Malaika Arora had contributed well in bollywood films.

Happy birthday to Item –queen Malaika Arora. The viewers of bollyood films wish happy birthday to Item-queen Malaika Arora on 23rd October, 2023. She had been an important figure in the bollywood industry for the last 10 years. Her father worked in Merchant Navy. She was selected as one of the MTV VJs when MTV started operation in India. She also did shine in the modeling world. After that she became number one item dancer in bollywood films. Her dance in the film Dil Se stormed bollywood. She danced in the song “chaiya chaiya” opposite Shahrukh Khan in the film. The cameos in bollywood films in the item numbers continued. She made a special appearance in Bobby Deol’s film Bicchu. She got a bigger role in the film Kaante. Her item number titled “kaal dhamaal” in the film Kaal again created attention. She also danced in item numbers in the film Om Shanti Om and Hey Babby in 2005. Then again in the film Welcome, her item number in the song “hoont rasiley” became the most popular song of the entire film. She danced opposite Anil Kapoor and Nana Patekar in the film. She married Arbaaz Khan and has a son named Arhaan. She acted in the film Housefull. In 2010, she stormed bollywood again in Arbaaz Khan’s film Dabaang, in the item song “munni badnaam hui”. The film was the most successful song of the year. The major credit goes to the high class of dancing of Malaika Arora Khan. As far as her dancing capabilities are concerned she had established herself in bollywood. But she requires to play notable roles in social films to prove her acting capability. Helen, who initially got roles of vamps, later on when acted in films like Khamoshi, had shown the viewers that she had lot of acting talent. Malaika Arora Khan was the co-producer of the super hit film Dabaang 2. She danced in one of the songs of the film as well. Due to Salman Khan magic the film did business of more than 158 crores. The co-production and direction of Arbaaz Khan had been well appreciated by the viewers. Viewers expect Malaika Arora to act in prominent roles in future and expect that upcoming year will be a successful year for year.

Last year film KGF Chapter 2 did world wide business of 1300 crores, 950 crores in India and 500 crores business in Hindi box office.

KGF Chapter 2 crosses 1300 crores worldwide business in 31 days, 950 crores in India and 500 crores in Hindi box office. With brilliant performances of Yash, Anant Nag, Sanjay Dutt, Srinidhi Shetty, Raveena Tandon and other KGF chapter 2 is emerging as the biggest blockbuster ever. It has been business of 750 crores in 9 days and has potentials to end up at 1400 crore thereby breaking the records of Bahubali 2 and RRR. Director Prashanth Neel has flabbergasted everyone with a period film.

K.G.F: Chapter 2 is a 2022 Indian Kannada-language period action film written and directed by Prashanth Neel, and produced by Vijay Kiragandur under the banner Hombale Films. The second instalment in a two-part series, it serves as a sequel to the 2018 film K.G.F: Chapter 1. The film stars Yash, Sanjay Dutt, Raveena Tandon, Srinidhi Shetty and Prakash Raj. It follows the assassin Rocky, who after establishing himself as the kingpin of the Kolar Gold Fields, must retain his supremacy over adversaries and government officials, while also coming to terms with his past. Produced on a budget of ₹100 crore (US$13 million), K.G.F: Chapter 2 is the most expensive Kannada film ever made. Neel retained the technicians from its predecessor with Bhuvan Gowda handling the cinematography and Ravi Basrur scoring the music for the soundtrack and the film's background. Dutt and Tandon joined the cast in early 2019, marking the former's Kannada film debut. Portions of the film were shot back-to-back with Chapter 1. Principal photography for the rest of the sequences commenced in March 2019, but was halted in February 2020 owing to the COVID-19 lockdown in India. Filming resumed five months later and was completed in December 2020. Locations included Bangalore, Hyderabad, Mysore and Kolar. K.G.F: Chapter 2 was theatrically released in India on 14 April 2022 in Kannada, along with dubbed versions in Hindi, Telugu, Tamil and Malayalam languages. It is also the first Kannada film to release in IMAX. The film received mixed reviews from critics but was generally considered an improvement over its predecessor. Neel's direction, the cinematography and performances (particularly Yash) received praise, but the pace and screenplay attracted criticism. Besides recording the second highest-opening day in India, the film set domestic opening day records in Kannada, Hindi and Malayalam, and surpassed the lifetime gross of its predecessor in two days to become the highest-grossing Kannada film. With earnings of ₹750 crore (US$98 million) globally, K.G.F: Chapter 2 is the eighth highest-grossing Indian film of all time, and also the third highest-grossing film in India. A sequel is in development. The night after detailing the events in K.G.F: Chapter 1, Anand Ingalagi suffers a stroke and his son Vijayendra takes over for K.G.F: Chapter 2. Rocky kills heir apparent Virat and takes charge as the kingpin of Kolar Gold Fields (K.G.F), keeping Reena hostage to ensure the cooperation of Guru Pandian, Andrews and Rajendra Desai, and kills Kamal when he protests. He issues orders to start work in eight hidden mines. Meanwhile, Adheera resurfaces and kills all guards at an outpost. In a ruse to bring Rocky to Adheera, Andrews kills Desai to lure Reena outside K.G.F, and John captures Reena. Adheera shoots Rocky but spares his life, while his men roadblock all gold exports from K.G.F. Meanwhile, Shetty ties up with other subordinates of Andrews across the Western Coast and exterminates Rocky's allies. A recuperated Rocky along with Reena visits Dubai to deal in gold with Inayat Khalil, but Khalil had joined forces with Shetty. Rocky's aides kill Shetty's associates and recaptures the Western Coast, and Khalil deals with Rocky and sells him AK-47s. Rocky and his gang gravely wound Adheera and kill his henchmen with their newly acquired weapons. Exasperated with K.G.F, some central ministers had planned a no-confidence motion against the DYSS-supported government to bring Ramika Sen in power, but Rocky's henchmen threaten other ministers against the vote and the motion fails. Rocky kills Shetty, gaining control over Bombay. Pandian warns Rocky of Sen's rising stature but he disregards him. Three years later in 1981, she wins the Indian general elections and becomes Prime Minister. After CBI officer Kanneganti Raghavan briefs her about the situation in K.G.F, she closes all state borders and authorises him to raid Rocky's warehouses. A young Ingalagi is caught spying by Rocky's henchmen, but Rocky is impressed by his integrity. The CBI find nothing in their raids save for a 400 gram-gold bar. Rocky retrieves it from a police station and singlehandedly brings the place down with a DShK. Rocky halts all exports from K.G.F but continues the mining. His aides trace his biological father, a drunkard who abandoned his family, and Rocky anoints the unaware man caretaker of his mother's newly shifted grave. Reena confesses her feelings to Rocky and they get married. Rocky meets with Sen and hands her a file exposing his involvement in money laundering but she cannot consider it as almost all her party members were complicit in the corruption. Still furious after his defeat, Adheera makes his way to K.G.F through a secret passage with Andrews, Daya, John, supported by Khalil's armada. Just as Reena reveals her pregnancy to Rocky, Adheera fatally snipes her. In the ensuing clash, Rocky's army kill Andrews and Daya, while Rocky kills John and chokes Adheera to death. Rocky and his henchmen disrupt Sen's speech at the Parliament and kill Pandian. Pandian had staged the attack on Garuda for which Adheera was framed, and informed Adheera of Garuda's attack priorly. He was also the one who showed Adheera the secret passage, goaded Andrews into hiring Rocky, staged the no-confidence motion drama in Delhi and persuaded Shetty to join forces with Khalil just to gain Rocky's trust. Sen issues a death warrant against Rocky and enforces the Indian Army. Rocky evacuates K.G.F and leaves on a ship with his cache of gold. He signals the Navy to his location but refuses to surrender. Sen issues orders to bomb K.G.F and Rocky's ship, and he drowns in the ocean along with the gold, which stays lost till date. Before leaving, Rocky had formed a new colony for all K.G.F workers. A young Ingalagi decides to write a book on Rocky. In a mid-credits scene, three months post-Rocky's death, a CIA official hands over a file listing Rocky's crimes in United States and 16 other nations between 1978-1981 to Sen. In the present, the peon of the television news channel finds the final draft of K.G.F: Chapter 3.

The Rafisahab version songs were as masterpieces as the female versions of Geetaji, Lataji, Sumanji.

The Male and female version songs of Rafisahab with Lataji and other singers were masterpieces. By: Dr Souvik Chatterji During the 1950s and 1960s there were many landmark male and female version songs created by composers and poets. The version songs of Rafisahab were masterpieces. Shankar Jaikishanji used Rafisahab in the song “ehsan tera hoga mujhpar” for Shammi Kapoorji in film Junglee in 1961. The same song had Lataji effect for Saira Banuji in the film. Roshanji used Rafisahab in the version song in film Barsaat Ki Raat, where the title song composed by Bharat Bhushanji became blockbuster hit. Lataji sang the version song for Madhubalaji in the film. Naushadji used Rafisahb in Rajender Kumarji song “mere mehboob tujhe meri muhabbat ka kasam” in film Mere Mehboob in 1963. Lataji sang the version song for Sadhnaji in the film. Shankar Jaikishanji used Rafisahab for Dharmenderji version of song “gar tum bhula na doge” where Lataji sang the Sharmilaji version. Rafisahab sang Pradip Kumarji song “dil jo na keh saka” composed by Roshanji in film Bheegi Raat in 1965. Meena Kumariji version was sung by Lataji in the film. In film Mamta in 1966, Suchitra Senji song “rahe na rahe hum” was sung by Lataji. The same song in a different version for Ashok Kumarji was sung by Rafisahab and Suman Kalyanpurji. In Shammi Kapoorji film Pagla Kahin Ka, Rafisahab song “tum mujhe bhula na payoge” was very brilliant where Lataji sang the Asha Parekhji version. In Balraj Sahaniji film Bhabhi, Rafisahab song “chal ur ja re pachi” was created was theme song in film Bhabhi composed by Chitraguptji in 1958. Talatji also sang the same song recorded for Bhabhi. In Joy Mukherjeeji film Love in Tokyo, in 1966, Shankar Jaikishanji composed “o mere shahe khuba” sung by Rafisahab. Lataji sang the version song for Asha Parekhji. In Sunil Duttji film Chirag, Rafisahab sang the song “teri ankhon ke siwa” composed by Madanmohansahab. Lataji sang the version song for Asha Parekhji. In Guru Duttji film Aar Paar, in 1954, Rafisahab sang duet song “sun sun sun sun zalima” composed by OP Nayyarji. Geeta Duttji sang the version song for Shyamaji in the same film. The list goes on. The songs really matched the sequences in the films and the composers also utilized the brilliance of Rafisahab and other singers very well.

Shankar Jaikishanji Raj Kapoorsahab and Mukeshji came saw and conquered.

Shankar Jaikishan had composed more than 350 songs for Mohammad Rafisahab and around 400 songs for Lata Mangeshkarji. But with Mukeshji also they had a great partnership. One of the primary reasons of Shankar Jaikishan association with Mukesh was because both were part of the same team of Raj Kapoor. Raj Kapoor’s films were musical in nature and wherever the 3 met, Raj Kapoor, Mukesh and Shankar Jaikishan they created magic. In Awaara in 1951, Mukesh’s song for Raj Kapoor “awara hoon” created havoc in India and Russia. Shankar Jaikishan’s tune enchanted the audience. Mukesh’s duet song with Lata “dam bhar jo udhar muh phere” became smash hit. In Raj Kapoor’s film Aah, SJ created the successful song for Mukesh and Lata ‘aaja re”. In Shree 420 both the songs of Mukesh “mera juta hai japaani” and “ramaiya vasta maiya” became super hit. Again credit goes to Shankar Jaikishan. In the film Anari in 1959, all the songs of Raj Kapoor sung by Mukesh touched the souls of the audience including “kisiki muskurahato pe ho nisaar”, “sab kuch sikha humne na sikhi hoshiari”, “dil ki nazar se”, to name a few. In Jis Desh Me Ganga Behti Hai, all the songs of Mukesh became super hit including “mera naam raju gharana anar”, “hoton pe sachai rehti hai”, “hum bhi hai tum bhi ho”, “pyar kar le”, to name a few. The magic combination continued in other hit films of Raj Kapoor including Sangam, Deewana, Teesri Kasam, Around the World, Mera Naam Joker. In Sangam Mukesh’s song ‘dost dost na raha”, “o mehbooba” and “mere man ki ganga” really thrilled the audiences. All the songs of the film Deewana were run away hits like “deewana mujhko log kahe”, “pate ka baat kahega”, “tumhare bhi ja jai”, “ae sanam jisne tujhe chand sa surat di hai”, to nam a few. In Mera Naam Joker, Shankar Jaikishan’s composition were in melancholy mood. Mukesh’s song “jeena yahan marna yaha” and “jane kahan gaye wo din’ touched the hearts of the audience. While Mukesh enchanted the audience in Raj Kapoor’s films, in other films also Shankar Jaikishan composed beautiful tunes. In Dilip Kumar’s film Yaahudi the song “yeh mera deewanapan hai” touched the souls of viewers. In Manoj Kumar’s film Hariyali Aur Raasta, Mukesh’s song “ifteda-e-ishq me hum” really mesmerized the audience. The list can go on. Mukesh had sung around 200 songs under the composition Shankar Jaikishan and majority of them became immortal. The songs and the films required restoration.

Meena Kumariji remained immortal in classic performances during golden era.

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.

Directors Agradoot and Ajoy Kar had marvellous combination with superstar Uttam Kumar.

Elegant combination of Uttam Kumar with Ajoy Kar and Agradoot. In the 1950s major films of Uttam Kumar created romantic appeal before the majority of audience of the country. His combination with Ajay Kar and Agradoot was very grand. Ajay Kar did cast Uttam Kumar for the first time in the film Griha Prabesh. It was a social film where Uttam Kumar and Suchitra sen were launched and they acted opposite other established artists like Manju Dey, Bikash Roy and others. In Shyamali in 1956, Ajay Kar utilized Uttam Kumar’s acting potential. It was a film relating to deaf and dumb character played by Kaberi Bose. Uttam Kumar played a very compassionate role and his experience of acting in stage opposite Sabitri Chatterjee in the play Shaymali helped him a lot. In 1957, Uttam Kumar’s film Harano Sir ended up being the biggest blockbuster of the decade. Suchitra Sen played the role of wife of Uttam Kumar. Uttam Kumar met with an accident and for his previous history. Suchitra Sen treated her and married her. But again Uttam Kumar met with an accident and forgot Suchitra Sen. The rest of the film was related to the struggle of Suchitra Sen in bringing back memories of Uttam Kumar of the past. Geeta Dutt’s song “tumi je amar” became bumper hit. Ajay Kar’s Saptapadi stands out as one of the greatest classics of the golden period. Critics argue that Saptapadi released in 1961 stands out as the best film of Uttam Kumar and Suchitra Sen in their entire career. Ajoy Kar probably made the best use of Uttam Kumar and Suchitra Sen in the film Saptapadi. It was a story of Tarashankar Banerjee on affair between hindu Brahmin played by Uttam Kumar with a Christian girl played by Suchitra Sen. Uttam Kumar’s father Chabi Biswas did not accept the marriage. Uttam Kumar became a Christian and a doctor but could not marry Suchitra Sen. The film was made at the backdrop of Second World War. Hemanta Mukherjee’s music in the film was very impressive. Ajay Kar reciprocated the magic in Uttam Kumar’s film Shono Boronari. The film was released in 1960. There Supriya Debi, the daughter of eminent barrister Udasin played by Chabi Biswas fell in love with a homeopathic doctor played by Uttam Kumar. As monetarily Uttam Kumar was no match to Chabi Biswas, a marriage was arranged with industrialist Dipak Mukherjee in the film. At the end of the film Supriya Debi left her house to accept Uttam Kumar. The music of Robin Chatterjee in the film was very impressive. Ajoy Kar made other successful films with Uttam Kumar including Khelaghar opposite Mala Sinha, Bardidi with Sandharani, to name a few. Agradoot included a group of directors were formed in 1946 by director Bibhuti Laha, sound recordist Jatin Dutta, Laboratory specialist Sailen Ghoshal, script writer Nitai Bhattacharya and producer Bimal Ghosh. With Uttam Kumar Agradoot made the film Sahajatri in 1951. Bharati Debi was the heroine of the film. After that Agradoot directed one after the other hit films with Uttam Kumar. Agniparikkha in 1954 directed by Agradoot became super hit. Uttam Kumar and Suchitra Sen were established as leading stars of Bengal. Anupam Ghatak composed the music of the film. Sandhya Mukherjee sang landmark songs like “gaane more indradhanu”, “ke tumi amare dako”, to name a few. From that time Suchitra Sen, singer Sandhya Mukherjee, music director Robin Chatterjee, Anupam Ghatak stormed Bengali films. Sabar Opore followed. Uttam Kumar played the role of lawyer in the film who re-opened a murder case where his father Chabi Biswas was proved guilty of murder. Again the combination with Suchitra Sen, Sandhya Mukherjee, Robin Chatterjee struck gold. The songs of Sandhya Mukherjee like “ghum ghum chand jhikimiki tara”, and Dhananjoy Bhattacharya like “kantaro aghate chino paye rakta jhare” became super hit. The other super hit films of Uttam Kumar and Suchitra Sen directed by Agradoot include Pathe Holo Deri, Bipasha, to name a few. Majority of Agradoot’s films were produced by MP Production and shot in MP Studio. One interesting statistics about Uttam Kumar Suchitra Sen pair is that from 1953 to 1959, both of them acted in 22 films. Majority of those films were directed by Agradoot and majority of them ended up being super hit films. Chabi Biswas was pivotal in playing the roles of fathers of Suchitra Sen and Uttam Kumar in majority of those films. Agradoot continued with his experiment in other Uttam Kumar films like Kuhak in 1961, Kokhono Megh in 1968, Choddobeshi in 1971. It was a great experiment of Agradoot in casting Uttam Kumar in negative role for the first time in Kuhak. Sabitri Chatterjee was the heroin. He wanted to take away the stolen money from Tarun Kumar’s son but was ultimately killed by Premangshu Basu. In Kokhono Megh Uttam Kumar played the role of detective with Kali Banerjee the villain. Anjana Bhowmick acted opposite Uttam Kumar. Agradoot also directed Uttam Kumar in serio-comic film Choddobeshi. Madhabi Mukherjee, Bikash Roy, Anubha Gupta were the other artists in the film. If the films of Ajoy Kumar and Agradoot were analyzed it will be seen while Uttam Kumar played the pivotal roles in all the films, the success of the films were dependent on outstanding music. The prominent music directors who contributed in the music of the films included Robin Chatterjee and Anupam Ghatak. The outstanding performances by character artists like Chabi Biswas took the films to a different horizon. Other male character artists performed beyond expectation including Kamal Mitra, Nitish Mukherjee, Bikash Roy, Pahari Sanyal, Kali Banerjee, Jahar Ganguly, to name a few. Also the female character artists like Malina Debi, Sunanda Debi, Chandrabati Debi, Chaya Debi, Padda Debi played landmark characters. The excellent literature of legendary writers like Tagore, Sarat Chandra Chatterjee, Bankim Chandra Chatterjee, and contemporary writers like Samaresh Basu, Subodh Ghosh appealed to the masses. If Uttam Kumar became mahanayak, the legendary superstar of Bengal, there was huge contribution of Ajay Kar and Agradoot in making him a superstar. /s320/85a8e35fa5fd27565702cd986d9dbf62%2BUttam%2Bkumar%2Bsharmila.jpg" width="298" height="320" data-original-width="564" data-original-height="606" />

Happy birthday to Dimple Kapadiaji

Happy birthday to Dimple Kapadia. The viewers of bollywood films wish happy birthday to Dimple Kapadia on 8th June, 2023. She had been considered as one of the most dynamic actresses of bollywood films after Shabana Azmi and Smita Patil. She started her career with a bold, sizzling demeanor in Raj Kapoor’s Bobby in 1973 opposite Rishi Kapoor. Raj Kapoor introduced the concept of teenage romance in the 70s and his effort got justice due to brilliant performance of both Dimple and Rishi Kapoor. Dimple’s smart, dashing lips in the songs “hum tum ek kamre me bandh ho”, “jhoot bole kowa kate”, “mujhe kuch kehna hai” sung by Lata and composed by LP just flabbergasted the audience of the 70s. Viewers thought both Dimple and Rishi Kapoor were made for each other. But after Rajesh Khanna married Dimple Kapadia, he stopped her acting, and bollywood films lost one of the most promising actresses for 13 years. Again she made a classic comeback in Ramesh Sippy’s Saagar. The film showed a triangular love story with Kamal Hassan and Rishi Kapoor. The brilliant locations, powerful music composed by RD Burman, all contributed for the success of the super hit film. Rishi Kapoor was always considered to be the most romantic actors produced by Indian films. He proved it again in Saagar. Dimple balanced the sacrificing performance of Kamal Hassan who died at the end of the film to save Rishi Kapoor and allow Dimple marry her. All the three performers were brilliant in the lips given in the songs “o maria”, “saagar kinare”, “yeh to bata tera naam kya”, etc., sung by Lata, Bal Subhramanium, Kishore Kumar, etc. In the mid -80s, Dimple acted in most of the successful commercial films opposite leading stars like Anil Kapoor, Jackie Shroff, Sunny Deol, etc. She was brilliant in Feroz Khan’s Jaanbaaz. In fact her smart performance balanced the cowboy image of Anil Kapoor in the film. She was sublime opposite Jackie Shroff in the film Kaash. In the late 80s, producers and directors experimented with her in challenging roles. She was exceptional in Gulzar’s film Lekin. Lata’s songs “yara silli silli”, Suresh Watkar’s “surmai sham” composed by Hridaynath Mangeshkar were landmarks of classical music in Indian films. Dimple Kapadia portrayed the character of rajasthani folk community who were used for crying in funerals in the film Rudaali. She played the role of her lifetime and got national and international awards. Her lips in Lata’s song “dil hum hum kare” composed by Bhupen Hazarika, still haunts the listeners 20 years after its creation. Her other successful films include Ram Lakhan, opposite Jackie Shroff, Krantiveer and Prahar opposite Nana Patekar. Her performance in the off-beat films gave her a special place just like Shabana Azmi and Smita Patil. Even in her middle-age she amazed viewers with brilliant performance in the film Dil Chahta Hai opposite Akshay Khanna who was at least 15 years younger than her. She again amazed the viewers in character roles opposite Rishi Kapoor in the films Pyar Me Twist and Farhan Akhtar’s Luck By Chance. Whenever she acted opposite Rishi Kapoor she always did a great job. In 2010, her film Tum Milo Toh Sahi had addressed the concerns for the middle-aged couples and bachelors in Mumbai. Her performance was as brilliant as that of Nana Patekar in the film. The viewers expect her to continue the brilliant work in the future and go on astonishing the viewers with dynamic performances like before.

Vaijayantimalaji and Dilip Kumarsahab dominated the hindi films of 1958.

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

Due to the singer of the millenium Rafisahab's magic OP Nayyar sahab gave blockbuster after blockbusters

OP Nayyar better known as Omkar Prasad Nayyar was known for breaking trends. During the 1940s and 1950s, when other composers stuck to Hindustani ragas and folk songs in Bollywood films, OP Nayyar experimented with Latin tunes, European tunes and blended them with Indian tunes and brought a revolution in Indian music. Not only the songs became popular, but also reached the masses who got exposure to fast peppy music. The musiclovers had remembered legendary composer Omkar Prasad Nayyar, popularly known as OP Nayyar on his birthday on 16th January, 2017. He had died few years back, but his tunes had remained immortal for the audience of bollywood films for years. 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. Just like other composers were involved with big banners, namely Naushad Ali worked with Mehboob Khan, Shankar Jaikishan worked with Raj Kapoor, Vasant Desai worked with V Shantaram, Salil Choudhury worked with Bimal Roy, OP Nayyar had great combination with Guru Dutt in the early part of his career. Guru Dutt’s films Aar Par brought him to limelight in 1954. All the songs composed by OP Nayyar became smash hit. While he used Shamshad Begum and Geeta Dutt for the female playback songs, Rafisahab was his first choice and last choice for all male playback songs. The songs with brought him to fame included “kabhi aar kabhi paar”, “muhobbat karlo aji karlo aji kisne roka hai, ho sake to duniya chor do duniya hi dhoka hai”, “sun sun sun sun zalima”, “babuji dheere chalna”, “aye lo ma hari piya”, to name a few. In OP Nayyar tunes, there was room for Rafisahab’s songs for Johnny Walker and sometimes these songs became more popular than the songs of the heroes. In Aar Paar, Rafisahab’s song “are wah wah wah wah wah wah kaisa hoga” became smash hit. In the film Guru Dutt gave great break to Shyama and Shakila who later blossomed as successful actresses. The magic of Guru Dutt, OP Nayyar and Mohammad Rafi continued in the film Mr and Mrs 55, in the year 1955. Again Shamshad Begum, Geeta Dutt were at their best in the film. Rafisahab was sublime as usual. This time Guru Dutt took Madhubala as lead actress. OP Nayyar tunes did magic in songs like “dil pe kiya aisa jadoo tabiyat machal machal gayi”, “thandi hawa kaali ghata”, “idhar tum jawan ho”. Again the Johnny Walker, Rafisahab combination clicked and this time it became the biggest hit of the film namely “jaane kahan mera jigar gaya ji”. The same Guru Dutt Production, OP Nayyar music and Rafisahab’s voice created magic in the films 12 O Clock and Dev Anand’s CID. The landmark songs included “tum jo mile mere humsafar raste badal gaye” which had Waltz effect, “mai kho gaya”, “aye dil hai mushkil jeena yahan”, “ankhon hi ankhon me ishara ho gaya”, “leke pehela pehela pyar bharke ankho me khumar jadu nagri se aya hai koi jadugar”. While Shakila had lead role in CID, Wahida Rehman had lead role in 12 O Clock. In 1957, OP Nayyar got the scope of composing music in the film of Tragedy King Dilip Kumar. Dilip Kumar and Vaijayantimala were at the pink of their career, and when music created storms, the film broke records and became blockbuster with the production direction of BR Chopra and Yash Chopra. The super hit songs “saathi hath barana”, “mangke saath tumhara”, “mai bombai ka babu”, “ure jab jab zulfe teri”, 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. Madhubala acted opposite Raj Kapoor in the film.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 Madhubala and 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. In 1957, OP Nayyar’s music in Shammi Kapoor’s film Tumsa Nahi Dekha brought him to fame. All the songs like “yuh to humne laakh hain dekhe hai”, “sar pe topi lal”, “dekh kasam se”, were big hits. In the early 1960s, many new poets entered Bollywood films and OP Nayyar in addition to combining with Majrooh Sultanpuri, Qamar Jalalabadi combined with Shamshul Huda Bihari in many films. 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.

Naushadji, Shankar Jaikishanji, Roshanji gave landmark duet songs to Suman Kalyanpurji and Rafisahab.

Suman Kalyanpur had her birthday on 28th January, 2021. The media during the last 60s years had been too kind towards some of the celebrities while remained silent about the others. For example during the golden age 50s, 60s and 70s, other than Lata and Rafi there were other combinations who had given everlasting hits. Lata Mangeshkar always got the focus of attention and as such her duets with Rafi which covers more than 440 in number always stole the attention. Yet Suman Kalyanpur during the same age of competition had sung almost 170 duets with Rafi most of which became super hit, yet could not get the lime light which they deserved. The song “ajahu na aye balma” from Saanjh Aur Sawera, picturised on Mehmood and Subha Khote and composed by Shankar Jaikishan showed the compatibility of Rafi with Suman Kalyanpur in classical songs. Rafi could adapt his style of singing with any singer. But Suman Kalyanpur also did a great job with the giant. The song “dil-e-betaab ko seene se lagana hoga” from the film Palki, picturised on Rajender Kumar and Wahida Rehman and composed by Naushad had the ghazal andaz embedded in them and Suman Kalyanpur was unblemmish aside Rafi. SJ used the same Suman Kalyanpur aside Rafi in fast numbers like “aaj kal tere mere pyar ke charche” from Brahmchari picturised on Shammi Kapoor and Mumtaz, “dil use do jo jaan de de” picturised on Shammi Kapoor and Hema Malini in the film Andaz. The biggest tragedy is that the songs did great business and the films became super hit, yet the message relating to Rafi’s combination with Suman Kalyanpur did not reach most of the viewers and the media too did not play a neutral role in that aspect. Half of the people thought the duets were sung by Rafi and Lata as Suman Kalyanpur’s singing style matched with that of Lata. Khayyam’s composition “thereiye hosh me aaloon to chale jayiega” from the film Mohabbat is ko kehte hai” picturised on Shashi Kapoor and Nanda had another romantic number of Rafi and Suman. Madan Mohan’s tune “baad muddat se yeh ghari aye” sung by Rafi and Suman stunned many listeners of ghazals, as the urdu words were pronounced in style in the film Jahan –ara. Bharat Bhushan and Mala Sinha were sublime in the film. Rafi as usual was unblemish in respect of ghazals. But Suman too had adapted her style of singing which suited the songs of the Mughal period. Even the fast numbers composed by LP like “tumse o haseena” sung by Rafi and Suman did not get the hype of media which it deserved inspite of Farz ending up as a run away hit of Jeetender. Roshan’s meritorious composition like “maine aye jaane wafa” from the film Bedaag, “chand takda hai idhar” from the film Doojh Ka Chaand remained unnoticed. Besides there were other hits like “parbaton ke paron par sham ka basera hai” from the film Shagun composed by Khayyam, “tumne pukara aur hum chale aye” from the film Raj Kumar composed by Shankar Jaikishan, “dil ek mandir hai” from the film Dil Ek Mandir composed by Shankar Jaikishan, “tujhe dekha tujhe chaha” from the film Choti Si Mulakat composed by Shankar Jaikishan, “tujhe pyar karte karte” from the film April Fool composed by Shankar Jaikishan, “mujhe yeh phool na den” from the film Ghazal composed by Madan Mohan. The factor of Suman Kalyanpur being chosen to sing duets with legendary Rafi Sahab by giant composers like Shankar Jaikishan, Naushad, Madan Mohan, Khayyam, Laxmikant Pyarellal, Kalyanji Anandji, proved another fact that she was not any particular composer’s singer. She did a great job with Rafi, but due to passive attitude of the media the songs got recognition with no information relating to the singer. Even in many films when the names of the singers were written Suman Kalyanpur’s name was mentioned at the end without any particular reason for it. Rafi had proved in his entire life that he was a greater human being than a singer. That was the reason why he could match his singing style with any fellow female artist including Lata, Geeta Dutt, Sumna Kalyanpur, Sharda, Mubarak Begum, Asha Bhosle, Shamshad Begum, and others. His combination with Suman Kalyanpur should be preserved and restored.

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