The temple bell like voice of Shamshad Begumji is remembered on death anniversary.

Shamshad Begum the owner of voice like bell of temple. Shamshad Begum was a legendary singer and the gain of the voice still haunts music lovers. She was born on 14th April, 1919 and died on 23rd April, 2013. She was born in Lahore. From there she came to Mumbai with Mehboob Khan. Her talent was recognized by music director Ghulam Haider in the early 1930s. After Naushad Ali became successful he recorded songs with new singers as well in the early 1950s, but kept working with Shamshad in the late 1950s and early 1960s. Naushad Ali chose his favourite singer Begum once again to sing four out of the twelve songs in Mother India. Begum is credited with singing one of the first Westernised songs, "Meri jaan...Sunday ke Sunday" by Ramchandra. She kept getting more offers to sing songs and was the highest paid female singer from 1940 to 1955 and again post Mother India in 1957 to 1964. In 1949, music directors S. Rajeshwara Rao, M. D. Parthasarathy and Balakrishna Kalla asked her to sing "Jaiyo Jaiyo Shipayon Bazar" for P. Bhanumati in the film Nishan, produced by Gemini Films of Madras, which became highly popular. In 1954, when OP Nayyar got a break as a composer, he approached Begum to record songs for Mangu. Nayyar described her voice as resembling a "temple bell" for its clarity of tone. He worked with her until the late 1960s and gave her many hit songs, including "Ab To Jee Hone Laga" from Mr. & Mrs. '55, "Main Jaan Gayi Tujhe" from Howrah Bridge, "Zara Pyar Karle" from Mangu (1954), "Saiyan Teri Ankhon Mein" from 12' O Clock (1957), "Thodasa Dil Lagana" from Musafirkhana, and many others. Incidentally Shamshad Begum sang around 160 duet songs with Rafisahab. Majority of them rocked Bollywood music in the 1950s. Some of the most famous ones included “leke pehela pehela pyar” in film CID composed by OP Nayyar, “thandi hawaye kaalighatayen”, “husnwalen wafa nahin karte” in Love in Simla, composed by Iqbal Qureshi, “mai jaan gayi tujhe saiyan” in Howrah Bridge composed by OP Nayyar, “gao tarane manke” in Aan composed by Naushad Ali, “dhoom dharaka dhoom dharaka” in film Amber, “door koi gaye dhun yeh sunaye” in Baiju Bawra composed by Naushad Ali, “ho bachpan ke din bhula na dena” in Deedar composed by Naushad Ali, “nadi kinare saath hamare” in film Babul composed by Naushad Ali, to name a few. Shamshad Begum had other solo hits like “ek do teen aaja mausam hai rangeen” composed by Shankar Jaikishan in film Awaara in 1951. From the 1970s Shamshad Begum faded away from the industry, but her brilliant bass still haunts the listeners.

The velvetty voice of Talat Mehmood sahab is remembered on death anniversary.

The owner of velvette voice Talat Mehmood was remembered on his death anniversary on 9th May, 2021. The listeners of bollywood music wish happy birthday to legendary singer Talat Mehmood on 24th February, 2021

. 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.

Happy birth anniversary to legendary singer Manna Dey sahab.

Happy birth anniversary to Manna Dey. The viewers of bollywood films and music lovers all across the country wish happy birthday to Manna Dey on 1st May 2021

. Born on 1st May, 1919, he had contributed in bollywood films for more than 70 years with his baritone voice. He had brilliant classical training and adorned bollywood music with versatile talent. He was awarded the dadasaheb phalke award for his immense contribution to music in India. Manna Dey learned music from Ustad Aman Ali Khan and Ustad Abdul Rahman Khan. He stormed bollywood films with super hit songs in Raj Kapoor’s film Shree 420 in 1955, with immortal songs composed by Shankar Jaikishan like “ramaiya vasta maiyya”, “pyar hua ikraar hua”, “mur mur ke na dekh”. During the golden Manna Dey was probably the only singer other than Mohammad Rafi who had been used by all the leading composers of bollywood music including Shankar Jaikishan in Basant Bahar, the song being “sur na saje”, Madanmohan in Dekh Kabira Roya, the song being “kaun aya mere man ke sware”, Roshan in Dil Hi To Hai, the song being “laga chunari me daag”, SD Burman in Meri Surat Teri Ankhen, the song being “pucho na kaise”, to name a few. Manna Dey had a very sweet relationship with Sudhin Dasgupta. He was used by almost all the leading composers of Bengal namely Anil Bagchi, Nochiketa Ghosh, Salil Choudhury and others. But probably his westernized andaz was used to the limit by Sudhin Dasgupta. Sudhin Dasgupta used Manna Dey in Uttam Kumar’s film Goli Theke Rajpoth with the song “lag lag lag lag bhelkir khela”. Manna Dey’s songs “ami agantuk” and “ke prothom kache esechi” composed by Sudhin Dasgupta in Uttam Kumar’s film Shankhabela created sensation in Bengali celluloid in 1966. Manna Dey’s songs “ami kon pothe je choli” and “bachao ke acho” in Uttam Kumar’s film Choddobeshi became super hit as well. In the 70s, Manna Dey’s songs “esechi ami esechi”, “lekha porata shikhe phele” and “paye paye joriye rakho” in Uttam Kumar’s film Har Mana Har created sensation as well. Uttam Kumar gave the lips of his lifetime in the film Har Mana Har. While major success of Sudhin Dasgupta came in Uttam Kumar’s films, he made major contribution in Soumitra Chatterji’s films as well. The songs “ei shohor theke aro anek dure”, “hoyto tomari jonyo”, “jibone ki pabona” in the film Teen Bhubaner Pare, composed by Sudhin Dasgupta and sung by Manna Dey showed the westernized orchestration of the giant composer. Sudhin Dasupta’s songs in Soumitra’s films Prothom Kodom Phul and Bosonto Bilaap were equally successful. Manna Dey’s all round musical skills were used to perfection in these films. Even the song “ogo tomar sesh bichare asay” sung by Manna Dey in bayul andaz in Kali Banerjee’s legendary film Dak Horkora, and composed by Sudhin Dasgupta made the viewers speechless. Manna Dey sang many numbers of solo numbers as basic discs under the compositions of Sudhin Dasgupta. One of the notable songs included “ami taar thikana rakhini”. The songs of Sudhin Dasgupta and Manna Dey combination should be preserved and restored. Music-lovers wish Manna Dey to continue singing till his last day of life.

The nation remembered Oscar winning director Satyajit Ray on death anniversary.

The nation remembered Satyajit Ray on 23rd April, 2021. The nation remembered Satyajit Ray on his death anniversary on 23rd April, 2021

. Not only he was the recipient of the prestigious Oscar awards, he was the path-breaker in Indian films who taught the next-generation the art of story-telling. In 2010, Society had celebrated the 89th birth anniversary of the legendary director by showcasing some of his notable works like ‘Agantuk’, (The Stranger), ‘Jalsaghar’, (The Music Room), ‘Charulata’, (The lonely wife). The films were shown in Cinemax, Metro Big Cinemas and NCPA. After the films were shown, the significance of such films was discussed by Bhawna Somayya, ex-editor of Screen, filmmaker Sujoy Ghosh and film academicians from all across the country. Besides, discussions were held to highlight the contribution of Ray as a writer, an illustrator, an activist of the film society movement and a filmmaker. Internationally acclaimed directors like Shyam Bengal, Adoor Gopalakrishnan, were greatly influenced by Satyajit Ray’s films like Apu Trilogy, Jalsagar, Nayak, Mahanagar, etc., and they themselves became eminent story-tellers of the following period. The use of nature, the birds, and background, and the use of theme music in translating an unknown event to a group of individuals had enchanted the thoughtful directors all across the world. Even directors of the present period like Goutam Ghosh are influenced by the works of Satyajit Ray. He made Abar Aranye which was a sequel to Satyajit Ray’s film Aranyer Dinratri. A personality like Ray could only make a film like Kanchenjungha, where the greatness of the Himalayas overshadowed the ego of a materialistic industrialist played by Satyajit Ray. An important part of Satyajit Ray’s creations include his literature on diverse subjects. While his Sandip Ray had taken the challenge of converting the Feluda Series into feelings, his literature relating to horror-based subject matters, his series of 12 stories are yet to be converted into films. Sandip Ray’s films Bombaier Bombete, Kailashe Kelenkari, Baksho Rahasya, based on epic literature of Ray had got good response from the viewers. But Ray’s brilliant stories in the 12 series like Ebaro Baro, Aro Baro, Ek Dojon Goppo, Aro Ek Dojon, Eker Pite Dui, are yet to see the light of celluloid. Ray’s stories like Khagam, based on the theme of human being converted into a snake, Pterodactyler dim, based on the prehistoric era, Fritze, based on the topic of life in a doll, Asomongobabur Kukur, based on the weird mannerisms of dogs, had bewildered the readers. If such stories are adapted and made into films, the viewers will enjoy them to the brim. The legacy of Ray whether in the form of neo-realistic films like Pather Panchali, or suspense –thriller stories relating to Feluda Series or Professor Shanku, still continues, even 18 years after his death. The stories should be translated in different languages, and films should be preserved and restored.

Rafisahab had great combination with romantic actor Biswajeetji.

Romantic film of Biswajeet’s had melodious songs of Mohammad Rafi sahab. 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 Sahab 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”. Rafisahab

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 Mohammad Rafi Sahab was a blessing in the career of Biswajeet Chatterjee. Actor Biswajeet Chatterjee made his debut in bollywood films in the film Bees Saal Baad in 1961. After for the next 15 years his films became crowd-pullers for the romantic stories and brilliant songs. All the songs sung by Mohammad Rafi for Biswajeet became everlasting hits. In Biswajeet’s film April Fool, SJ composed beautiful tunes for Mohammad Rafi including the songs “aa gale lag ja” and “april fool banaya”, “tujhe chaha” etc. OP Nayyar stormed bollywood with the music of film Mere Sanam where Biswajeet was the hero. All the songs of Rafi including “pukarta chala hoon mai”, “humdum mere maan bhi jayo”, “hue hai tumpe aashiq hum”, etc. 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

Raj Khosla had mastery of making crime thriller films.

Raj Khosla and bollywood films. Born in 1925 and died in 1991, Raj Khosla was considered by critics to be the path-breaker in crime-thriller films. His film CID in 1955, created a trend in respect of crime thrillers. He introduced Wahida Rehman and Shakila in the film. The music of the film composed by OP Nayyar was also impressive with hit songs of Rafi like “ankhon hi ankho me ishara ho gaya”, “leke pehla pehla pyar”, etc. His film Solwa Sal, involved Wahida Rehman being eloped by her boyfriend but later on brought back home by a journalist. In Bombai Ka Babu, there was a killer who entered into the family of the person he killed and then had an affair with the sister of the deceased. Dev Anand and Suchitra Sen played the lead roles in the film. The 60s saw Raj Khosla’s musical blockbusters. His film Ek Musafir Ek Haseena with Joy Mukherjee and Sadhna stormed bollywood. The songs composed by OP Nayyar for Rafi and Asha were super hit including “bahut shukriya bari meherbani”, “aap yuhi agar”, “hume dekhakar aapka muskurana”, etc. The shooting in Kashmir also raised interest in the minds of the viewers. In 1964, Raj Khosla came up with probably one of the greatest spooky films in bollywood, with the title “Woh Kaun Thi”. Sadhna played the roles of the two sisters who were exploited by Prem Chopra to terrorize Manoj Kumar and get his property. At the end of the film the secret was revealed. The music composed by Madan Mohan was brilliant with landmark songs like “naina barse”, “lagja gale”, etc. Raj Khosla continued with horror films with Mera Saya and Anita where Sadhna played the role of the ghosts. Sunil Dutt acted opposite Sadhna in Mera Saya while Manoj Kumar acted opposite her in Anita. The music was impressive again. In the mid-60s Raj Khosla again returned back to romantic dramas like Do Badan with Manoj Kumar and Asha Parekh. The music of Ravi with impressive songs like “jab chali thandi hawa”, require special mention. He also made films related to stories of dacoits like Mera Gaon Mera Desh with Dharmender. His last successful film included Mai Tulsi Tere Angan Ki. Both Nutan and Asha Parekh did well in their respective roles in the films. His other films like Do Badan and Dostana were impressive, but whenever the viewers remember the name of Raj Khosla, the first impressive comes in respect of horror stories and crime thrillers like Mera Saya and Who Kaun Thi. The films should be preserved and restored.

Singer Arati Mukherjee was given first break by music director Robin Chatterjee.

Singer Arati Mukherjee was given the first break by eminent Bengali composer Robin Chatterjee. Arati Mukherjee gave an exclusive interview in Anandabazar Patrika before Pathik Pandit, and it was published on 9th October, 2011. Arati Mukherjee lost her father at an early age. She lived in a joint family. She learned classical singing from different gurus including Sushil Banerjee. He was the judge of a music competition, where Arati Mukherjee participated. Eminent singer Dhanonjoy Bhattacharya was the chief judge in that competition and he was impressed by Arati Mukherjee’s singing. He asked Sushil Banerjee, whether Arati Mukherjee is interested to sing a duet song with him in the film Mamlar Fol. The film was based on the story of kathasahityik Sarat Chandra Chatterjee. Robin Chatterjee was the leading composer of Bengali films of the 50s and composed excellent music in films like Sagarika, Pathe Holo Deri, etc. In the 60s Arati Mukherjee got scope of singing in hit films like Deya Neya, Shankha Bela. Her song “madhabi madhute holo mitali” in the film Deya Neya became very successful. Her pet name was Alo. Arati Mukherjee married famous solicitor Shreyas Manim. In the flat in Mumbai famous singer and composer Hemanta Mukherjee came. He asked her to make a cake. She started making the cake. Then she and husband played a song of Ustad Amir Khan. The cake became overcooked. Hemanta Mukherjee ate that cake and said that it added taste due to the music. Her journey in the hindi film world started with the film Geet Gata Chal. She received filmfare award for her song in the film Masoom, where RD Burman composed music. Arati Mukherjee talked about a number of composers including Nochiketa Ghosh and Sudhin Dasgupta. She talked about director Hrithik Ghatak who was looking for a new voice for his film Subarnarekha. Hrithik Ghatak met Arati Mukherjee’s guru Sagiruddin Khan and he introduced Arati Mukherjee to Hrithik Ghatak. Tapan Sinha composed the song “choti si panchi” sung by Arati Mukherjee. Arati Mukherjee’s humbleness had amazed the readers and listeners of music.

Alpona Banerjee was equally romantic a film singer similar to her nursery songs.

Alpona Banerjee could have continued with her music career in films instead of nursery songs. Alpona Banerjee, the romantic playback singer of Bengal during the 50s and 60s, had earned stardom through the songs she had sung for children. Prominent among them included “chottopakhi chandana”, “hattimatim tim”, “kana machi bho bho”, “charka kate buri”, “agdum bagdum ghoradum”, “dol dol duluni”, etc. But while her popularity before the children remained intact over 70 years, her stardom in the film industry declined. Born on 14th March, 1934, she got breaks in bollywood films due to her father’s intimacy with legendary composer Robin Chatterji and lyricist Gouri Prasanna Majumdar. Her song “matir ghare aaj nemeche chand re” entertained the Bengali film viewers in the early 50s. From providing playback in Bengali film Bidyasagar, she sang a number of romantic songs in leading films of the 50s. Her song “hriday amar sundoro taba paye” composed by Robin Chatterji in Uttam Kumar Suchitra Sen’s film Sagarika stormed the audience. Her song performance in the film Shubhada was specially acclaimed. While her film career blossomed in the 50s, her Bengali modern songs bewildered the Bengali audience. Her romantic song “ami sundar bole tai to bondhu besecho bhalo amay” composed by Manobendra Mukherjee can be considered to be the most romantic song she had ever sung in her life. The other composition of Manobendra Mukherjee for her titled “mon bolche aaj sondhay kichu bolte tumi aasbeki” which became super hit. Her other songs “Jodi tomar jibone” and “bolechile tumi gaan shonaabe” were equally romantic. She at the same time sung songs in prominent films like Chele Kar under composition of Kalipada Sen, Personal Assistant under composition of Nochiketa Ghosh, Pathe Holo Deri composed by Robin Chatterji. She was married to Sridhar Mukherjee and faded away from the film music arena in the 60s. She also sang songs in romyogeeti in All India Radio. The other films where she made valuable contribution included Bidhilipi, Kar Pape, Na, Chele Kar, Shilpi, Agni Parikkha, Bhangagara, etc. Her other basic discs which were prominent included “ami alpone eke jai”, “bokulgandhe Jodi akash”, “tomar moner rong legeche”, “samiran phire chao”, etc. Viewers wonder that if Alpona Banerjee had not sung nursery songs for children which in Bengali is termed “charar gaan”, she could have done great justice to her romantic voice and her place would have been besides Sandhya Mukherjee and Geeta Dutt who dominated Bengali film music and modern songs during 50s and 60s. The audience had an impression of Alpona Banerjee’s voice related to children’s fairy tales which got more predominance over other songs. She died on 24th July, 2009, at the age of 75 years. Her songs and films should be preserved.

Rajender Kumarji and Vaijayantimalaji complimented each other in film Aas Ka Panchi.

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.

Revisiting Rishi Kapoor films on his death anniversary.

Rishi Kapoor died on 30th April 2020 and shocked the nation. One day ago the country was devastated with death news of talented actor Irfan Khan. Rishi Kapoor suffered from cancer and died at an of 1967. He is alive in his works. The viewers of bollywood films wished happy birthday to Rishi Kapoor on 4th September 2019. He had remained one of the most romantic actors that bollywood had ever produced. He started his career as a child artist in Raj Kapoor’s film Mera Naam Joker in 1971. He stormed bollywood films with his romantic performance in the film Bobby in 1973. The film did great business and Rishi Kapoor received the filmfare award for the best actor for his performance in Bobby. Raj Kapoor as producer and director started a new innings with a new team of Laxmikant Pyarellal as against Shankar Jaikishan after the death of Jaikishan in 1971. LP had huge contribution in the music of the films of Rishi Kapoor for the next ten years. From that time onwards Rishi Kapoor remained one the most romantic actors in bollywood films. His films Amar Akbar Anthony in 1977, Laila Majnu in 1976 and Sargam in 1978 were the greatest musical blockbusters of the 70s. The songs composed by Laxmikant Pyarellal, Jaidev and Madanmohan in these films became everlasting hits. The notable songs of Rafi and Lata in this film included “koel boli”, “parda hai parda”, “dafliwale”, “barbad muhobbat ki dua”, “is reshmi pazeeb”, to name a few. LP received the filmfare award for the best composer for 3 Rishi Kapoor’s films namely Amar Akbar Anthony, Sargam and Karz from 1978 to 1980. Rishi Kapoor’s extraordinary capability of giving lips in these songs separated him from other actors of that era. His films Zamane Ko Dikhana Hai, Hum Kisi Se Kum Nahi and Karz created history. He showed his dancing skills in every type of songs of Rafi and Kishore including “hai aga dushman zamana”, “bacchna aye haseeno”, “dard –e- dil”, “om shanty om”, “puchona yaar kya hua”, to name a few. RD Burman and Laxmikant Pyarellal probably gave their best music to Rishi Kapoor in the 70s and 80s. In the 80s, Rishi Kapoor’s films Duniya, Sitamgar, Saagar, Chandni, Cooli, Naseeb, did fantastic business. He got the opportunity of acting opposite stalwarts in the industry namely Dilip Kumar in Duniya, Dharmender in Sitamgar, Kamal Hassan in Saagar, to name a few. In fact due to presence of Rishi Kapoor, producers and directors created romantic stories during an era when Big B, Vinod Khanna, Shatrughun Sinha dominated bollywood with action films. Even in the 90s, Rishi Kapoor’s films Bol Radha Bol, Damini, etc., were appreciated by the audience. He was successful opposite young actresses like Juhi Chawla, Meenakshi Sheshadri, who were one generation younger than him. He had great contribution in the films of eminent directors like Yash Chopra, Manmohan Desai, Subhash Ghai, Ramesh Sippy, David Dhawan, and others. After the debut of his son Ranbir Kapoor in the film Sawaariya, Rishi Kapoor switched to character roles. In 2009 also Rishi Kapoor did well in films like Dilli 6, Pyar Me Twist, Luck By Chance. He received Star Screen award for the best supporting actor in 2010 for his performance in the film Love Aaj Kal. In 2010 he acted in the films Chintuji and Sadiyaan. 2012 had been an excellent year for Rishi Kapoor. At the beginning of the year he acted in a negative character for the first time in his career in the film Agneepath. The film with hero Hrithik Roshan had done business of more than 125 crores. His other film Housefull 2 with Akshay Kumar had become super hit too. It also had done business of more than 110 crores. He is experimenting with new characters in this part of his career. He received best villain award for his performance in the film Agneepath. In 2013, he had acted in the films Chasme Baddoor and Besharam. In 2015 his performance in the film All is Well was very well appreciated. With his death the 3 generation actors Prithviraj Kapoor, Raj Kapoor and Rishi Kapoor ended. It is an irreparable loss to the industry.

Looking back at films of Meena Kumariji

The viewers of bollywood films remembered Tragedy Queen Meena Kumari both on her birth anniversary on 1st August, 2016 on her death anniversary on 31st March, 2017. Meena Kumari can be considered as the greatest actress of Bollywood during the golden age who had portrayed images and characters showing complexity of the mind of the Indian women and the social ostentations that they had faced during different periods of time. Meena Kumari, born on 1st August, 1932, known as Mahjabeen Bano, stormed into the Indian silver screen in 1952, with the sublime performance in Baiju Bawra. Although the film had been renowned for everlasting composition of Hindustani ragas by Naushad and supreme performance of Mohammad Rafi, with songs like “man tarpata”, “woh duniya ke rakhwale”, etc., Meena Kumari’s performance opposite Bharat Bhushan showed the filmlovers that she had come to conquer Bollywood with her soft style of acting. In the 50s Meena Kumari’s performance in films like Parineeta, 1953, Footpath, 1954, Yahudi, 1958, etc. were appreciated by critics, but she had created her image of martyr in the film Sharda, 1957, where even after having an affair with Raj Kapoor, in the film she had to sarcrifice her affection to marry Raj Mehra, his father, who was much older than her. In Dil Ek Mandir, 1963, Meena Kumari after having affair with Rajender Kumar in her youth had to marry Raj Kumar, due to social pressure. But from the time she had married Raj Kumar, she fulfilled all the duties of a middle class Hindu woman, and brought her sick husband to the hospital at the mercy of Rajender Kumar. She prayed to God, for the recovery of Raj Kumar. Rajender Kumar sacrificed his life to treat her husband and died at the end of the film. The songs composed by Shankar Jaikishan and sung by Rafi and Lata, had not lost their significance even today. In 1962, Meena Kumari, performed the role of choti bahu, in Guru Dutt’s Saheb Bibi aur Ghulam, the film showing the zamindari raj (dominance of Feudal lords) existing in the British capital in India, that is Kolkata. She was married to the youngest son in a family of zamindars who used to attend mujras in Jaan bazaar, in Kolkata, where performers from Lucknow, Benaras used to come and exhibit their skills of singing classical songs. She tried to retain her husband Rehman at home, and through her conversation, Guru Dutt, the observer came to know about the history of the family. Meena Kumar’s performance opposite Pradeep Kumar, used to create a different dimension, as her pardanashin image had matched with royal style of acting of Pradeep Kumar. After the success of Aarti, 1962; Meena Kumari, acted in the blockbusters Bheegi Raat, 1965, and Bahu Begum, 1967, opposite Pradeep Kumar and Ashok Kumar. In Bheegi Raat, she loved Pradeep Kumar, yet due to an accident which made her legs paralysed she could not attend the engagement and worked in the house of Ashok Kumar as governess. When society boycotted Ashok Kumar, she agreed to marry her, but presence of Pradeep Kumar at the end of the film in the song “dil jo na keh saka” compelled Ashok Kumar to sacrifice his affair and go back to London. It was a film where, Rafi, Lata, Roshan and the actors all had provided their best performance possible. Meena Kumar’s other film with Pradeep Kumar titled Chitralekha was also successful. Meena Kumari had become immortal with her classic performance in the film Pakeeza, 1971, opposite Raj Kumar, which took around 10 years to be completed. It was created on a subject related to women brought up in kotha and exhibited the class of women who could not give the recognition to their next generation as their father’s are not known. The music composed by Ghulam Mohammad, Lata and Rafi’s songs, Kamal Humrohi’s direction (the husband of Meena Kumari) all complemented each other, and the film became historical piece of document. The greatest hallmark of Meena Kumari lied in her ability to depict the helplessness of Indian women existing specially in the 50s and 60s, when the patriarchal society dominated them and they had no independent income to live separately against the pressure of society. In her performances, beauty, aristrocracy, tragedy, personality all blended into one. Whenever we think about cine-classics like Dil Apna aur Preet Parayi, 1960, or Ghazal, 1965, Meena Kumari’s image automatically comes in our mind. She died in 1972, only at an age of 41. Meena Kumari’s films should be restored in an archive for future generations to learn the art of understanding the characters from the core of the heart the way Meena Kumari had done during the golden age of Indian cinema.

Bengali film songs and Manobendra Mukherjee.

Bengali cinema for the last 10 years, have relied on music composed by music directors of Bombay and singers of bollywood films. Mostly composers like Bappi Lahiri, Shantonu Moitra, and singers like Kumar Shanu, Babul Supriyo, Abhijeet are brought from Bombay and contribute for the Bengali cinema. There are Bengali composers like Jeet Ganguly but they also rely on the voices of Shreya Ghoshal, Sonu Nigam, Kunal Ganjaywala. There was an age (the 50s and 60s) when Bengali film industry was self-sufficient and did not have to borrow singers from bollywood industry. Manobendra Mukherjee belonged to such an elite class who could sing any type of song ranging from pure classical numbers to folk songs, to nazrulgeeti, to westernized songs. In 1954, Manobendra Mukherjee started his innings as music director in Bengali films with Uttam Kumar’s film Chapadangar Bou. He sang Mahadev’s gajon (a type of devotional song) titled “shibo he shibo he” which was picturised on Uttam Kumar and became very successful. Manobendra’s kirtan in Uttam Kumar’s film Shanjher Prodeep released in 1955 also became extremely popular. Manobendra was brilliant by every musical standard in the film Nilachole Mahaprobhu which was based on the life of Lord Chaitanya. Composer Raichand Boral made Manobendra sing a number of kirtans including “jagannath jagatbacndhu” which became superhit. The film was released in 1957 and mesmerized the Bengali audience with cult songs. During that time composer Ghyan Prakash Ghosh used Manobendra Mukherjee for pure classical numbers like “andhare”. Bosonto Choudhury played the main role in the film. Noted composer Anil Bagchi experimented with classical numbers in Chabi Biswas’s epic film Shashibabur Sangsar. The song “rojoni pohale sojoni kothaye” was very successful and Bosonto Choudhury gave able lips on Manobendra’s song in the film. In the mid-50s, composer Nochiketa Ghosh experimented with folk songs in the film Nabajanma. Uttam Kumar gave brilliant lips in Manobendra’s song titled “ore monmajhi” which was based on Bengali folk song titled bhatiayali. Manobendra was sublime in Bosonto Choudhury’s film Kostipathor. The song “kal se phakir aaj se raha” showed Manobendra’s skills in singing light songs. In the 60s Manobendra stormed Bengali films as a versatile composer. All the songs composed in Biswajeet’s film Mayamrigo became superhit, including Manobendra’s own song “metidiamerikar kabyo”, “bidhire”, Hemanta Mukherjee’s song “ore son son geroraj”, Sandhya Mukherjee’s song “bok bok bok bokum bokum payera”. Similarly all the songs composed by Manobendra Mukherjee in Chabi Biswas’s legendary film Badhu, were well appreciated by the learned audience including Manobendra’s own kirtan “gunimon kalorupe”, Sandhya Mukherjee’s song “sonali megher din”, etc. Manobendra’s composition in the film Godhuli Belai was equally brilliant with the title song “godhuli belai” picturised on Biswajeet. Probably Joy Joyanti, marked the best creation of Manobendra Mukherjee which fetched him Indira Gandhi award for remarkable music composition. The film was based on Hollywood film Sound of Music. Sandhya Mukherjee’s songs in the film “amader chuti chuti”, “kiholo karo je mukhe kotha phote na”, etc., were landmarks in Bengali film music. Besides, many composers had given their most dynamic compositions to Manobendra. The best example can be the film Lalu Bhulu. The film was released in 1958. Lyricist Sailen Roy and composer Robin Chatterji gave probably the best songs ever in the film. All the songs sung by Manobendra mukherjee like “ei pranjhorona jaglo”, “akash mor alloy decho bhore”, “jar hiya akasher neel nilimai”, “dukkho amar shesh kore dao probhu”, “dukher pothe naamli Jodi”, etc., had class, variety and depicted the helplessness of two blind and handicapped boys who sang songs to earn their livelihood. In fact Lalu Bhulu’s songs were inspiration for lyricist Majrooh Sultanpuri, composer Laxmikant Pyarellal and singer Mohammad Rafi, who created songs of their lifetime in the film Dosti which was the hindi adaptation of Bengali film Lalubhulu. Some of Manobendra’s songs like “dole dodul dole jhulona” in Uttam Kumar’s film Deya Neya are still popular even today. Manobendra’s composition in films like Joto Mot Tato Poth, Sudur Niharika, Sadhok Bamakhepa, caught both the classical base and devotional flavor of Bengali music. It is a pity that Manobendra Mukherjee, with all his classical talent and depth, did not go to bollywood like Manna Dey, otherwise Bengal could have been represented on a larger scale by the meritorious singer and composer whose style and elegance in modern songs was compared with stylish andaz of Australian batsman Neil Harvey. Bengali films these days lack the brilliance of classical singers and composers like Manobendra Mukherjee who are born once in a decade. The songs and the films should be restored for their aesthetic value. The songs should be unearthed and publicly played as well.

Tarun Banerjee songs like Cholo Rina and O Suleman have remained immortal.

Tarun Banerjee’s Chalo Rina and O Suleman haunted bengalies. Singer Tarun Banerjee had sung everlasting songs during the golden age of Bengali music; that is the 50s and 60s. He had a deep voice with good pitch. Two of his songs “chalo Rina” and “o suleman” haunted the bengalies. “chalo rina” was composed by Abhijeet Banerjee. The song spoke about the singer calling his girlfriend to travel with him along the red village road, and red flowers blossom and the rural life unfolds itself. “o suleman” was written by Pulak Banerjee and composed by Prasanta Bhattacharya. “o suleman” had Arabian tunes embedded in them. So it talks about a girl who was seen by a seller, who could not find her again. The romantic appeal of both the songs “chalo rina” and “o suleman” haunted the bengalies for generations. His song “mor malanche bosonto nai” was very popular during the 60s. He was sublime in the song “champakoli go koto name dekechi tomae” composed by classical singer Manobendra Mukherjee. The song “konokchapa dhan” composed by Prabir Mojumdar and sung by Tarun Banerjee was equally popular. He was excellent in the songs he had sung for poet and composer Salil Choudhury. One of his legendary songs included “eso kache eso, kono kotha bolo” which became immensely popular during the 60s. His song “ankhi cholocholiya keno gele choliya” composed by Nikhil Chatterji also became very popular during that period. His other hit songs during that period included “tolpar tolpar moner kotha”, “magnelia aar kamelia phool”, etc. He also sang songs which were compositions made out of rhymes. One of the examples included “ek ekdin megh kore mon bole hariye jai”. He also sang the song “champa amar ogo jago” which was written by Salil Choudhury and composed by Sudhin Dasgupta. Very rarely the two highly talented lyricist and composer Salil Chodhury and Sudhin Dasgupta came together to compose the legendary songs. “champa amar ogo” was one of them. He had sung songs which were in the form of ballads. Some of them included “modhumati jay boye jay”, “cholo Rina”, “kajol nodir jole”, “aar deri nei”, to mention a few. He equally sublime in other modern songs like “alta payer”, “elona se elona”, etc. He also made valuable contribution in Bengali film music. His song “haridasher bulbulbhaja tatka taja khete moja” in the film Shriman Prithviraj was very popular. The song was composed by Hemant Kumar and the film was directed by eminent director Tarun Majumdar. It is not possible to highlight the contribution of Tarun Banerjee in Bengali modern songs in a small article, who had contributed during the 50s, 60s and 70s. His songs and films should be preserved and restored.

The nation remembered Oscar winning director Satyajit Ray on death anniversary.

The nation remembered Satyajit Ray on 23rd April, 2021. The nation remembered Satyajit Ray on his death anniversary on 23rd April, 2021

. Not only he was the recipient of the prestigious Oscar awards, he was the path-breaker in Indian films who taught the next-generation the art of story-telling. In 2010, Society had celebrated the 89th birth anniversary of the legendary director by showcasing some of his notable works like ‘Agantuk’, (The Stranger), ‘Jalsaghar’, (The Music Room), ‘Charulata’, (The lonely wife). The films were shown in Cinemax, Metro Big Cinemas and NCPA. After the films were shown, the significance of such films was discussed by Bhawna Somayya, ex-editor of Screen, filmmaker Sujoy Ghosh and film academicians from all across the country. Besides, discussions were held to highlight the contribution of Ray as a writer, an illustrator, an activist of the film society movement and a filmmaker. Internationally acclaimed directors like Shyam Bengal, Adoor Gopalakrishnan, were greatly influenced by Satyajit Ray’s films like Apu Trilogy, Jalsagar, Nayak, Mahanagar, etc., and they themselves became eminent story-tellers of the following period. The use of nature, the birds, and background, and the use of theme music in translating an unknown event to a group of individuals had enchanted the thoughtful directors all across the world. Even directors of the present period like Goutam Ghosh are influenced by the works of Satyajit Ray. He made Abar Aranye which was a sequel to Satyajit Ray’s film Aranyer Dinratri. A personality like Ray could only make a film like Kanchenjungha, where the greatness of the Himalayas overshadowed the ego of a materialistic industrialist played by Satyajit Ray. An important part of Satyajit Ray’s creations include his literature on diverse subjects. While his Sandip Ray had taken the challenge of converting the Feluda Series into feelings, his literature relating to horror-based subject matters, his series of 12 stories are yet to be converted into films. Sandip Ray’s films Bombaier Bombete, Kailashe Kelenkari, Baksho Rahasya, based on epic literature of Ray had got good response from the viewers. But Ray’s brilliant stories in the 12 series like Ebaro Baro, Aro Baro, Ek Dojon Goppo, Aro Ek Dojon, Eker Pite Dui, are yet to see the light of celluloid. Ray’s stories like Khagam, based on the theme of human being converted into a snake, Pterodactyler dim, based on the prehistoric era, Fritze, based on the topic of life in a doll, Asomongobabur Kukur, based on the weird mannerisms of dogs, had bewildered the readers. If such stories are adapted and made into films, the viewers will enjoy them to the brim. The legacy of Ray whether in the form of neo-realistic films like Pather Panchali, or suspense –thriller stories relating to Feluda Series or Professor Shanku, still continues, even 18 years after his death. The stories should be translated in different languages, and films should be preserved and restored.

Classic based andaz of Manobendra Mukherjee has remained immortal for music lovers.

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.

Happy birthday to Moushumi Chatterjee.

The viewers of bollywood films wish happy birthday to Moushumi Chatterji on 26th April, 2021. Moushumi Chatterji, the Bengali actress acted both in Bengali and hindi films and showed her skills in both of them. She acted in the Bengali film Balika Badhu, where the film was based on child marriage and impressed the directors and producers with her performance. From that time she ventured in Bombay and tried her luck in bollywood industry. Her film Anurag opposite Vinod Mehra became super hit. She played the role of a blind girl and got appreciation of the crowd. The songs in the film became very successful including songs like “woh kya hai” sung by Rafi. SD Burman composed the music of the film. She acted in action films like Goutam Govinda. The film was related to the story of Shashi Kapoor, a police officer who came to the village and trained all the rustic villagers the manner of self-defense. Shatrughun Sinha was his own brother, which was disclosed at the end of the film. Moushumi Chatterji showed her humour in the respective role. Moushumi also acted in suspense-thrillers like Benaam, opposite Big B, where there the anxiety relating to the kidnapping of her son was at issue. She expressed her feelings very well in the film. She was brilliant in the film Manzil Manzil, opposite Big B. It was the remake of Mrinal Sen’s Bengali film Akash Kushum. Akash Kusum was based on the story relating to Soumitra Chatterji presenting a false story about himself before Aparna Sen with the help of his friend Shubendu Chatterji. In the hindi version also the story line was not changed. Moushumi Chatterji’s smile had a beauty of its own which she expressed in majority of films in style. While acting in a number of bollywood films, she stormed Bengali films with her performance in the super hit film Ogo Bodhu Sundari, opposite Bengali superstar Uttam Kumar. The film was released in 1980. The story was based on how Uttam Kumar, an academician brought a girl from the streets and taught her literature. Moushumi expressed the difficulty of forgetting her rustic language which she adopted from the environment she came from and learning the new language. The music given in the film by Bappi Lahiri became super hit. Songs like “ami ekjon shantoshisto”, “shudhu tumi nou obolakanto”, etc., sung by Kishore Kumar became super hit. It was incidentally the last film of Mahanayak Uttam Kumar. Her comedy conception was used by Gulzar and other directors very successfully. Her film Angoor opposite Sanjeev Kumar showed her comedy skills. The film was based on Uttam Kumar’s film Bhranti Bilas and had similarity with Shakespeare’s play Comedy of Errors. Sanjeev Kumar played the double role in Angoor that was played by Uttam Kumar in the Bengali film Bhranti Bilas, while Moushumi Chatterji played the role of his wife which was played by Sabitri Chatterji in the Bengali film. The two brothers were identical twins and Moushumi Chatterji got confused with her own husband and his brother. Deven Verma played a double role along with Sanjeev Kumar as his servant. Her other successful films included Pati Patni Aur Woh, opposite Sanjeev Kumar, Ghayal, as the sister-in-all of Sunny Deol and many other films. Even she had acted in landmark Bengali films like Kori Diye Kinlam based on the epic novel of Bimal Mitra. In 2013, she had acted in successful Bengali film Gainar Baksho. She had acted in the role of a widow who died and the spirit of the widow tortured the other women in the family. She acted with Konkona Sen Sharma and Srabanti Chatterjee in the film. The viewers expect Moushumi to contribute in character roles in bollywood films in future.

Revisting film Shankhabela where Bosonto Choudhury was sublime opposite Mahanayak Uttam Kumar

Uttam Kumar Shankhabela Bosonto Choudhury superseded Uttam Kumar in Agragami’s epic film Shankhobela. The film was released in the year 1966 and ended up being a blockbuster. There was lot of history behind the film. Sudhin Dasgupta, the composer of music in the film for the first time used Manna Dey to sing for Bengali superstar Uttam Kumar. All the songs in the film sung by Manna Dey and Lata Mangeshkar became super hit. Some of them included “ke pratham kache esechi”, picturised in the romantic scenario of Maithon amidst river Damodar, “ami agantuk ami barta dilaam”, “aaj mon cheyeche ami hariye jabo”, to name a few. As far as Bosonto Choudhury was concerned, he was one of the competitors of Uttam Kumar other than Bikash Roy and Astiboron, who had started their careers with Uttam Kumar. Bosonto Choudhury acted in lesser number of films, as he only signed those films which suited his culture, aristocracy and education. Therefore from his first film Mahaprashthaner Pothe, his performance in noted films used to depict aristocracy legacy of Bengal that was left behind by Chabi Biswas. In Shonkhobela, he played the role of the doctor, who treated Uttam Kumar’s son, after Uttam Kumar left his Madhabi. Madhabi could not compromise with Uttam Kumar’s fast life, full of parties and hard drinks, which was necessary for the success of his marketing career. She left the house of Uttam Kumar and worked in a school to upbring her child. Bosonto Choudhury showed compassion to Madhabi, and understood her social standing while treating the child. The story of her life was told to him by his assistant played by Mrinal. The child had to be treated and operation had to be carried out which the signing of bond by the guardian. Bosonto Choudhury compelled the father of the child Uttam Kumar to come and sign the bond. He scolded Uttam Kumar for remaining carefree about his son who was terribly sick. Bosonto Choudhury’s astounding personality in the film brought back the marital peace of Uttam Kumar and Madhabi Muherjee who stayed separately after the differences were made. The viewers appreciated Uttam Kumar’s brilliant performance in the role of a romantic husband which he depicted with highest amount of maturity. Uttam Kumar’s romantic style of performance had always created a benchmark in the world of romantic acting and that was the reason why Oscar Winning director Satyajit Ray had considered Uttam Kumar as the greatest matinee idol, fulfilling the aspirations of numerous middle-class Indians. But some way down the line, Bosonto Chouhdury superseded Uttam Kumar with his aristocrat performance and at the end of the film received higher accolades from the critics and educated section of the society. Both Uttam Kumar and Bosonto Choudhury had immense contribution in Bengali classic films, and their space had remained empty after 50 years of the completion of the films. For those reasons Shonkhobela should be preserved and restored.

Combination of Hasrat Jaipurisahab with Shankar Jaikishansahab and Rafisahab is remembered in anniversaries.

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.

Ghazal ka Shehzada Madanmohanji is remembered with great combination with Rafisahab.

The country remembers the death anniversary of legendary composer Madanmohan Kohli on 14th July, 2020

. The legendary composer left us more than 38 years ago but left the country with innumerable treasure of ghazals. 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.

. She had made her debut as a child actress in the film Ganga Jamuna in 1961. She played the role of the smaller version of Azra in the film. She played similar roles in films like Jahanara in 60s. But her fantastic dancing skills launched her in super hit films like Farz which was released in 1967. She danced opposite Jeetender in the film Farz in Rafi’s song “mast baharon ka mai aashiq”, and that cemented her career in bollywood films. After that she got dance-based roles one after the other in bollywood. But due to comedy pairing with Mehmood in films like Humjoli, she got roles in the range of vamps rather than frontline heroines. She was brilliant opposite Mehmood in the Jeetender starrer Waarish in 1968. The music of RD Burman was brilliant with Rafi’s hit songs like “ek bechara pyar ka maara”. She amazed the viewers with the role of a gypsey woman in Jeetender’s film Carwan released in 1971. Her dance number in the song “dilbar” sung by Lata Mangeshkar and “chadti jawani” sung by Mohammad Rafi had shaken up bollywood in the early 70s. Her dancing skills were used to perfection by Showman Raj Kapoor in the film Bobby especially in Shailendra Singh’s song “mai shayar to nahin”. Her successful films in 70s and 80s includes Khel Khel Me, Buddha Mil Gaya, Laila Majnu, Ek Nari Ek Brahmchari, Qurbani, Sargam, Rocky, Love Story, etc. In negative characters in films like Qurbani she had amazed the viewers. From late 80s, she switched to character roles and became one of the leading actresses in that field. She received filmfare award for the best supporting actress for her brilliant performance in Madhuri Dixit’s film Beta. Her brilliant performance in films like Raja Babu, Ghulam-e-Mustafa, Kartavya, had created a separate place in the hearts of millions of filmlovers. Viewers got astonished to realize how an able dancer in her teenage, had transformed into a brilliant character artist who could do any type of role starting from comedy acting to serious roles to roles of negatives characters. She should have won many more filmfare awards for epic performances in films like Bobby, Qurbani, Haseena Maan Jayegi. She also played notable role in Priyadarshan’s film Khatta Meetha released in 2010. She also had received filmfare lifetime achievement awards. She said that she knew nothing. Dilip Kumar brought her to the beautiful world of bollywood. She learned everything and was indebted to the viewers for their love and affection. It was her humility which spoke out and made everyone enchanted. The viewers expect the veteran of more than 300 films to continue the great work that she started 40 years ago.

Happy birthday to Jaya Pradaji.

Happy birthday to Jaya Prada. The viewers of bollywood films wish happy birthday to Jaya Prada on 3rd April, 2021. Jaya Prada was considered as one of the most gifted actresses of bollywood films of the 80s. She shook the Indian audience with her dancing skills in the film Shankaravaranam. In the late 70s her film Sargam opposite Rishi Kapoor became superhit with a brilliant story and excellent songs. She played the role of a deaf and dumb girl who had immense dancing callibre which was unearthed by Rishi Kapoor in the film. The film created sensation in both in North India and South India. The music composed by LP was brilliant by every musical standard and Lata and Rafi were sublime in the songs “dafliwale dafli baja”, “koel boli”, “ramjiki nikli sawari”, etc. In an age of action pact films of Big B, Vinod Khanna, Sargam being a romantic film with Rishi Kapoor and Jaya Prada did excellent business. From that time Jaya Prada became the no. 1 bollywood actress and acted opposite all the leading stars of bollywood. Her other superhit films include Sharabi, opposite Big B, Akhree Rasta opposite Big B, Kamchor opposite Rakesh Roshan, to name a few. She acted in a number of films opposite Jeetender as well and all of those films were successful. At that time she got stiff competition from Sri Devi, another South Indian actress who had both acting talent and dancing talent. The films where both of them acted together, the viewers were confused to choose between the two. In Akhree Rasta Jaya Prada did equally well like Sri Devi. In the 90s, also Jay Prada’s films especially opposite Big B did good business, like Indrajeet or Aaj Ka Arjun. In those films while Big B concentrated on action sequences, Jaya Prada played the romantic part to perfection. With the emergence of new actresses in bollywood films in the 90s like Madhuri Dixit and Juhi Chawla, Jaya Prada faded away from the bollywood industry. She joined politics and had been the parliamentarian for more than a decade. Besides she had played important roles in tamil films and other South Indian films over the years. A number of cinema halls in Mysore and Bangalore were named after her. In 2010, she had been expelled from the Samajwadi Party by Mulayam Singh Yadav along with other primary members. That can give her some time to devote in bollywood films as well. The viewers expect her to make a comeback in bollywood films in character roles as many of them feel that she still has a lot of acting left in her.

Happy birthday to Pooja Bedi

Happy birthday to Pooja Bedi. The viewers of bollywood films wish happy birthday to Pooja Bedi, the daughter of legendary actor Kabir Bedi on 11th May, 2021

. She was born in a star family with her mother Pratima Bedi being a classical dancerand father being an established actor. Although she came from an acting family as Kabir Bedi had experience of performing in Hollywood films as well, her contribution in bollywood films had not been that substantial. Her film Vishkanya in the early part of her career was based on the story related to snakes. In Indian films fantasies based on the life of snakes had amazed the viewers in the past. The film Nagin in the mid-70s, with Reena Roy, Jeetender, Mumtaz and others, did fantastic business. So Pooja Bedi was lucky to start her career with such films. The film was well appreciated by the audience. Later on her film with Amir Khan, Jo Jeeta Wohi Sikander, did fantastic business. The film was based on teenage romance. Amir Khan always had a special place in the minds of viewers as his romantic appeal always attracted the female audience right from the release of the film Qayamat Se Qayamat Tak. Pooja Bedi probably had given her best. Pooja Bedi’s role of a teenage girl did fit the requirement of the story and the film. All the songs in the film became successful including the song “pehla nasha, pehla khumar” sung by Udit Narayan. Viewers of different tastes appreciated the film. Her other notable films included Aatank Hi Aatank and Lootere. She was very impressive in Mahesh Bhatt’s film Phir Teri Kahani Yaad Ayee. It was a film related to human relationship and Pooja Bedi’s performance in a supporting role was appreciated by the critics. She was as impressive as Pooja Bhatt and Rahul Roy in the film. In the late 90s, all of a sudden she faded away from the industry. But she continued to appear in television shows. She was the anchor of the TV shows Not Just Page 3 and Just Pooja in Zoom TV. These programs became very popular in the years when they were telecast. In the following period she even participated as contestant in TV shows like Jhalak Dikhlaja in Sony TV, Heart Beat, Mum Tum or Hum, Jodi Kamaal Ki, Nach Baliye, etc., in Star TV, also Fear Factor – Khatron Ki Khiladi in Colors. The viewers expect her make a comeback in bollywood films in the years to come.

Happy birthday to Jaya Bacchan

Happy birthday to Jaya Bacchan. The viewers of bollywood films wish happy birthday to Jaya Bacchan on 9th April, 2021. She was considered to be one of the most powerful actresses of films during the 70s and 80s. Her effortless performance in different types of roles had inspired other actresses to follow her later on. Jaya Bacchan started her career with an impressive role in Satyajit Ray’s film Mahanagar in 1965. She played the role of younger sister of Anil Chatterji and adapted herself in the role of realistic actress who show least amount of mannerisms in that film. In the bollywood film Guddi, she played the role of a common girl who was inspired by bollywood films. Utpal Dutta, her uncle took her to film studios to show that actors like Dharmender and others were made stars by the sheer effort of the cameraman, make-up man, director, producer and others and larger than life image is created by the technicians. Jaya Bacchan showed the innocence required from the role of a common teenager in the film. In the 70s, Jaya Bacchan acted in refined commercial films opposite Sanjeev Kumar and got appreciation from the mass and the critics. She was sublime in Gulzar’s film Koshish, where she herself along with Sanjeev Kumar played the role of a deaf and dumb couple who educated their child and learned communication by attending classes in deaf and dumb schools. She acted in the film Naya din nayi raat, opposite Sanjeev Kumar, where Sanjeev Kumar played 9 roles of 9 different persons. She left her house and met all the nine separate persons and met her husband which was also played by Sanjeev Kumar. She had very peculiar experiences of meeting drunkards, persons suffering from leprosy, smugglers, etc. and expressed her emotions very well. She was sublime in Gulzar’s film Parichay in 1972, where she played the role of the eldest sister of Sanjeev Kumar. She and her brothers and sisters became orphans after the death of their parents and were brought by Pran, their grandfather to their ancestral house. Jeetender was invited to teach the children and she got involved with Jeetender at the end of the film. She expressed her love for her father and hatred towards grandfather for not accepting her mother in the house like any intellectual actress. Her lips in the song “biti na bitai rehna” sung by Lata and Bhupinder Singh require special mention. Jaya Bachhan was equally sublime in commercial films like Sholay, Zanjeer, etc., opposite Big B. If her performance opposite Sanjeev Kumar in films like Anamika, Nauker, showed her class of acting, her performance opposite Big B in films like Bangsi Aur Birju or Abhimaan or Milli showed her spontaneous presence before the commercial crowd. In Abhimaan, all the songs of Lata like “teri bindiya re”, “tere mere Milan ki yeh raina”, etc., almost appeared like songs of Jaya Bacchan. Critics feel that she even did better than Big B in Hrishikesh Mukherjee’s classic film. She became a myth in the 70s, after performing in any time of film including Manoj Kumar’s Shor to Yash Chopra’s Silsila. Even the medium-budget films like Piya Ka Ghar did business due to sheer brilliance of performance of Jaya Bacchan. In the late 90s, she again made a comeback in character roles in films like Kabhi Khushi Kabhi Gham, Fiza, etc., and showed the audience that she had not lost her touch in acting. The viewers expect her to continue the great work in bollywood films, as there is no doubt that she had equal potentiality like Shabana Azmi or Smita Patil and could have been chosen for any art film made by Shyam Benegal, Govind Nihalini and others during the 80s, had she not left films for bringing up Abhishek Bacchan and her daughter.