Manoj Kumarsahab Upkar and Dilip Kumar sahab Ram Aur Shyam were major blockbusters of 1967

The biggest blockbusters of 1967. In 1967, different types of films were released in India with different storylines. While there were social films like Milan, but also there were other films like An Evening in Paris, where the entire film was shot in foreign location. The biggest blockbuster of the year was Upkar. Manoj Kumar played a village man 'Bharat', who sacrificesd everything to get his brother educated. His brother Puran (Prem Chopra) went abroad and came back a selfish man wanting his share of the property. But when India started a war with Pakistan, Bharat decided to enlist and head to the border; while his selfish brother, with the help of his greedy uncle, Charandas(Madan Puri) and some partners, tried to gain profit by selling drugs and black marketing in the market. In the end, Bharat returned as a demoralized soldier having lost the war and his brother repented as he was caught by the police (by the brother-in-law of Bharat). Hence, he vowed to be a good & hardworking brother just like his Indo-Pak war veteran brother Bharat. The movie also starred Asha Parekh as a doctor promoting family planning, Kamini Kaushal and Pran in his first positive character role. Madan Puri played the main villain with ease, full ability, and command. The film won several major awards. Manoj Kumar won the film award for the best director of the film. Mahendra Kapoor won the national award for best singer for the song “mere desh ki dharti”. The 2nd biggest blockbuster of the year was Ram Aur Shyam. This was the first double role of tragedy king Dilip Kumar. Ram (Dilip Kumar) lived with his sister Sulakshna (Nirupa Roy) and niece Kuku in his family estate. His brother-in-law Gajendra (Pran) looked after his factories and controlled his property with an iron hand. Ram was shy and coward in nature. He was always abused and brutally beaten by Gajendra. Sulakshna and Kuku tried to protect Ram from Gajendra whenever he whipped Ram. Everybody decided to get Ram married for his well being. Gajendra found a rich girl Anjana (Waheeda Rehman) with the aim of getting a huge dowry. Anjana disliked Ram after he spilled tea over her due to nervousness. Gajendra angry at Ram's behaviour, conspired with the support of his mother and cunning Munimji to kill Ram and take over his property. Ram overheard this and escapes to the city to save his life. Meanwhile, Ram's long lost twin brother Shyam (Dilip Kumar) lived in a village with his adopted mother Ganga whom he believed to be his birth mother. No one other than Ganga knew the truth about the twin brothers. Shyam was strong, brave and mischievous, unlike his brother. He had a love hate relationship with Shanta (Mumtaz). Shyam escaped to the city, after a mischievous conflict with Ganga, and met Anjana, who was impressed by his personality. Anjana and her father confused Shyam with Ram. Ram met Shanta who thought he was Shyam and took him forcefully to his mother. Ram and Shanta developed feelings for each other. Meanwhile, Shyam decided to take the place of Ram to face Gajendra. Shyam refused to sign his property after which angry Gajendra attacked him. Shyam retaliated and whipped Gajendra hard, shocking everybody. Sulakshna stopped her brother to protect her husband. Gajendra was startled after being beaten up by Shyam, whom everybody believed as Ram. Shanta and Anjana met and both claimed the picture of Ram as their fiancé. Gajendra learned that Shyam has taken the place of Ram. He abducted Ram and Shanta, and planned to kill Ram. He framed Shyam for the murder of Ram though Ram was alive. Shyam was arrested by police. Anjana and her father learned from Ganga that Ram and Shyam were twin brothers lost in a village fair. Shyam escaped from police custody and battled Gajendra and his henchmen. Gajendra tried to shoot them but both the brothers and Shanta manage to defeat him. At the end twin brothers were happily married and the family reunited. As usual the Naushad Ali, Rafisahab, Shakeel Badayani magic worked for Dilip Kumar and all the songs like “aaj ki raat mere”, “ayi hai bahar mite zulmo sitam”, “mai hoon saqi tu hai sharabi sharabi”, became super hit. Many films were later made with same storyline like Sita Aur Geeta, Chaalbaaz, etc. The 3rd biggest hit film was Farz. It was 1967 Hindi spy thriller film produced by Sunderlal Nahata Dundi on Vijaya Lakhshmi Pictures banner and directed by Ravikant Nagaich. The film starred Jeetendra and Babita in lead roles and music composed by Laxmikant Pyarelal. Jeetender’s career took a big turn with the success of the film. LP’s music for Rafisahab became bumper hit like “tujhse o haseena”, “baar baar din yeh aye”, “mast bahaaro ka mai aashiq” to name a few. The 4th biggest hit film was Humraaz. It was a 1967 Hindi film of the suspense thriller genre, produced and directed by B. R. Chopra, and written by Akhtar ul Iman. The film starred Sunil Dutt, Raaj Kumar, Mumtaz, Vimi, Sarika, Madan Puri, Iftekhar, Balraj Sahni, Jeevan and Helen. The film's music was composed by Ravi, while the lyrics were penned by Sahir Ludhianvi. Mahendra Kapoor received filmfare award for best singer for his song “neele gagan ke tale”. The 5th biggest hit film was Shagird. is a 1967 Indian Bollywood comedy film directed by Samir Gunguly. The film starred Joy Mukherjee and Saira Banu in lead roles. The LP Rafisahab magic worked in this film also with the songs “duniya pagal hai”, “bare miya deewane”, “wo hai zara khafa khafa” becoming big hits.

Sangam with brilliance of Raj Kapoorsahab, Vaijayantimalaji, Rajender Kumarji was the greatest blockbuster of 1964.

Sangam was the greatest hit film.  Sangam  Ayee Milan Ki Bela  Dosti  Ziddi  Raj Kumar  Kashmir Ki Kali  Haqeeqat  Zindagi  April Fool  Woh Kaun Thi Sangam was the greatest hit film. Raj Kapoor, Rajender Kumar, Vaijayantimala 1964 was a significant year in the history of bollywood films in India. There were various reasons for that. Firstly budgets of Indian films increased. Secondly from making black and white films majority of filmmakers started making coloured films. The technology of Indian films developed. More shooting of Indians took place in foreign countries. Music in those films just improved and improved. Sangam Raj Kapoor, Vaijayantimala in Sangam In 1964 the greatest blockbuster was Sangam. The film was produced and directed by Raj Kapoor. It was one of most successful films Raj Kapoor had made. The music was composed by Shankar Jaikishan. Brilliant performance of Vaijyantimala, Raj Kapoor and Rajender Kumar made the viewers spellbound. The story of Inder Raaj Anand was also very touching. Shooting of Raj Kapoor in Switzerland, Paris and other European countries created a treat for the eyes. Shankar Jaikishan’s excellent music with super hit songs of Rafi “ye mera prempatra par kar”, Mukesh “dost dost na raha”, Lata “O mere sanam”, to name a few. Raj Kapoor won the best director filmfare award for Sangam, while Vaijayantimala won the best actress award for best performance in Sangam. Ayee Milan Ki Bela Rajender Kumar, Saira Banu, Dharmender The second greatest hit film was Ayee Milan Ki Bela. Rajender Kumar, Saira Banu and Dharmender were the lead artists. The music of Shankar Jaikishan was excellent with Rafi’s brilliant songs “to bura maan gaye”, “hum pyar ka diwana”, “aha aye Milan ki bela”, etc., all became super hit. The performance of Saira Banu and Rajender Kumar was excellent. The direction of Mohan Kumar and production of J. Om Prakash require special mention. Dosti Sudhir Kumar, Sushil Kumar in Dosti The third greatest hit film was Dosti. Very significantly it was a black and white classic film directed by Satyen Bose and produced by Tarachand Barjatya of Rajashri Productions. The film was the remake of super hit Bengali film Lalubhulu directed Agradoot. Sudhir Kumar and Sushil Kumar were the lead artists, one playing the role of a blind child while the other being handicapped whose feet was lost in an accident. There were no superstars in the film but the brilliant story touched the souls of every Indian. Sanjay Khan made his debut in the film. In Lalubhulu excellent music of Robin Chatterjee, excellent lyrics of Sailen Roy with brilliant songs of Manobendra Mukherjee namely “dukkho amar shesh kore dao probhu”, “ei pranjharona jaglo”, was worth mentioning. In Dosti, excellent music of Laxmikant Pyarellal, brilliant lyrics of Majrooh Sultanpuri and brilliant songs of Mohammad Rafi namely “chahunga mai tujhe”, “rahi manwa dukh ki chinta” made the viewers spellbound. Ziddi Joy Mukherjee, Asha Parekh The fourth greatest hit film was Ziddi. Joy Mukherjee and Asha Parekh were the lead artists. The film was produced and directed by Pramod Chakraborty. There were strong performances from Mehmood, Subha Khote, Dhoomal, Nazima. SD Burman’s music was very significant with Rafi’s hit songs “teri surat se”, “janu kya mera dil”, and Manna Dey’s comedy songs “pyar ki aag me”, “mai tere pyar me” etc. Asha Parekh’s strong dance performances require special mention. Raj Kumar Sadhna, Shammi Kapoor The fifth greatest hit film was Raj Kumar. Shammi Kapoor and Sadhna were the lead artists. The film was directed by K. Shankar. The excellent music of Shankar Jaikishan and brilliant songs of Mohammad Rafi namely “tumne pukara aur hum chale aye”, “tumne kisi ki jaan ko”, were worth mentioning. The supporting performances of Pran, Manorama, Prithviraj Kapoor, Rajender Nath require special mention. Kashmir Ki Kali Shammi Kapoor Sharmila Tagore The sixth greatest hit film was Kashmir Ki Kali. Shammi Kapoor and Sharmila Tagore were the lead artists. The film was produced and directed by Shakti Shamanta. The brilliant music of OP Nayyar and excellent songs of Rafi including “ye chand sa roshan chehra”, “diwana hua badal”, etc., flabbergasted the audience. Excellent shooting in Jammu and Kashmir require special mention. Nasir Hussain, Pran and other supporting actors did well. Haqeeqat Balraj Sahani, Dharmender The seventh greatest hit film was Haqeeqat. The film was written and directed by Chetan Anand on the backdrop of Indo-China war. Strong performances from Balraj Sahani, Dharmender, Jayant, Priya Rajwangsh require special mention. Excellent music of Madanmohan Kohli, excellent lyrics of Kaif Azmi and songs of Rafi “kar chale hum fida”, Lata “zara si aahat”, etc., require special mention. Singer Bhupinder Singh acted and sang in the film the song “hoke majboor usne bulaya hoga” with Rafi, Manna Dey, Talat Mehmood. Zindagi Rajender Kumar, Vaijayantimala The eighth greatest hit film was Zindagi. It was produced by S.S. Vasan of Gemini Pictures and directed by Ramanand Sagar. Rajender Kumar, Vaijayantimala and Raj Kumar played the lead roles. Again the hit music of Shankar Jaikishan with successful songs of Rafi “pehele mile the sapno me” contributed in the success of the film. The performances of supporting actors Prithviraaj Kapoor, Leela Chitnis, Jayant, require special mention. April Fool Biswajeet, Saira Banu The ninth greatest hit film was April Fool. It was directed by Subodh Mukherjee. Saira Banu and Biswajeet Chatterjee played the lead roles. The excellent music of Shankar Jaikishan and Mohammad Rafi’s brilliant songs “aa gale lag ja”, “april fool banaya” once again attracted attention. The brilliant shooting in Jammu and Kashmir was worth mentioning. Woh Kaun Thi Manoj Kumar, Sadhna The tenth greatest hit film was Woh Kaun Thi. The film was a crime-thriller directed by Raj Khoshla. Manoj Kumar, Sadhna, Prem Chopra, KN Singh gave excellent performances. The horror effect created by Madanmohan’s music and Lata’s song “naina barse”, “lagja gale”, require special mention. The film can be considered to be one of the best 10 horror film ever made in India. A number of observations can be made in respect of 1964. Shankar Jaikishan still dominated the world of music. Sangam, Ayee Milan Ki Bela, Zindagi and April Fool became super hit due to their excellent music. Mohammad Rafi and Lata Mangeshkar were at their best and every film had their great contribution. The other composers Madanmohan Kohli, OP Nayyar, SD Burman, Laxmikant Pyarellal all were excellent in their contribution. Naushad Ali also composed excellent music in Dilip Kumar’s Leader in 1964. Among the actors after Raj Kapoor and Dilip Kumar, Rajender Kumar was a great crowd puller. Three of his films Sangam, Ayee Milan Ki Bela and Zindagi featured in the top 10 films. Shammi Kapoor, Joy Mukherjee, Manoj Kumar, Biswajeet Chatterjee, Dharmender made notable contribution. Among the actresses Vaijayantimala was at the top. Saira Banu, Sadhna, Asha Parekh were the other contributors who gave excellent competition. Big Budget films like Sangam were appreciated, at the same time medium budget films like Dosti, created havoc. Good stories were appreciated by the audience

Veteran singer Mahendra Kapoorji is remembered for legendary songs

Veteran singer Mahendra Kapoor was remembered on his death anniversary. Few years ago the great singer had left the listeners. But he is alive in his numerous brilliant basic discs and film songs. He came to limelight in bollywood music with the resemblance of classical singer Mohammad Rafi. In fact Rafi is the idol and guru and Mahendra Kapoor learned singing from the musical giant. Mahendra Kapoor became a big contributor in BR Chopra’s films in the 50s and 60s. In Rajender Kumar’s film Dhool Ka Phool Mahendra Kapoor’s songs were very successful. During that period, Mahendra Kapoor sang a brilliant Bengali modern song “ekti e raat katena” which made viewers spellbound. The song had pathos feeling, romantic appeal, classical touch everything embedded in it. He was unblemish in Sunil Dutt’s film Gumraah released in 1963. His song “chalo ek baar bhir se” became super hit in the early 60s. Composer Ravi had composed many brilliant tunes for Mahendra Kapoor in his illustrious career which included the songs “neele gagan ki tale” in the film Humraaz for which he received filmfare award for the best singer, “in baharon me in ghatayon me tujhko mera dil pukare” in the film Gumraah to name a few. Mahendra Kapoor also sang many songs under composition of OP Nayyar which included “one two three” in Biswajeet’s film Kismat, “lakhon hai mera dilwala” in Biswajeet’s film Kismat, “baharen phir bhi ayegi” in Dharmender’s film Baharen Phir Bhi Ayegi. Mahendra Kapoor also sang important songs in the blockbusters of Raj Kapoor and Dilip Kumar. In Raj Kapoor’s Sangam his song “har dil jo pyar karega” with Mukesh and Lata became super hit. In Dilip Kumar’s films Ram Aur Shyam and Aadmi, his songs were impressive. Mahendra Kapoor started a new innings with Manoj Kumar’s film Upkaar. He sang numerous number of patriotic songs for Manoj Kumar including “rang de basanti chola” in the film Shahid, “mere desh ki dharti “ in the film Upkaar, etc. He contributed in films like Purab Aur Paschim, Roti Kapda Aur Makaan, Kranti, etc. It is not possible to highlight the contribution of Mahendra Kapoor who had contributed in bollywood films for more than 40 years in a small article. Numerous listeners miss Mahendra Kapoor but remember him in his melodious songs. His songs and films should be restored.

Guru Duttsahab and Rafisahab came saw and conquered

Melody in Guru Dutts films and combination with Mohammad Rafi. 9th July is the birth anniversary

of noted Director Guru Dutt. He was born in 1925 on this day. Rafi became a living legend in the mid-50s after dominating bollywood films over ten years and singing for nearly all the giant productions and leading actors of bollywood. He had very strong combination with thinking actor Guru Dutt. Guru Dutt had created his image in bollywood films in different categories being a thoughtful director and producer, dynamic actor, good choreographer. One of the numerous reasons for which his films became super hit in the 50s and 60s include the brilliant songs sung by Rafi during the golden age. Rafi’s songs in Guru Dutt’s Aar Paar, composed by OP Nayyar became super hit. It was followed by Mr and Mrs. 55 released in 1955. Songs picturized on both Guru Dutt and Johnny Walker had melody and sweetness. Rafi’s songs like “dil pe kiya aisa jaadu”, “muhobbat karlo aji karlo”, “sun sun sun sun zaalima”, composed by OP Nayyar, created landmark in the mid-50s and Rafi emerged as the greatest singer of bollywood films during that time. The same combination of Guru Dutt, OP Nayyar and Rafi gave everlasting hit in the film 12 O Clock with songs like “mai kho gaya”. When Guru Dutt used SD Burman for composing songs in the film Pyaasa and Kaagaz Ka Phool, Rafi was used brilliantly for the legendary music of those films. Both the films won national and international awards and remain a landmark in the field of story-telling. Rafi’s songs “sar jot era chakrae” picturised on Johnny Walker and “hum aapke aankho me” and “yeh mahalon yeh takhton yeh taajon ki duniya” picturised on Guru Dutt had emotions, passions, comedy, tragedy everything embedded in them. Rafi’s duet combination with Geeta Dutt was bolstered in the film. The lyrics were outstanding as well. The films marked the best music given by SD Burman in his entire lifetime. Guru Dutt can boast himself to have given lips in one of Rafi’s best ghazals sung in the history of bollywood films titled “chaudavi ka chaand”. Guru Dutt picturised the song sequence with colour, showing his passionate relationship with Wahida Rehman in the film Chaudavi Ka Chand. Ravi’s music in the film showed the pardanashin culture of muslims in India during the early 60s. Rafi also sang songs for Guru Dutt in the film Saanjh Aur Sawera, composed by Shankar Jaikishan. The title song “yehi hai who saanjh aur sawera” sung by Rafi became very popular. Meena Kumari balanced the powerful performance of Guru Dutt in the film. The other films where Rafi had contributed for Guru Dutt include Bharosa where Ravi composed melodious tunes including “yeh jhuki jhuki naina” picturised on Guru Dutt and Asha Parekh. Guru Dutt’s music in the film Baharen Phir Bhi Aayegi composed by OP Nayyar, created sensation in the mid -60s. It was a tragedy, that Guru Dutt died before the release of the film and could not see the success of the film. The songs sung by Rafi and picturised on Dharmender mesmerized the audience and still haunts people all over the world. One of those brilliant songs include “aap ki haseen rukh me aaj naya nur hai, mera dil machal gaya to mera kya kasoor hai”. The uniqueness of Guru Dutt’s relationship with Rafi lies in the fact that whether the composer was OP Nayyar or Shankar Jaikishan or SD Burman or Ravi, the music composed for whom had philosophical thoughts embedded in them and Rafi gave expression to the mesmerizing lyrics of evergreen tunes which had become immortal over a period of time. The films and the songs should be preserved and restored.

Happy birthday to dancing queen Madhuri Dixitji

Happy birthday to dancing queen Madhuri Dixit. The viewers of bollywood films wish happy birthday to beauty queen and dancing queen Madhuri Dixit on 15th May, 2026

. She ruled bollywood films in the late 80s and 90s. In fact after her retirement of films no single actress of bollywood films could be associated with the number one position. In 2013, for celebrating 100 years of Indian cinema when polling was conducted by History TV, amongst actresses Madhuri Dixit received the maximum number of votes. From Tezaab, she dethroned Sri Devi from the number one position and created sensation in bollywood. Her dance performance in the song “ek do teen” in Tezaab, surprised the viewers. Her pair with Anil Kapoor was well accepted by the viewers. The hit films of the immortal pair include Ram Lakhan, Khel, Jeevan Ek Sunghursh, Zindagi Ek Jua, Parinda, etc. In the late 90s, she proved herself in every type of film and was cast by different directors and producers. The successful pair had produced both commercial masala films like Ram Lakhan directed by Subhash Ghai, and also off-beat films like Parinda, which was made for the intellectual audience. Sanjay Dutt and Madhuri Dixit stormed bollywood with romantic performance in the film Saajan. It was the musical blockbusters of early 90s which shook the industry. All the songs of the film were hit including “jiye to jiye kaise”, “mera dil bhi kitna paagal hai”, “mai shayar hoon”, etc. Madhuri Dixit was considered the best dancer of the country at that time. Even her performances in the other films opposite Sanjay Dutt were also impressive including Thanedaar, Khalnayak and Mahanta. In off-beat films like Nana Patekar’s Prahar and Parinda, Prakash Jha’s Mrityudand, her performance impressed the intellectual audience. She acted in those films with hardly any make up and still created her impression. She received the filmfare award for the best actress a number of times. Viewers remember her notable performance in the film Beta opposite Anil Kapoor. She fought against her mother-in –law to get justice for her husband. Her other hit films include Dil opposite Amir Khan, Hum Aapke Hai Kaun opposite Salman Khan, Aarzoo opposite Akshay Kumar, Koyla and Dil To Paagal Hai opposite Shahrukh Khan, to name a few. In fact, her film Hum Aapke Hai Kaun, opposite Salman Khan had remained as one of the greatest blockbusters of all times. She became such a phenomenon in the mid-90s, that the producers associated the success of the film with her more than the heroes of those films. In Raj Kumar Santoshi’s Lajja, in a multi-starrer film Madhuri Dixit was not cast opposite the leading actors like Jackie Shroff, or Anil Kapoor, yet her performance stands out as one of the best performance of the film. Her womanhood in the film attracted every type of audience. Also her performance in crime-thrillers like 100 days attracted viewers. It was a murder mystery, where Jackie Shroff, the boyfriend of Madhuri killed her sister Moonmoon Sen. Madhuri Dixit expressed the anxiety and horror in the film to perfection. Even her performance opposite Anil Kapoor in the film Pukar requires special mention. Anil Kapoor got national award for the best actor for the performance in the film. It was a film related to patriotism and Madhuri Dixit was probably the only actress in bollywood who could match Anil Kapoor in his struggle against terrorists. She acted in few films few year back like Aaja Nachle, but the films did not create the same magic as that of the 80s and 90s. Last year she judged the dance competition held in Private Channel in India. She came from USA and gave tips to the different participants including Shekhar Suman, Ankita Lokhunde and others. She also attended the filmfare awards. After judging the program she returned back to USA. Madhuri Dixit attended some of the award functions later on. All the superstars of the present period like Hrithik Roshan appreciated Madhuri Dixit. Shahrukh Khan danced with Madhuri Dixit in one of the award shows. Priyanka Chopra dedicated certain dance numbers to Madhuri Dixit in the same show. She acted in the film Dedh Ishqiya and Gulab Gang in recent years and shown that she still has acting left in her. Viewers consider her as the best actress of the last 30 years and want her to make a comeback in character roles in future.

Rafisahab gave landmark songs between 1971 to 1975

Rafisahab sang very landmark songs between 1971 to 1975. By: Dr Souvik Chatterji (Associate Professor in Law and Head of Department, JIS University, Kolkata) Rafisahab is remembered on his death anniversary in December 2022. It is 42 years since he left the world, yet his popularity increased and increased. Some group addressed the media that mid 1970s was the phase when Rafisahab sang less number of songs. Here are some of the landmark songs Rafisahab sang between 1971 to 1975. In 1971, Rafisahab sang landmark songs for Rajender Kumarsahab film Aap Aye Bahar Aye. He sang “mujhe teri muhabbat ka sahara”, “ pooch jo koi mujhse”, “aap aye bahaar aye”, composed by Laxmikant Pyarelalji all became super hit. In 1971 Rafisahab sang landmark songs for Shammi Kapoorji film Andaaz. He sang “hai na bolo bolo”, “remamma remamma re”, “dil use do jo jaan de de” composed by Shankar Jaikishanji all became super hit. In 1971, Rafisahab song “kuch keheta yeh sawan” in Dharmenderji film Mera Gaon Mera Desh composed by Laxmikant Pyarellalji became big hit. In 1971, Rafisahab song “tubhi aaja ki ay gayi” in Raj Kumarji film Maryada composed by Kalyanji Anandji became a big hit. In 1971, Rafisahab song “chirag kis ke ghar ka” in Jeetenderji film Ek Nari Ek Brahmachari composed by Shankar Jaikishanji became super hit. In 1972, Rafisahab song “chalo dildar chalo” in Raj Kumarji film Pakeeza composed by Ghulam Muhammadji became super hit. In 1972, Rafisahab song “ek na ek din yeh kahani banegi” in Rajender Kumarji film Gora Aur Kala composed by Laxmikant Pyarelalji became super hit. In 1972, Rafisahab song “bol mere sathiya” and “aaj gaalo muskurayo” in Rajender Kumarji Dharmenderji film Lalkar composed by Kalyanji Anandji became super hit. In 1972, Rafisahab song “bari bewafa hai yeh husnwale” in Jeetenderji film Roop Tera Mastana composed by Laxmikant Pyarelalji became a big hit. In 1973, Rafisahab song “chura liya hai tumne jo dilko” in Dharmenderji film Yaadon Ki Baraat composed by RD Burmanji became a big hit. In 1973, Rafisahab song “aaj mausam bara beimaan hai” in Dharmenderji film Loafer composed by Laxmikant Pyarelalji became a super hit. In 1973, Rafisahab song “tum jo mil gaye ho” in Navin Nischalji film Hanste Zakhm composed by Madanmohanji became a super hit. In 1974, Rafisahab song “ek daal par tota bole” in Shashi Kapoorji film Chor Machaye Shor composed by Ravindra Jainji became super hit. In 1974, Rafisahab song “teri galiyon me na rakhenge kadam” in Anil Dhawanji film Hawas composed by Usha Khannaji became super hit. In 1974, Rafisahab song “phir wohi wohi baat” in Sanjeev Kumarji film Naya Din Nayi Raat composed by Laxmikant Pyarelalji became super hit. In 1975, Rafisahab song “jat yamla pagla diwana” in Dharmenderji film Pratigya composed by Laxmikant Pyarelalji became super hit. In 1975, Rafisahab song “ chari re chari kaise gale me pari” in Sanjeev Kumarji film Mausam composed by Madanmohanji became super hit. In 1975, Rafisahab song “ek mahal ho sapno ka” in Dharmenderji film Ek Mahal Ho Sapno Ka, composed by Raviji became superhit. The list goes on. In the later years Rafisahab sang landmark songs Rishi Kapoorji films like Laila Majnu, Amar Akbar Anthony to mention a few. So this shows Rafisahab songs were significant in the mid 1970s as well. The songs require restoration and preservation.

Nadiraji was a sizzling star of the golden age.

Nadira – the sizzling star of golden age. Nadira used to be considered a sizzling star of the 50s and 60s, the golden age of bollywood cinema. Her beauty was different than the traditional stars like Nargis or Madhubala, and her charishmatic intonation had created a separate place in the minds of viewers. She acted in the first coloured film of bollywood that is Aan, made in the early 50s opposite Dilip Kumar. From Aan itself, the smartness of Nadira reflected in her acting as the film required horse-riding and adventurous acts which were difficult for other actresses of the same era. In 1955, Raj Kapoor gave the role of her lifetime in the film Shree 420. Her villainish performance in the film did outcast Nargis in the same film. The song “mur murke na dekh” composed by Shankar Jaikishan and sung by Asha Bhosle and Manna Dey was picturised on Nadira and Raj Kapoor. The lips of Nadira created a lasting impact in the minds of the viewers and Shree 420 became a super hit film. The good part of Shree 420 in the career of Nadira was that it made her a rising star. But the bad part was that from that film her image in negative characters got bolstered and producers and directors started casting her in negative roles. In Dil Apna Aur Preeti Parayi, she acted opposite Raj Kumar and Meena Kumari. Raj Kumar had affair with Meena Kumari, a nurse in the film, and after marriage with Nadira, the weakness towards Meena Kumari led to disharmony in the family. Nadira matched Meena Kumari in acting in a musical blockbuster, where once again Shankar Jaikishan amazed the viewers with songs like “ajeeb dastan hai yeh”. Nadira’s strong command over urdu had earned her majestic roles in films like Pakiza, where the muslim pardanashin community was shown. Nadira’s performance in the film was appreciated by the critics who consider the epic film of Kamal Hamrohi, as one of the greatest films of all times. In the mid-70s, with advent of action films, characterization of negative personalities underwent a change. Even in those films Nadira contributed in her own way. Her performance as a step-mother of Shabana Azmi in the film Amar Akbar Anthony created special attraction. Her torture towards Shabana’s family was detected by Vinod Khanna, who was police officer in the film and she was arrested. In the mid-80s, she made valuable contribution in Ramesh Sippy’s romantic film Saagar. She was associated with Kamal Hassan, who made the viewers cry at the end of the film when his romance ended in failure. She loved Dimple Kapadia who was addicted towards Rishi Kapoor. When Rishi Kapoor was attacked by his relatives Kamal Hassan saved at the cost of his own life. Kamal Hassan had special relation with Nadira and he used to disclose his private matters to her. Nadira was compassionate towards Kamal Hassan when she came to know about his sacrifice. In the 90s, Nadira’s performance in the TV serials directed by Gulzar, where Om Puri interviewed her about her film career, was equally impressive. Kamini Kaushal also acted in the serial and matched Nadira in the special role. Nadira’s films should be preserved to grace her remote style of performance having sizzling effect and also lasting appeal.

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Remembering Kazi Nazrul Islam and rendition of Manobendra Mukherjee performance in his songs

Remembering Kazi Nazrul Islam by Manobendra Mukherjee’s songs. Poet, composer and singer Kazi Nazrul Islam is remembered on his death anniversary on 29th August, 2026. He was considered to be one of the greatest Bengali talents after Rabindranath Tagore who created songs and poetry during colonial period. He was in fact called bidrohi kobi, meaning rebel poet. Manobendra Mukherjee, the genius of Bengali classical songs had made Nazrul Islam immortal by singing more than 500 Nazrulgeeti during his lifetime. Manobendra Mukherjee died in 1992, but before that whatever records he made in nazrulgeeti still remains the Geeta for new singers who specialize in Nazrulgeeti. Some of the songs that people remember include “eto jol o kajol”. Manobendra showed his classical jugglery in the song “bou katha kou katha kao abhimanini”. The song which Manobendra Mukherjee sang in many concerts included “bagichay bulbuli”. The other song which was very popular in the 70s included “jare haat diye mala gethe”. The same song was also recorded by legendary singer Pandit Ajoy Chakravarty in his own andaz. Manobendra also was brilliant in the song “timir bidary”. Manobendra’s song “noyon bhora jol go tomar aanchol bhora chul” became extremely popular in 80s. His other hit songs included “jhumko lotar chikon”, “keno kaden poran”, “kache amar niba”, “saat bhai chompa”, “aso priyo aro kache”, “jani amar sadhona”, “amar noyone noyon”, “jabar belay fele”, “mor priya hobe”, “sondha se godhuli”, to name a few. Few of Manobendra’s songs had been sung one after the other by other musical giants. For example “sawono rate Jodi”, had been sung by Manobendra. It was also sung by Manna Dey in the film Devdas, where Uttam Kumar gave lips in the song. Besides Manobendra Mukherjee’s song “ado ado bol” was also recorded by genius singer Mohammad Rafi later on. One article is too small to highlight Manobendra Mukherjee’s landmark songs composed by Nazrul Islam, but along with Juthika Roy, Dhirendra Mitra, Firoza Begum, Kamal Dasgupta, Manobendra Mukherjee had glorified Nazrulgeeti in his own classical andaz. The songs should be preserved.

Oscar winning director Satyajit Ray the greatest director ever is remembered on birth anniversary

Remembering Satyajit Ray on 2nd May, 2026. Viewers of international films all across the world remember Oscar Winning Director Satyajit Ray on his birth anniversary on 2nd May and death anniversary 23rd April, 2026

. Ray was born on 2nd May, 1921, and critics feel it was the birth of legend of legends and probably one of the greatest talents the world has ever produced after Rabindranath Tagore. Ray showed his excellence in every different of film making including script writing, costumes, music direction, costume designing, etc. My father, Chitta Ranjan Chatterji, Ex-Chief Public Prosecutor, Bankshall Court, North, Calcutta, represented Sandip Ray, the son of Satyajit Ray, in a case relating to recovery of manuscripts from Uday Acharya, the brother of Nirmal Acharya, a renowned critic. When the manuscripts of Ray’s films were seized from Udai Acharya’s house and opened from sealed trunk it was seen that they were pictographic in nature. Script of the film Pather Panchali, Gonoshotru had illustrations at every part which showed the secret of Ray’s brilliant characterization in films. Probably some of the actors and actresses in Ray’s films rose to stardom through the images portrayed by Ray. Chabi Biswas mesmerized the film lovers with his dignified performance in the role of Bishambhar Roy in the film Jalsaghar. Charu Prakash Ghosh was unparallel in the role of Birinchibaba in the film Kapurush Mahapurush. Anil Chatterji was unparallel in the role of Post Master in the film Teen Kanya. Utpal Dutt gave his performance for his life in the character Maganlal Meghraj in the film Joy Baba Felunath. Similarly Om Puri and Smita Patil were sublime in their roles in the film Sadgati. Sanjeev Kumar entered the skin of the character played in the film Shatranj Ki Khiladi. Uttam Kumar could not have been replaced by any other actor in the film Nayak. Karuna Banerjee had made the role of mother of Apu immortal in the film Pather Panchali. Sharmila Tagore was outstanding in the film Debi. Tapen Chatterji and Robi Ghosh are still remembered by filmlovers through their character Goopi Bagha. All the Indian directors like Shyam Benegal, Adoor Gopalakrishnan ,had agreed that they learnt the art of story-telling from Ray’ films. Even the theme music of the legendary director had moved the directors all across the world. Audrey Hepburn, the Oscar winning actress while awarding the Oscar award for lifetime contribution of Ray, said in her speech that Ray’s direction had the soul of Apu in the Apu Trilogy march out from the village of West Bengal and explored India and expressed the struggle for existence of every middle-class individual of the country. Whenever classic literature of novelists and writers were used in films, Ray created his own dimension in those films, including the standard of excellence in the films Charulata and Ghare Baire which were based on the epic literature of Tagore. Films made by Ray from his own literature like Sonar Kella, Joy Baba Felunath, Agantuk, etc., were equally brilliant. The films of Ray should be preserved to disseminate the art of script writing, costume designing, theme music, camera work, neat direction, etc. Satyajit Ray is remembered on 23rd April, 2012, his death anniversary. Oscar winning Director Satyajit Ray had been remembered all over the country on 23rd April, 2012. He had died on this day in 1992 at the age of 71 years. He was considered to be a legend of legends. Right from his first film Pather Panchali he changed the world of story telling in Indian films. He used classic literature of noted novelists like Rabindranath Tagore, Munshi Premchand, Bibhutibhushan Banerjee, Tarashankar Banerjee, and others and created a new dimension in the films with those classic stories. He changed the views of directors from shooting within studios and ventured out and captured the different moods of nature. He made crime thrillers like Joy Baba Felunath, Sonar Kella which were written by him and became popular with the children with the name of Feluda series. His use of theme music in films had been a learning experience for noted directors of the 70s like Shyam Benegal, Adoor Gopalakrishnan, Govind Nihalini and others. His Apu Trilogi showed the path of a middle-class Indian who travelled the roads of villages and ventured into the urbanized town. Most of his films including Pather Panchali, Jalsaghar, Teen Kanya, Mahanagar, Nayak, were masterpieces. His films and literature should be preserved for their immense artistic value. A big section of intellectuals feel that he was the greatest creator in India to have born after Rabindranath Tagore. His Son Sandip Ray had directed many of the films based on his father’s literature including Bombaiyer Bombete, Tintoretor Jishu, Royal Bengal Rahasya, etc.

Manna Deysahab the badshah of classical songs is remembered on birth anniversary

Happy birth anniversary to Manna Dey. The viewers of bollywood films and music lovers all across the country wish happy birth anniversary to Manna Dey on 1st May 2026

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

Talat Mehmoodsahab the owner of velvetty voice is remembered on death anniversary

The owner of velvette voice Talat Mehmood was remembered on his death anniversary on 9th May, 2026

. The listeners of bollywood music wish happy birthday to legendary singer Talat Mehmood on 24th February, 2015

. He was a leading performer in bollywood films during the 40s, 50s and 60s. Along with Rafi, Mukesh and other leading singers of bollywood Talat Mehmood sang notable songs in the films of leading stars of bollywood. He rendered his voice for most of the actors of the bollywood during the 40s and 50s including Dilip Kumar, Raj Kapoor, Bharat Bhushan, and others. His landmark songs included “dil-e-nadan tujhe hua kya hai” composed by Ghulam Mohammad and picturised on Bharat Bhushan, in the film Mirza Ghalib in 1954, “koi nahi mera” composed by Shankar Jaikishan and picturised on Dilip Kumar in the film Daag in 1952, “mai dil hoon ek armaan bhara” picturised on Raj Kapoor in the film Anhonee in 1952, etc. He sang landmark songs for Dilip Kumar also in the films Footpath, Devdas, etc. All the leading composers of bollywood films of that age namely Naushad Ali, Shankar Jaikishan, Roshan Lal Nagrath, Madanmohan Kohli , OP Nayyar, Salil Choudhury, SD Burman and others used him in different films. His other landmark songs included “phir wohi sham” composed by Madanmohan and picturised on Bharat Bhushan in the film Jahan-ara released in 1964. Talat Mehmood acted in a number of films including Dil-e-Nadan opposite Shyama, Raftaar opposite Nadira, Waris opposite Suraiya, Ek Gaon Ki Kahani opposite Mala Sinha and also showed his acting talent in those films. He had been mainly associated with ghazals and soft romantic songs. His vibrating technique in rendition had charmed many listeners of the golden age. He also sang light songs for many composers. His other songs included “jalte hai jiske liye” composed by SD Burman in the film Sujata, “humse aya na gaya” composed by Madanmohan in the film Dekh Kabira Roya, “itna na mujhse tu pyar bara” composed by Salil Choudhury in the film Chaya, “aye mere dil kahin aur chal” composed by Shankar Jaikishan in the film Daag, to name a few.. Talat Mehmood had a number of basic discs in Bengali as well. His landmark songs included “chander eto alo” and “alote chayate” composed by Robin Chatterjee, “duti paakhi duti teere” composed by Kamal Dasgupta, etc. The sweetness of his voice was well appreciated by the Bengali listeners as well. His songs and films should be preserved and restored.