Sharmila Tagore- Soft romantic actress of bollywood

Sharmila Tagore – the symbol of Bengali Beauty in Bollywood:

Sharmila Tagore is one of the remote actresses gracing bollywood during 60s and 70s, who had rabindrik image which depicted a unique appeal for the film lovers of the country.

She started her career with the Bengali film Apur Sangsar, in 1959, the third episode of the Apu Trilogy directed by one of the greatest directors of the world Satyajit Ray. Scenes depicted by Ray, where she was silent, her expressive eyes spoke for herself. She acted in other films of Ray including Seema Baddha, Aranyer Dinratri, Debi, etc., but viewers had acknowledged her sublime performance opposite Uttam Kumar, in Ray’s film Nayak, 1966, which was based on the biography of Bengal’s greatest superstar of all times. Sharmila played the role of a journalist and her submissiveness before a popular matinee idol shot in Rajdhani Express depicted the bashfulness of Bengali women of that age.



In 1964, Sharmila began her career in hindi films in Shakti Samanta’s musical blockbuster Kashmir Ki Kali, 1964, opposite Shammi Kapoor. She displayed the role of submissive Kasmiri woman and gave elegant lips in OP Nayyar’s songs sung by Asha along with Rafi including “isharo isharo”, “diwana hua badal”, etc. The same pair was launched again by Shakti Samanta, in An Evening in Paris, 1967, this time Shankar Jaikishan’s composition of music flabbergasted the audience, including duet songs sung by Asha and Rafi like “raat ke humsafar”, etc. The entire film was shot in France and Indian audience got an additional flavour of rich locations in addition to popular music.

Sharmila Tagore acted in successful films after that period including Yakeen, Satyakam opposite Dharmender, Talash opposite Rajender Kumar, Dastan opposite Dilip Kumar, Aradhana, Safar, Amar Prem opposite Rajesh Khanna, Mere Humsafar opposite Jeetender. Most of these films had excellent music and that contributed to the success of the films in addition to romantic performance of Sharmila Tagore opposite all these actors.

In the mid -70s Gulzar gave a new dimension to the performance of Sharmila Tagore by casting her in a double role in Mausam opposite Sanjeev Kumar. She was the daughter of a village doctor near Darjeeling, who treated Sanjeev Kumar while he came to that place while studying medical science. He went abroad for further education, within short time Sharmila gave birth to his daughter which was played by Sharmila again and due to victim of circumstances she became a tawaif. The entire film hovers around that relationship and Sanjeev Kumar, the father at the end of the film takes her back to the city. The film was based on reflections and Madan Mohan’s music, Gulzar’s lyrics and the songs sung by Lata, Bhupinder Singh and Rafi, including ‘dil dhoonta hai phir wohi” touched the soles of the viewers. She won the national award for the best actress in that year for sublime performance in Mausam.

Sharmila Tagore’s performance in Gulzar’s film Namkeen opposite Sanjeev Kumar is worth mentioning. She played the role of the eldest daughter of Wahida Rehman ( a widow of a poor rural family) and acted as a guardian for the other two sisters who received support from the truck-driver played by Sanjeev Kumar. Besides her performance opposite Uttam Kumar in films like Amanush, Anand Ashram, Dooriyan, is worth mentioning. In Anand Ashram, she married the doctor who opened a dispensary in the village for treatment of poor, helpless villagers and she ably supported her husband in the noble mission. Unfortunately she died while giving birth to her child. The rest of the film relates their relationship with the next generation but throughout the film Uttam Kumar mourned the untimely death of her wife and displayed her immense love for Sharmila.

Dooriyan relates to complex relationship between the husband and the wife which leads to separation and again unification at the end of the film as the children of the couple could not stay without their parents together. Very soft virtues of husband wife relationship was displayed in the film and the duet song “zindagi zindagi” sung by Anuradha Porwal and Bhupinder Singh and “zindagi me jab tumhare gham nahi the” talked about them. Jaidev’s everlasting tunes have not lost significance even today. In recent years Sharmila Tagore won national award for best supporting actress in Goutam Ghosh’s Abar Aranye. Although Sharmila Tagore did not belong to the category of powerful dancers like Vaijayantimala or aristocrat performers like Meena Kumari, her soft, docile, submissive, understanding characteristics have given a separate dimension to bollywood films for which her films should be preserved and restored.

Raj Kumar - The Stylish Actor of Bollywood

Raj Kumar – the stylish actor of Bollywood.

Raj Kumar can be considered as one of the most stylist actors of bollywood whose style of stretching the dialogues with a unique manner of expression entertained the film lovers for the last 50 years. Born on 8th October, 1926, his original name was Kulbhushan Pandit, but he gained popularity in Indian silver screen with the name of Raj Kumar. He started his career with the film Merry Women, in 1952, but got recognition after acting in an epic role opposite Nargis in Mehboob Khan’s cine-classic Mother India in 1957. Although it was a female oriented movie with Nargis showing the struggle of a widow in a peasant family in rural India who had faced the crude realities of life after Raj Kumar died in bringing up her two sons Sunil Dutt and Rajender Kumar, Raj Kumar kept his mark in the initial part of the film.

Raj Kumar started getting prominent roles in the 60s with the success of the film Dil Apna Aur Preet Parayi in 1960 opposite Meena Kumari and Nadira. He was sublime in the performance relating to complexity of emotions in the films as he had to balance the duties towards his wife Nadira in spite of having weakness towards the nurse played by Meena Kumari. Raj Kumar also acted with his personality in the film Dil Ek Mandir, 1963, where he played the role of the sick husband of Meena Kumari and was treated successfully by the doctor played by Rajender Kumar who died at the end of the film. The songs composed by Shankar Jaikishan in both these films became evergreen hits.



In mid-60s Raj Kumar displayed a new style of performance in the film Kajal, 1965, where the song sequences with his role of a drunkard appealed to the masses. The songs “chulene do nazuk hoton ko”, “yeh zulf agar khulke bikhar jaye to accha ho”, composed by Ravi and sung with a sombre expression of Mohammad Rafi had astonished the viewers. At that time Raj Kumar appeared in multi-starrer films of BR Chopra including Waqt, 1965, along with Sunil Dutt, Shashi Kapoor and Humraaz, 1967, along with Sunil Dutt. He acted in a unique role in Neel Kamal opposite Wahida Rehman and Manoj Kumar, where he used to appear in the dreams of Wahida Rehman and reflected a past relationship. Ravi’s composition and Rafi’s song “tujhko pukare tera pyar” became super duper hit at that period. He was well appreciated in the film Heer Ranjha, opposite Priya Rajwangsh and the songs of Rafi and Lata including “yeh duniya yeh mehfil” composed by Madan Mohan became everlasting hit.

Raj Kumar also performed well in historical roles like Lal Patthar in 1971 which was the hindi adaptation of Bengali Superstar Uttam Kumar’s film Lal Pathor made in 1964. the royal nature of lifestyle of the badshahs residing near Agra was displayed with style by Raj Kumar. He also complimented Meena Kumari in Kamal Humrohi’s musical blockbuster Pakiza, 1971. His dialogue “yeh paer bari haseen hai, ise zameen par mat phekna, maile ho jaenge” was memorised by numerous film lovers in India and abroad. Ghulam Mohammad was excellent with his use of the dholak and the duet song Rafi and Lata titled “chalo dildar chalo” picturised on Raj Kumar and Meena Kumari symbolised majestic romance.

After performing in other significant roles in films like Maryada, 1971, Raj Kumar shifted to action films in the 80s and 90s. In the 80s his film Bulandi stormed the silver screen, where he played the role of a Professor and used the students of his institutions to raise their voice against corrupt businessmen operating in the society. The dialogues in the film including “humko mita sake zamane me dum nahi, humse khud hai zamana, zamane se hum nahi” almost reciprocated his personality.

He continued to perform in big productions including Subhas Ghai’s Saudagar, in early 90s opposite Dilip Kumar and Tiranga opposite Nana Patekar. In Saudagar, he did maintain his family heritage which confronted with Dilip Kumar’s set of values and the audience enjoyed their clash of personality and witty postures. With his death in the mid-90s, the generation of stylist actors faded away.

His son Puru Raj Kumar, is sometimes seen performing with stylish endeavour in films like Mission Kashmir, opposite Sanjay Dutt, but he gets mainly characters resembling anti-heroes. Raj kumar’s films should be restored to update the present generation with the blend of personality with style and depth of performance which Raj Kumar had displayed for the last 50 years.

Sadhna - The romantic actress of Bollywood

Sadhna’s contribution to Indian films:

Amongst the established actresses of the 50s and 60s, Sadhna graced the silver screen with her remote style of soft performance and made a significant impact in the golden era of Indian films. Sadhna made her debue in the film Love in Shimla, in 1959, opposite Joy Mukherjee. She made a haircut and created a distinct identity and the new generation started following her style with Sadhna cut. She amazed the film lovers with her serene performance in Raj Khosla’s Ek Musafir Ek Haseena, 1962, opposite Joy Mukherjee. It was a black and white classic but scenes were shot at picturesque locations in Jammu and Kashmir. OP Nayyar made as many musical experiments in the film as possible.

Sadhna made the musical sequences of the song “aap yu hi agar humse milte rahe” sung by Asha and Rafi immortal, by making postures in a manner by which a peacock welcomes the monsoon. The other songs in the film titled “bahut shukriya, bari meherbani” sung by Asha and Rafi, also impressed the filmlovers. After acting in Asli Nakli, opposite Dev Anand and Dulha Dulhan opposite Raj Kapoor, Sadhna addressed the purdanashin community of Aligarh, Lucknow and the middle-east countries with her dynamic performance in the film Mere Mehboob, opposite Rajender Kumar in 1963. Her combination with Rajender Kumar was well appreciated in the film Aarzoo in 1965. Sadhna gave tremendous lips for Lata’s extraordinary songs like “mere mehboob tujhe meri mohabbat ki kasam”, “aji ruth kar ab kaha jaiyega”, “bedardi balma”, etc.


While performing in romantic films Sadhna also excelled in ghostly characters in suspense thrillers like Woh Kaun Thi, 1964, opposite Manoj Kumar, Mera Saya, opposite Sunil Dutt, Anita, etc. Woh Kaun thi was probably the most successful horror film made in that age. Manoj Kumar played the role of a doctor who was horrified by presenting the sister of his wife who was a twin. Sadhna played in double role and till the end of the film every person started believing that Sadhna was a ghost. The villain in the film Prem Chopra was told by the lawyer in the family that the property of Manoj Kumar will revert back to him if it can be proved that he is insane.

So throughout the entire film Sadhna was presented at every place, sometimes near graveyard, sometimes in some other fields and Manoj Kumar started disbelieving his wife who knew nothing about her twin sister. After the doctor advised Manoj Kumar to go to Shimla for change of mind he found Sadhna there also and ultimately the death of twin sister led to disclosure of the truth. Madan Mohan’s outstanding compositions sung by Lata were picturised on Sadhna including “naina barse”, “lagja gale”, etc. In Mera Saya also Sadhna displayed the fearful entity and the superlative composition of Madan Mohan including “tu jaha jaha chalega” etc. added glamour in the coloured blockbuster.

Sadhna also performed in other films like Raj Kumar opposite Shammi Kapoor in 1965, Hum Dono, etc. In the late 60s Sadhna suffered from infirmity which changed her face and lost her romantic look, although her strong performance compelled producers to launch her in films like Isq Par Zor Nahi opposite Dharmender, Aap Aye Bahar Aye opposite Rajender Kumar, Inteqam, etc.

Sadhna’s films should be restored and preserved to bring back the memories of horror films which entertained and horrified film lovers during the golden age.

Rebel Star - Shammi Kapoor

Shammi Kapoor – The rebel star of Bollywood

Shammi Kapoor can be considered as the rebel hero of the 60s who broke the convention of other actors dominating the film arena. Shammi Kapoor, born on 21st October, 1931, better known as Shamsher Raj, was the second brother of Raj Kapoor and had a unconventional career graph if compared with other heroes of that age. In the early 50s his films like Rail Ka Dibba, 1953, Laila Majnu, Sipah Salar, did not make any significant impact on the film lovers, because his brother Raj Kapoor, was dominating the film arena with his realistic films. He transformed himself and followed the rock and roll dance postures of Elvis Priestley and started a new innings with film Tumsa Nahi Dekha, 1957.

The Indian audience was not habituated to seeing male dancers at that point of time except classical performances of Gopi Krishan. His dancing capabilities with rock and roll music composed by different composers and epic combination with Mohammad Rafi gave a different dimension to his career. The songs in Tumsa Nahi Dekha, including “yu to humne lakh hasin dekhe hai” sung by Rafi and composed by OP Nayyar became a super duper hit and the combination stormed the film world with the next film Dil Deke Dekho where music was composed by Usha Khanna with songs like “dil deke dekho del deke dekho” etc.

Black and white classics were transformed into coloured films and Shammi Kapoor was benefited the most with films like Junglee opposite Saira Banu, Janwar opposite Rajashri, Kashmir Ki Kali opposite Sharmila Tagore, etc., which were shot at picturesque locations in Jammu and Kashmir and Himachal Pradesh and had melodious music. Shankar Jaikishan composed the maximum number of songs for Shammi Kapoor and nearly all of them were super hits. Prominent among them include “ehsaan tera hoga mujhpar”, “ meri yaar shabba khair”, “tumne pukara aur hum chale aye”, etc.

In the mid-60s Shammi Kapoor created a dance-based trend of films which were followed by other actors of that age including Joy Mukherjee and Biswajeet who had similar story lines as that of Shammi Kapoor. Films like Rajkumar opposite Sadhna, Teesri Manzil opposite Asha Parekh, Latt Saheb opposite Nutan, An Evening In Paris, Prince opposite Vaijayantimala, were very successful. The subject matter in those films involved soft romantic stories with element of comedy embedded in them. Rajender Nath as comedian accompanied Shammi Kapoor in a number of films. Some of the songs in Rock and Roll andaz include “aajkal tere mere pyar ke charche”, “aja aja”, “tumse accha kaun hai”, etc.

Teesri Manzil included a suspense thriller where Prem Nath acted as a villain for the first time. Shammi Kapoor received the best actor award for performing in the film Brahmachari, 1968, where he run an orphanage and looked after small children who were left there by their parents who never wanted to bear the liability of maintaining their children. The songs composed by Shankar Jaikishan in the film like “mai gayun tum so jayo”, “dil ke jharoke me”, “chakke pe chakka” were very big hits with Rafi excelling in one song or the other.

In the early 70s, after acting in Andaz, opposite Hema Malini in 1971, Shammi Kapoor, put on weight, started keeping beard and switched of to character acting in films like Zameer, Parvarish, etc., where he acted as the father of Amitabh Bacchan or Vinod Khanna, etc. Notable films include Betaab in 1983. He received the best supporting actor award for performing in Vidhata, 1982, along with Dilip Kumar. As acting talents were inherent in the Kapoors, Shammi Kapoor did not find it difficult to perform in character roles and he is still acting in these types of roles these days.

Even then Shammi Kapoor is remembered for introducing the trend of dancing in Indian films with westernised mannerisms in the 60s which were carried forward by heroes of the later age. Rafi’s songs picturised on him including “akele akele kahan ja rahe ho”, “raat ke humsafar”, “ai chand zara ruk ja”, “dil use do jo jaan dede”, etc., have an everlasting effect even today. His films should be restored to honour the exotic locations, brilliant music and overall entertainment in the 60s.

The megastar of the Millenium - Amitabh Bacchan

Amitabh Bacchan – The megastar of the millennium

If any personality in Indian silver screen had single-handedly determined the fate of the big productions in the 70s and 80s it is Amitabh Bacchan. He created a larger than man image in the 70s which addressed the grievances of numerous Indians against the corruption existing in the Indian society. He gave a new meaning to action films where the message against the evils existing in the society reached each and every film lover in India and abroad.

Born in 1942, he made his debue in the film Satwa Hindustani in 1969. His initial films included Anand and Namak Haram directed by Rishikesh Mukherjee, and small roles in films like Reshma Aur Shera. But he showed his angry young man image in the film Zanjeer, 1973, where acting as a police officer he addressed the corruption existing at that time.

From Deewar, 1975, Amitabh Bacchan became the uncrowned monarch of Indian silver screen. He portrayed the character of Haji Mastan and showed the country that evils of the underworld can be prevented only by taking revenge by another person who comes from a respectable family and becomes a victim of oppression of the members of the underworld. The film directed by Yash Chopra also exploited very catchy script written by Salim Khan and Javed Akhtar. Big B died at the end of the film after Shashi Kapoor, the police officer (his brother) had shot him when he refused to surrender. The action scene in the godown in the film had been watched by film lovers numerous times and even respectable people started admiring action films.

In Sholay, 1975, the greatest hit of the last millennium, Big B along with Dharmender helped the Thakur of the village played by Sanjeev Kumar to face the dacoit operating with the Chambal region. Although it was based in real life incidents taking place at that time when the dacoits grew in strength and the police and administration failed to arrest them in the mid-70s. not only had Big B showed his action skills, but his baritone voice was exploited for serio-comic performance in the film as well. He balanced the villainous performance of Amzad Khan and strong performance of Sanjeev Kumar with his personality. During that age he also acted in the role of poet in the film Kabhi Kabhi, 1975 and comic role in Chupke Chupke, 1975 along with Dharmender.

His acting capabilities encouraged producers and directors in the late 70s to make films based on all the elements of entertainment that can be expected by film lovers including dance sequences, comedy, action, etc. On one side he acted in realistic films like Abhimaan, Milli, Alaap, etc. opposite Jaya Bacchan, Rekha and other actresses. In the action films Parveen Bhabhi accompanied him the most. In Amar Akbar Anthony, 1977, he showed his impulse on comedy roles alongside the serious performance of Vinod Khanna and musical performance of Rishi Kapoor. Producers and directors were encouraged to make multi-starrer films where Big B was accompanied by Vinod Khanna, Shatrughun Sinha, Shashi Kapoor, Rishi Kapoor, etc.

Shaan, released in 1980, is a an example of multi-starrer film, where Ramesh Sippy had showed exotic locations, good action sequences and provided entertainment to the film lovers. Big B was well supported by fine acting of Shatrughun Sinha. Besides there are films which were dependant on Big B along and became super hits by his own calibre like Don, 1978, Kalia, etc. In the early 80s, he faced the strong personality of Dilip Kumar in the film Shakti, 1982, his father who was a committed police officer and he acted in the role of a smuggler and confronted at every part of the film with this father’s notion of law-bearer. People enjoyed his loud style of dialogue delivery with Dilip Kumar’s soft style of dialogue delivery. Rakhee’s performance in the role of his mother was well appreciated by film lovers across the world.

In the mid-80s, Big B became an institution of acting by himself and films where he played double roles were admired by the viewers as well. In Akhree Rasta, 1986, his performance in the role of father who got out of prison and took revenge against the perpetrators of crime who wrongly convicted him for a crime which he did not commit had shown the audience that he had matured to act in character roles as well. No actor in Indian celluloid could show anger for the rightful cause with the sharpness that Big B had shown. He had also sung with his own voice in few films including Silsila, 1983.

These days with his son acting in numerous films, and he is seen in many character roles the new generation looks at Big B with the impression of a character artist. But the new generation should watch his films of 70s, 80s to understand the growth of action films and departure of the film making from the way it was done at that time. For reference Big B had lend his beautiful voice in Satyajit Ray’s Shatranj Ki Khiladi, 1977. It is difficult to highlight his performance in more than 150 films in a career spreading over 35 years, but his films should be restored to show the beginning of transformation of Indian cinema with the advent of modern techniques and birth of action films.

Singers who had contributed for the RK Banners

Contribution of singers for the RK Banner:

RK Production contributed in the making of successful bollywood films for the last 60 years. Music had played a very significant part in the success of those films. Lata Mangeshkar, Mohammad Rafi, Mukesh, Manna Dey, Asha Bhosle, etc., played a major role, although a lot of songs in these films were sung by other singers as well. Lata Mangeshkar in fact created her identity with the songs “jiya beqarar hai”, “hawa me urta jaye” in the film Barsaat, 1949, and continued her brilliance with songs like “dum bhar jo udhar mu phere” in Awara, 1951, “rajaki ayegi baraat” in Aag, 1953, “Jago Mohan Pyare”, in Jagte Raho, 1956, “ban ke panchi gaye pyar ka tarana”, in Anari, 1959, “woh basanti” in Jis desh Me Ganga Behti Hai, 1961, to name a few.

Mohammad Rafi, had sung very significant songs under RK Banner, which became hits and sometimes brought the climax of the films. In Shri 420, 1955, Rafi started the song “ramaiya vasta maiya” which was continued by Lata and was finished of by Mukesh. In the award winning film Boot Polish, Rafi’s song “nanne munne bacche tere muthi me kya hai” was very big hit. Rafi made the tragic end for the film Sangam, 1964, with the song “ki tum naraaz nahi hona”. Mukesh and Manna Dey matched Raj Kapoor’s voice and both had sung huge number of songs under RK Banner, including “awara hoon”, “sab kuch sikha humne”, “har dil jo pyar karega”, “jane kaha gaye woh din”, “dost dost na raha” etc. ( by Mukesh), “ pyar hua ikraar hua”, “mur murke na dekh”, “yeh raat bheegi bheegi”, “dil ka hal sune dilwala”, “chalat musafir”, etc., (by Manna Dey). Geeta Dutt sung “bolo sha wai wai” in Jagte Raho, Asha Bhoshle had sung “mur mur ke na dekh”, in Shree 420, etc.

But as the span of production under RK Banner continued for more than 50 years, a number of singers died, composers died, resulting in fresh use of new talents under the RK Banner. Shailendra Singh made his debue in Bobby, 1973, with the song “mai shayar to nahi” and suited Rishi Kapoor along with Chanchal who made his debue in the same film. Other hit songs of Shailendra Singh include “hum tum ek kamre me bandh ho”, “ge ge ge ge, mere saiba”, etc. Suresh Watkar, Ravindra Jain sung songs in films like Prem Rog, 1982, Ram Teri Ganga Maili, 1985, etc., and these voices evenly matched with Rishi Kapoor or Rajeev Kapoor, etc. As playback singing contributed a lot in the creation and nurturing of images of actors and actresses for the last 50 years, the suitability of singers with heroes and heroines had made notable impact on the liking of the films by viewers.

It is a tragedy that Raj Kapoor died in 1988, otherwise the 4th generation of his family, Ranbir Kapoor may have made a debue under RK Production. Although Ranbir Kapoor, has made his debue in the film Sawaariya, he has not brought forward the legacy of his family under a film produced under RK Banner. For the last 5 years competition in the world of playback singing is very stiff and the heroes and heroines are expected to have suitable combination with all singers. Only time can tell whether Ranbir Kapoor’s voice matches with Sonu Nigam, or Udit Narayan, or Himesh Reshamiya, etc. If Rishi Kapoor, produces any film in future under the RK Banner, he has to weigh the choice of singers who can suit his son’s voice and the acceptability of the songs will depend on that criteria.

In a nutshell it can be said that RK Banner, had shaped, carried forward the musical significance of bollywood films in the last century and the present generation of the Kapoor family has to rise up to the expectations of the filmlovers in India and abroad to maintain the rich standard of music that had been the hallmark of successful films made in the 40s, 50s, 60s, 70s, 80s and 90s.

Raj Kapoor - The greatest showman of Bollywood

Raj Kapoor – The Stylish Showman of Bollywood.

Raj Kapoor can be considered as the most colourful personality that had glorified the Indian silver screen for the last 60 years. Not only was he a stylish showman, and more than that he was a grand creator with majestic vision. Born in 1924, Raj Kapoor, learnt all the skills relating to direction in films within short period of time. Having the rich legacy of acting in Prithvi Theatres created by his father, he acted in some of the drama launched by his father and stormed into the film arena with the film Aag in 1947, which was directed by himself.



In Barsaat, 1949, Raj Kapoor formed a majestic romantic pair with Nargis and music directors Shankar Jaikishan, lyricist Hasrat Jaipuri, Shailendra, cameraman Radhu Karmakar and other dignitaries who contributed to RK films. The romantic story was a super duper hit with Lata’s songs like “jiya beqararhai”, “hawa me urta jaye”, etc, becoming trend setters. Within a shot time Raj Kapoor started making films which conveyed a very strong social message. His film Awara, 1951, was based on the theme that human being is a victim of circumstances and even if the son of a barrister is uprooted from his royal family which happened to Raj Kapoor in the film and brought amongst thieves and lawbreakers (played by KN Singh) he ends up being an awara, who cannot give his father’s recognition. It has happened with a lot of people in India, who got involved in unlawful activities due to circumstances. His film was well appreciated in Russia, and Raj Kapoor became an international figure. The same film had shown other directors how to picturise dream sequence songs like “ghar aya mera pardesi”. Besides Shankar Jaikishan’s prelude in the song “awara hoon” sung my Mukesh depicted Raj Kapoor as the pied piper of Hamlin, and after that film in every film of Raj Kapoor, the prelude used to make people understand that he is appearing.

After having success in films like Andaz, 1949, directed by Mehboob Khan opposite dilip Kumar, Aah, 1953, Raj Kapoor produced, directed and acted in the next blockbuster Shri 420, in 1955. All the songs in the film including “mur murk ke na dekh”, “pyar hua ikrar hua”, “dil ka haal sune dilwala”, “ramaiya vasta maiya” were super hits and the film used the available singing giants in India including Rafi, Mukesh, Manna Dey, Lata, Asha, etc. Raj Kapoor’s display about the corruption in society with the adaptation of mannerism of Charlie Chaplin amused the viewers. The image of Nadira depicted in the film gave her the identity of villanious performer for the rest of her career. In Jaagte Raho, 1956, Raj Kapoor acted in a film with hardly any dialogues and showed the social crimes taking place in different floors of the same building where a poor villager can feel ashamed of. The film won international award in Berlin film festival.

Raj Kapoor’s other films like Anari, 1959, opposite Nutandirected by Rishikesh Mukherjee, Jis Desh Me Ganga Behti Hai, 1960, opposite Padmini, also had strong social message and depicted Nehru’s dream of socialism embedded in them. The songs in all these films were superhits and Raj Kapoor convinced the group of dacoits operating in the Chambal region to surrender before the police in Jis Desh Me Ganga Behti Hai. He received filmfare award for the best actor for both these films. With the advent of colour Raj Kapoor’s Sangam, 1964, showing tripartite affair with Rajender Kumar and Vijayantimala became the biggest hit of that age. Raj Kapoor’s other films like Phir Subah Hogi, 1958, opposite Mala Sinha, Chalia, 1960, opposite Nutan, Dil Hi To Hai, 1961, opposite Nutan, Teesri Kasam, 1966, opposite Wahida Rehman, Diwana, 1967, opposite Saira Banu, Around the world, 1967, opposite Rajashri, Sapno Ka Saudagar,1968, opposite Hema Malini, etc., all had classic picturisation, strong performance and outstanding music. From the 70s Raj Kapoor mainly concentrated on production and direction of films including Mera Naam Joker, 1971, Bobby, 1973, Satyam Shivam Sundaram, 1977, Prem Rog, 1982, Ram Teri Ganga Maili, 1985, etc.



Raj Kapoor’s films dealt with diversified subjects, sometimes involving teenage romance, sometimes oppression of women, sometimes, corruption in the society. He showed the other directors that film is a medium from where lot of messages can be given to the society. As he could play more than 10 instruments while giving lips in songs picturised in his films it always appeared that he was singing, the skill which Rishi Kapoor, his son developed in later age. He changed his team of music composers from Shankar Jaikishan, to Laxmikant Pyarellal and Ravindra Jain and in all his films there was meaningful music which did reach out to the masses. If the films where Raj Kapoor acted as hero can be scanned it will be found that he has almost worked with every giant music composer of that age, Naushad composed music for Andaz, Dastan, etc., Roshan for Dil Hi To Hai, Salil Choudhury for Jagte Raho, Kalyanji Anandji for Chalia, Dulha Dulhan, OP Nayyar for Do Ustad, Khayyam for Phir Subah Hogi, Dattaram for Parvarish, RD Burman for Dharam Karam, etc., to name a few. There was a time when Raj Kapoor lost count about the number of awards he had received, sometimes as best actor, or best director, or best producer, etc. He died in 1988 after receiving Dada Saheb Falke award, the greatest award for any film personality in India. His films should be restored for social awakening, musical value and lessons relating to strong picturisation of sequences.

Rishi Kapoor- The romantic personality of Bollywood

Rishi Kapoor – one of the most romantic personalities of Bollywood.

Rishi Kapoor, born on September 4th, 1952 can be considered as one of most romantic heroes who glorified bollywood during the 70s, 80s, and 90s. As he inherited the grand legacy left behind by Prithviraj Kapoor and Raj Kapoor, he had a great challenge of matching the performance of his father, uncles and grandfather who had entertained the Indian filmlovers for the last 60 years. He showed his acting potential while playing the younger stage of Raj Kapoor in the film Mera Naam Joker, 1971.


But his romantic image was created in the film Bobby, 1973, where Raj kapoor introduced stories relating to teenage romance and both Rishi Kapoor and Dimple Kapadia established themselves as romantic actors of that age. Rishi Kapoor also received film fare award for best performance in the film. Typically in the mid seventies, a lot of producers and directors got inclined to make anti-establishment films where Amitabh Bacchan, (in Deewar, Sholay, 1975), Shatrugun Sinha (in Kalicharan), Vinod Khanna (in Khoon Pasina), raised voice against the evil practices of society. All these actors had strong personalities and their performances were well appreciated by film lovers across India. In the same period, whenever producers and directors thought about launching romantic characters name of Rishi Kapoor automatically came in their mind.



In Amar Akbar Anthony, 1977, Rishi Kapoor balanced the personality of Vinod Khanna, Amitabh Bacchan’s sense of humour, with his image of singer. His lips in the songs “parda hai parda”, “shirdiwali saibaba” sung by Mohammad Rafi and composed by Laxmikant Pyarellal stands out as some of the best lips ever given in bollywood films. Rishi Kapoor developed the capability of giving brilliant lips in qawallies, which are not easy to sing. No other hero before Rishi Kapoor, had popularised qawallies the way he had done. Rafi’s qawalli in the film Hum Kisi Se Kum Nahi, 1977, titled “hai agar dushman zamana gham nahi gham nahi”, and Shailendra Singh’s qawalli “zamane ko dikhana hai” in the film Zamane Ko Dikhana Hai, composed by RD Burman gave the impression before the film lovers that it was Rishi Kapoor who was singing. He also contributed in the musical competition in the film Hum Kisi Se Kam Nahi, where Rafi, Kishore and RD Burman sang a number of songs.
In the film Sargam, 1979, Rishi Kapoor played the dafli opposite Jaya Prada, to perfection and the songs of the film including “koel bole”, “dafliwale daflibaja”, “ramjiki nikli sawari” entertained the film lovers with the romantic story. In Karz, 1980, Rishi Kapoor’s performance transformed the murder mystery created by Subhas Ghai, into a musical blockbuster, as his lips in the songs “darde dil, darde jigar” sung by Rafi and “Om Shanti Om” sung by Kishore Kumar, entertained the filmlovers.

It was due to Rishi Kapoor, the producers showed the courage of picturising a romantic story like Laila Majnu, 1977, in the background of middle east countries, where Rafi’s songs like “tere dar pe aya hoon”, “barbad muhobbat ki dua saath liye ja”, etc., were all superhits. In the 80s, Rishi Kapoor provided decent performance opposite Dilip Kumar in the film Duniya, where Dilip Kumar took revenge against the perpetrators of crime who ruined his life. In films like Saagar, 1985, Rishi Kapoor balanced the strong performance of Dimple Kapadia and Kamal Hassan in a film related to tripartite affair. The exotic location of seashores, colourful costumes and decent acting was the hallmark for success of the film Saagar. Films like Sitamgar, Chandni, Bol Radha Bol, etc.,were also successful. His performance in Raj Kapoor’s Prem Rog and Henna produced under RK Banner is worth mentioning.



In the 90s also he made his presence felt in films like Damini, where the story was based on the bravery showed by a middle class housewife in unfolding the truth relating to evil practices taking place in a rich family. Rishi Kapoor had to balance the strong performance of Meenakshi and Sunny Deol in a film which had depicted crude realities of life. With the arrival of new stars in bollywood, Rishi Kapoor switched over to character roles. The biggest victory of Rishi Kapoor lies in the fact that he created his own style of acting without imitating Raj Kapoor, Shammi Kapoor or Shashi Kapoor. Further the strong dominance of Amitabh Bacchan as angry young man did not affect Rishi Kapoor’s romantic image and filmlovers loved to see both of them in films like Amar Akbar Anthony, Kabhi Kabhi, Naseeb, Coolie, Ajooba, etc. With the debue of his son Ranbir Raj Kapoor (this was the actual name of Raj Kapoor) in the film Sawaaria, there is lot of expectation of the film lovers of strong performance from his next generation as the Kapoors are probably the only family in Indian filmworld where the 4 generations have contributed to the development of bollywood films and kept their mark in all aspects of film including acting, direction, production, etc. Rishi Kapoor’s films should be restored to show the film lovers the art of doing justice to good songs created in good locations and proper display of characters of romantic stories.

Wahida Rehman - powerful actress of bollywood

Wahida Rehman – the versatile actress of Bollywood.

Indian bollywood is generally dominated by actors and heroes for the last 50 years. But due to the sheer brilliance of some powerful actresses female dominated films also gained prominence. Wahida Rehman, the powerful actress of 50s, 60s and 70s belong to that category, where depth of acting had outplayed her glamour and choreographic skills. Born on 14th May, 1936, she made her debue in film CID, 1956, where Guru Dutt was the producer. It was the role of a vamp girl, but ultimately Wahida Rehman helped the hero to unearth the truth relating to a murder mystery.

After performing in films like Solwa Saal with Dev Anand, Wahida Rehman got the scope of acting in the role of a tawaif in Guru Dutt’s Pyaasa, 1957. The story depicted the evil effects of materialism, where the brothers were not prepared to recognise their relatives unless there was any monetary consideration. Wahida Rehman even being a tawaif, had shown the spark of humanity in a society where the fellow students (Mala Sinha) failed to show the same spirit.

She also dramatised the character of a heroin in Guru Dutt’s Kagaz Ka Phool, 1959, which depicted the darker side of filmworld. When one or two films become successful, the celebrities became exceedingly popular and the moment one film fails, the same persons loose recognition. It has been an eternal truth. Geeta Dutt’a song “wakt ne kiya kya haseen sitam” in the same film picturised on Wahida Rehman became a big hit. Her combination with Guru Dutt was well appreciated in the film Chaudavi Ka Chand, 1960, where she depicted the purdanashin character of muslim educated society.


Wahida Rehman’s ability to go deep into the characters she had played compelled Satyajit Ray to cast her in the film Abhijan, 1961, where she played the role of the wife of a car driver, and showed the fate of rural women in the state of Bihar and its outskirts. She used broken Bengali, and critics across the world acknowledge the fact that she had hardly acted in the film, everything was natural.

In the 60s, with the advent of coloured films, Wahida Rehman, transformed her image into glamourous heroin and contributed in musical blockbusters. She had shown her dancing capabilities in Dev Anand’s Guide, 1965, where songs like “piya tose naina lage re”, “aaj phir jine ki tamanna hai” were super hits. In Raj Kapoor’s Teesri Kasam, 1966, she blended her classical dance skills into the rural dance theme used in fairs (nautankis) held in rural India. Shankar Jaikishan’s composition and Lata and Asha’s songs including “a a bhi ja”, “mare gaye gulpham”, “pan khai saiwa”, etc., were super duper hits. Wahida Rehman balanced Dilip Kumar’s outstanding performance in the films Dil Diya Dard Liya, Ram aur Shyam, Aadmi, 1967, etc., with her romantic performance. In all these films she also displayed her choreographic skills. She played significant roles opposite Rajender Kumar in the film Palki, Dharti, etc. Besides she had also displayed a weird character in the film Neel Kamal opposite Raj Kumar and Manoj kumar.

Besides Wahida Rehman had the record of choosing challenging roles throughout her career. In 1961, she performed in a ghostly character opposite Biswajeet, in the film Bees Saal Baad, where the Bengali role was played by Manju Dey, in Jighansa, an adaptation of Arthur Conan Doyle’s “The Hound of Baskervilles”. Again she performed the role of nurse who treated insane patients by showing them that she was their better half and became insane at the end of the film Khamoshi, 1969. She had also showed the character of rural women in the background of Rajasthan in the film Reshma Aur Shera, 1971, and received national award for best performance.

In the 70s and 80s, she had acted in character roles, and her performance in Kabhi Kabhi, 1975, opposite Amitabh Bacchan, was well appreciated. In the 80s, she played a significant role in Gulzar’s film Namkeen, where she portrayed the character of a mother of three children who interacted with a truck driver who showed sympathy for the family. She showed the anxiety of a widow in a needy family and kept her mark opposite Sanjeev Kumar, Shabana Azmi, Sharmila Tagore, who were the co-performers in the film. Besides her performance opposite Dilip Kumar, in Mashal, 1984, where she supported her husband as a middle class journalist, and died in the film for lack of treatment out of poverty, is worth mentioning.

If Madhubala is remembered for her glamour, Vaijayantimala is appreciated for her dancing capabilities, then Wahida Rehman is sublime in her experimental roles where characters became lively due to her strong performance. Wahida Rehman’s films should be restored in an archive to show that popularity can be achieved by sheer brilliance of performance.

Jubilee Kumar- Rajender Kumar

Rajender Kumar’s contribution to Indian Cinema

Rajender Kumar, better known as Jubilee Kumar, was one of the unsung heroes in Indian films, who entertained millions of film lovers with his soft style of acting during the golden age, but did not receive the recognition he deserved. Rajender Kumar, born on 29th July, 1929, made his debue in the film Jogan in 1950, where the main character was played by legendary actor Dilip Kumar. In the 50s he got recognition in Mehboob Khan’s film Mother India, 1957, where he played the role of the son of Nargis.

But his romantic image was created in the film Dhool Ka Phool, 1959, and Goonj Uthi Sehnai, 1959. He started moulding himself with the image of tragedian like Dilip Kumar, and songs in the film Goonj Uthi Sehnai, composed by Vasant Desai and sung by Rafi including “jeevan me priya tera saath rahe” created an immortal combination of Rafi with Rajender Kumar, which dominated bollywood films for another 15 years.

Rajender Kumar, was successful to portray the poetic community of Aligarh, Lucknow, etc. in the film Mere Mehboob, 1963, where he formed a new romantic pair with Sadhna, and the ghazals in the film “mere mehboob tujhe meri mohabbat ki kasam” reached the urdu speaking audience across middle east and stretched beyond India. He did not show any mannerism and sung the song with a microphone at the university hall. In Dil Ek Mandir, 1963 and Sangam, 1964, Rajender Kumar played the role of the central hero who was admired by Meena Kumari and Vaijiayantimala respectively in those films, but had to sacrifice his love for the benefit of the other friends. In both the films Rajender Kumar died at the end of the films. In Sangam, 1964, the film that gave the maximum revenue to showman Raj Kapoor, when Rafi’s song “ki tum naraz na hona” was played at the end of the film, when Raj Kapoor and Vaijayantimala immersed his ashes in Tribeni waters at Allahabad where river Ganges and Yamuna had met, the filmlovers were all in tears. His image of sacrifice in each and every film made him a legend and he received the title of Jubilee Kumar, as his major films from 1963 to 1966, all ended up in golden jubilees.


Shankar Jaikishan and Rafi had a great role to play in the success of Rajender Kumar. Probably other than Raj Kapoor, Shankar Jaikishan had not shown the amount of devotion towards rich, melodious music, the way it was displayed in each and every film of Rajender Kumar. Rafi’s songs in the film Humrahi, “yeh ansoo meri dil ki zuban hai,” “mujhko apne gale lagalo” were as majestic as Rajender Kumar’s lips and Shankar Jaikishan’s composition. With the advent of coloured films, majority of Rajender Kumar’s films were shot at romantic locations in Jammu and Kashmir, Himachal Pradesh, and his costumes, the songs, the colour and location synchronised with each other in most of the films. His soft, romantic films in that age include Chirag Kahan Roshni kahan, Aman, Talash, etc.

His film Aye Milan Ki Bela, 1964, Jhuk Gaya Asman, 1968, opposite Saira Banu, involved soft romantic stories, but the charm of Rafi’s songs composed by Shankar Jaikishan, like “to bura man gaye”, “tum khamseen ho”, “kaun hai jo sapno me aya” all had mesemerised the audience with romantic appeal. In Aarzoo, 1965, Rajender Kumar became handicapped by losing his leg, and tried to forget Sadhna whom he loved and never wanted to marry due to his disability, again the songs and the story telling impressed the viewers. Marriage was arranged with Feroz Khan, but he being a friend, ultimately helped Sadhna to marry Rajender Kumar. Rafi and Lata were at their best in Shankar Jaikishan’s songs “aji ruth kar ab kaha jaiyega”. Besides other songs like “chalke teri ankho se”, “ai nargisi mastana” were all hits.

In the film Suraj, 1966, Rajender Kumar played a royal character being the prince who never knew his background and grew up as a dacoit and the enter film hovered around the theme of finding his actual heritage. His performance opposite Vaijayantimala was well appreciated by film lovers. There were musical competitions in the film with the song “kaise samjhayun bari nasamajh ho” where Lata and Rafi faced each other in classical contest. All the songs in the film composed by Shankar Jaikishan became successful including “baharon phool barsao”, “itna hai tujhse pyar mujhe”, “titli uri”, etc.

Rajender Kumar acted in diversified subjects including relationship of poets in the film Palki, patriotic subject matters in the film Dharti, role of dacoits in Gora Aur Kala, etc. In the mid-seventies with the advent of action films, Rajender Kumar faded away from the film arena. His films at that period include Aap aye Bahar Aye, Do Jasoos, etc. He acted in character roles in few films where his son Kumar Gaurav played the central character. He did not receive the acclamation during the age for the strong dominance of Dilip Kumar who was unparallel in tragic roles and dominated the film world. His films should be preserved and restored in an archive to recollect the age when soft romantic films dominated bollywood.

Meena Kumari - The Tragedy-queen of Indian cinema

Meena Kumari – the tragedy queen of Indian Cinema.

Meena Kumari can be considered as the greatest actress of Bollywood during the golden age who had portrayed images and characters showing complexity of the mind of the Indian women and the social ostentations that they had faced during different periods of time. Meena Kumari, born on 1st August, 1932, known as Mahjabeen Bano, stormed into the Indian silver screen in 1952, with the sublime performance in Baiju Bawra. Although the film had been renowned for everlasting composition of Hindustani ragas by Naushad and supreme performance of Mohammad Rafi, with songs like “man tarpata”, “woh duniya ke rakhwale”, etc., Meena Kumari’s performance opposite Bharat Bhushan showed the filmlovers that she had come to conquer Bollywood with her soft style of acting.


In the 50s Meena Kumari’s performance in films like Parineeta, 1953, Footpath, 1954, Yahudi, 1958, etc. were appreciated by critics, but she had created her image of martyr in the film Sharda, 1957, where even after having an affair with Raj Kapoor, in the film she had to sarcrifice her affection to marry Raj Mehra, his father, who was much older than her. In Dil Ek Mandir, 1963, Meena Kumari after having affair with Rajender Kumar in her youth had to marry Raj Kumar, due to social pressure. But from the time she had married Raj Kumar, she fulfilled all the duties of a middle class Hindu woman, and brought her sick husband to the hospital at the mercy of Rajender Kumar. She prayed to God, for the recovery of Raj Kumar. Rajender Kumar sacrificed his life to treat her husband and died at the end of the film. The songs composed by Shankar Jaikishan and sung by Rafi and Lata, had not lost their significance even today.



In 1962, Meena Kumari, performed the role of choti bahu, in Guru Dutt’s Saheb Bibi aur Ghulam, the film showing the zamindari raj (dominance of Feudal lords) existing in the British capital in India, that is Kolkata. She was married to the youngest son in a family of zamindars who used to attend mujras in Jaan bazaar, in Kolkata, where performers from Lucknow, Benaras used to come and exhibit their skills of singing classical songs. She tried to retain her husband Rehman at home, and through her conversation, Guru Dutt, the observer came to know about the history of the family.



Meena Kumar’s performance opposite Pradeep Kumar, used to create a different dimension, as her pardanashin image had matched with royal style of acting of Pradeep Kumar. After the success of Aarti, 1962, Meena Kumari, acted in the blockbusters Bheegi Raat, 1965, and Bahu Begum, 1967, opposite Pradeep Kumar and Ashok Kumar. In Bheegi Raat, she loved Pradeep Kumar, yet due to an accident which made her legs paralysed she could not attend the engagement and worked in the house of Ashok Kumar as governess. When society boycotted Ashok Kumar, she agreed to marry her, but presence of Pradeep Kumar at the end of the film in the song “dil jo na keh saka” compelled Ashok Kumar to sacrifice his affair and go back to London. It was a film where, Rafi, Lata, Roshan and the actors all had provided their best performance possible. Meena Kumar’s other film with Pradeep Kumar titled Chitralekha was also successful.

Meena Kumari had become immortal with her classic performance in the film Pakeeza, 1971, opposite Raj Kumar, which took around 10 years to be completed. It was created on a subject related to women brought up in kotha and exhibited the class of women who could not give the recognition to their next generation as their father’s are not known. The music composed by Ghulam Mohammad, Lata and Rafi’s songs, Kamal Humrohi’s direction (the husband of Meena Kumari) all complemented each other, and the film became historical piece of document.



The greatest hallmark of Meena Kumari lied in her ability to depict the helplessness of Indian women existing specially in the 50s and 60s, when the patriarchal society dominated them and they had no independent income to live separately against the pressure of society. In her performances, beauty, aristrocracy, tragedy, personality all blended into one. Whenever we think about cine-classics like Dil Apna aur Preet Parayi, 1960, or Ghazal, 1965, Meena Kumari’s image automatically comes in our mind. She died in 1972, only at an age of 41. Meena Kumari’s films should be restored in an archive for future generations to learn the art of understanding the characters from the core of the heart the way Meena Kumari had done during the golden age of Indian cinema.

Suchitra Sen- one of the greatest actresses on Tollywood and Bollywood

Suchitra Sen- One of the greatest actresses of Bollywood and Tollywood.

Suchitra Sen can be considered as one of the most glamourous actresses ever to appear in Indian Celluloid. Rama Sen, born on 6th April, 1931, better known as Suchitra Sen, can be considered as the greatest actresses who had remained sublime in her immortal performances. She started her career in the Bengali film Saat Number Qoidi, meaning Prisoner No. 7 in early 50s. She stormed into the Bengali silverscreen by forming successful combination with Uttam Kumar in the film Sare Chuattor, 1953. Her combination with Sandhya Mukherjee and Geeta Dutt, had provided a golden age glorified with melodious romantic songs.

In the mean time, her poetic eyes persuaded Bimal Roy to cast her opposite Tragedy King Dilip Kumar, in the film Devdas in 1955. She brought out both the affection and submissiveness possessed by Bengali housewives in the 30s and 40s in the role of Parbati and done justice to Sarat Chandra Chatterjee’s epic novel Devdas, which is even remade today, with Aiswariya Rai acting in the role of Suchitra Sen. She got offer to act in hindi films like Champakali opposite Bharat Bhushan, Musafir opposite Dilip Kumar and Bombai Ka Babu opposite Dev Anand.



While performing in a number of successful hindi films, she dominated the Bengali silver screen by providing golden jubilees one after the other, in Pathe Holo Deri, Chawa Pawa, Indrani, etc. In Harano Sur (Missing tune), in 1957, she acted in the role of a doctor who treated the patient Uttam Kumar, who lost his memory and could not even recognise her as her wife. She worked in the house of Uttam Kumar as governess of his brother’s daughter and struggled to bring back his memory by singing the missing tune. Suchitra Sen blended her romantic appeal, with the softness and humbleness possessed by women at that period of time and won all the sympathy of the audience with her everlasting performance.

In Deep Jele Jai, 1959, Suchitra Sen played the role of a nurse who acted as the girlfriend of people suffering from psychological shock due to unsuccessful affair. Day after day, she had to do the acting and a time came when she became a patient herself. Her outburst at the end of the film saying “I never acted, I never knew how to act” created unrest in the cinema halls. Wahida Rehman, took up the challenge in the hindi film Khamoshi, 1969, but she too, being a classic actress, could not bring out the feeling of the frustrated nurse, the way Suchitra Sen had done. In Saptapadi, 1961, her performance, in the role of Rina Brown, an anglo-Indian who gets involved in an affair with Bengali Brahmin played by Uttam Kumar, and sacrificed her love on the request of his father (played by Chabi Biswas). Unfortunately, Uttam Kumar, embraced Christianity and devoted his life as a doctor who treated patients suffering the after mirth of Second World War. Ajoy Kar’s cine-classic was glorified by powerful dialogue delivery and unmatched performance of Suchitra Sen.

Her performance in Saat Pake Badha, 1963, where she played the role of an affluent Bengali who married a middle class academician, commanded respect, sympathy and tears in the eyes of compassionate film-lovers. The over interference of her mother in the household affairs of her family, irritated her husband, and her effort to show adjustment and sacrifice went in vain as the bond ended with her husband leaving the city. She received the best actress award in the Moscow Film Festival in that year, for showing the depth of understanding the complex character depicted by the novelist. Jaya Bacchan was inspired by her performance when she acted in hindi version of the same film titled Kora Kagaz, 1974.



Her performance in a double role in the film Uttar Falguni, 1963, and Mamta (the hindi version of the same film), 1966, can be considered as the best performance ever given in a subject related to a bond of mother and a daughter. She being a victim of ill-treatment from her husband and under compulsion became a tawaif who sacrificed her life to make her daughter a barrister who pleaded in Calcutta High Court in a murder case, where her mother had killed the cruel husband who wanted to destroy the life of the daughter. She got involved in the role of both the tawaif and the barrister with such elegance that the director Asit Sen, got mixed up with the feeling that two separate actresses were playing the two roles.



Gulzar, in his interview before the media said that he could not get a more dignified appearance in any other actress who could play the role in the film Aandhi, the way Suchitra Sen had acted in 1975. She was a politician who got cornered by opposition due to the policies she had taken, impersonating the period when Indian Prime Minister Indira Gandhi, faced the consequences of declaring emergency in mid-70s. She not only brought out the feelings of a loner but also matched Sanjeev Kumar in personality who was considerate and compassionate towards his wife. Suchitra Sen stopped acting in 1978, and was not seen performing in celluloid or television channels. May be eternal silence had increased the respect and honour for her numerous admirers in the country, although her granddaughters Raima Sen and Riya Sen are involved in a number of bollywood films these days. Suchitra Sen’s films should be preserved and restored in an archive to inspire new actresses to blend softness, personality, compassion in the characters the way Suchitra Sen had done in Bollywood and Tollywood films.

Kalyanji Anandji's association with Rafi

Kalyanji Anandji’s association with Mohammad Rafi.

In the Golden age of Indian film music, many composers have enriched the firmament of music with their innovative compositions, yet they did not get the recognition they deserved. Kalyanji Virji Shah (born in 1928) and Anandji Virji Shah, (born in 1933) better known as Kalyanji and Anandji, started their journey with the film Samrat Chandragupta, in 1958.



In early 60s, Kalyanji Anandji provided successful tunes in Raj Kapoor’s Chalia, in 1960, where songs like “chalia mera naam”, “dum dum diga diga” becoming successful. Due to strong dominance of Shankar Jaikishan in that era, most of the music lovers could not dissociate compositions of other composers, and thought it was S J’s composition. In Raj Kapoor’ film Dulha Dulhan, 1964, Mukesh’s song “humne tumko pyar diya hai jitna” was composed with tragic andaz.

Kalyanji Anandji associated with Mohammad Rafi, the man dominating the world of playback singing in that age in Shammi Kapoor’s film Bluff Master, 1963, where most of the songs were sung by Rafi followed by Joy Mukherjee’s Ji Chahta Hai, in 1964. The most successful composition of the musical duo came in 1965 with Shashi Kapoor’s film Jab Jab Phool Khilen, where Rafi’s songs ‘pardesiyon se na ankhiyan milana”, “mai yahan ek ajnabi hun”, “na na karke pyar” becoming super duper hits. In the film Himalay Ki God Me, 1965, Kalyanji Anandji’s composition and Mukesh and Lata’s songs became successful. In 1967, Kalyanji Anandji won filmfare award for their superlative composition in Manoj Kumar’s Upkaar. Manna Dey’s song “kasme wade” was as successful as Mahendra Kapoor’s song “o mere desh ke dharti” and Rafi’s duet song with Asha Bhosle “Gulabi raat gulabi”.



Rafi’s combination with Kalyanji Anandji continued in Shashi Kapoor’s Haseena Maan Jayegi, in 1968, with songs like “Bekhudi me sanam”, “Chale the saath milke” and the songs in the film Raaz, 1967, where Rafi’s song “Akele Hain Chale Ayo” becoming very popular. Mukesh’s song “Chandan sa badan” from the film Saraswatichandra, 1968, was also successful. Kalyanji Anandji composed legendary bhajan for Rafi titled “sukh ke sab sathi, dukh me na koi” in Dilip Kumar’s film Gopi, 1970.


In the 1970s, Kalyanji Anandji provided successful songs to Kishore Kumar including “Zindagi ka safar” in the film Safar. Rafi’s song in Raj Kumar’s Maryada, 1971, titled “tu jo aja” had an everlasting effect in the film. Kalyanji Anandji’s composition included hilly tunes composed in Rajender Kumar’s film Geet, in 1970, where Rafi’s songs “aaja tujhko pukare mere geet” becoming everlasting hit.

Kalyanji Anandji were the only musical duo along with Laxmikant Pyarellal, who could blend their own skills with the general taste of popular cinema which changed with passage of time. That was the reason why Kalyanji Anandji succeeded in composing successful songs for Firoz Khan’s films Apradh, 1972, Dharmatma, 1975, Jaanbaaz, 1986, which were spread out in two decades. He even composed successful songs in action pact films like Muqaddar ka Sikander, 1977, where he asked Kishore Kumar to sing the song “rote hue ate hai sab” for Amitabh Bacchan in the happy mood, and Mohammad Rafi to sing the same song in sombre mood for Vinod Khanna in the same film.

It is difficult to compile the contribution of Kalyanji Anandji in a short article because they had created everlasting hits in the 50s, 60s, 70s, 80s and even 90s. But they had grand association with Rafi, and wherever they got opportunity the combination had provided immortal songs which can be preserved for immense musical value.


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
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Uttam Kumar's influence on Bollywood films.

Uttam Kumar’s influence on Bollywood films.

Uttam Kumar, the all time legend of Bengali silver screen who is honoured with the title of “mahanayak” meaning megastar, was one of the most colourful personalities who not only dominated Bengali cinema but had tremendous influence on classical films created in the bollywood. Born in 1926, Arun Kumar Chatterji, better known as Uttam Kumar, made his debue in the Bengali film Dristidan in 1948. Within few years who got the recognition of the carefree hero who could portray the middle class Bengali image according to the characters portrayed by emiment novelists. Satyajit ray, the greatest director, ever to grace Indian Celluloid, said Uttam Kumar, was the only matinee idol, whom a wife wants to have as a husband, a mother wants to have as a son, a sister wants to have as a brother and a daughter wants to have as a father.



Not only did some his films have celebrated golden jubilee, films like Harano Sur, 1957, Saptapadi, 1961, Suno Baranari, 1960, Shankhabela, 1966, Nayak, 1966, Antony Firingi, 1967, Chowrangee, 1968, etc. were the most creative films that were categorised as black and white classics during the golden age of Bengali cinema. He formed the most legendary romantic pair ever to appear on Celluloid with noted actress Suchitra Sen with whom Uttam Kumar acted in 30 films.

Very significantly Uttam Kumar’s films were taken up as base for creating classic films in bollywood at different points of time. The Bengali film Saheb Bibi Golum made in 1955, where Uttam Kumar played the role of Bhutnath was remade in hindi as Saheb Bibi Aur Ghulam in 1962, where Guru Dutt played the role of Bhutnath. He was an observer who watched the aristocracy maintained in Kolkata from mid 18th century to early 19th century. The film depicted the British Raj from the capital, Kolkata, the society existing at that time, Hinduism under the tenets of Swami Vivekanda, the Brahmo Samaj and domination of women during that age.

Uttam Kumar’s legendary film Sabar Opore, released in 1955, involved a crime thriller, where his father Proshanto Chatterji, played by Chabi Biswas was wrongly prosecuted for murder of a lady, and Uttam Kumar had to reopen the case after 12 years and proved before the Court of the law, that the actual murderer was the public prosecutor played by Nitish Mukherjee. Chabi Biswas bewildered the audience after spelling out before the judge that his youth was destroyed by the wrong sentence and asked them to return his 12 years back the period of time he languished in the solitary jail. The same film was remade in hindi under the title of Kala Pani in 1958, where Dev Anand played the role of Uttam Kumar.



Uttam Kumar’s super hit film Agni Parikha, released in 1955, opposite Suchitra Sen, was remade in hindi under the title Choti Si Mulakat in 1967, where Uttam Kumar acted in the hindi version opposite Vaijayantimala. It was related to a couple who were married to each other when they were infants, then the marriage being disowned by a section of the society and the husband and wife falls in love once again when they become matured. Shankar Jaikishan’s composition of music and Rafi’s songs were successful, including songs like “Choti si mulakat me pyar ban gayi.”

Uttam Kumar’s successful film Jivan Mrityu, 1967, where he was wrongly charged in a cheating case by his fellow bank collegues and he took revenge against all of them, was remade in hindi under the title Jeevan Mrityu, where Dharmender played his character. He was travelling in a train and a person fell down from the running train and died. The media wrongly stated that Uttam Kumar had died. He took the make up of a sikh and destroyed the business of all his colleagues. Uttam Kumar's classic film "Lal Pathor" in 1963 based on the historical backgruond of a nawab who marries twice and kills his wives is made in hindi with the title "Lal Patthar", where Raj Kumar played the role of Uttam Kumar. It was shot at Fatehpur Sikri and both the films depicted the royal style of living exhibited by the Feudal lords at that period of time.

Uttam Kumar’s comedy film Bhranti Bilas, 1963, where he had a double role and played the role of the twin brothers under the translated version of Shakespearean play titled The Comedy of Errors, was remade in hindi by Gulzar under the title Angur. There was double role of both the Zamindar played by Uttam Kumar and the servant played by Bhanu Banerjee. In the hindi version Uttam Kumar’s role was played by Sanjeev Kumar and Bhanu’s role was played by Deven Verma. It showed the immense comedy skills possed by Uttam Kumar, who maintained both the personality and sense of humour in the role displayed in the film.

Uttam Kumar’s comedy film Choddobeshi, in 1971, where he depicted a botanist who disguised himself as a driver to irritate his wife’s sister and her husband, was remade in hindi under the title Chupke Chupke, in 1975, by Hrishikesh Mukherjee, where Dharmender played the role of the Botanist. Uttam Kumar’s film Ami Se O Sakha, 1975, where he played the role of a friend of a doctor and loves the same woman whom the doctor loves, is remade in hindi under the title Bemisal, where Amitabh Bacchan played the role of Uttam Kumar. He sacrificed the lady for his friend.

Uttam Kumar’s film Amanush, in 1974, where he depicted the story of fishing community who was wrongly rebuked by the local police officer, was remade in hindi under the same title Amanush by noted Director Shakti Shamanta in 1975. The other film where Uttam kumar acted both in the Bengali version and the hindi version include Anand Ashram. In both these films, Sharmila tagore acted opposite Uttam Kumar. Here the wife of the doctor dies, while giving birth to the child. Uttam Kumar displayed the pathos of the husband after the demise of his wife with same level of excellence which Dilip Kumar used to depict in tragic roles.

The list of films of Uttam Kumar, which influenced bollywood can go on. Very significantly Uttam Kumar had given lips for songs sung by different singers, including Hemant Kumar, Shaymal Mitra, Manna Dey, Mohammad Rafi, Kishore Kumar, etc. Even Bhupinder Singh had sung songs for Uttam Kumar titled “zindagi me jab tumhare gham nahi the” and “zindagi, zindagi, o mere ghar ana zindagi” in the film Dooriyan, 1980. It is a pity that as Uttam Kumar had acted in around 205 films within a span of 35 years, he did not get the time to act in major bollywood films. An archive of Uttam Kumar’s works should be created which can depict the rich subject matter presented in his films which had provided inspiration to directors like Hrishikesh Mukherjee, Shakti Shamanta, Gulzar, to reciprocate the stories in bollywood films.

Manna Dey- A versatile Genius

Manna Dey: The genius of Hindi playback and Bengali modern songs.

Manna Dey is probably one of the most talented singers who had glorified the golden age of Bollywood cinema. Born on May 1st, 1919, Probodh Chandra Dey, better known as Manna Dey, studied in Scottish Church College, in Kolkata, where Swami Vivekananda and other great men studied at a point of time. Although his father was a Chartered Accountant, his uncle K.C. Dey’s influence had turned his attention towards music and he completed his classical talim from Ustad Aman Ali Khan. His uncle, K.C. Dey also acted in famous theatre in Kolkata during the period when Natyacharya Sisir Bhaduri’s classic plays Chanakya, Alamgir, Shahjahan, mesmerised the Bengali audience.

Manna Dey went to Bombay with his uncle KC Dey and also worked as assistant of SD Burman. His song “upar gagan bishal” in the film Mashal, stationed him permanently among other singers during the golden age. He stormed into the bollywood arena with successful songs in Raj Kapoor’s Shri 420, namely “mur mur ke na dekh mur mur ke”, “pyar hua ikrar hua hai” and “dil ka hal sune dilwala” and caught the attention of Shankar Jaikishan, the famous musical duo. His classical background was fully exploited in the film Basant Bahar, 1957, where Shankar Jaikishan’s composition “sur na saje kya gayun mai” and his contest with Bhim Sen Joshi was well acclaimed by music lovers.



Manna Dey got the opportunity of singing almost all the songs of Raj Kapoor’s Chori Chori, 1956, where songs like “yeh raat bheegi bheegi”, “aja sanam madhur chadni me hum” brought the first filmfare award for Shankar Jaikishan. Within a short time Manna Dey got the recognition of singing challenging songs in the film industry including qawallis, Hindustani classical, bhajan’s, etc. Madanmohan’s composition “kaun aya mere man ke dware” in the film Dekh Kabira Roya, shows his immense classical control.

Roshan, exploited the range of Manna Dey in Raj Kapoor’s film Dil hi to hai, where his song “laga chunari me daag chupayun kaise” brought his supreme command over sargam, taal, tempo, etc. His qawalli in Barsaat ki Raat, in 1960, composed by Roshan, and sung along with Mohammad Rafi, showed the capability of transforming the grammer of these songs into effortless, flawless pursuits which were simplified for the common audiences.

In the mean time, Manna Dey brought out his supreme performance in Bengali films during the golden age, and his songs “ogo tomar shesh bicharer asay” in the film Dak Harkora, 1958, composed by Sudhin Dasgupta, and “uthali pathali amar buk” in the film Ganga, 1960, composed by Salil Chowdhury flabbergasted the listeners, people wondered how could Manna Dey, coming from complete urbanised background provide perfect intonation for folk songs including bayul and bhatiyali.

Manna Dey’s songs “pucho na kaise maine rain bitayi” in the film Meri surat Teri Ankhen, composed by SD Burman, “ay mere pyare watan” in the film Kabuliwala, composed by Salil Chowdhury, “kasme wade pyar wafa sab” in the film Upkar composed by Kalyanji Anandji, are all masterpieces, some having patriotic feeling, others having pure classical raga embedded in them. Salil Chowdhury even exploited the chorus oriented command of Manna Dey in the song “zindagi kaisi hai paheli hai” in the film Anand, 1970. Other than Mohammad Rafi, no other playback singer could show the versatility and elegance of singing classical, thumris, qawallis, rock and roll, etc., as displayed by Manna Dey.



From mid-sixties, Manna Dey, played the second innings of his musical career by lending his voice for the superstar of Bengali films Uttamkumar in Shonkhobela, 1966. His songs “ami agantuk ami barta dilam” and “dekechi ke age” composed by Sudhin Dasgupta, became super duper hits, and Manna Dey became the most legendary singer of bengali modern songs of all times. His songs in Uttamkumar’s films Antony Firingi, 1967, “ami je jalsaghare,” “ami jamini tumi sashi he”, Nishi Poddo, 1970, “ora je ja bole boluk”, Stri, 1971, “hajar takar jhar batita”, “ose jatai kalo hok”, Sanyasi Raja, 1975, “shashikanto tumi dekhchi”, “bhalobashar agun jalao”, transformed Bengali film music into an invaluable khazana (tressure) which contained Manna Dey’s rock and roll effect, to tappas, to kajris, to other Hindustani raga oriented performances. Manna Dey also had the supreme calibre of imitating a drunkard and the way he sung “ei duniyay bhai sabi hoy sab satti” for legendary actor Chabi Biswas, in Raj Kapoor’s Bengali film Ekdin Ratre, 1955, which was remade in hindi under the title Jagte Raho, 1956, one wonders that he had synchronised his singing capabilities with acting qualities. At the same time his Bengali adhunik (modern) songs most of which were composed by himself like “kotodure aaj niye jabe bolo”, 1953, “hay hay go raat jay go” “ami aaj akasher moto akela” show the romantic appeal of his voice where pathos and classical touch complimented each other.

Manna Dey received filmfare award for best singer in 1972 for the film Mera Naam Joker, national award for singing in Nishi Padda, 1970, a number of Bengal Film Journalist Association Awards (BFJA), Padmashri and Padmabhushan. Besides his versatile talent was exhibited while he did sing songs in regional languages like marathi, malayali, gujrathi, etc. Lata Mangeshkar in her speech in DD1 had said, Manna Dey’s marathi intonation is even better than Marathi Brahmins. No award is sufficient for acknowledging the superlative skills of Manna Dey. An archive should be created where all the songs of Manna Dey in different languages should be preserved and restored, and whenever people here “o mere zohr zabi” or “ek chatun nar” or “yari hai iman mera”, the nostalgia of qawallis, Hindustani ragas and grammatical presentation of ustadi gharana will reflect in their minds.