Sunday, June 25, 2023
Dharmenderji and Jeetenderji's careers were shaped by Rafisahab's grand combination with Laxmikant Pyarelallji.
Rafisahab shaped the careers of Dharmender and Jeetender in the 1960s where music was by LP.
Rafisahab is remembered on his birth anniversary in December 2021 and death anniversary on 31st July 2021. Laxmikant Pyarellal faced the greatest challenge in establishing their career in Bollywood films in the 1960s. There were a number of reasons for that. Firstly a huge number of legendary composers were dominating Bollywood films in the 1960s ranging from Shankar Jaikishan to Naushad Ali, Madanmohan Kohli to Roshanlal Nagrath, C Ramchandran to OP Nayyar, Salil Choudhury to SD Burman, Vasant Desai to Kalyanji Anandji, to name a few. The list just goes on. Most of these legends were specialists in their own area. LP had to compose music having identity of their own which was very difficult. They faced the acid test in the early 1960s and late 1960s and became famous. Rafi Sahab was one of the biggest contributors in the careers of LP in the 1960s. The article speaks about the contribution of Dharmender, LP and Rafi Sahab and also Jeetender, LP and Rafi Sahab in the 1960s.
Here is the list of the films in which LP composed music in the 1960s.
1963
1. Harischandra Taramati 2. Parasmani
1964
3. Aaya Toofan 4. Dosti 5. Mr X In Bombay
6. Sant Gyaneshwar
7. Sati Savitri
1965
8. Boxer
9. Hum Sub Chor Hain
10. Lootera
11. Shriman Funtoosh
1966
12. Aasra
13. Aaye Din Bahar Ke
14. Chhota Bhai
15. Daaku Mangal Singh
16. Dillagi
17. Laadla
18. Mere Lal
19. Naag Mandir
20. Pyar Kiye Ja
21. Sau Saal Baad
1967
22. Anita
23. Chhaila Babu
24. Duniya Nachegi
25. Farz
26. Jaal
27. Milan
28. Milan Ki Raat
29. Night In London
30. Patthar Ke Sanam
31. Shagird
32. Taqdeer
1968
33. Baharon Ki Manzil
34. Izzat
35. Mere Hamdam Mere Dost
36. Raja Aur Rank
37. Sadhu Aur Shaitaan
38. Spy In Rome
1969
39. Aansoo Ban Gaye Phool
40. Anjana
41. Aaya Sawan Jhoom Ke
42. Dharti Kahe Pukar Ke
43. Do Bhai
44. Do Raaste
45. Inteqaam
46. Jeene Ki Raah
47. Jigri Dost
48. Madhavi
49. Mera Dost
50. Meri Bhabhi
51. Pyaasi Sham
52. Saajan
53. Satyakam
54. Shart
55. Wapas
1970
56. Aan Milo Sajna
57. Abhinetri
58. Bachpan
59. Darpan
60. Devi
61. Himmat
62. Humjoli
63. Jawab
64. Jeevan Mrityu
65. Khilona
66. Maa Aur Mamta
67. Man Ki Aankhen
68. Mastana
69. Pushpanjali
70. Sharafat
71. Suhana Safar
LP and Rafi Sahab combination stormed Bollywood with the films Parasmani in 1963 and Dosti in 1964. Rafisahab’s songs “wo jab yaad aye” in Parasmani and songs “chahunga mai tujhe”, “rahi manwa dukhki chinta”, “janewalon zara”, etc. in Dosti rocked Bollywood. LP received the first filmfare award in 1964 for their composition of music in the film Dosti.
For Dharmender LP composed music in 1966 in the film Aye Din Bahaar Ke. Rafi Sahab’s song “mere dushman” became smash hit. In 1967, LP composed music in the film Farz of Jeetender. All the songs of Rafi Sahab like “mast baharon ka mai aashiq”, “tumse o haseena”, “baar baar din ye aye” became smash hits.
In 1968, LP composed music in Dharmender’s films Baharon Ki Manzil, Mere Humdum Mere Dost and Izzat. In the film Izzat, Rafi Sahab’s song “loote dil pe diya jalta nahi hum kya karen” was a masterpiece. Mere Humdum Mere Dost had super hit songs of Rafi Sahab including “najaa kahin ab na jaa”, “chalkaye jam”, “huyi sham unka”, to name a few. In Baharon Ki Manzil all the songs were sung by Lata as they were picturized on Meena Kumari.
In 1969, LP composed music in Dharmender’s films Satyakam and Aya Sawaan Jhumke. Rafi Sahab’s songs like “majhi chal”, “awa sawan jhumke”, and other songs became super hit. LP composed music in 1969 in Jeetender’s films Jeene Ki Raah, Dharte Kahen Pukarke and Jigri Dost. All the films became super hit. One of the reasons for the success included the splendid music. Rafi Sahab’s songs in Dharti Kahe Pukarke included the title song “dharti kahe pukarke”. Jigri Dost had fast numbers of Rafi Sahab like “mere desh me pawan chale purwayi”, “raat suhaani jag rahi hai”, “dil me kya hai”, “phool hai baharon ka”, to name a few. Jeene Ki Raah fetched LP the other filmfare award in 1969. Rafi Sahab’s were smash hits like “aane se uski aye bahar”, “aa mere humjoli aa”, “ek banjara hai”, ‘chanda ko dhundte” to name a few.
In 1970, LP composed music in Dharmender’s film Jeevan Mrityu. Rafi Sahab’s song “jhilmil sitaron ka aangan hoga” became a runaway hit. LP composed music in Jeetender’s films Humjoli, Himmat and Jawab. Rafi Sahab’s songs in the film Humjoli became bumper hit like “dhal gaye din”, “tik tik tik”, “haye re haye”, “chal shuru ho ja”, to name a few. All the songs of Himmat became bumper hit like “hai shukr kit u hai ladka”, “maan jayiye maan jaiye”, “das gayi nagin ki zulf teri”, to name a few. In Jawab, both of Rafisahab’s songs “chali kahan hansti gaati” and “kis karan jogan jog liya” became hit.
By the early 1970s LP emerged as a leading composer in Bollywood music. So they started composing music in the films of Rishi Kapoor, Sanjeev Kumar, Shashi Kapoor and every prominent stars of the 1970s and 1980s. But their launching pad was made with the combination of Rafi Sahab in the films of Dharmender and Jeetender. All these songs and films should be restored.
Saturday, June 24, 2023
The Rafisahab version songs with female singers Geeta Duttji, Lataji, Sumanji remained immortal for ever.
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.
Dilip Kumar Sahab the tragedy king gave the maximum number of blockbusters in last 100 years.
The nation is shocked by demise of Tragedy King Dilip Kumar sahab's death at 99 years. The success rate of Dilip Kumar in Bollywood films is incomparable.
Bollywood films had given superstars of different dimensions over the last 70 years. Right from Ashok Kumar to Rajender Kumar, Amitabh Bacchan to Shahrukh Khan, the superstars had entertained the audience and created records at box office over the years. These days viewers feel Salman Khan is the badshah of 100 crore, 200 crore, 300 crore club as his films Dabaang did business of 140 crores, Dabaang 2 158 crores, Ready 125 crores, Bodyguard 148 crores, Ek Tha Tiger 198 crores, Kick 232 crores, Prem Ratan Dhan Payo 219 crores, Sultan 300 crores and Bajrangi Bhaijaan 320 crores.
Even after the records of these superstars are compared, there is incomparable record with one superstar of the millennium, that is Tragedy King Dilip Kumar. One of the reasons why the records are incomparable is due to the span of time that the records are spread over. Dilip Kumar was a superstar in the 1940s. He remained a superstar in 1950s. By the 1960s he became a legend. In the 1980s he became a phenonmenon.
During Dilip Kumar’s time, success of films were measured in the context of number of weeks the films used to do business at box office. Now let us see the success in the context of the box office records.
Dilip Kumar’s Mela in 1948 was a blockbuster hit doing business for more than 50 weeks and had been called a golden jubilee hit. SU Sunny directed the film. The music was composed by Naushad Ali. The legendary combination of Dilip Kumar, Naushad Ali, lyricist Shakeel Badayani and singer Rafisahab was created by that time.
Dilip Kumar’s Andaz in 1949 was also a blockbuster hit and it remained the 2nd biggest blockbuster in 1949 after Raj Kapoor’s Barsaat. Andaz was directed by Mehboob Khan and had Dilip Kumar, Raj Kapoor and Nargis in the lead roles. The music was composed by Naushad Ali and the film was declared a golden jubilee hit which ran for more than 50 weeks.
Dilip Kumar’s Babul in 1950 was a silver jubilee hit which ran for more than 25 weeks. It was directed by SU Sunny. Naushad Ali composed the music of the film. Dilip Kumar and Nargis played the lead roles in the film.
Dilip Kumar’s Deedar in 1951 was again a blockbuster and golden jubilee hit running for more than 50 weeks. Dilip Kumar, Ashok Kumar and Nargis played the lead roles. Nitin Bose directed the film and the music was composed by Naushad Ali.
Aan was Dilip Kumar’s first coloured and India’s first coloured film. In 1952, the blockbuster films was directed by Mehboob Khan. It was a multistarrer film with Dilip Kumar, Murad, Premnath, Nimmi and Nadira in the lead roles. The music was composed by Naushad Ali. By that time the equation was Dilip Kumar + Naushad Ali + Shakeel Badayani +Rafisahab = magic. The film did business of more than 50 weeks and became greatest blockbuster of the decade.
Dilip Kumar’s Azad and Uran Khatola did business of more than 25 weeks in 1955 and were declared silver jubilees. Azad had Meena Kumari and Dilip Kumar in lead roles and music composed by C Ramchandran. Uran Khatola had Dilip Kumar and Nimmi in lead roles. SU Sunny directed the film and the music was composed by Naushad Ali.
Dilip Kumar’s Naya Daur in 1957 was a golden jubilee hit running for more than 50 weeks. BR Chopra and Yash Chopra were involved in production and direction and the film was revolutionary one in the history of Indian films. OP Nayyar composed the music of the film. Dilip Kumar Vaijayantimala, Ajit and Johny Walker were in lead roles.
Dilip Kumar’s Madhumati in 1958 was a golden jubilee hit running for more than 50 weeks. Bimal Roy directed the film and music was composed by Salil Choudhury. Dilip Kumar Vaijayantimala Johny Walker, Jayant were in lead roles. The film swept all the awards at filmfare in 1958 including best actor by Dilip Kumar, best composer by Salil Choudhury, best director by Bimal Roy.
Dilip Kumar’s Paigham in 1959 was a silver jubilee hit running for more than 25 weeks. Dilip Kumar, Raj Kumar and Vaijayantimala were in lead roles. The music was composed by C Ramchandran.
Dilip Kumar’s Kohinoor in 1960 was a golden jubilee hit running for more than 50 weeks. Dilip Kumar Meena Kumari, Kumkum and Jeevan were in lead roles. The music was composed by Naushad Ali, and Rafisahab’s “madhuban be radhika nachere” still is considered phenomenal rendition of raga style music in films.
Dilip Kumar’s Mughal-i-Azam in 1960 was an all time blockbuster. It was a diamond jubilee hit running for more than 100 weeks. It created such a brilliant record at box office, that Sholay only broke the record in 1975. Dilip Kumar, Madhubala, Prithviraaj Kapoor, Durga Khote were in lead roles. The film was directed by K Asif and music composed by Naushad Ali.
Dilip Kumar’s Ganga Jumna in 1961 was a golden jubilee hit running for more than 50 weeks. Nitin Bose directed the film. Dilip Kumar and Vaijayantimala were in the lead roles. The music was composed by Naushad Ali.
Dilip Kumar’s Ram Aur Shyam in 1967 was a golden jubilee hit running for more than 50 weeks. T Chanakya directed the film. Dilip Kumar, Mumtaz, Pran and Wahida Rehman were in lead roles. The music was composed by Naushad Ali. Dilip Kumar for the first time acted in a double role.
In the 1980s Dilip Kumar gave 2 golden jubilee hits, one was Shakti in 1982 and the other was Karma in 1986.
Shakti had Dilip Kumar, Amitabh Bachan, Rakhee, Smita Patil, Amrish Puri in lead roles. The film was directed by Ramesh Sippy. Karma had Dilip Kumar, Nutan, Anil Kapoor, Jackie Shroff, Naseeruddin Shah, Anupam Kher in lead roles. Subhash Ghai directed the film and Laxmikant Pyarellal composed music of the film.
So in a career of Dilip Kumar of 62 films, more than 25 films ending up as diamond jubilee, platinum jubilee, golden jubilee and silver jubilee is incomparable. India is indebted to Tragedy King for the business he gave over last 80 years. Only the record of Showman Raj Kapoor and in Bengal industry Mahanayak Uttam Kumar can come close to Dilip Kumar. Dilip Kumar always remained a phenomenon.
Adipurush did 410 worldwide business in 7 days but the differences from Ramayana is standing in the way for being hit.
Thursday, June 22, 2023
Ghazal ka shehzada Madanmohan sahab is remembered for his immortal combination with Rafisahab.
The country remembers the death anniversary of legendary composer Madanmohan Kohli on 14th July, 2023
. The legendary composer left us more than 38 years ago but left the country with innumerable treasure of ghazals.
If any composer had utilised the ghazal andaz of Mohammad Rafi to the best of his potentiality it is Madanmohan whose name appears in the minds of the lovers of music across the nation. Madanmohan’s father Rai Bahadur chunnilal send his son to Dehradun to join the army. Instead he left the army and joined All India Radio in Lucknow. He came in contact with Ustad Faizz Khan, Ustad Ali Akbar Khan and carried on their legacy in the compositions he made for 30 years which can be classified as masterpieces.
As Madanmohan was not associated with the Big Banners like RK or Navketan, he was not categorised with any star of bollywood during 50s, 60s, 70s. Further he never wanted to balance the popular test of music and excellent class of classical compositions he created. But the compositions were so rich in lyrics and tunes that the musical pandits had no way but to admire them.
The golden age of bollywood music was categorised with the excellence of Mohammad Rafi and as such if any composer neglected Rafi and tried to reach the summit of popularity they have invited their own downfall. Madanmohan did not make such a mistake. He started his career with the film Ankhen in 1950. He also composed music for Raj Kapoor’s film Ashiana in 1952. His notable songs for Rafi in the film Railway Platform, 1956, include “basti basti parbat parbat”. In Gateway of India, 1957, Madanmohan used Mohammad Rafi for the song “do ghari woh jo pass aa baithe” picturised on Bharatbhushan. It was very successful and strengthened the everlasting bond of Rafi with Madanmohan. Rafi’s intoxicating appeal in the song “kabhi na khabhi kahin na kahin koi na koi toi ayega” in the film Sharabi, 1964, composed by Madanmohan can be classified one of the best songs in sombre mood.
The most majestic ghazals of Rafi composed by Madanmohan include “kisiki yaad me apnako hai bhulaye huye” and “baad muddat ke yeh ghari ayi” from the film Jahan ara, 1964, picturised on Bharat Bhushan. Talat Mehmood’s song in the same film “phir wohi sham wohi gham wohi tanhai hai” was also based on ghazal andaz. The classic lyrics were written by Rajinder Kishan. The film titled Ghazal, in 1964, was based on ghazals and Rafi was outstanding by every standard in the song “rang aur noor ki baraat kise pesh karun.” In the same year Rafi’s patriotic flavour was bolstered in the song “kar chale hum fida jan-o-tan sathiyon” in the film Haqeeqat, where Rafi’s ghazal titled “hoke majboor usne bulaya hoga” shared with Bhupinder Singh, Manna Dey and Talat Mehmood was sensational. The majestic lyrics were written by Kaifi Azmi. In the film Neela Akash, 1965, picturised on Dharmender, Rafi’s song “akhri geet muhobbat ka sunayun to chalun” showed the tragic note of Madanmohan. In the film Need Hamari Khwab Tumkhari, all the songs were sung by Rafi including “husn ne jab isq se takraya tha”.
Returning back to ghazals, Rafi’s song “aap ke pehlu me akar” in the film Mera Saya, 1966, was as outstanding as Lata’s title song “tu jahan jahan chalega mera saya saath hoga”. The lyrics were written by Raja Mehendi Ali Kahan. Raj Khosla’s crime thriller ended up becoming a musical blockbuster just like Woh Kaun Thi, in 1964, where Madanmohan’s composition “naina barse,” “lagja gale”, etc. for Lata Mangeshkar was probably the most immortal creation in the history of film music, with Sadhna giving life time performances in ghostly characters in both these films.
The landmark ghazal “tumhari zulf ke saye me sham karlunga” in the film Naunihal, in 1967, is probably one of the five best ghazals Rafi did sing in his life. Experts in music realise that ages will pass, but no second singer can provide blood and flesh in the superlative ghazal of Madanmohan the way Rafi had done in this song. Kaifi Azmi has written sensational lyrics for the abovementioned song. People started thinking that Rafi and Madanmohan were made for each other. The belief was put to action in the next film Dulhan Ek raat ki, in 1967, picturised on Dharmender in the song “ek haseen sham ko dil mera kho gaya. In the film Chirag, 1969, “teri aakhon ke siwa duniya me rakkha kya hai” Madanmohan combined ghazal with light orchestration to try to inspire the common listeners in understanding these type of songs.
In the film Heer Ranjha, 1971, picturised on Rajkumar, Rafi’s song “yeh duniya yeh mehfil” was well acclaimed by music lovers. Rafi was outstanding by every standard in the song “tum jo mil gaye ho” in the film Hanste Zakhm, 1973, where Madanmohan synchronised lightning with his own orchestration. Madanmohan also gave a tremendous break to Bhupinder Singh in the song “dil dhoonta hai, phir wohi, fursat ke raat din” written by Gulzar in Sanjeev Kumar’s Mausam in 1975. Rafi had the song “chari re chari kaise gale me pari.”
Madanmohan’s last performance with Jaidev brought out Rafi’s Himalayan range in the film Laila Majnu in 1977. Rafi’s songs “tere dar pe aya hoon,” “barbad muhobat ka duya saath liye ja”, picturised on Rishi Kapoor showed his master spirit of adapting to tunes of middle east which was the geographical location where the story was based. Madanmohan died in 1975, without even seeing the success of Laila Majnu, it appeared like out of seven sur in every octave one sur had gone, because, the majestic combination of Madanmohan with Rafi cannot be forgotten through ages. Rafi’s archive should restore Madanmohan’s combination to let the next generation know about the high esteem with which Madanmohan addressed Mohammad Rafi during the golden age of film music.
Rafisahab had grand combination in tragedy oriented songs of tragedy king Dilip Kumar Sahab.
Tragedy-oriented songs of Dilip Kumar were given adequate expression by Rafisahab.
Rafisahab had great combination with Tragedy King Dilip Kumar. The most pathos oriented and tragedy oriented songs of Dilip Kumar were given right expression by Rafisahab.
In film Deedar, in 1951, Rafisahab’s song “meri kahaani bhoolne wali” for Dilip Kumar gave the right tragedy expression. It was composed by Naushad sahib.
In 1956, film Uran Khatola had a fantastic tragedy song. Rafisahab sang “o door ke musafir hum ko bhi saath le le re”. This song was picturized on Dilip Kumar with garland from his shoulders flew to Nimmiji’s shoulder at the end of the film when both of them died together. Shakeel sahib wrote the lyrics while Naushad sahib composed the music.
In Dilip Kumar’s Madhumati, Rafisahab’s song ‘tute hue khwabone humko yeh sikhaya hai” was the best tragedy oriented song. It was composed by Salil Choudhury. In Dilip Kumar’s Yahudi, Shankar Jaikishan used Mukeshji to sing the tragedy song “yeh mera deewanapan hai”.
In 1966 film of Dilip Kumar titled Dil Diya Dard Liya, 3 of Rafisahab’s songs stand out as great tragedy songs, including “guzren hai aaj ishq me”, “koi sagar dil ko behlata nahi” and “dilruba maine tere”. All the songs were composed by Naushad sahib.
In 1967, Rafisahab’s song “aaj ki raat mere dil ki salami lele” was the best tragedy song of film Ram Aur Shyam. Naushadsahab composed the music of the film.
In 1968, Rafisahab’s song “aaj purani rahon me” in film Aadmi was the best tragedy song of the film. Naushad sahib composed the music. Dilip Kumar’s expression was outstanding.
In 1971, Rafisahab’s song “na tu zameen ke liye” in film Daastan was another landmark tragedy song. It was composed by Laxmikant Pyarelal.
Whenever there used to be tragedy songs, Rafisahab gave the best expression for Dilip Kumar. The acting of Dilip Kumar was as outstanding as the singing of Rafisahab. The songs and films require restoration.
Immortal films of dignified actress Nandaji are still relevant.
It is a shocking news for the lovers of Indian films that Nanda had died , on 25th March, 2014, at the age of 75 years. She suffered a massive heart attack. Her friend Mala Sinha shared her experiences with the press and media about acting with Nanda. Both of them acted in the film Dhool Ka Phool.
Nanda having huge amount of acting potentials never received her dues. Born in a Maharashtrian family she learned acting from childhood. Eminent director V Shantaram gave her a prominent role in the film Toofan Aur Diya in 1956.
She was brilliant in the film Bhabhi in 1957. She played the role of the younger sister of Pandari Bai, the wife of Balraj Sahani in the film. She became widow at a very early age and the information was not given to her by Pandari Bai. She played a very juvenile role in the first part of the film and in the second part became serious. She received the nomination for best supporting actress in 1957 for her role in Bhabhi but did not win it.
She was sublime in the role of the wife of Rajender Kumar in the film Dhool Ka Phool in 1959. She followed it up by a brilliant performance in the film Choti Behen. Again she had the challenge of acting with Balraj Sahani. She did a great job.
In 1960s, Nanda became a stylish heroine and acted in glamour oriented roles. With Manoj Kumar she had a fantastic combination. She did a great job in the film Bedaag. Gumnaam was the blockbuster film of Nanda which did fabulous business. Shankar Jaikishan’s music stormed Bollywood in 1965 with Gumnaam. Nanda gave soft lips in the song “jaane chaman sholabadan” which was sung by Sharda and Mohammad Rafi.
The she was paired opposite Shashi Kapoor in more than 7 films. The romantic pair started their journey in the film Jab Jab Phool Khilen. It was a music oriented film which created magic. Kalyanji Anandji’s music was appreciated by the audience. Rafi and Suman Kalyanpur’s duet song “nanakarte pyar humhi to kar baite” became bumper hit.
The combination just gave hits after hits. The other notable films included Neend Hamari Khwab Tumhari, Muhobbat Is Ko Kehte Hai, to name a few. The movies were shot in romantic locations of Jammu Kashmir and Himachal Pradesh. The music created magic and the audiences admired the films.
In the 1970s and 1980s, Nanda shifted to character roles. There also she showed excellence. In Manoj Kumar’s film Shor she played a compassionate character. In Dilip Kumar’s film Mazdoor she played the role of his wife. She also gave a landmark performance in Raj Kapoor’s film Prem Rog in 1982. Her character role of the mother of Padmini Kolhapuri caught the attention of the viewers.
In her career around 40 years, she had acted in diverse roles. But neither was she honoured, nor recognized for the great callibre shown over the years. Her films should be preserved.
Oscar winning director Satyajit Ray said Chabi Biswas was the greatest actor ever to grace Indian soil.
After working with many actors Chabi Biswas was considered the greatest actor by Satyajit Ray.
Satyajit Ray, the Oscar winning director of Indian films considered Chabi Biswas as the greatest actor ever to have been born in Asian soil. Ray brought the neo-realistic movement in Indian films and when he made a statement about an actor that statement the verdict of Supreme Court judge. In that perspective Ray’s comments about Chabi Biswas in Shamik Banerjee’s interview had justified the fact that Chabi Biswas was the only actor in Indian cinema whose improvisation in a Satyajit Ray film had flabbergasted international audience of US, Canada, France, Germany, etc.
Satyajit Ray was known as the greatest perfectionist of his age. His script had each and every dimension relating to the work of the actors and actresses and there was hardly any scope of improvisation. But Chabi Biswas was such a great actor who could hardly be directed, nor guided, as his own innovation relating to the respective role that he played was brilliant by every acting standard. Ray had cast Chabi Biswas in three films Jalsaghar, Debi and Kanchenjungha, and due to his tragic death in 1962, Ray never got the scope of experimenting with the legendary actor in his following films.
In Jalsaghar, the character Biswambhar Roy could not have been portrayed by any actor better than Chabi Biswas. It was based on the epic literature of Tarashankar Bandopadhyay, where Ray showed his brilliance in the depiction of Feudal System during Colonial period in Bengal. For Chabi Biswas, aristocracy got predominance in his life as a zamindar, and that dignity, personality, honour could not be sacrificed during his lifetime. As long as Chabi Biswas’s wealth matched with his aristocracy, the zamindar compromised with other aspects of life, but when the upcoming wealthy people in the village like Gangapodo Basu, by becoming rich through business, tried to equate themselves with the dignified landlord, they faced the tassled.
Ray admitted, the scene where Chabi Biswas brought baijee (classical singer) from Benaras to perform in his house and Gangapodo Basu tried to give her reward and Chabi Biswas prevented him, the diction, the aristocracy and dignity could only be portrayed by Chabi Biswas. He said a performer can be first rewarded by the host who called her, not the invitee. The scene where Chabi Biswas was told that due to lack of duty paid by the farmers, there was no money to light the jharlonthon, Chabi Biswas went upstairs and showed the photographs of his ancestors whose sacred legacy he carried forward, and that was the scene which shook international audience. Ray once said, had Chabi Biswas been born in US, he would have received Oscar award for his performance in Jalsaghar.
Chabi Biswas’s performance in the film Debi, based on the epic literature of Prabhat Mukhpadhay, was unparallel. He almost got the illusion of seeing Goddess Kali in Sharmila Tagore, who was his daughter -in-law. The expression for the belief which was based on devotion to God, was very complex, which could be only played by Chabi Biswas. Ray admitted, that had Chabi Biswas not been there, he would not have made the film at all.
In respect of roles having dignified presence, Chabi Biswas could not be replaced. The best example was Kanchenjungha. There Chabi Biswas a rich industrialist. He could not equate others with himself as he had money, power, recognition in society. But Ray experimented with the abstract subject of the greatness of Kanchenjungha creating an impact in the minds of all the passersby including an egoist of the stature of Chabi Biswas. That was the reason when Chabi Biswas called the name of his friend Banerjee, the film ended with the realization.
All the films of Satyajit Ray where he exploited the majestic performance of all time great actor Chabi Biswas should be restored and preserved. Lessons of acting and film making cannot be learned in a better than observing the great works of the two giants together.
Asitboron was considered matinee idol before Mahanayak Uttam Kumar ruled bengali films.
Born in 1913, he learned table lessons from renowned singer and composer Gyan Prokash Ghosh. He was noticed by actor Pahari Sanyal while performing in All In Radio and was given opportunity in Hemchandra Chandra’s film Pratisruti in 1941.
He played notable roles in the late 40s and early 50s. His successful films included Jaideb opposite Anubha Gupta, Kar Pape opposite Manju Dey, Nay Dondo opposite Arundhuti Debi. In Kar Pape he played the role of patient suffering from the disease of syphilis who married Manju Dey against the wishes of the doctor Chabi Biswas who advised him not to marry before he got absolutely cured. When Manju Dey got infected with syphilis and her children also died she fired Asit Boron at the end of the film when he was preparing for another marriage. The film created sensation in early 50s.
Asit Boron played the notable role of Mathur in the film Rani Rasmani. He was the son in law of Malina Debi in the film who never believed in God. But Sri Sri Ramakrishna Paramhanshadeb’s appearance changed his mind set. Malina Debi and Gurudas Bandhopadhyay’s spirited performance was balanced by Asit Boron’s smart performance. In Uttam Kumar’s film Khokababur Protyaborton, Asit Boron played the role of the Judge, whose son was lost by Uttam Kumar, the servant of the house, who sacrificed his own son in the film. It was Tagore’s classic literature which moved the audience.
Asit Boron was professional singer and tabla player and all those skills were exhibited in the role of hero in the films of 50s and 60s. He played notable roles opposite Suchitra Sen in the film Sriti Tuku Thak and Shilpi, opposite Mala Sinha in Bandhu, Sandharani in the film Brotocharini, to name a few. Besides he played landmark roles in historical films like Raja Ram Mohan Roy, Antony Firingi, etc. In Antony Firingi he played the role of Bhola Moira, who contested against Uttam Kumar in the kabir larai, war between poets. He provided elegant performances in the films of other heroes, like Bosonto Choudhury’s Bodhu and Shreyasi, Nirmal Kumar’s Kono Ek Din, Uttam Kumar’s Surjo Toron, to name a few.
At the frag end of his career he showed his potentiality in Tapan Sinha’s film Harmonium. He was zamindar in the film whose harmonium was sold by his daughter and changed different hands and returned back to the daughter played by Arundhuti Debi. He commanded respect from the film community under his nickname “kaloda”. His films and songs should be preserved.
Wednesday, June 21, 2023
Adipurush did worldwide business of 390 crores in 5 days but there are differences which are standing in the way for making it a hit.
Friday, June 16, 2023
Shankar Jaikishanji were the highest paid music directors between 1940s, 1950s and 1960s.
Shankarji Jaikishanji had very high remuneration during golden age of music.
Shankarji Jaikishanji were the highest paid composers of their time.In 50s their fees per film ranged from 20000 TO 50000, till 1958.
Choti Behen – They received Rs 75000 for film Chhoti Bahen. The film is remembered for great music in addition to lovely story.
Anari – They received Rs75000 for Anadi in 1959. Raj Kapoorsahab and Nutanji played the lead characters and Raj Kapoorsahab and Shankar Jaikishanji received filmfare awards respectively for best actor and music director in that year.
Love Marriage – SJ received Rs 75000 for film Love Marriage in 1959. Dev Anandsahab and Mala Sinhaji played the lead roles.
Aas Ka Panchi – SJ received Rs 125000 for film Aas Ka Panchhi released in Feb 1961. Rajender Kumarji and Vaijayantimalaji played the lead roles.
Sasural – SJ received Rs175000 for film Sasural in 1961.Rajender Kumarji and Saroja Deviji played the lead roles and Rafisahab received filmfare award for best male playback singer for the song “teri pyari pyari surat ko kisi ki nazar na lage” in film Sasural.
Junglee – SJ received Rs 175000 for film Jungli released in Oct 1961. Shammi Kapoorji and Saira Banuji played the lead roles.
Professor – SJ received Rs 225000 for film Professor released in 1962. Shammi Kapoorji and Kalpanaji played the lead roles and SJ won the filmfare award for the best music director in the year for the film Professor.
Hamrahi – SJ received Rs 300000 for film Hamrahi released in 1963. Rajender Kumarji and Jamunaji played the lead roles.
Dil Ek Mandir – SJ received Rs 300000 for film Dil Ek Mandir released in 1963. Rajender Kumarji and Meena Kumariji played the lead roles.
Ayee Milan Ki Bela – SJ received Rs 350000 for film Ayee Milan Ki Bela in 1964. Rajender Kumarji and Saira Banuji played the lead roles in the film.
1964
Zindagi – SJ received Rs 450000 for film Zindagi in 1964. Rajender Kumarji and Vaijayantimalaji played lead roles in the film.
Aarzoo – SJ received Rs 500000 for film Arzoo ( All time high ) in 1965. Rajender Kumarji and Sadhnaji played lead roles in the film.
In 1967, J Om Prakash paid 70000/- to L.P. for music of Aaye Din Baharke. ( just 20% amount of his last SJ film Aayee Milan Ki Bela.
These details are derived from Raju Bharatan's following two books.
1. Naushadnama
2. The down melody Lane.
Looking back at Shankar Jaikishan and remembering the bond with Mohammad Rafi.
Shankar Singh Raghuwanshi is remembered on his anniversary on 15th October, 2021. Jaikishan Dayabhai Panchal is remembered on 12th September, his death anniversary in 2021. The listeners of music all over the world wished happy birthday to legendary composer Jaikishan better known as Jaikishan Dayabhai Panchal on 4th November, 2021. He was part of the legendary duo Shankar Jaikishan who dominated bollwood music during the 1950s and 1960s. Rafisahab had a very sweet relationship with Shankar Jaikishan but unfortunately their relationship had not been glorified in bollywood history. Whenever contribution of composers relating to classic creations involving Rafi are highlighted the name of Naushad, Roshan, Madanmohan, OP Nayyar are glorified and the contribution of Shankar Jaikishan is ignored.
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 including songs like “aja re aa zara aa”, “Japan, Love in Tokyo”, “ o mere shahekhuba”, etc. In Biswajeet’s April Fool SJ’s composition for Rafi including “aa gale lag ja” had westernized background.
SJ’s composition for Rafi in Shammi Kapoor’s An Evening in Paris 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 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, “hai na bolo bolo”, “re mamma re mamma re” in Shammi Kapoor’s Andaz and “chakke p chakka” in Brahmchari. 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” 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 had 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.
Rafi had a dream run in the 60s, mainly in the films of Jubilee Kumar, Rajender Kumar for more than a number of reasons. Firstly Rajender Kumar acted in the production and direction of biggest banners of bollywood in the 60s. Secondly from 1963 to 1966, all his films ended up in silver jubilee showing his immense popularity and strong presence in the box-office. Shankar Jaikishan was equated with God in the early 60s and the main reason of the box-office success of Jubillee Kumar’s films was the superlative music given to him by both SJ and Naushad.
In the film Ayee Milan Ki Bela, all the songs of SJ, picturised on Rajender Kumar and sung by Rafi became super hit The immortal songs include “mai pyar ka diwana“, “aha aye Milan ki bela“, “tum khamseen ho“, “to bura maan gaye“, “o sanam tere ho gaye hum“. Rajender Kumar and Saira Banu’s online chemistry in the film helped in the success of the film.
SJ’s composition in the film Aarzoo, Humrahi and Sasural for Rajender Kumar and Rafi were equally rich. The brilliant songs include “chalke teri aankhose“, “ae nargisi mastana“, “aji ruth kar ab“, “yeh aansoo meri dil ki zubaan hai“, “teri pyari pyari surat ko“, “mujhko apne gale laga lo“, to mention a few. Sadhna complimented the powerful performance of Rajender Kumar in Aarzoo.
The brilliant combination of Rafi, SJ and Rajender Kumar, continued in the film Dil Ek Mandir and Jhuk Gaya Aasman. Prominent songs include “yaad na jaye“, “jahan koi nahi“, “dil ek mandir hai“, “o priya kaun hai jo sapno me aya“, “kahan chal diye“, to mention a few. SJ Rafi and Rajender Kumar continued in the film Aman, where songs like “surahidar garden koel si hi awaz” still mesmerizes the listeners.
Rafi, Rajender Kumar and SJ created history even in the film Suraj. The songs “kaise samjhayun“, “chehere pe giri zulfein“, “itna hai tujhse pyar mujhe“, “baharon phool barsao” had become immortal over the years. Rajender Kumar and Vaijayantimala’s screen presence were as majestic as the voice of Rafi and the quality of music of Shankar Jaikishan. The other films where the magic combination of Rafi, Rajender Kumar and Shankar Jaikishan made people speechless include Zindagi and Sangam, with the prominent songs being “pehle milethe sapno me” and “meherban likhoon“.
When Shammi Kapoor was informed about Rafi’s death in 1980, he was told by the informer that he had lost his own voice. In other words it was said that Rafi’s voice had reached the soul of Shammi Kapoor, whose success in bollywood films was largely dependent on the golden voice of Rafi. Shankar Jaikishan had contributed in around 22 films of Shammi Kapoor and without the magical duo Rafi’s combination with Shammi Kapoor would not have fulfilled the popular demands of the musical audience.
If SJ’s composition for Raj Kapoor mark the music catered to the masses, the composition for Rajender Kumar mark the sophisticated tunes catered towards the cultured audience, the compositions for Shammi Kapoor mark the westernized andaz addressed for the young generations. Shammi Kapoor brought the rock and roll andaz of Hollywood films in hindi films, and SJ and Rafi combined together to bring the energetic andaz of Shammi Kapoor who was considered to be a rebel star in the 60s. In fact his style was imitated by Joy Mukherjee and Biswajeet who were also blessed with melodious songs sung by Rafi in the 60s.
SJ, Shammi Kapoor and Rafi combined together to give superhit songs in the film Junglee, including “ehsaan tera hoga mujhpar”, “meri yaar shabba khair”, “chahe koi mujhe jungle kahen”, etc. Saira Banu made her debut opposite Shammi Kapoor and the Subodh Mukherjee film became a trend setter for other directors of producers of the 60s.
SJ, Shammi Kapoor and Rafi created the same magic in the film Janwar. Songs like “tumse achha kaun hai”, “lal chari maidan khari” became superhit along with romantic performance of Rajashree in the film. SJ, Shammi Kapoor and Rafi combination in the film Raj Kumar was equally sublime with songs like “hum hai rajkumar”, “tumne pukara aur hum chale ayen”, “tumne kisiki jaan ko”, to name a few. Sadhna was sublime along with Shammi Kapoor in the film.
SJ, Shammi Kapoor and Rafi created magic again in the film An Evening in Paris. All the songs of the film became super hit including “aji aisa mauka”, “aasman se aya farishta”, “raat ke humsafar”, “akele akele kahan ja rahe ho”, “mera dil hai tera”, “diwane ka naam to pucho”, to name a few. The foreign locations of Paris were as majestic as the European music of SJ and modernized performance of Sharmila Tagore in the film.
The brilliant combination of SJ, Shammi Kapoor and Rafi again created magic in the film Brahmchari. All the songs in the film including “dil ke jharoke me”, “chakke pe chakka”, “mai gavun tum so jayo”, “aajkal tere mere pyar ke charche” created storm in bollywood films. Shammi Kapoor won the filmfare for best actor for his performance in Brahmchari, and Shankar Jaikishan won the film fare for best music director for the same film, while Rafi won the filmfare for best singer for singing the song of the same film. Again Rajashree was sublime in the film.
SJ, Shammi Kapoor and Rafi were equally brilliant in the film Prince where Vaijayantimala acted opposite Shammi Kapoor. Rafi’s songs “muqabla hum se na karo” was as hit as “badan pe sitaren lapete hue”. The same combination came up with brilliant songs in the film Laat Sahab. The songs “sawerewali gari se chale jayenge” and “aye chaand zara chup ja” became superhit. Nutan contributed well opposite Shammi Kapoor.
The magic combination of SJ, Shammi Kapoor and Rafi contributed even in GP Sippy film, Andaz. All the songs of Rafi like “dil use do jo jaan deden”, “hai na bolo bolo”, “re mamma re mammare” became superhit. Hema Malini performed for the first time opposite Shammi Kapoor. The brilliant combination of SJ, Hasrat Jaipuri, Shailendra, Shammi Kapoor and Rafi ended with sad demise of Jaikishan in 1971.
Articles after articles can be devoted on the magic combination who even created magic in other films like Tumse Accha Kaun Hai, Jawan Muhobbat, etc. Critics argue that OP Nayyar and Ravi also contributed in Shammi Kapoor’s films, but their music was also influenced by Shankar Jaikishan’s tunes. The films and the songs of Shammi Kapoor, Shankar Jaikishan and Rafi should be preserved for the future 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.
Raj Khosla Sahab was the king of crime thriller films
Raj Khosla and bollywood films.
Born in 1925 and died in 1991, Raj Khosla was considered by critics to be the path-breaker in crime-thriller films. His film CID in 1955, created a trend in respect of crime thrillers. He introduced Wahida Rehman and Shakila in the film. The music of the film composed by OP Nayyar was also impressive with hit songs of Rafi like “ankhon hi ankho me ishara ho gaya”, “leke pehla pehla pyar”, etc.
His film Solwa Sal, involved Wahida Rehman being eloped by her boyfriend but later on brought back home by a journalist. In Bombai Ka Babu, there was a killer who entered into the family of the person he killed and then had an affair with the sister of the deceased. Dev Anand and Suchitra Sen played the lead roles in the film.
The 60s saw Raj Khosla’s musical blockbusters. His film Ek Musafir Ek Haseena with Joy Mukherjee and Sadhna stormed bollywood. The songs composed by OP Nayyar for Rafi and Asha were super hit including “bahut shukriya bari meherbani”, “aap yuhi agar”, “hume dekhakar aapka muskurana”, etc. The shooting in Kashmir also raised interest in the minds of the viewers. In 1964, Raj Khosla came up with probably one of the greatest spooky films in bollywood, with the title “Woh Kaun Thi”. Sadhna played the roles of the two sisters who were exploited by Prem Chopra to terrorize Manoj Kumar and get his property. At the end of the film the secret was revealed. The music composed by Madan Mohan was brilliant with landmark songs like “naina barse”, “lagja gale”, etc.
Raj Khosla continued with horror films with Mera Saya and Anita where Sadhna played the role of the ghosts. Sunil Dutt acted opposite Sadhna in Mera Saya while Manoj Kumar acted opposite her in Anita. The music was impressive again.
In the mid-60s Raj Khosla again returned back to romantic dramas like Do Badan with Manoj Kumar and Asha Parekh. The music of Ravi with impressive songs like “jab chali thandi hawa”, require special mention. He also made films related to stories of dacoits like Mera Gaon Mera Desh with Dharmender. His last successful film included Mai Tulsi Tere Angan Ki. Both Nutan and Asha Parekh did well in their respective roles in the films. His other films like Do Badan and Dostana were impressive, but whenever the viewers remember the name of Raj Khosla, the first impressive comes in respect of horror stories and crime thrillers like Mera Saya and Who Kaun Thi. The films should be preserved and restored
Enterprising singer Tarun Banerjee is alive in his immortal songs cholo rina and o suleman.
Tarun Banerjee’s Chalo Rina and O Suleman haunted bengalies.
Singer Tarun Banerjee had sung everlasting songs during the golden age of Bengali music; that is the 50s and 60s. He had a deep voice with good pitch. Two of his songs “chalo Rina” and “o suleman” haunted the bengalies. “chalo rina” was composed by Abhijeet Banerjee. The song spoke about the singer calling his girlfriend to travel with him along the red village road, and red flowers blossom and the rural life unfolds itself. “o suleman” was written by Pulak Banerjee and composed by Prasanta Bhattacharya. “o suleman” had Arabian tunes embedded in them. So it talks about a girl who was seen by a seller, who could not find her again. The romantic appeal of both the songs “chalo rina” and “o suleman” haunted the bengalies for generations. His song “mor malanche bosonto nai” was very popular during the 60s. He was sublime in the song “champakoli go koto name dekechi tomae” composed by classical singer Manobendra Mukherjee. The song “konokchapa dhan” composed by Prabir Mojumdar and sung by Tarun Banerjee was equally popular.
He was excellent in the songs he had sung for poet and composer Salil Choudhury. One of his legendary songs included “eso kache eso, kono kotha bolo” which became immensely popular during the 60s. His song “ankhi cholocholiya keno gele choliya” composed by Nikhil Chatterji also became very popular during that period. His other hit songs during that period included “tolpar tolpar moner kotha”, “magnelia aar kamelia phool”, etc.
He also sang songs which were compositions made out of rhymes. One of the examples included “ek ekdin megh kore mon bole hariye jai”. He also sang the song “champa amar ogo jago” which was written by Salil Choudhury and composed by Sudhin Dasgupta. Very rarely the two highly talented lyricist and composer Salil Chodhury and Sudhin Dasgupta came together to compose the legendary songs. “champa amar ogo” was one of them.
He had sung songs which were in the form of ballads. Some of them included “modhumati jay boye jay”, “cholo Rina”, “kajol nodir jole”, “aar deri nei”, to mention a few. He equally sublime in other modern songs like “alta payer”, “elona se elona”, etc.
He also made valuable contribution in Bengali film music. His song “haridasher bulbulbhaja tatka taja khete moja” in the film Shriman Prithviraj was very popular. The song was composed by Hemant Kumar and the film was directed by eminent director Tarun Majumdar. It is not possible to highlight the contribution of Tarun Banerjee in Bengali modern songs in a small article, who had contributed during the 50s, 60s and 70s. His songs and films should be preserved and restored.
Saturday, June 10, 2023
Priyanka Chopraji had contributed well in bollywood films
Priyanka Chopra will be celebrating her birthday in 2023.
After marriage Priyanka Chopra started her second innings. Priyanka Chopra will be celebrating her birthday in 2023, on 18th July with awesome gifts given to her by her mother. She had not disclosed to the media as to what are the surprise gifts. Priyanka Chopra is at the top of the world with her successes in the film Don 2 and Barfi in 2011 and 2012. 2014 had been a great year with her film Gunday opposite Ranveer Singh and Arjun Kapoor doing business worth 75 crores. Her performance in the role of boxer in Mary Kom in 2014 had been widely appreciated. In 2015 she did well in the film Dil Dhadakne Do.In 2017n she did well in Hollywood in Bay Watch. In 2018, she got married and did not act in the film Bharat with Salman Khan. Instead of her Katrina Kaif played the role. She acted in the film Pink Sky opposite Farhan Akhtar in 2019. From Filmfare award to Star screen, the role she played in Barfi fetched her awards and accolades from different parts of the world. Priyanka Chopra had a hectic year 2011. She received positive reviews for her performance in the film Saat Khoon Maaf that was released in the early part of the year. She had many husbands in the film for different reasons. Her film Don- 2, The Chase Continues she had acted opposite Shahrukh Khan once again. Viewers have huge expectation from the films of 2013 including Zanjeer and Krish 3. She is also acting in the film Barfee opposite Ranbir Kapoor. In the film she is playing the role of a mentally challenged girl. She is in fact visiting few mental asylums to get the feel of the role. She is also acting in the film Agneepath.
Priyanka Chopra is today’s most popular actress of the bollywood film industry. She had started her career in bollywood films after she won the Miss India contest title. Since then she never looked back. Her first film Andaz opposite Akshay Kumar and Lara Dutta did well in the box office. But initially she haven’t got that much recognition, but with the film Mujshe Shaadi Karogi opposite Salman Khan and Akshay kumar , Priyanka Chopra became a leading star of the period.
She had got the grace, glamour and attitude in her which is very much wanted by today’s audience and young crowd. She gave stunning performance in the Fashion and got the filmfare award for the best actress for the year 2009. She even won her first prestigious National award for the performance in the film Fashion. Director Madhur Bhandarkar had been known for making realistic films and Priyanka Chopra did adapt her style of performance in the ideal way that Madhur Bhandarkar expected. In the same year she did perform in many films including God Tussi Great Ho, Chamku , Love story 2050, Dostana and Billu Barber in 2009. Her next upcoming film was released in 2009 was titled Kamina opposite Shahid Kapoor. This film also did fabulous business.
The big factor which had kept Priyanka Chopra ahead of Kareena Kapoor, Ash, Katrina and others, include her capability to adapt herself in different roles. Whenever the situation demanded she played the role of an upstart American in the film Dostana. She effortlessly managed the comedy sequences along with Abhishek Bacchan and John Abraham. In the film Love Story 2050, she adjusted herself to the hi-tech world that would have emerged around 40 years from now on.
Her role in God Tussi Great Ho was totally different. There were misunderstandings and traps set by either Sohail Khan or Salman Khan. She faced the events and was firm in her affection towards Salman Khan.
Similarly in Billu Barber, her performance in a dance number opposite Shahrukh Khan requires special mention. In fact she had given elegant lips in the songs “tujhe aksa beach dikhadun”, “salaam-e-ishq”, “tenu le”, etc.
The viewers expect her to continue the brilliant work that she had started in 2008 and do even well in 2020
Tanujaji glorified hindi films and bengali films with her grace and acting.
Tanuja’s success in bollywood films and Bengali films.
Tanuja, the sister of dignified actress Nutan and the daughter of Sobhna Samarth created a unique place in bollywood films and Bengali films. Being the member of a family having legacy of contributing a lot in bollywood films, she had to face acid test.
In the 60s, when bollywood industry was flooded with talented actresses, Tanuja stepped in bollywood films. She had faced Meena Kumari, Madhubala, Wahida Rehman, Sadhna, Vaijayantimala and other classic actresses and yet created her identity in that age.
Tanuja’s prominent films in the 60s include Baharen Phir Bhi Ayegi, with Dharmender, Memdidi, Sapno Ka Saudagar, opposite Raj Kapoor, etc. Within 3 to 4 years, she was cast opposite leading actors of bollywood films. Her performance opposite Dev Anand, in the film Jewel Thief was appreciated by film-lovers.
Jewel Thief was crime-thriller director by Vijay Anand. Tanuja’s innocence in the film and spontaneous presence impressed the viewers. Besides Tanuja’s lips in Ahsa Bhosle’s song “raat nashili hai” was very impressive.
In the early 70s, Tanuja switched on to serious films like Basu Bhattacharya’s Anubhav opposite Sanjeev Kumar. Her lips in Geeta Dutt’s song “mera dil jo mera hota” and other songs showed the acting class of Tanuja. She did even better in Dharmender’s film Izzat. Dharmender had double role with one son being the illegitimate child of Balraj Sahani. Her performance in the song “loote dil pe diya jalta nahi hum kya Karen” sung by Lata and Rafi made viewers spellbound. She was equally impressive in the film Pabitra Papi.
Tanuja was involved in super hit films like Haathi Mera Saathi opposite Rajesh Khanna, Mere Jeevan Saathi opposite Rajesh Khanna, Ek Paheli, opposite Feroz Khan, to name a few.
In respect of Bengali films, Tanuja showed a great spirit in adapting Bengali language and adjusting herself opposite Uttam Kumar in the 60s and 70s. Deya Neya, Anthony Firingi and Raj Kumari stands out as the biggest hits of Tanuja opposite Uttam Kumar. All these films were musical blockbusters and the lips of Tanuja in leading songs in these films require special mention.
Shyamal Mitra composed music for the super hit film Deya Neya. Tanuja was sublime in her lips in the song “madhabi madhute holo mitali”. She was brilliant in the two songs of Sandhya Mukherjee in the film Anthony Firingi, titled “ami je jalsaghare”, and “champa chameli golapero bage”, composed by Anil Bagchi. Raj Kumari marked the beginning of musical career of Bengali musical sensation RD Burman. Songs like “ki holo, kabe holo” creates shivers in the spines of many listeners even today.
Tajuna was sublime in other successful films like Prothom Kodom Phool, Teen Bhubaner Pare, Madhuban, etc. She is considered more versatile than her daughter Kajol who got success by performing opposite Shahrukh Khan in hit films in the 90s. The viewers expect her to continue the great work in character roles in bollywood films in future.
Remembering eminent singer Hemant Kumarji on his birth anniversary
Remembering Hemant Kumar on his birth anniversary.
The viewers of bollywood and Bengali films pay their homage to evergreen singer Hemant Kumar on his birth anniversary on 16th June, 2021
. He had died more than 16 years back, but had left lot of memories which are cherished by the following generations.
He composed music in many bollywood films in the 50s and 60s and carried forward the legacy of
Rabindra Sangeet beyond the Bengal border and made it popular all across India. He composed music in the film Nagin and got the filmfare award for the best composer in 1955. His tune “man dole” sung by Lata for Vaijayantimala became extremely popular in the mid -50s.
He sang a number of songs for Dev Anand including “yeh raat yeh chandni” in the film Jaal, “yeh apna dil” in Solwa Saal composed by SD Burman, songs in Patita composed by Shankar Jaikishan, etc. He also sang the legendary song “jane yeh kaise” for Guru Dutt in the film Pyaasa. His composition in Biswajeet’s films Bees Saal Baad and Kohra, became super hit. Successful songs included “yeh nayan dhali dhali”, “zara nazron se kahdo ji”, etc. In fact Hemant Kumar produced the film Bees Saal Baad, which was the sequel of Bengali crime thriller Jighansha, directed by Ajoy Kar.
Hemant Kumar’s composition in the other films included Biswajeet’s Do Dil, Dilip Kumar’s Paigam, Dharmender’s Khamoshi, Guru Dutt’s Sahe Bibi Aur Ghulam, to name a few. Some of the hit songs sung by Hemant Kumar in those films included “tum pukarke”, and others. Besides he had given many hit songs to Lata, Asha and Geeta Dutt in those films.
Hemant Kumar had sung majority of playback songs for Bengali superstar Uttam Kumar in the 50s. His songs included “surer akashe tumi je go shuktara” from the film Shapmochon in 1955, “tare bole diyo” from the film Dui Bhai in 1961, “nir choto khoti nei” from the film Indrani in 1958, “ei poth Jodi na shesh hoi” from the film Saptapadi in 1961, “jai chole jai” from the film Kal Tumi Aleya in 1965, “sapno jagano raat” from the film Shudhu Ekti Bachar in 1966, “mou bane aaj” from the film Bondhu in 1958, to name a few.
Besides most of the Rabindra Sangeet sung by Hemant Kumar in Bengali films became hits, including “tumi robe nirobe” in Biswajeet’s Kuheli, “ami pothbhola ek pathik” in Uttam Kumar’s Mon Niye, “jokhon porbe na mor” in Uttam Kumar’s film Bibhas, “purano shei diner kotha” in Uttam Kumar’s Agnisshar, etc. Hemant Kumar had composed songs in more than 50 bengali films like Shap Mochon, Harano Sur, Saptapadi, Deep Jele Jai, Sathihara, Palatak, Phuleshwari, Dadar Kirti, Dui Bhai, Surjotoron, etc., most of which became dashing hits.
Hemant Kumar had sung more than 1000 bengali modern songs under different composers. He had sung trend-setting songs composed by Salil Choudhury like “runner”, “kono ek gayer bodhu”, “patha harabo bole ebar”, “palki chole”. Nochiketa Ghosh composed landmark song for Hemant Kumar titled “amar ganer shorolipi lekha robe”. He had sung many ranbindra sangeet and showed his own skill aside other giants like Pankaj Mallick, Subinoy Ray, Dijen Mukherjee, Debrata Biswas and others. Hemant Kumar’s contribution in Bengali modern songs and film songs is so huge that articles after articles can be devoted for the melody king of Bengal. The viewers pay their respect for the departed soul of legendary singer Hemant Kumar on his birthday.
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