakshi Sinha’s films opposite Salman Khan had always been super hit. Both Dabaang and Dabaang 2 became blockbuster. Sonakshi Sinha’s films opposite Ajay Devgan in Son of Sardar and Akshay Kumar in Rowdy Rathore became smash hits. But she faced failures also. Her film Lootera and Action Jackson bombed at box office. The viewers can wish her good luck in the future films.
Rajender Kumar and Vaijayantimala did well in the film Aas Ka Panchi.
The film Aas Ka Panchi was released in the year 1961. It was directed by Mohan Kumar. The music was composed by Shankar Jaikishan. The film was produced by J Om Prakash.
The hero and heroine Rajender Kumar and Vaijayantimala did well in the film. In the film it was shown that Rajender Kumar, the son of Naseer Hussain had a childhood ambition of being a military officer. His father never liked that.
When Rajender Kumar passed his BA exam, he got him employed in the same office where he had worked in the post of accountant. As Rajender Kumar was not inclined for that job he could not do it properly and lost the job after some period of time.
He fell in love with Vaijayantimala, the daughter of Raj Mehra. Vaijayantimala told Rajender Kumar that he could not qualify to get officerial post in the military, he could start as ordinary jawan.
He took her advise and joined the army. Raj Mehra wanted to get Vaijayantimala married to a doctor played by Shivraj.
As Raj Mehra expected his daughter to marry a respectable person in the society, he could not tolerate her love affair with an ordinary soldier in the army like Rajender Kumar.
While Rajender Kumar represented the army in one of the wars, he was severly injured, the operation of him was done by his friend Shivraj. He finally recovered. Vaijayantimala accepted him as her husband.
The music in the film was very impressive. The lyrics were written by Shailendra and Hasrat Jaipuri. The landmark songs included “dil mera ek aas ka panchi” sung by Subir Sen, “dheere chalo zara” sung by Subir Sen and Lata Mangeshkar, “tumi roothi raho” sung by Mukesh, “ab char dino ki chutti hai’ sung by Mohammad Rafi, to mention a few. Very significantly Subir Sen was given a big break by Shankar Jaikishan after the film katputli.
The performances of all the character artists in the film were excellent including Raj Mehra, Nasir Hussain, Mumtaz Begum, Leela Chitnis, Sundar and others. Vaijayantimala was ruling the film industry at that time, so her name was name to carry any film. Although Rajender Kumar did not become Jubilee Kumar by that time, yet Aas Ka Panchi showed that he had a lot of promise. The film should be preserved and restored.
Remembering Satyajit Ray on 2nd May, 2020.
Viewers of international films all across the world remember Oscar Winning Director Satyajit Ray on his birth anniversary on 2nd May and death anniversary 23rd April, 2020
. Ray was born on 2nd May, 1921, and critics feel it was the birth of legend of legends and probably one of the greatest talents the world has ever produced after Rabindranath Tagore. Ray showed his excellence in every different of film making including script writing, costumes, music direction, costume designing, etc.
My father, Chitta Ranjan Chatterji, Ex-Chief Public Prosecutor, Bankshall Court, North, Calcutta, represented Sandip Ray, the son of Satyajit Ray, in a case relating to recovery of manuscripts from Uday Acharya, the brother of Nirmal Acharya, a renowned critic. When the manuscripts of Ray’s films were seized from Udai Acharya’s house and opened from sealed trunk it was seen that they were pictographic in nature. Script of the film Pather Panchali, Gonoshotru had illustrations at every part which showed the secret of Ray’s brilliant characterization in films.
Probably some of the actors and actresses in Ray’s films rose to stardom through the images portrayed by Ray. Chabi Biswas mesmerized the film lovers with his dignified performance in the role of Bishambhar Roy in the film Jalsaghar. Charu Prakash Ghosh was unparallel in the role of Birinchibaba in the film Kapurush Mahapurush. Anil Chatterji was unparallel in the role of Post Master in the film Teen Kanya. Utpal Dutt gave his performance for his life in the character Maganlal Meghraj in the film Joy Baba Felunath.
Similarly Om Puri and Smita Patil were sublime in their roles in the film Sadgati. Sanjeev Kumar entered the skin of the character played in the film Shatranj Ki Khiladi. Uttam Kumar could not have been replaced by any other actor in the film Nayak. Karuna Banerjee had made the role of mother of Apu immortal in the film Pather Panchali. Sharmila Tagore was outstanding in the film Debi. Tapen Chatterji and Robi Ghosh are still remembered by filmlovers through their character Goopi Bagha.
All the Indian directors like Shyam Benegal, Adoor Gopalakrishnan ,had agreed that they learnt the art of story-telling from Ray’ films. Even the theme music of the legendary director had moved the directors all across the world. Audrey Hepburn, the Oscar winning actress while awarding the Oscar award for lifetime contribution of Ray, said in her speech that Ray’s direction had the soul of Apu in the Apu Trilogy march out from the village of West Bengal and explored India and expressed the struggle for existence of every middle-class individual of the country.
Whenever classic literature of novelists and writers were used in films, Ray created his own dimension in those films, including the standard of excellence in the films Charulata and Ghare Baire which were based on the epic literature of Tagore. Films made by Ray from his own literature like Sonar Kella, Joy Baba Felunath, Agantuk, etc., were equally brilliant.
The films of Ray should be preserved to disseminate the art of script writing, costume designing, theme music, camera work, neat direction, etc.
Satyajit Ray is remembered on 23rd April, 2012, his death anniversary.
Oscar winning Director Satyajit Ray had been remembered all over the country on 23rd April, 2012. He had died on this day in 1992 at the age of 71 years.
He was considered to be a legend of legends. Right from his first film Pather Panchali he changed the world of story telling in Indian films. He used classic literature of noted novelists like Rabindranath Tagore, Munshi Premchand, Bibhutibhushan Banerjee, Tarashankar Banerjee, and others and created a new dimension in the films with those classic stories.
He changed the views of directors from shooting within studios and ventured out and captured the different moods of nature. He made crime thrillers like Joy Baba Felunath, Sonar Kella which were written by him and became popular with the children with the name of Feluda series.
His use of theme music in films had been a learning experience for noted directors of the 70s like Shyam Benegal, Adoor Gopalakrishnan, Govind Nihalini and others. His Apu Trilogi showed the path of a middle-class Indian who travelled the roads of villages and ventured into the urbanized town.
Most of his films including Pather Panchali, Jalsaghar, Teen Kanya, Mahanagar, Nayak, were masterpieces. His films and literature should be preserved for their immense artistic value. A big section of intellectuals feel that he was the greatest creator in India to have born after Rabindranath Tagore. His Son Sandip Ray had directed many of the films based on his father’s literature including Bombaiyer Bombete, Tintoretor Jishu, Royal Bengal Rahasya, etc.