Happy birthday to Sanjay Duttji.

Happy birthday to Sanjay Dutt. The viewers of bollywood films wish happy birthday to Sanjay Dutt on 29th July, 2022. For the last 30 years, Sanjay Dutt remained one of the actors who had a very steady box-office. It was very sad that he had again gone for 3 and half years imprisonment relating to the TADA case. It is a loss for the film industry. For the last 2 years also he spend time in prison. His film Policegiri had been released in 2014 and did not do great business. But his biopic Sanju, where Ranbir Kapoor played his character already had done business of 339 crores. 2012 had been an excellent year for Sanjay Dutt. He acted in the film Agneepath in a negative character opposite Hrithik Roshan. The film did business of more than 120 crores. The bigger achievement is that Sanjay Dutt’ s performance had been appreciated equally as that of Hrithik Roshan. Hrithik Roshan played the same character which Amitabh Bacchan had played in the first version of film Agneepath. It was a big challenge for both Sanjay Dutt and Hrithik Roshan but both the actors were outstanding. While his first film Rocky was successful in the early 80s, he struggled to create a name till his film Naam with Kumar Gaurav struck box-office. He did undergo a makeover and from the late 80s, his long hair and muscular body changed his career. His performance in the role of a handicapped poet in the film Saajan opposite Madhuri Dixit was well appreciated. The film ended up being blockbuster with hit songs like “mera dil bhi kitna paagal hai”. Sanjay Dutt’s action films always created an impact in the minds of the viewers. The hit films included Sadak, Khalnayak, Daag –The Fire, etc. He received the filmfare award for the best actor for his performance in the film Vaastav. Sanjay Dutt and Vidya Balan formed one type of such an unique pair who had been accepted by the viewers of bollywood films. Sanjay Dutt got the scope of performing opposite Vidya Balan at middle-age as opposed to his performance opposite Madhuri Dixit in during his young age in films like Thanedaar, Saajan, Khalnayak, etc. In Pradeep Sarkar’s Parineeta, Sanjay Dutt’s role was based on the character of a middle aged person who was considerate about the family of Parineeta. Although Vidya Balan was attached with Saif Ali Khan according to the classic literature of Sarat Chandra Chatterji, Sanjay Dutt’s contribution was even greater in the film than Saif Ali Khan. All the songs in the film composed by Shantanu Moitra ended up being super hit, including Sonu Nigam and Shreya Ghoshal’s song “piyu bole”. Lage Raho Munnabhai was probably the greatest hit film of Sanjay Dutt in his entire career. He was a bhai ( underworld don) who pretended to be a Professor and impressed Vidya Balan who was attached to an old-age home. He impressed her with his knowledge on Gandhiji. Mahatma Gandhi’s soul instructed Sanjay Dutt to follow his path related to ahimsa. The romance in the film was related to matured level of understanding. Sonu Nigam’s song “pal pal pal pal pal pal”, was a landmark hit. After that song Vidya Balan slapped Sanjay Dutt after reading the letter where he mentioned that he was not a Professor. The film with Vidya Balan forgiving Sanjay Dutt for the lies he said to her. In 2011, Sanjay Dutt’s film Double Dhamaal did mediocre business. But the positive reviews that were received in the film were about Sanjay Dutt, Kangana Ranaut and Mallika Sherawat. 2011 has a lot in store for Sanjay Dutt. The films which had been released in 2011 and 2012 include Rascals, Agneepath, Chatur Singh Two Star, Power and Koochi Koochi Hota Hai. The viewers are looking forward to more films of Vidya Balan with Sanjay Dutt, as the pair had shown matured level of performance which touched the hearts of millions of viewers all across the world. Sanjay Dutt these days had restricted himself in acting in action films, so if he signs romantic films, the producers and directors should think about Vidya Balan who suits him better than any other actress of bollywood industry. Viewers are expecting him to get back to films and regain his stardom back with Munnabhai series films. In 2022 his negative character in film KGF chapter 2 was well appreciated. The film ended up doing business of 1200 crores in India and 425 crores in hindi film circuit.

Romantic films of Biswajeetji and majestic combination with Rafisahab.

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

Happy birthday to dancing star Mumtazji.

Happy birthday to Mumtazji. The viewers of bollywood films wish happy birthday to brilliant dancer and actress Mumtaz on 31st July, 2022. Mumtaz stormed the silver screen with her dancing capabilities in the bollywood films of 60s. Mumtaz initially acted in small budget films like Boxer, Tarzan, Kingkong, etc. She acted in many of the films opposite he-man Dara Singh. She impressed the viewers with her item number in the film Brahmchari, opposite Shammi Kapoor, titled “aaj kal tere mere pyar ke charche”, where SJs rock and roll composition was given adequate expression by Mumtaz. She acted very well opposite Dilip Kumar in Ram Aur Shyam. She acted as a village girl who did not recognise the difference when Ram came to the village, who had identical get up as Shyam the person she loved. Her role of vamp in Biswajeet’s film Mere Sanam impressed everyone. She gave able lips in Asha Bhoshle’s song “yeh hai reshmi zulfon ka andhera”. She did well opposite Manoj Kumar in the film Patthar Ke Sanam. Mumtaz matched Jeetender in the film Jeegri Dost. She was very polite and submissive in the film and gave good lips in the songs “raat suhani jag rahi hai” sung by Lata and Rafi and composed by Laxmikant Pyarelal. All her films opposite Jeetender became super hit including Ek Nari Ek Brahmchari, Khilouna, Katputli, Roop Tera Mastana, etc. She had been very successful in the films opposite Rajesh Khanna most of which everlasting hits like Do Raaste, Aap Ki Kasam, Roti, etc. Her excellent lips in successful songs opposite Rajesh Khanna namely “gore rang pehna itna gumah kar”, “jai jai shivshankar” attracted the attention of the viewers. In Aap Ki Kasam, she was thrown out of the house by Rajesh Khanna due to misunderstanding, who repented for the cruel act throughout his life. He returned back when Mumtaz had solemnized the marriage of her child at the end of the film. She also did well in Pyar Kiye Jaa, opposite Mehmood. It was a comedy film where Mehmood wanted to be a director but never got a producer who invested money in his film. He was duped by Shashi Kapoor and Kishore Kumar who posed to be rich men, and when he could not direct any film he ultimately married Mumtaz. Mumtaz showed her rock and roll dancing style in the song “o mere maina”, sung by Asha and Manna Dey and composed by Laxmikant Pyarelal. Mumtaz also acted in a number of films opposite Firoz Khan, including films like Apradh, Jadu Tona, etc. She received filmfare award for the best actress for her performance in the film Khilouna. She left films in the late 70s and did not appear even in character roles after that. Viewers still feel that she had acting talent in her and if she wanted she could have acted in modern films. She received filmfare lifetime achievement award too. Still she is remembered by the viewers and whenever her films like Loafer, opposite Dharmender, or Patthar ke sanam, opposite Manoj Kumar is shown in TV Channels, viewers refresh their old memories about her sweet performances in these films.

On birth anniversary of Roshan sahab the grand combination of Rafisahab Pradip Kumar sahab and Roshansahab is remembered.

On the birth anniversary of Roshanlal Nagrath on 14th July 2022

the combination of Roshanlal Nagrath, Pradip Kumar and Rafisahab. Combination of Mohammad Rafi, Roshanlal Nagrath and Pradeep Kumar. Viewers of Bollywood films wish Happy birth anniversary to brilliant actor Pradeep Kumar on 4th January, 2022. 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.

Saira Banuji and Rajender Kumarji gave golden jubilee hit films in the 1960s.

Rajender Kumarji and Saira Banuji

. Rajender Kumar, better known as Jubilee Kumar, had acted in memorable films in the 60s, ranging from Mere Mehboob, to Sangam, Aarzoo to Suraj, etc. During that span he had acted with all the leading actresses of bollywood films including Vaijayantimala, Sadhna, Meena Kumari, Wahida Rehman, etc. His combination with Saira Banu was well accepted by the viewers. Most of their films became successful and did very good business during the 60s. Their film Ayee Milan Ki Bela was a romantic film with melodious songs composed by Shankar Jaikishan. The memorable songs sung by Rafi and Lata include “to bura man gaye”, “o sanam tere ho gaye hum”, “aha aye Milan ki bela dekho aye”, “tum khamseen ho”, “mai pyar ka diwana”, to name a few. Dharmender got a supporting role in the form of brother of Rajender Kumar. He also did well in the film. Their film Jhuk Gaya Aasman was based on reincarnation. Rajender Kumar met with an accident and took the place another person who had huge property. The other Rajender Kumar was subject to conspiracy Prem Chopra and others who were interested to take his property. Music again played a notable role with Shankar Jaikishan providing westernized tunes for Rafi and Lata. The hit songs sung by Rafi and Lata included “o priya, kaun hai jo sapno me aya”, “saccha hai ghar”, “kahan chal diye”, to mention a few. The popularity of Rajender Kumar and Saira Banu contributed a lot for the success of the film. Rajender Nath, the brother of Prem Nath did well as a relief character. The film which was less known involving Rajender Kumar and Saira Banu, included Aman. The film was based on the victims of Second World War. Rajender Kumar was a doctor and went to Hiroshima and Nagasaki to treat the victims who got infected due to hurling of Atom Bomb during the Second World War. Rajender Kumar went there against the wishes of his father played by Balraj Sahani. There he met Saira Banu and got involved with her. The film depicted the damage that caused in most parts of Japan including the population and their property. It was not a romantic film in that sense. But the music of Shankar Jaikishan again appreciated by the audience. The notable songs included “surahidar garden, koel si hi awaaz”, “aaj ki raat”, etc. Rajender Kumar died at the end of the film. The films of Jubilee Kumar and Saira Banu should be restored for the next generation as their romantic pair provided entertaining performances in the 60s.

Suchitra Sen and Uttam Kumar were brilliant in the film Rajlakkhi Srikanto.

Uttam Kumar and Suchitra Sen were brilliant in Rajlakkhi Srikanto. Superstar Uttam Kumar was sublime in the film Rajlakkhi Srikanto. The film had been directed by Haridas Bhattacharya. He had done brilliant job with the classic literature of Sarat Chandra Chatterji. Sarat Chandra Chatterji had written his biography in the stories relating to Srikanto. Rajlakkhi Srikanto was released in 1958. The masses always read the great literature of Sarat Chanda Chatterjee. It was even a bigger risk to make a film where the story is already known. Very significantly Uttam Kumar understood the poetic character of Sarat Chandra Chatterji and depicted the character in style. He went for a hunting expedition after being called by Anil Chatterji. There he met his neighbour Rajlakkhi played by Suchitra Sen. He loved her during infancy. He was shocked to see her become a baijee named Pyari Bai who had her own house in Patna, Bihar. She unfolded her story and said that her father died. Then her mother went to stay in her brother’s house. Her mami got her married to an old man. He wanted to sell her. Suchitra Sen ran from her house and given shelter by a baijee. She taught her music. She earned her living by being baijee. Composer Gyan Prakash Ghosh composed great classical tunes and singer Krishna Ganguly sang very well. Uttam Kumar also tried to live like a sadhu and joined the group of sadhus led by Jahar Ray. But the disease of chicken pox spread in the village, and to help a family of patients Uttam Kumar stayed in the village. But the family left him when he got infected with small pox. At the end of the film Uttam Kumar left for Burma to get a job. But he remained unmarried throughout his life due to the fact that he could not marry Suchitra Sen who played the role of Rajlakkhi. The film did excellent business and the supporting performers in the film did an excellent job including Sishir Batabyal, Haridhan, and others.

Superstar Uttam Kumar was unparallel in the film Jibon Mrityu.

Uttam Kumar was unblemish in Jibon Mrityu. There are few films which cannot attract the attention of the audience unless the central character is played by a giant actor. Jibon Mrityu is one of those films. Uttam Kumar was unblemish in the film Jibon Mrityu. The film had been released in 1967. It was directed by Hiren Nag, who learned direction from renowned director Ajoy Kar. In Jibon Mrityu, Uttam Kumar played the role of Ashok Mukherjee, who was branch manager Citizen’s Bank. He established himself after his father died, and was brought up by mother Aparna Debi. He loved Supriya Debi, who was the daughter of Prashad Mukherjee. Her father’s business was in doldrums and he appointed N. Biswanathan as legal advisor to address his debts. But the debts grew, and he died out of frustration. Uttam Kumar was all-rounder during his college days. Besides being brilliant, he was great singer, and he gave able lips in Manna Dey’s song “kono katha na bole” composed by Gopen Mullick. His friend Tarun Kumar relied on him to pass the examination. He loved Subrata Chatterji who never married him. Uttam Kumar rose to fame. His office-mates conspired against him, namely Dipak Mukherjee, Prashanto Kumar and Bankim Ghosh. Dipak Mukherjee, made a duplicate key of the Bank’s locker, he stole all the money and shared it with Bankim Ghosh and Prashanto Kumar. Uttam Kumar was charged for stealing the money from the bank and sentenced to 7 years imprisonment. N. Biswanathan was provided money to prevent him from taking the brief of Uttam Kumar. His mother died after Uttam Kumar went to jail. After coming out of prison, he went to forest of Ratangarh to find Tarun Kumar. But he was transferred. He stayed in the house of Kamal Mitra. He prevented the nephews of Kamal Mitra from stealing his will, so Kamal Mitra provided him money to take revenge against the conspirators. Uttam Kumar came back to Kolkata in the new name of Santaprasad Singh, wearing a Punjabi Turban. He advised Bankim Ghosh to open liquor business in addition to rice business. He gave money after mortgaging the rice mill. Bankim Ghosh was caught by the police and imprisoned. He asked Prashanto Kumar to burn his factory to stop trade union demands and get insurance money. The trade union leader was advised by Uttam Kumar to surrender before the police to prove innocence. Prashanto Kumar was also arrested. He ruined Dipak Mukherjee and N. Biswanathan by instigating to buy shares in bogus company, which failed and they suffered huge financial services. Uttam Kumar proved once again in Jibon Mrityu that he was one-man industry. The film was remade in hindi with the title Jiban Mrityu where Dharmender played the role of Uttam Kumar.

Uttam Kumar was outstanding in the Ajoy Kar film Khelaghar opposite Mala Sinha.

Uttam Kumar and Ajoy Kar gave topclass performance in Khelaghar. Ajoy Kar was a very innovative director of Bengali films in the 1950s and 1960s. Mahanayak Uttam Kumar acted in more than 8 films of epic director Ajoy Kar, which included the biggest hits of all times like Harano Sur and Saptapadi. Mahanayak Uttam Kumar gave a brilliant performance in Ajoy Kar’s film Khelaghar released in early 60s. Ajoy Kar always considered Uttam Kumar as his model in most of the films including the greatest hits of all times, Harano Sur and Saptapadi. Uttam Kumar’s appeal had not died out even today after 29 years of his death. That is the reason Railway Minister Mamta Banerjee renamed Tollygunge Metro Station as Mahanayak Uttam Kumar Metro Station in the recent past to show homage to the greatest superstar of all times. In Khelaghar, Uttam Kumar surrendered before Kolkata Police after being involved in anti-national activities. He was a freedom fighter. He ran out of the prison and entered the room of Mala Sinha, tied her up and by wearing the clothes of Mala Sinha’s father Chabi Biswas escaped. The entire film was related to the efforts made by the Kolkata Police to arrest Uttam Kumar. In the meantime Mala Sinha did not want to marry the person selected by Chabi Biswas. So she left her house and took Uttam Kumar’s help to escape from the hands of local gundas. The relationship developed into affection. Rafi sung for Asitboron in the film while Hemant Kumar sang songs for Uttam Kumar. Asitboron gave good lips in the song sung by Rafi. At the end of the film, the actual freedom fighter for whom Uttam Kumar surrendered before the police appeared in Court and disclosed the truth. Uttam Kumar was a musician who had love for his country, so guarded the freedom fighter. Uttam Kumar was send to two years imprisonment for false personification under section 419 of the Indian Penal Code. There were very few performers in the film including Chabi Biswas, Uttam Kumar and Mala Sinha. So these few characters Ajoy Kar, the giant director managed to deliver a hit film for the audience. The story still has relevance and Uttam Kumar’s appeal in the film had not died out. The film should be restored and preserved.

Superstar Uttam Kumar was outstanding in the film Chourangee.

In the film Chourangee Uttam Kumar shook the intellectuals and literary community. Uttam Kumar’s acting versatility reached the intellectuals of Bengal by mid-60s. His films including Tapan Sinha’s Jotugriha, Satyajit Ray’s Nayak, Ajoy’s Kar’s Saptapadi, ended up being cine-classics which had paved the way for thoughtful filmmaking in the later years. Chowrangee was the landmark literature of writer Shankar which was given expression by director Pinaki Mukherjee. Released in 1968, the film was related to the life of Grand Hotel in Kolkata. Uttam Kumar was the receptionist of the five star hotel, better known as Sata Bose. Subhendu Chatterji got a job as another receptionist in Grand Hotel, who was groomed and trained by Uttam Kumar. The striking part of the film lied in the depiction of numerous weird characters in the film who visited Grand Hotel during the 50s and 60s and whose activities could be predicted by Uttam Kumar with his profound experience in the hotel industry. Utpal Dutta played the role of Marco Polo, one of the members of the management of Grand Hotel. He gave the job to Subhendu Chatterji due to request of Dipak Mukherjee whom he knew very well. The character artists played significant role in the film. Biswajeet Chatterji played the role of Mr. Pakrasi, the son of Deepti Ray, who fell in love with Supriya Choudhury in the film. Bhanu Banerjee played the role of employee in Grand Hotel, Jahar Roy played the role of Chief Chef in the film, Prashanto Kumar played the role of the Violin Player in the film. Uttam Kumar fell in love with Anjana Bhowmick, an air-hostess who came to visit Grand Hotel a number of times. But at the end of the film when Uttam Kumar left the job and planned to go and settle in Mumbai after marrying Anjana Bhowmick, the last flight of Anjana Bhowmick crashed and the hopes of Uttam Kumar also crashed with the accident. Ashima Bhattacharya, the producer in the film composed a landmark song for Manna Dey. The song was titled “meghero khela akasho pare”. The remained as one of the greatest hit songs sung by Manna Dey for Uttam Kumar. The film Chowrangee should be preserved and restored for the classic literature, powerful direction, realistic performances and brilliant music.

Rafisahab is remembered on death anniversary and all the composers between 1940s to 1970s rose to fame due to association with Rafisahab

Rafisahab is remembered on death anniversary and all the composers between 1940s to 1970s rose to fame due to association with Rafisahab. By: Dr Souvik Chatterji (Associate Professor in Law and Head of Department, JIS University, Kolkata) Rafisahab is remembered all over the world on his death anniversary on 31st July 2022. Every music director and composer between 1940s to 1970s rose to fame due to their association with Rafisahab. Shankar Jaikishansahab received 9 filmfare awards. Out of that they received filmfare award in film Dil Apna Aur Preet Parayi with lead role of Raj Kumarsahab in 1961 due to Rafisahab song “jane kahan gaye”. In 1963 SJ received filmfare award in film Professor. There were many landmarks songs of Rafisahab for Shammi Kapoorji like “awaaz deke hume tum bulayo”, “ae gulbadan ae gulbadan”, to name a few. In 1967 SJ received filmfare award in Rajender Kumar film Suraj. Rafisahab sang many landmark songs like “baharon phool barsao”, “itna hai tumse pyar mujhe”, “kaise samjhayun”, “gustai maaf” to name a few. Rafisahab won best filmfare male playback singer award for Rajender Kumar film Sasural for the song “teri pyari pyari surat ko” composed by Shankar Jaikishansahab. Naushad sahib received filmfare award in 1954 for composition of music in Bharat Bhushan film Baiju Bawara. Rafisahab showed over all excellence in classical oriented songs like “o duniya ke rakhwale”, “man tarapata hari darshan ko aaj” to name a few. Naushad sahib received BFJA award for Dilip Kumar film music in Ganga Jumna. Rafisahab sang landmark songs like “nain lad jaihe o manwama”, “o chalia re chalia re man mei hamaar” to name a few. Roshanlal Nagrath sahab received filmfare award for Pradeep Kumar film Taj Mahal in 1964. Rafisahab many landmark songs like “jo wada kiya ho”, “jo baat tujh me hai” “pao chul lene do” to name a few in the film. Rafisahab received Sur Singer award in 1964 for Pradip Kumar film Chitralekha. The music director was Roshansahab and song was “man re tu kahe na dhir dhare” OP Nayyarsahab received filmfare award in 1958 for Dilip Kumar film Naya Daur. Rafisahab sang many landmark songs in the film like “ure jab jab zulfen teri”, “maang ke saath tumhara”, “aana ho to aa”, “saathi haath barana” to name a few. Salil Choudhurysahab received filmfare award in 1959 for Dilip Kumar film Madhumati. Rafisahab sang the landmark song “tute hue khwabon me” and “jangal me mor nacha” in the film. Ravi Shankar Sharma sahab received filmfare award in 1962 for Rajender Kumar film Gharana. Rafisahab sang the landmark song “husnwale tera jawab nahi”. Rafisahab also won best male playback singer award for the song “chaudavi ka chand” composed by Ravisahab in Guru Dutt film Chaudavi Ka Chand. Madanmohansahab received national award for Sanjeev Kumar film Dastak in 1970. Rafisahab sang the song “tumse kahoon ek baat”. Laxmikant Pyarellalji received filmfare award in film Dosti in 1965. Rafisahab sang landmark songs like “chahunga mai tujhe”, “rahi manwa dukh ki chinta”, “koi jab raah nap aye”. Rafisahab son best male playback singer award for the song “chahunga mai tujhe”. Rafisahab received national award in Rishi Kapoor film Hum Kisi Se Kam Nahi. The song was “kya hua tera wada” composed by RD Burmansahab. Khayyamsahab shot to fame with Rafisahab song “jane kya dhoonti rehti yeh ankhe mujhme” in film Shola Aur Shabnam. Jaidevsahab rose to fame with Rafisahab song “mai zindagi ka saath nibhata chala gaya”in film Hum Dono. Chitraguptji rose to fame with Rafisahab song “chal ur ja re panchi” in film Bhabhi. Kalyanji Anandji rose to fame with Rafisahab song “pardesiyon se na ankhiya milana” in film Jab Jab Jab Phool Khilen. Ghulam Mohammadsahab rose to fame with Rafisahab song “chalo dildar chalo” in film Pakizaa. Iqbal Qureshi sahib rose to fame with Rafisahab song “subah na ayi” in film Cha Cha Cha. GS Kohlisahab rose to fame with Rafisahab song “agar mai puchu jawab doge” in film Shikari. Sonik Omi sahib rose to fame with Rafisahab song “dil ne phir yaad kiya” in film Dil Ne Phir Yaad Kiya. Usha Khannaji rose to fame with Rafisahab song “dil deke dekho” in film Dil Deke Dekho. Rafi's Baharon Phool Barsao was voted the most popular Hindi song in a BBC Asia Network poll commemorating 100 years of Hindi Cinema. In a CNN-IBN survey in 2013, he was voted the greatest voice of Hindi Cinema. In 2001, Rafi was named as the "best singer of the millennium" by Hero Honda and Stardust magazine.

Whose combination with Rafisahab was the best was it Shankar Jaikishanji or Naushadsahab or Roshansahab?

Mohammad Rafi sahib had remained one of the greatest singers of all times and it is difficult to infer which composer had the best combination with Rafisahab. By: Dr Souvik Chatterji On his death anniversary on 31st July, 2017, great Rafisahab is remembered all across the world. He is considered one of the greatest singers of all times. If we look back at his combination with best composers of all times it is difficult to infer which composer had the best combination with Rafisahab. Relationship with Shankar Jaikishan. Shankar Jaikishan composed music in almost 195 films in that golden age. One of the great reasons of Shankar Jaikishan’s huge success was due to the great combination with immortal singer Mohammad Rafi Sahab. If Rafi’s stylish andaz relating to westernized compositions are adequately it is Shankar Jaikishan who had used it to perfection. They had used Rafi for singing romantic songs with Japanese orchestration in Love in Tokyo, released in 1966 including songs like “aja re aa zara aa”, “Japan, Love in Tokyo”, “ o mere shahekhuba”, etc. In Biswajeet’s April Fool, released in 1964 SJ’s composition for Rafi including “aa gale lag ja” had westernized background. At the same time Rafi’s song “tumhe chaha” with Suman Kalyanpur was a great rendition in pensive mood. SJ’s composition for Rafi in Shammi Kapoor’s An Evening in Paris, in 1967, like “akele akele kahan ja rahe ho”, “raat ke humsafar”, had loud French music with echo effect and Rafi’s intonation was also westernized. Shankar Jaikishan gave a completely different style of music to Rafi in Rajender Kumar’s Aarzoo, released in 1965 with songs like “aji ruth kar ab”, “chalke teri aankho se”, “ai nargisi mastana”, etc. SJ had given songs addressing children to Rafi including “nanne munne bache teri mutthi me kya hai” in Boot Polish which was produced by Raj Kapoor and released in 1954, “hai na bolo bolo”, “re mamma re mamma re” in Shammi Kapoor’s Andaz, released in 1971 and “chakke p chakka” in Brahmchari, in 1969. Rafi pronounced the words with childish accent and SJ used the orchestration to attract children. There were ghazals also given by SJ for Rafi including “rukh se zara nakab”, “kya kya na kahe” in Jeetender’s Mere Huzoor, “unke khayal aye to” in Raj Kumar’s Lal Patthar, “saaze dil ched de” in Pradeep Kumar’s Rajhaath, etc. Besides SJ’s creation involving Rafi in somber mood had created great impact including songs like “teri zulfon ki judai to nahi maangi thi” in Dev Anand’s Jab Pyar Kisi Se Hota Hai, “ehsaan tera hoga mujhpar” in Shammi Kapoor’s Junglee, “yaad na aye” in Rajender Kumar’s Dil Ek Mandir. Shankar Jaikishan had used Rafi’s classical andaz in the songs “radheke tune bansoori churai”, “ajahu na aye”, etc., and combined the ragas with devotional andaz. SJ has given music in almost 200 films within the span from 1949 to 1971, and at least each year they composed music for approximately 10 films. As Rafi was given predominance over other male singers SJ had use him in regular intervals even without doing injustice to Mukesh, Manna Dey, Kishore Kumar, Talat Mehmood and others. Songs like “kaun hai jo sapno me aya” from Jhuk Gaya Aasman, “to bura maan gaye” from Ayee Milan Ki Bela, “yeh ankhen” from Jab Pyar Kisi Se Hota Hai, “tujhe jeevan ki dor se” from Aasli Nakli, “dheere dheere chal” from Love Marriage, “badan pe sitaren lapete hue” from Prince, “mai kahin kavi na banjayun” from Pyar Hi Pyar, “mai gayun tum so jao” from Brahmchari, had not lost their flavour even 40 years after their creation due to sheer brilliance of Shankar Jaikishan. It is really tragic neither Shankar Jaikishan had received the accolades that they deserved nor Rafi’s association with them had been glorified but history says that the combination of Rafi with Shankar Jaikishan had produced invaluable creations which had become immortal over the period of time. Relationship with OP Nayyar. Whenever the name of OP Nayyar appeared in the minds of the audience, the name of immortal singer Mohammad Rafi had come together, without whom OP Nayyar was incomplete. The relationship between the two greats can be compared as tea and milk. OP Nayyar started his career with the film Kaneej in 1949. Guru Dutt had created his image in bollywood films in different categories being a thoughtful director and producer, dynamic actor, good choreographer. One of the numerous reasons for which his films became super hit in the 50s and 60s included the brilliant songs sung by Rafi during the golden age. Rafi’s songs in Guru Dutt’s Aar Paar, released in 1954 and composed by OP Nayyar became super hit. It was followed by Mr and Mrs. 55 released in 1955. Songs picturized on both Guru Dutt and Johnny Walker had melody and sweetness. Rafi’s songs like “dil pe kiya aisa jaadu”, “muhobbat karlo aji karlo”, “sun sun sun sun zaalima”, composed by OP Nayyar, created landmark in the mid-50s and Rafi emerged as the greatest singer of bollywood films during that time. In many of the songs Geeta Dutt did a great job in duets sung along with Mohammad Rafi. The same combination of Guru Dutt, OP Nayyar and Rafi gave everlasting hit in the film 12 O Clock with songs like “mai kho gaya”. Also in CID, OP Nayyar and Rafi combination created gold with songs like “aye dil mushkil jeena yahan”, “leke pehla pehla pyar”, “ankhon hi ankhon me”, etc. The magic combination of Rafi and OP Nayyar mesmerized the audience in Dilip Kumar’s Naya Daur. The super hit songs “saathi hath barana”, “mangke saath tumhara”, “mai bombai ka babu”, contributed a lot in the absolute success of the film. OP Nayyar received the filmfare award for the best music director only once in his career. Credit goes to Rafisahab for the great rendition of each songs of Naya Daur. The brilliant combination of OP Nayyar and Rafi continued in Raj Kapoor’s film Do Ustad. All the songs in the film became extremely popular including “tu ladki mai ladka”, “ruk ruk ruk, chor na de diwane”, “nazron ke teer mare kas kas kas”, etc. Rafisahab was the first choice of OP Nayyar, and inspite of Raj Kapoor’s voice having closeness with Mukesh and Manna Dey. OP Nayyar gave all the songs of Do Ustad released in 1959 to Mohammad Rafi Sahab. Even in Bharat Bhushan’s Phagun, OP Nayyar composed all the songs for great Rafi Sahab. So of the most super hit songs included “kaun se pardesi mera dil le gaya”, “tum rooth ke mat jana”, “mai soya ankhiya miche”. Qamar Jalalabadi’s words were as brilliant as Rafisahab’s velvety voice. Joy Mukherjee’s film Ek Musafir Ek Hasina did brilliant business in the early 60s. Raj Khosla’s musical thriller released in 1962 addressed every section of the society with romantic performance of Joy Mukherjee and Sadhna. All the songs of Rafi and Asha picturized on Joy Mukherjee and Sadhna became super hit. It includes songs like “aap yuhin agar humse milte rahe”, “mujhe dekhkar aapka muskurana”, “phir tere shahar me”, “mai pyar ka rahi hoon”, “bahut shukhriya, bari meherbani”, “humko tumhari isqh ne”, to name a few. Rafi was elegant as ever in the songs “phir tere shahar me” and “humko tumhare ishq ne”. OP Nayyar was probably at his best in the film and his blend of eastern and western music created the romantic mood for the film. Joy Mukherjee, Rafi and OP Nayyar’s magical combination continued in the film Phir Wohi Dil Laya Hoon. Most part of the film released in 1963 was shot at picturesque locations of Jammu & Kashmir and the landscape was as romantic as the songs sung by Rafi and Asha in the film. The prominent songs included “banda parwar, thamlo jigar”, “lakho hai nigahon me”, “nazneen bara rangeen hai wada tera”, “aanchal me sajalena kaliyan”, “zulf ke chayon me chehere ka ujala lekar”, to name a few. Rafi had shown his excellent classical skills in the songs “zulf ke chayon me”, and “aancal me sajalena kaliyan”. Asha Parekh showed her dancing skills to perfection in the film. Rajender Nath played the role of the relief character in the film. In fact OP Nayyar maintained the same standard of music in Shammi Kapoor’s film Kashmir Ki Kali and Biswajeet’s film Mere Sanam which were made after Phir Wohi Dil Laya Hoon. Joy Mukherjee’s combination with OP Nayyar continued in the film Humsaya. In that film Sharmila Tagore got the lead role opposite Joy Mukherjee. By that time due to emergence on new actors and actresses in bollywood films, Joy Mukherjee’s popularity declined and the film also did moderate business. In respect of the songs, Rafi’s song “dil ki awaaz bhi sun” became hit. But OP Nayyar gave a number of songs to Mahendra Kapoor was well which did not strike gold in the box –office. Besides Rafi’s western romantic mood is utilized by OP Nayyar in a very stylish way in the songs “Diwana hua badal, sawan ki ghata chayi” and “Yeh Chand Sa Roshan Chehera” in the film Kashmir Ki Kali, 1964 picturised on Shammi Kapoor and “Humne to dilko aap ke kadmome rakh diya, is dil ka kya karenge yeh ab aap sochiye” in the film Mere Sanam, 1965 and “Phir Miloge Kabhi is baat ka wada karlo, humse ek aur mulakat ka wada karlo” in the film Yeh Raat Phir Na Ayegi, picturised on Biswajeet. In all these songs the sarengi and santoor had played a very pivotal role accompanied by the intoxicating appeal of Rafi’s voice. In the film Baharen Phir Bhi Aayegi, Rafi’s ghazal “aap ki haseen rukh” composed by OP Nayyar and picturised on Dharmender was extremely romantic and made the audience spellbound in the early 60s. OP Nayyar composed peppy numbers for Rafi Sahab in Dharmender’s film Muhobbat Zindagi Hai in 1966. Rafisahab’s song “na jaane kyun” was as brilliant as “tumhari mulakat se” and “yeh purnur chehra yeh dilkash ada”. The list of films where OP Nayyar and Rafi’s magic flabbergasted the listeners just goes on including films like Tumsa Nahi Dekha, Basant, Phagun, Kismat, etc. One article is too small to explain the domination of OP Nayyar and Mohammad Rafi in bollywood films of the 50s and 60s. But the songs and the films had not become obsolete and listeners can listen to them again and again. The songs and the films should be restored. Relationship with Naushad Ali. Naushad Ali is remembered for his brilliant tunes over a period of 50 years down the memory lane. In the 40s, he composed music in many films including Anmol Ghari, but he stormed bollywood with romantic songs in Dulari, including “suhani raat dhal chuki” sung by Rafi, all the songs of Andaz, where he composed Rafi’s songs for Raj Kapoor and Mukesh’s songs for Dilip Kumar. In the 50s, Naushad’s composition in Baiju Bawra made the listeners speechless. He won filmfare award for the best composer for his brilliant classical presentation in songs like “o duniya ke rakhwale”, “man tarapata”, “tu gangi ki mauj”, etc., sung by Rafi and Lata. Rafi’s range was used to perfection and from that time the Rafi Naushad combination provided gems after gems. The different ragas and their timings were explained by Naushad in the film. Bharat Bhushan and Meena Kumari gave able lips in the songs composed by Naushad. Songs of Uran Khatula, like “wo dur ke musafir” sung by Rafi for Dilip Kumar also shook bollywood in the mid-50s. In the 60s Naushad was unstoppable. His composition in Kohinoor for Rafi titled “madhuban me radhika nachere” and “do sitaron ka zameen” picturised on Dilip Kumar displayed the brilliance of Hindustani ragas. Naushad’s composition in Rajender Kumar’s Mere Mehboob, Naushad displayed the ghazal culture of Lucknow and Aligarh. The songs “mere mehboob tujhe meri muhobbat ki kasam”, “ai husn zara jag”, etc. sung by Rafi and picturised on Rajender Kumar was per se excellent. Naushad composed light songs in Mughal-i-azam for Lata including “pyar kiya to darna kya”, “mohe panghat ke nandlal”, and again composed thumri sung by Bare Ghulam Ali Khan in the same film. Naushad also composed Bhojpuri music for Dilip Kumar in the film Ganga Jumna. The songs “nain lar jaihe” sung by Rafi was one of the examples of Naushad’s control of Bihari folk tune. Naushad was at his best in Dilip Kumar’s Leader. All the songs in the film sung by Rafi and Lata flabbergasted the listeners, including “ek shahenshah ne banwake haseen tajmahal”, “teri husn ki kya tareef karun”, “mujhe duniya walon”, etc. Naushad was excellent in Dilip Kumar’s Ram Aur Shyam. All the songs sung by Rafi and Lata in the film including “aye hai baharen dekho”, “yeh raat dulhan bangayi”, “mai hoon saki”, etc. Critics consider Dil Diya Dard Liya as one of the best creations of Naushad. All the songs in the film became superhit including Rafi’s “dilruba maine tere”, “koi sagar dil ko behlata nahi”. Naushad Rafi and Dilip Kumar continued with their level of excellence in the film Aadmi, with Rafi’s songs like “na aadmi ka koi bharosa”, “aaj purani rahon se”, etc. Besides, Naushad composed excellent music in Rajender Kumar’s Palki, Saathi, Ganwar, etc. Rafi’s hit songs in those films included “dil-e-betaab ko seene se lagana hoga” sung with Suman Kalyanpur. Naushad faded away from film music in the 70s, causing huge loss to the film industry. The classical gharana related to thumris, kajris, ghazals, etc., faded away with Naushad. Music became popular, but lost its class. Naushad received Dadasahab Phalke for his excellent contribution to bollywood music. His songs and the films should be preserved and restored. Relationship with Roshanlal Nagrath. Whenever any reference relating to everlasting singer Mohammad Rafi comes, the attention goes to the big budget films and songs for big banners. Rafi is known the most for singing catchy numbers for Shammi Kapoor under the composition of Shankar Jaikishan and classical songs for Dilip Kumar under the composition of Naushad Ali. Although Rafi had sung brilliant songs for all the leading actors of 40s, 50, and 60s, much had been written about the successful films where both the songs and the films did excellent business. But Rafi had sung excellent songs for Pradeep Kumar under the composition of Roshanlal Nagrath, where even if the mass was not touched, the class was addressed and the royal andaz of singing showed the range of Rafi to suit his voice for any form of playback singing. The magic of Roshanlal Nagrath, Pradeep Kumar and Mohammad Rafi started in Aarti released in 1962. Phani Majumdar directed the film. Four of the songs of Rafi stand out, “aapne yaad dilaya”, “ab kya misaal doon”, “baar baar tohe kya” and “tere bin lage na jiya”. Some of them were solo songs, while others were duet songs sung with Lata Mangeshkar. There were other duet songs of Rafi with Asha Bhosle, but the ones in pathos andaz like “aapne yaad dilaya” mesmerized the audience. The lyrics of Majrooh Sultanpuri, the composition of Roshanlal Nagrath, the voice of Mohammad Rafi and lips of Pradeep Kumar made the viewers spellbound. None of the songs had lost their charm even today. The magic continued in the film Tajmahal in 1963. M. Sadiq directed the film. Pradeep Kumar played the role of Shahjahan while Beena Roy played the role of Mumtaz Mahal. Here the combination was different with Sahir Ludhiyanvi writing the songs for Roshan which were sung by Mohammad Rafi. Four of Rafi’s songs were masterpieces including “jo wada kiya wo nibhana parega”, “paon chulene do phulonko inayat hogi”, “chandi ka badan”, and “jo baat tujhme hai”. Roshanlal Nagrath won the filmfare award for the best composer only once in his life, that was for the composition of the music of the film Tajmahal. He deserved it many more number of times. Sahir Ludhiyanvi won the best lyricist award for the lyrics of the film. Rafi was as outstanding as Pradeep Kumar in the role of Shahjahan. The magic continued in the film Chitralekha in 1964. Kidar Sharma directed the film. Pradeep Kumar, Meena Kumari and Ashok kumar played the main roles. Rafi’s song “man re tu kahe na dheer dhare” is still considered one of the 10 best bhajans Rafi had sung. Sahir Ludhiyanvi wrote the songs of the film. Rafi’s other song “cha gaye badal” was equally impressive. The Roshan, Rafi, Pradeep Kumar combination continued in the film Bheegi Raat in 1965. It was directed by Kalidas. Rafi’s songs in the film “dil jo na keh saka”, “aise to na dekho”, “jane wo kaun hai kya naam hai”, “mohabbat se dekha” all were masterpieces. Some were duets with Suman Kalyanpur, while the others were solo songs sung by Mohammad Rafi. Lyrics were written by Majrooh Sultanpuri. The words were excellent. Rafi was unparallel in all the songs. The combination continued in the film Bahu Begum in 1967. It was directed by M. Sadiq. Rafi’s songs “hum intezar karenge tera qawamat tak”, “dhoond ke layun kahan se”, “vakiv hoon ishqgade” were all masterpieces. While some had ghazal andaz, the others were stand out qawallies with Manna Dey. Roshan was as brilliant as Mohammad Rafi as Sahir Ludhyianvi. In the same year, the combination was sublime in the film Noorjahan. Rafi sang the songs “aap jab se kareeb aye hain” and “wo mohabbat wo wafayen” in style. For a change the lyrics were written by Shakeel Badayani. The unfortunate death of Roshanlal Nagrath in 1967, ended the journey of Rafi with Roshan and Pradeep Kumar. Otherwise masterpieces after masterpieces could be created. Rafi’s archive should preserve the songs of Pradeep Kumar and Roshan, which showed the royal andaz of music existing in the courts of Mughals, Pathans and Sultans in India. Relationship with Madanmohan Kohli. If any composer had utilised the ghazal andaz of Mohammad Rafi to the best of his potentiality it is Madanmohan whose name appears in the minds of the lovers of music across the nation. Madanmohan’s father Rai Bahadur chunnilal send his son to Dehradun to join the army. Instead he left the army and joined All India Radio in Lucknow. He came in contact with Ustad Faizz Khan, Ustad Ali Akbar Khan and carried on their legacy in the compositions he made for 30 years which can be classified as masterpieces. As Madanmohan was not associated with the Big Banners like RK or Navketan, he was not categorised with any star of bollywood during 50s, 60s, 70s. Further he never wanted to balance the popular test of music and excellent class of classical compositions he created. But the compositions were so rich in lyrics and tunes that the musical pandits had no way but to admire them. The golden age of bollywood music was categorised with the excellence of Mohammad Rafi and as such if any composer neglected Rafi and tried to reach the summit of popularity they have invited their own downfall. Madanmohan did not make such a mistake. He started his career with the film Ankhen in 1950. He also composed music for Raj Kapoor’s film Ashiana in 1952. His notable songs for Rafi in the film Railway Platform, 1956, include “basti basti parbat parbat”. In Gateway of India, 1957, Madanmohan used Mohammad Rafi for the song “do ghari woh jo pass aa baithe” picturised on Bharatbhushan. It was very successful and strengthened the everlasting bond of Rafi with Madanmohan. Rafi’s intoxicating appeal in the song “kabhi na khabhi kahin na kahin koi na koi toi ayega” in the film Sharabi, 1964, composed by Madanmohan can be classified one of the best songs in sombre mood. The most majestic ghazals of Rafi composed by Madanmohan include “kisiki yaad me apnako hai bhulaye huye” and “baad muddat ke yeh ghari ayi” from the film Jahan ara, 1964, picturised on Bharat Bhushan. Talat Mehmood’s song in the same film “phir wohi sham wohi gham wohi tanhai hai” was also based on ghazal andaz. The classic lyrics were written by Rajinder Kishan. The film titled Ghazal, in 1964, was based on ghazals and Rafi was outstanding by every standard in the song “rang aur noor ki baraat kise pesh karun.” In the same year Rafi’s patriotic flavour was bolstered in the song “kar chale hum fida jan-o-tan sathiyon” in the film Haqeeqat, where Rafi’s ghazal titled “hoke majboor usne bulaya hoga” shared with Bhupinder Singh, Manna Dey and Talat Mehmood was sensational. The majestic lyrics were written by Kaifi Azmi. In the film Neela Akash, 1965, picturised on Dharmender, Rafi’s song “akhri geet muhobbat ka sunayun to chalun” showed the tragic note of Madanmohan. In the film Need Hamari Khwab Tumkhari, all the songs were sung by Rafi including “husn ne jab isq se takraya tha”. Returning back to ghazals, Rafi’s song “aap ke pehlu me akar” in the film Mera Saya, 1966, was as outstanding as Lata’s title song “tu jahan jahan chalega mera saya saath hoga”. The lyrics were written by Raja Mehendi Ali Kahan. Raj Khosla’s crime thriller ended up becoming a musical blockbuster just like Woh Kaun Thi, in 1964, where Madanmohan’s composition “naina barse,” “lagja gale”, etc. for Lata Mangeshkar was probably the most immortal creation in the history of film music, with Sadhna giving life time performances in ghostly characters in both these films. The landmark ghazal “tumhari zulf ke saye me sham karlunga” in the film Naunihal, in 1967, is probably one of the five best ghazals Rafi did sing in his life. Experts in music realise that ages will pass, but no second singer can provide blood and flesh in the superlative ghazal of Madanmohan the way Rafi had done in this song. Kaifi Azmi has written sensational lyrics for the abovementioned song. People started thinking that Rafi and Madanmohan were made for each other. The belief was put to action in the next film Dulhan Ek raat ki, in 1967, picturised on Dharmender in the song “ek haseen sham ko dil mera kho gaya. In the film Chirag, 1969, “teri aakhon ke siwa duniya me rakkha kya hai” Madanmohan combined ghazal with light orchestration to try to inspire the common listeners in understanding these type of songs. In the film Heer Ranjha, 1971, picturised on Rajkumar, Rafi’s song “yeh duniya yeh mehfil” was well acclaimed by music lovers. Rafi was outstanding by every standard in the song “tum jo mil gaye ho” in the film Hanste Zakhm, 1973, where Madanmohan synchronised lightning with his own orchestration. Madanmohan also gave a tremendous break to Bhupinder Singh in the song “dil dhoonta hai, phir wohi, fursat ke raat din” written by Gulzar in Sanjeev Kumar’s Mausam in 1975. Rafi had the song “chari re chari kaise gale me pari.” Madanmohan’s last performance with Jaidev brought out Rafi’s Himalayan range in the film Laila Majnu in 1977. Rafi’s songs “tere dar pe aya hoon,” “barbad muhobat ka duya saath liye ja”, picturised on Rishi Kapoor showed his master spirit of adapting to tunes of middle east which was the geographical location where the story was based. Madanmohan died in 1975, without even seeing the success of Laila Majnu, it appeared like out of seven sur in every octave one sur had gone, because, the majestic combination of Madanmohan with Rafi cannot be forgotten through ages. Rafi’s archive should restore Madanmohan’s combination to let the next generation know about the high esteem with which Madanmohan addressed Mohammad Rafi during the golden age of film music. Articles after articles can be written to show the indispensability of Rafisahab during the golden age. For listeners the intoxication still continues. Rafisahab’s voice sunke lagta hai sunte jay bas suntey hi jay. His admirers pay their respect and homage to the noble soul.

Death of Bhupinder Singhji at the age of 82 years marked the end of ghazal oriented songs in bollywood films.

Death of Bhupinder Singhji marked the end of ghazal oriented songs in Bollywood films: On 18th July 2022, veteran ghazal king Bhupinder Singhji expired at the age of 82 years. With his expiry, the great era of ghazal singing in Bollywood films ended. After Rafisahab and Talatsahab, Bhupinder Singhsahab’s deep bass voice had great ghazal expression. Early in his career, Bhupinder performed on All India Radio, Delhi. He was also attached to the Delhi Doordarshan Center, Delhi. He learnt guitar and violin. In 1962, music director Madan Mohan heard him at a dinner hosted by Satish Bhatia in his honour (Satish Bhatia was Producer in AIR Delhi and Bhupinder was working under him as a guitarist), and called him to Bombay. He gave him a chance to sing the song Hoke Majboor Mujhe Usne Bulaya Hoga with Mohammed Rafi, Talat Mahmood and Manna Dey in Chetan Anand's Haqeeqat. He was given a solo by Khayyam in film Aakhri Khat. Bhupinder's voice is one of the most unique in playback singing. Thereafter Bhupinder started releasing private albums wherein his first LP had three self-composed songs and was released in 1968, a second LP of ghazals wherein he introduced the Spanish guitar, bass and drums to the ghazal style, released in 1978 and his third LP titled Woh Jo Shair Tha, for which the lyrics were written by Gulzar in 1980. Entering wedlock with Bangladeshi singer Mitali, he moved away from playback singing in the mid-1980s and since then has been singing jointly for several albums and live concerts. Together they have produced many ghazal and geet cassettes. His famous songs include "Dil Dhoondta hai", "Do diwane shahar mein", "Naam gum jayega", "Karoge yaad to", "Meethe bol bole", "Kabhi kisi ko mukammal", "Kisi nazar ko tera intezaar aaj bhi", and "Ek akela is Shehar Mein". His lovely songs matched the brilliant actors like Sanjeev Kumar sahib in film Mausam, the song “dil dhoonta hai phir wohi phursat ke raat din”, Amol Palekarji in film Gharonda, composed by Jaidevji, “ek akela is shahar me”, Uttam Kumar in film Dooriyan “zindagi zindagi mere ghar ana” composed by Jaidev sahib. He was the favourite singer of the off-beat composers like Madanmohansahab, Roshansahab (who used him in film Nayi Umar ki nayi fasal), Khayyam sahib Jaidevji. Some of his famous songs include the following. • Hoke Majboor Mujhe Usne Bulaya Hoga", composed by Madan Mohan • "Aane Se Uske Aaye Bahar" from the movie Jeene Ki Raah (1969) with Mohammed Rafi (Music composed by Laxmikant-Pyarelal) • "Duniya Chhute Yaar Na Chhute" from the movie Dharam Kanta (1982) with Mohammed Rafi (Music composed by Naushad) • "Kisi Nazar Ko Tera Intezar Aaj Bhi Hai" from the movie Aitbaar (1985) with Asha Bhosle (Music composed by Bappi Lahiri) • "Awaaz Di Hai Aaj Ek Nazar Ne" from the movie Aitbaar (1985) with Asha Bhosle (Music composed by Bappi Lahiri) • "Thodi Si Zameen Thoda Aasman" from the movie Sitara (1980) with Lata Mangeshkar (Music composed by R. D. Burman) • "Gulab Jism Ka", film Anjuman (1986) (composed by Khayyam) • "Beeti Na Beetai Raina", film Parichay (1972) (composed by Rahul Dev Burman) • "Dil Dhoondta Hai", film Mausam (1975) (composed by Madan Mohan) • "Naam Gum Jayega", film Kinara (1977) (composed by Rahul Dev Burman) • "Ek Akela Is Shaher Mein", film Gharonda (composed by Jaidev) • "Daro Deewar Pe..Khush Raho Ahle-Vatan!" composed by Jaidev[5] • "Huzoor Is Kadar bhi na Itra ke Chaliye" (movie:-Maasoom), composed by Rahul Dev Burman • "Hothon Pe Aisi Baat", composed by Sachin Dev Burman • "Kaise Kahoon kuch kaina sakoon" from Tamil film Nandu 1981, composed by Ilayaraja • "Tum say jo bat hui tum say jo mulaqat hui" (composed by Uttam-Jagdesh) • "Baadalon se Kaat Kaat ke" from the movie Satya (1998) (composed by Vishal Bharadwaj) • "Karoge Yaad to Har Baat Yaad Aayegi" from the movie Bazaar (1982) composed by Khayyam • "Kabhi Kisi Ko Mukammal Jahan nahi milta" from the movie Ahista Ahista (1981) (composed by Khayyam) • "Rut Jawan Jawan" from the movie Aakhri Khat (composed by Khayyam) • "Layee Hayaat Aye Qaza Le Chali Chale" { Bhupinder Singh } Ibrahim Zauq *Mirza Ghalib • "Zindagi Zindagi Mere Ghar Aanaa", film Dooriyaan (1979) (composed by Jaidev) • "Soorajmukhi Tera Pyar Anokha Hai", film "Sooraj Mukhi" (1992), lyrics by Shardanand Tiwary and composed by Ajay Swami. His songs require restoration and publicity.

Happy birthday to Katrina Kaifji

Happy birthday to Katrina Kaif. The viewers of bollywood films wish happy birthday to Katrina Kaif on 16th July, 2022. In 2019 she has given super hit film Bharat opposite Salman Khan. Her film Tiger Zinda Hai opposite Salman Khan did business more than 339 crores which is her greatest blockbuster ever.

2014 was a successful year for her. Her film Bang Bang opposite Hrithik Roshan became a blockbuster doing 181 crores business. 2013 was a great year for Katrina Kaif. Her film Dhoom 3 opposite Amir Khan did business worth 260 crores and still remains India’s greatest blockbuster. 2012 was a great year for Katrina Kaif with her film Ek Tha Tiger opposite Salman Khan doing business of 199 crores and Jab Tak Hai Jaan opposite Shahrukh Khan doing business of 120 crores. In this month itself in 2011 Katrina Kaif’s new film Zindagi Na Milegi Dobara was released. She had acted opposite Hrithik Roshan, Farhan Akhtar and others in this film. Katrina Kaif had remained the uncrowned queen of bollywood films of the last 5 years. Her success in big budget films one after the other had given the number one position and producers and directors had relied upon her while experimenting with various subjects. She was brilliant and gorgeous opposite Salman Khan in the film Maine Pyar Kyun Kiya, gave electrifying performance opposite Akshay Kumar in the films Namaste London, Welcome, Singh is Kinng, was sublime opposite Govinda in the film Partner and Akshay Khanna in the film Race. With her gorgeous lips in romantic songs in all these films including “teri ore teri ore”, “allah duhayi hai”, “just chill chill”, etc., youngsters had become mad about her in the last few years. She had also replaced Aishwarya Rai in a number of advertisements and became the brand ambassador herself. Superstars in the past had accepted the fact that reaching the summit of popularity is difficult, but it is more difficult to maintain the popularity. Katrina Kaif had attained the first feat but has to maintain the stardom. In that respect Katrina’s fate was dependent on the success of the film New York. In 2009, her film was getting released for the first time, so lot of viewers have wide expectation from the film. In the film New York, Katrina Kaif had been asked to attend the birthday party by the crew members who were shooting a film in Philadelphia. Katrina was invited along with John Abraham and Kabir Khan. Crew members who came in one car got entry, while the car where Katrina, John Abraham, Neil Nitin Mukesh and Kabir Khan came, entry was denied. Their identity was required. All of them said that they were popular artists in Indian films. But such identification did not suffice the requirement. By the time, all the actors and actresses were successful to provide their identification, the party was over. The film was related to that subject.Katrina Kaif looked gorgeous as ever just like other films. 2010 opened up well for Katrina Kaif with her film Rajneeti opposite Ranbir Kapoor becoming hit. But her two films opposite Akshay Kumar had miserably failed at box-office, one was Priyadarshan’s film De Dana Dana, while the other was Farah Khan’s film Tees Maar Khan. Bollywood is a strange place. If two films fail in the career of even the number one actress she loses stardom and may lose offer of better roles in future. She has to strike form very soon, may be in 2011 itself. She is earning a lot from endorsement of landmarks brands, but that she is managing only due to her strong box-office presence. She acted opposite Ranbir Kapoor in the film Jagga Jasoos. The viewers expect that Katrina Kaif continue giving hits after hits in 2022. Viewers are waiting for her film Tiger 3 opposite Salman Khan in 2023.

Happy birth anniversary to Rajender Kumarji the king of golden jubilee silver jubilee films

The viewers wish happy birth anniversary of Rajender Kumar on 20th July, 2021. Mohammad Rafi, the eternal singer had sung more than 150 songs for Jubilee Kumar Rajender Kumar. Superstar Rajender Kumar had a deadly combination with Mohammad Rafi and Shankar Jaikishan. Whenever the three combined together they created history. In Dil Ek Mandir, Rafi’s song “jahan koi nahi” and “yaad na jaye” were created in two different moods. Both the compositions of Shankar Jaikishan were marvelous. Rafi was as outstanding as Rajender Kumar. The film was released in 1963. Rajender Kumar became Jubilee Kumar for having all his films doing business of more than 25 weeks between 1963 and 1966. Shankar Jaikishan was the leading composer composing majority of his songs. In the film Ayee Milan Ki Bela, released in 1964, all the songs sung by Rafi and picturized on Rajender Kumar became smash hits like “mai pyar ka diwana”, “aha aye Milan ki bela”, “to bura maan gaye”, “tum khamseen ho nadaan ho”, to name a few. In the same year, Rajender Kumar’s Sangam had a masterpiece of Shankar Jaikishan namely “yeh mera prempatra parkar”. The song became the greatest hit of 1964. The film Zindagi was also released in 1964. Shankar Jaikishan’s brilliant composition for Rafi namely “pehele mile the sapno me” mesmerized the viewers. In 1965, Shankar Jaikishan created magic in Rajender Kumar’s film Aarzoo. All the songs of Rafi touched the souls of the audience including “chalke teri ankhon se”, “aji humse bachkar kahan jayiyega”, “ai phoolon ki raani”, “aye nargise mastana”, to name a few. The exotic locations of Kashmir, the brilliant costumes of Rajender Kumar and Sadhna, elegant singing of Rafi and brilliance of Shankar Jaikishan created magic. The deadly combination continued in the film Suraj in 1966. All the songs of Rafi became smash hits like “baharon phool barsao”, “gustaqi maaf”, “kaise samjhaun”, “itna hai tujhse pyar mujhe”, to name a few. Rafi was brilliant in the duet songs as well where Suman Kalyanpur complimented Rafi. In 1967 and 1968, Rajender Kumar’s films Aman and Jhuk Gaya Aasman became hit due to the brilliant music of Shankar Jaikishan. Rafi’s songs in these films like “surahidar garden”, “aaj ki raat”, “o priya”, “saccha hai agar pyar mera sanam”, “kahan chal diye” stormed bollywood. Shankar Jaikishan composed music in the other films of Rajender Kumar as well including Aas Ka Panchi, where the title song was sung by Subir Sen, Dharti; where Rafi’s song “khuda bhi aaman se” became smash hit, etc. Rafi contributed in other films Rajender Kumar also where Shankar Jaikishan composed music including Shatranj. The songs and the films should be regularly telecast in the private channels to reach the excellent music to the younger generations. A big section of music lovers agree that had Jaikishan not died in 1971, Rafi’s dominance in bollywood music not suffered at all. In fact SJ’s tunes were brilliant and were specifically catered towards the likings of common mass. They were not that technical which could not reach the audience. Besides SJ gave tunes in around 10 films per years all along the 50s and 60s, the era when Rafi was unbeatable. RD Burman’s domination in the 70s would have got very strong resistence had Jaikishan survived few years more. The immortal lyrics of Shailendra and Hasrat Jaipuri also ended with the sad expiry of Jaikishan in 1971. In the case of Naushad, his gharana was so classically oriented, that his composition for an actor had changed the destiny of the actor. Although Naushad and Rafi’s combination was associated mainly with respect to Tragedy King Dilip Kumar, he preserved a huge treasure of music for Rajender Kumar as well. Mere Mehboob, stands out as probably one of the greatest creations of Naushad ever in the history of bollywood music. All the songs of Rafi for Rajender Kumar, including “mere mehboob tujhe meri muhobbat ki kasam“, “tumse izhaar-e-haal kar baithe“, “ai husn zara jag tujhe ishq jagaye” had revealed the royal elite culture of Aligarh and Lucknow in the form of shayri and ghazals. Rajender Kumar and Sadhna were at their best in the film. Naushad and Rafi were sublime in Rajender Kumar’s film Palki. The song “dil-e-betaab ko sine se lagana hoga” shows the class of Naushad. Although Naushad utilized Rafi to perfection in Rajender Kumar’s Ganwar, he used Mukesh in major songs of the film Saathi due to pressure of the producer and director. Rafi and Rajender Kumar were blessed with the immortal creations of Shankar Jaikishan and Naushad in the 60s and the films and the songs should be preserved as rich assets of the nation which can be cherished for generations after generations.

Death anniversary of superstar Uttam Kumar brings back memories of golden age of bengali cinema

Uttam Kumar’s death anniversary brings great memories of the superstar of Bengal. Again, 24th July, 2020 will bring memories of Mahanayak Uttam Kumar. Superstar Uttam Kumar was remembered on his birth anniversary on 3rd September, 2016. Actor-turned-MPs Dev and Moon Moon Sen would be felicitated with the Mahanayak and Mahanayika Samman, the highest film award given by the West Bengal government. Chief Minister Mamata Banerjee will give the annual 'Mahanayak Uttam Kumar Samman' at Nazrul Mancha stadium tomorrow to felicitate the actors and technicians of the Bengali film industry. On her Facebook page, Banerjee said veteran actress Mousumi Chatterjee and reigning Bengali film superstar Dev will be the recipients of this year's 'Mahanayak Samman' while Moonmoon Sen will receive the 'Mahanayika Samman'. Both Dev and Sen had won the recent Lok Sabha polls on a Trinamool ticket. The awards were instituted in the year 2012 in the memory of the legendary actor 'Mahanayak' Uttam Kumar. Actor-director-producer Arindam Sil will be conferred with Special Film Award (Acting). Special Film Awards will also be presented to actors like Paoli Dam, Hiran Chatterjee, Abir Chatterjee, Indranil Sengupta, Kharaj Mukherjee, Rudranil Ghosh and others. Veterans of Bengali film industry like Chiranjeet Chakraborty, Sabyasachi Chakraborty, Mamata Shankar and Debashree Roy will be feted with Lifetime Achievement Awards. Veteran playback artiste Kumar Sanu will be felicitated with Lifetime Achievement Award for Music (playback Singer) while Special Film Awards (Music Director) will be presented to Sivaji Chattopadhyay, Arundhati Home Chowdhury and Adhir Chatterjee. Nispal Rane on behalf of Surinder Films will get Special Film award for the best producer. Special film award for direction will be given to Swapan Saha, Kamaleshwar Mukherjee and Prodipto Bhattacharyya. 50 actors had been awarded the Mahanayak Uttam Kumar award on his death anniversary on 24th July, 2013. Chief Minister Mamta Banerjee had started the awards in the memory of the greatest superstar of Bengal Mahanayak Uttam Kumar. Madhabi Mukherjee, Dipankar Dey, Ranjit Mullick and Sandhya Roy had been given lifetime achievement award. Incidentally Madhabi Mukherjee had acted in many super hit films of Uttam Kumar like Shankhabela, Choddobeshi, Agnisshar, etc. and Sandhya Roy had acted in many hit films of Uttam Kumar like Mayamrigo, Surjotapa. Director Goutam Ghosh had also been granted lifetime achievement award. Actors Partho Mukherjee, Chinmoy Roy, directors Sandip Ray, Raj Chakravarty, Sujit Saha, Koushik Ganguly and Srijit Mukherjee are given special awards. Actors Tapas Pal and Prasenjit Chatterjee are given Mahanayak Samman. Actors Saswata Chatterjee and Parambrata Chatterjee are given special awards. Film Producing companies are also awarded and felicitated including RD Bansal and Company, Arora Films, Shri Venkatesh films, New Theatres, to name a few. He had died almost 33 years ago, yet the viewers had not forgotten his films and still his presence is felt in the life bengalies in different parts of the world. In 2011 the Governer of West Bengal launched the 50 rupees postal stamp having the engraving of Uttam Kumar in it. Previously Raj Kapoor and Dilip Kumar’s faces were engraved in Postal stamps for remembering their contribution to Indian cinema. Last year, Mamta Banerjee, the Union Railway Minister, renamed the Tollygunge Metro Station as Mahanayak Uttam Kumar station. In 2011, the walls of the Tollygunge Metro Station had been filled with the pictures of films of Uttam Kumar. In fact the people of Tollygunge cannot associate the place without the existence of Uttam Kumar whose works glorified the different studios which carried on the legacy of Bengali Film Industry. Mamta Banerjee, the Chief Minister of West Bengal had also provided support to revive the Uttam Mancha and take care of Shilpi Sangsad, an organization created by Mahanayak Uttam Kumar to help the needy actors, actresses, technicians, etc. Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak in 1966 based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films. When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc. He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak in 1966, Chiriakhana in 1967, Tapan Sinha’s Jhinder Bandi in 1961, Upahaar in 1955 and Jotugriha in 1964, Ajoy Kar’s Harano Sur in 1957, Saptapadi in 1961, Suno Bara Nari in 1960, Agradoot’s Bipasha in 1962, Surjo Toron in 1958, Agragami’s Sagarika in 1956, Shonkhobela in 1966, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen. Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc. Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures. Out of his 205 films, around 37 of them ended up being blockbusters, around 50 were super hit films and around 50 were hit films. Actor Shatrughun Sinha in his interview before Bengali media had disclosed that when he was working in Pune Film and Television Institute, the graduates had unanimous view that Uttam Kumar, Raj Kapoor and Dilip Kumar were the greatest superstars of celluloid and had Uttam Kumar acted in more number of bollywood films, he would have remained as great a legend as Dilip Kumar or Raj Kapoor. Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, Manobendra Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs. Actor Shatrughun Sinha in his interview had said that during his student life in Pune Film and Television Institute, the upcoming actors used to debate about the charishma of Uttam Kumar, Raj Kapoor and Dilip Kumar. Although there was no unanimity about the finest actor among them, there was consensus about one fact had Uttam Kumar established himself in bollywood films by acting in more number of films, he would have been equally an international figure like Raj Kapoor or Dilip Kumar. Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future.

Immortal combination of Rafisahab with Shankarji Jaikishanji is remembered on death anniversary and birth anniversary.

Immortal combination of Shankar Jaikishan with Mohammad Rafi sahab. Great composer Shankar Singh Raghubvanshi is remembered on his birth anniversary on 15th October, 2021. He was also remembered on death anniversary on 26th April, 2020

. He was one of the genius composers of the famous duo Shankar Jaikishan. In the 1940s, 1950s and 1960s a number of composers dominated Bollywood films. Naushad Ali, Roshanlal Nagrath, Madanmohan Kohli, OP Nayyar, all had the class of their own. Shankar Jaikishan composed music in almost 195 films in that golden age. One of the great reasons of Shankar Jaikishan’s huge success was due to the great combination with immortal singer Mohammad Rafi Sahab. If Rafi’s stylish andaz relating to westernized compositions are adequately it is Shankar Jaikishan who had used it to perfection. They had used Rafi for singing romantic songs with Japanese orchestration in Love in Tokyo, released in 1966 including songs like “aja re aa zara aa”, “Japan, Love in Tokyo”, “ o mere shahekhuba”, etc. In Biswajeet’s April Fool, released in 1964 SJ’s composition for Rafi including “aa gale lag ja” had westernized background. At the same time Rafi’s song “tumhe chaha” with Suman Kalyanpur was a great rendition in pensive mood. SJ’s composition for Rafi in Shammi Kapoor’s An Evening in Paris, in 1967, like “akele akele kahan ja rahe ho”, “raat ke humsafar”, had loud French music with echo effect and Rafi’s intonation was also westernized. Shankar Jaikishan gave a completely different style of music to Rafi in Rajender Kumar’s Aarzoo, released in 1965 with songs like “aji ruth kar ab”, “chalke teri aankho se”, “ai nargisi mastana”, etc. SJ had given songs addressing children to Rafi including “nanne munne bache teri mutthi me kya hai” in Boot Polish which was produced by Raj Kapoor and released in 1954, “hai na bolo bolo”, “re mamma re mamma re” in Shammi Kapoor’s Andaz, released in 1971 and “chakke p chakka” in Brahmchari, in 1969. Rafi pronounced the words with childish accent and SJ used the orchestration to attract children. There were ghazals also given by SJ for Rafi including “rukh se zara nakab”, “kya kya na kahe” in Jeetender’s Mere Huzoor, “unke khayal aye to” in Raj Kumar’s Lal Patthar, “saaze dil ched de” in Pradeep Kumar’s Rajhaath, etc. Besides SJ’s creation involving Rafi in somber mood had created great impact including songs like “teri zulfon ki judai to nahi maangi thi” in Dev Anand’s Jab Pyar Kisi Se Hota Hai, “ehsaan tera hoga mujhpar” in Shammi Kapoor’s Junglee, “yaad na aye” in Rajender Kumar’s Dil Ek Mandir. Shankar Jaikishan had used Rafi’s classical andaz in the songs “radheke tune bansoori churai”, “ajahu na aye”, etc., and combined the ragas with devotional andaz. SJ has given music in almost 200 films within the span from 1949 to 1971, and at least each year they composed music for approximately 10 films. As Rafi was given predominance over other male singers SJ had use him in regular intervals even without doing injustice to Mukesh, Manna Dey, Kishore Kumar, Talat Mehmood and others. Songs like “kaun hai jo sapno me aya” from Jhuk Gaya Aasman, “to bura maan gaye” from Ayee Milan Ki Bela, “yeh ankhen” from Jab Pyar Kisi Se Hota Hai, “tujhe jeevan ki dor se” from Aasli Nakli, “dheere dheere chal” from Love Marriage, “badan pe sitaren lapete hue” from Prince, “mai kahin kavi na banjayun” from Pyar Hi Pyar, “mai gayun tum so jao” from Brahmchari, had not lost their flavour even 40 years after their creation due to sheer brilliance of Shankar Jaikishan. It is really tragic neither Shankar Jaikishan had received the accolades that they deserved nor Rafi’s association with them had been glorified but history says that the combination of Rafi with Shankar Jaikishan had produced invaluable creations which had become immortal over the period of time.

Manoj Kumarji the patriotic star or Bharat Kumar is remembered on birthday.

Happy birthday to Manoj Kumar. The viewers of bollywood films wish happy birthday to Manoj Kumar on 24th July, 2022

. 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.