Showing posts with label sd burman. Show all posts
Showing posts with label sd burman. Show all posts
Tuesday, November 13, 2018
Revisiting SD Burman and Rafisahab in realistic films.
Friday, October 2, 2015
Revisiting SD Burman and Rafi combination in realistic films.
Tuesday, October 1, 2013
Happy birthday to SD Burman.
Thursday, September 22, 2011
Happy birthday to Dev Anand.
Dev Anand, Joy Mukherjee, Nasir Hussain, Shammi Kapoor.
Happy birthday to Dev Anand.
The viewers of bollywood films wish happy birthday to evergreen star Dev Anand on 26th September, 2011. Along with Raj Kapoor and Dilip Kumar he was one of the most popular stars of bollywood films of the 50s and 60s.
He acted opposite most of the leading actresses of the 50s and 60s and most of his romantic of the golden age remained hits. Some of his successful films include Taxi-Driver with Nalini Jayant, CID with Wahida Rehman and Shakila , Tere Ghar Ke Saamne with Nutan, Kalapani with Madhubala, Kalabazar with Wahida Rehman, Jewel Thief with Vaijayantimala, Jaal with Geeta Wali, Teen Deviyan opposite Nanda, Hare Rama Hare Krishna opposite Mumtaz, etc. His production banner Navketan was the pivot around which his brothers Chetan Anand and Vijay Anand contributed a lot.
In the 60s, Dev Anand acted in successful films like Guide, Jewel Thief, etc. Guide was based on the epic literature of RK Narayan. His brother Vijay Anand directed the film and he did a great job. Dev Anand received the filmfare award for the best actor for his performance in the film Guide. He made an English version of Guide too. In Jewel Thief he successfully acted in the role of a detective to combat the group of burglers led by Ashok Kumar. Vaijayantimala and Tanuja acted well opposite Dev Anand in the film.
From the 70s Dev Anand started directing his films including Prem Pujari, Hare Rama Hare Krishna, etc. Even as a director he showed his class. As an actor he was known for his stylish andaz as he emulated the mannerisms of Hollywood actor Gregory Pegg. Another factor for which Dev Anand is still remembered is the quality music given in his films.
Composers like SD Burman, Shankar Jaikishan, Jaidev, OP Nayyar, gave everlasting music with Rafi’s songs like “tujhe jeevan ki dorme” in Asli Nakli, “khoya khoya chand” in Kala Bazar, “tere mere sapne” in Guide, “hum bekhudi me tumko bulaye” in Kala Pani still remaining immortal. Even Kishore’s songs “jeevan ki safar me rahi” in Munimji, “gata rahe mera dil” in Guide, “phulon ke rang se” in Prem Pujari had not lost their colour even today.
Dev Anand received Dadasaheb Phalke Award for his excellence in Indian cinema. He even at his late 80s is interested to produce and direct films. Few years back he made the film Mr. Prime Minister. The viewers expect him to continue the great work that he started 60 years ago.
Friday, March 12, 2010
Geeta Dutt would have made huge difference had she survived in the 70s.
Geeta Dutt would have made huge difference had she survived in the 70s.
Singer Geeta Dutt, was born in a zamindar family as Geeta Roy Choudhury in Faridpur in Bangladesh in 1930. She married Guru Dutt and after his death left singing leading to an end of her career at a premature stage.
She had sung bhajans and other types of songs in the early 50s. Her song “sachimata go ami” became very popular among Bengali community in the early 50s. Her other notable modern Bengali songs in the 50s included “akashjure shapnamaya” and “tomay dekhechi tandrabihin ratero chayay” composed by Kanu Ghosh, which were related to the early creations of IPTA. She also sang successful songs composed by Sudhin Dasgupta like “jheeri jheeri choitali batashe”, “ektu chaowa”, “otho otho magouri”, “krishnachura agun tumi”, “kajol kajol kumkum”, etc. Her songs in pensive mood included “koto gaan haralam” composed by Anal Chatterji, “ektu chaoya ekto payoa”, “oi shur bhara dur nilimay”, composed by Kanu Ghosh, etc. Her songs composed by Binod Chatterji included “hridoy amar kichu Jodi bole”. Kanu Ghosh also composed a fast number for Geeta Dutt titled “ogo amar moner chiro udas anmona”. Salil Choudhury composed for Geeta Dutt “jaak na muche jaak” and sonay dekhe ango”.
Geeta Dutt’s songs in Bengali films stormed the tollywood as most of them were related to actress Suchitra Sen. Her successful songs included “tumi je amar” sung in Harano Sur, “ogo sundoro” sung in Uttam Kumar’s film Indrani, “ei shundo sarnali sondhay” in Hospital, to name a few. Her songs in other films included “banshi bujhi se” in the film Saathihara, “ke dake amay” in Swaralipi, “oi mayabi tithi” in the film Sonar Horin, to name a few.
In the mid-50s, Geeta Dutt sang notable songs in bollywood films as well. Some of her successful songs included “mera naam chinchin cho” in Howrah Bridge, composed by OP Nayyar, “ai dil mushkil” with Rafi in CID composed by OP Nayyar, “waqt ne kiya kya haseen sitam” in Kagaz Ka Phool composed by SD Burman, “khayalon me kisiki" in Bawre Nain composed by Roshan, “hum bhi hai tum bhi ho” in Jis Desh Me Ganga Behti Hai, composed by Shankar Jaikishan, to name a few.
But from the time Guru Dutt died in the mid-60s, Geeta Dutt stopped singing and sang back in the film Anubhav, titled “meri jaan”, “mera dil jo mera hota”, etc. That was the period when composers in Mumbai like Shankar Jaikishan, OP Nayyar, C. Ramchandran, Salil Choudhury experimented the most with westernized compositions. In that respect the listeners were deprived because, had Geeta Dutt seriously continued her singing most of the upcoming composers would have experimented with her.
Singer Geeta Dutt, was born in a zamindar family as Geeta Roy Choudhury in Faridpur in Bangladesh in 1930. She married Guru Dutt and after his death left singing leading to an end of her career at a premature stage.
She had sung bhajans and other types of songs in the early 50s. Her song “sachimata go ami” became very popular among Bengali community in the early 50s. Her other notable modern Bengali songs in the 50s included “akashjure shapnamaya” and “tomay dekhechi tandrabihin ratero chayay” composed by Kanu Ghosh, which were related to the early creations of IPTA. She also sang successful songs composed by Sudhin Dasgupta like “jheeri jheeri choitali batashe”, “ektu chaowa”, “otho otho magouri”, “krishnachura agun tumi”, “kajol kajol kumkum”, etc. Her songs in pensive mood included “koto gaan haralam” composed by Anal Chatterji, “ektu chaoya ekto payoa”, “oi shur bhara dur nilimay”, composed by Kanu Ghosh, etc. Her songs composed by Binod Chatterji included “hridoy amar kichu Jodi bole”. Kanu Ghosh also composed a fast number for Geeta Dutt titled “ogo amar moner chiro udas anmona”. Salil Choudhury composed for Geeta Dutt “jaak na muche jaak” and sonay dekhe ango”.
Geeta Dutt’s songs in Bengali films stormed the tollywood as most of them were related to actress Suchitra Sen. Her successful songs included “tumi je amar” sung in Harano Sur, “ogo sundoro” sung in Uttam Kumar’s film Indrani, “ei shundo sarnali sondhay” in Hospital, to name a few. Her songs in other films included “banshi bujhi se” in the film Saathihara, “ke dake amay” in Swaralipi, “oi mayabi tithi” in the film Sonar Horin, to name a few.
In the mid-50s, Geeta Dutt sang notable songs in bollywood films as well. Some of her successful songs included “mera naam chinchin cho” in Howrah Bridge, composed by OP Nayyar, “ai dil mushkil” with Rafi in CID composed by OP Nayyar, “waqt ne kiya kya haseen sitam” in Kagaz Ka Phool composed by SD Burman, “khayalon me kisiki" in Bawre Nain composed by Roshan, “hum bhi hai tum bhi ho” in Jis Desh Me Ganga Behti Hai, composed by Shankar Jaikishan, to name a few.
But from the time Guru Dutt died in the mid-60s, Geeta Dutt stopped singing and sang back in the film Anubhav, titled “meri jaan”, “mera dil jo mera hota”, etc. That was the period when composers in Mumbai like Shankar Jaikishan, OP Nayyar, C. Ramchandran, Salil Choudhury experimented the most with westernized compositions. In that respect the listeners were deprived because, had Geeta Dutt seriously continued her singing most of the upcoming composers would have experimented with her.
Monday, September 28, 2009
Happy birthday to Dev Anand
Happy birthday to Dev Anand.
The viewers of bollywood films wish happy birthday to evergreen star Dev Anand. Along with Raj Kapoor and Dilip Kumar he was one of the most popular stars of bollywood films of the 50s and 60s.
He acted opposite most of the leading actresses of the 50s and 60s and most of his romantic of the golden age remained hits. Some of his successful films include Taxi-Driver with Nalini Jayant, CID with Wahida Rehman, Kalapani with Madhubala, Kalabazar with Wahida Rehman, etc. His production banner Navketan was the pivot around which his brothers Chetan Anand and Vijay Anand contributed a lot.
In the 60s, Dev Anand acted in successful films like Guide, Jewel Thief, etc. Guide was based on the epic literature of RK Narayan. Dev Anand received the filmfare award for the best actor for his performance in the film Guide. In Jewel Thief he successfully acted in the role of a detective to combat the group of burglers led by Ashok Kumar.
From the 70s Dev Anand started directing his films including Prem Pujari, Hare Rama Hare Krishna, etc. Even as a director he showed his class. As an actor he was known for his stylish andaz as he emulated the mannerisms of Hollywood actor Gregory Pegg. Another factor for which Dev Anand is still remembered is the quality music given in his films.
Composers like SD Burman, Shankar Jaikishan, Jaidev, OP Nayyar, gave everlasting music with Rafi’s songs like “tujhe jeevan ki dorme”, “khoya khoya chand”, “tere mere sapne”, “hum bekhudi me tumko bulaye” still remaining immortal. Even Kishore’s songs “jeevan ki safar me rahi”, “gata rahe mera dil”, “phulon ke rang se” had not lost their colour even today.
Dev Anand received Dadasaheb Phalke Award for his excellence in Indian cinema. The viewers expect him to continue the great work that he started 60 years ago.
Friday, July 3, 2009
The nation remembers Guru Dutt on his birthday.
The nation remembers Guru Dutt on his birthday.
The nation remembers Guru Dutt on his birthday on 9th July, 2009. He had died more than 40 years ago, yet his reference comes whenever history relating to thoughtful films is revisited. Guru Dutt was innovative as a director and from the time he created Baazi with Dev Anand in 1951, he showed his spark. As an actor his films Aarpar with Shyama gave a new team in bollywood films with OP Nayyar, Rafi, Geeta Dutt, Johny Walker and others. The song in the “kabhi aar kabhi paar” became super hit.
From that time onwards Guru Dutt created his identity in picturising song sequences and was regarded by the film community after Raj Kapoor. In CID, all the songs of the film like “ay dil mushkil jeena yahan”, “ankhon hi ankho me ishara ho gaya”, “leke pehla pehla pyar” became super hit. Johnny Walker became a leading comedian in the 50s, due to his brilliant relationship with Guru Dutt and Mohammad Rafi and their combination gave numerous hits for the next ten years.
Mr and Mrs 55 was Guru Dutt’s super hit project opposite Madhubala. All the songs in the film became successful including “thandi hawa kali ghata”, “jaane kahan mera jigar gaya ji”, etc. Rafi’s songs for Johnny Walker and Guru Dutt like “sun sun sun sun zalima”, “muhobbat karlo aji karlo”, “dil pe kiya aisa jadu” remained everlasting hits and still is considered as some of the most innovative creations of OP Nayyar. The songs of the film 12 O Clock were also hit including “mai kho gaya” sung by Rafi.
From 1957, the viewers saw thoughtful Guru Dutt in films like Pyaasa and Kagaz Ka Phool. Both the films were based on eternal truth. Pyasa was related to recognition of a poet in a materialistic world. Kagaz Ka Phool was related to story of directors and performers in celluloid, their rise and their fall due to ungratefulness of opportunists in society. The music composed by SD Burman in both these films were of high standard. Also the lyrics of Sahir Ludhiyanvi were very meaningful. The notable songs included “yeh mahalon yeh takhton yeh tajon ki duniya”, “sar jo tera”, “bichar gaya bari bari” sung by Rafi, “waqt ne kiya kya haseen sitam” sung by Geeta Dutt, to name a few.
Guru Dutt and Wahida Rehman’s onscreen chemistry was accepted by viewers in the film Chaudavi Ka Chand. The title song “chaudavi ka chand ho, ya aaftab ho” sung by Rafi and composed by Ravi can be considered as one of the ten best ghazals composed in the history of bollywood music. Guru Dutt bought colour in the song sequence. The film did great business. Guru Dutt as an actor did great job in films like Bharosa, Saheb Bibi Aur Ghulam, Saanz Aur Sawera, etc. His early demise in the mid-60s led to huge loss in the film industry as his works were filled with deep thoughts. The viewers pay respect to the departed soul on his birthday and want the restoration of his works to acknowledge his creativity as a director, producer and actor.
The nation remembers Guru Dutt on his birthday on 9th July, 2009. He had died more than 40 years ago, yet his reference comes whenever history relating to thoughtful films is revisited. Guru Dutt was innovative as a director and from the time he created Baazi with Dev Anand in 1951, he showed his spark. As an actor his films Aarpar with Shyama gave a new team in bollywood films with OP Nayyar, Rafi, Geeta Dutt, Johny Walker and others. The song in the “kabhi aar kabhi paar” became super hit.
From that time onwards Guru Dutt created his identity in picturising song sequences and was regarded by the film community after Raj Kapoor. In CID, all the songs of the film like “ay dil mushkil jeena yahan”, “ankhon hi ankho me ishara ho gaya”, “leke pehla pehla pyar” became super hit. Johnny Walker became a leading comedian in the 50s, due to his brilliant relationship with Guru Dutt and Mohammad Rafi and their combination gave numerous hits for the next ten years.
Mr and Mrs 55 was Guru Dutt’s super hit project opposite Madhubala. All the songs in the film became successful including “thandi hawa kali ghata”, “jaane kahan mera jigar gaya ji”, etc. Rafi’s songs for Johnny Walker and Guru Dutt like “sun sun sun sun zalima”, “muhobbat karlo aji karlo”, “dil pe kiya aisa jadu” remained everlasting hits and still is considered as some of the most innovative creations of OP Nayyar. The songs of the film 12 O Clock were also hit including “mai kho gaya” sung by Rafi.
From 1957, the viewers saw thoughtful Guru Dutt in films like Pyaasa and Kagaz Ka Phool. Both the films were based on eternal truth. Pyasa was related to recognition of a poet in a materialistic world. Kagaz Ka Phool was related to story of directors and performers in celluloid, their rise and their fall due to ungratefulness of opportunists in society. The music composed by SD Burman in both these films were of high standard. Also the lyrics of Sahir Ludhiyanvi were very meaningful. The notable songs included “yeh mahalon yeh takhton yeh tajon ki duniya”, “sar jo tera”, “bichar gaya bari bari” sung by Rafi, “waqt ne kiya kya haseen sitam” sung by Geeta Dutt, to name a few.
Guru Dutt and Wahida Rehman’s onscreen chemistry was accepted by viewers in the film Chaudavi Ka Chand. The title song “chaudavi ka chand ho, ya aaftab ho” sung by Rafi and composed by Ravi can be considered as one of the ten best ghazals composed in the history of bollywood music. Guru Dutt bought colour in the song sequence. The film did great business. Guru Dutt as an actor did great job in films like Bharosa, Saheb Bibi Aur Ghulam, Saanz Aur Sawera, etc. His early demise in the mid-60s led to huge loss in the film industry as his works were filled with deep thoughts. The viewers pay respect to the departed soul on his birthday and want the restoration of his works to acknowledge his creativity as a director, producer and actor.
Thursday, June 11, 2009
Rafi and Guru Dutt.
Rafi and Gurudutt.
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.
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.
Wednesday, December 10, 2008
The use of folk songs in bollywood films
The use of folk songs in bollywood films.
Folk songs which had originated from the rural areas and villages of different parts of India had been one of the indispensable source of music for more than 500 years. The leading composers of bollywood films had used the folks songs in successful films and popularized them.
Shankar Jaikishan’s composition “ramaiya vasta maiyya” in Raj Kapoor’s successful film Shree 420, was based on marathi folk song. Naushad had experimented with bhojpuri folk song in the film Ganga Jumna. Rafi’s hit song “nain lad jaihe woh manwama kasak oi bekari”, and Lata’s hit song “dhundo dhundo re sajna” was based on the folk songs of Bihar and Hindi high belt. Dilip Kumar and Vaijayantimala had given quality lips in the film.
SD Burman had a very colourful background in respect of his own basic discs which were based on folk songs of Tripura and East Bengal (modern Bangladesh), including “paddar dheu re”, “jhilmil jhilmil jhiler jole”, “bangladesher dhol”, “mono dilo na bodhu”, etc., and he used to be addressed as Sachin Karta ( the head of Hindu Undivided Family). The major folk songs used by SD Burman in bollywood films include “jane kya tune kaha” sung by Geeta Dutt in Pyasa, “dil ka bhanwar kare pukar” sung by Rafi in the film Tere Ghar Ke Samne, “o janewale ho sake to”, sung by Mukesh in the film Bandini, “mitwa” sung by Talat Mehmood, in the film Devdas. The list is very long and articles after articles can be devoted on his work.
Salil Choudhury had merged Assamese Bihu folk music with westernized folks. His notable songs include Lata’s “daiya re daiya re jangal papi bichua” in Madhumati, “zindagi kaisi hai peheli” sung by Manna Dey in the film Anand, “ai mere pyare watan” sung by Manna Dey in the film Kabuliwala, “janeman janeman” sung by Yeshu Das in the film Choti Si Baat, “tasveer teri dil me” sung by Rafi and Lata in the film Maya, “ganga aye kahan se” sung by Hemant Kumar, to mention a few. Salil Choudhury’s westernized creations stormed bollywood films to such an extent that his folk songs got unnoticed.
Shankar Jaikishan had used folk songs and blended western music in many films. His notable creations include “aa aab laut chale” sung by Mukesh and Lata in the film Jis Desh Me Ganga Behti Hai, “chalet musafir” sung by Manna Dey in the film Teesri Kasam, “dil ka haal sunewala” sung by Manna Dey in the film Shree 420, to name a few.
Roshan, Madanmohan, Laxmikant Pyarellal, Khayyam, Jaidev, etc., also used folk songs to a big extent in bollywood films. Some of the other landmark folk songs include “ohre taal mile nadi ke jal me” sung by Mukesh,
Folk songs which had originated from the rural areas and villages of different parts of India had been one of the indispensable source of music for more than 500 years. The leading composers of bollywood films had used the folks songs in successful films and popularized them.
Shankar Jaikishan’s composition “ramaiya vasta maiyya” in Raj Kapoor’s successful film Shree 420, was based on marathi folk song. Naushad had experimented with bhojpuri folk song in the film Ganga Jumna. Rafi’s hit song “nain lad jaihe woh manwama kasak oi bekari”, and Lata’s hit song “dhundo dhundo re sajna” was based on the folk songs of Bihar and Hindi high belt. Dilip Kumar and Vaijayantimala had given quality lips in the film.
SD Burman had a very colourful background in respect of his own basic discs which were based on folk songs of Tripura and East Bengal (modern Bangladesh), including “paddar dheu re”, “jhilmil jhilmil jhiler jole”, “bangladesher dhol”, “mono dilo na bodhu”, etc., and he used to be addressed as Sachin Karta ( the head of Hindu Undivided Family). The major folk songs used by SD Burman in bollywood films include “jane kya tune kaha” sung by Geeta Dutt in Pyasa, “dil ka bhanwar kare pukar” sung by Rafi in the film Tere Ghar Ke Samne, “o janewale ho sake to”, sung by Mukesh in the film Bandini, “mitwa” sung by Talat Mehmood, in the film Devdas. The list is very long and articles after articles can be devoted on his work.
Salil Choudhury had merged Assamese Bihu folk music with westernized folks. His notable songs include Lata’s “daiya re daiya re jangal papi bichua” in Madhumati, “zindagi kaisi hai peheli” sung by Manna Dey in the film Anand, “ai mere pyare watan” sung by Manna Dey in the film Kabuliwala, “janeman janeman” sung by Yeshu Das in the film Choti Si Baat, “tasveer teri dil me” sung by Rafi and Lata in the film Maya, “ganga aye kahan se” sung by Hemant Kumar, to mention a few. Salil Choudhury’s westernized creations stormed bollywood films to such an extent that his folk songs got unnoticed.
Shankar Jaikishan had used folk songs and blended western music in many films. His notable creations include “aa aab laut chale” sung by Mukesh and Lata in the film Jis Desh Me Ganga Behti Hai, “chalet musafir” sung by Manna Dey in the film Teesri Kasam, “dil ka haal sunewala” sung by Manna Dey in the film Shree 420, to name a few.
Roshan, Madanmohan, Laxmikant Pyarellal, Khayyam, Jaidev, etc., also used folk songs to a big extent in bollywood films. Some of the other landmark folk songs include “ohre taal mile nadi ke jal me” sung by Mukesh,
Thursday, September 4, 2008
SD Burman and Dev Anand.
SD Burman and Dev Anand.
Just as Shankar Jaikishan had been instrumental in the musical success of Raj Kapoor’s films and Naushad was associated with Dilip Kumar, in the same way SD Burman had great contribution in the musical success of Dev Anand’s films. His music in the film Kala Pani was successful with Rafi’s songs “hum bekhudi me tum ko pukare”, and “acha ji mai hari”. The songs in Kala Bazar were equally successful with songs like “khoya khoya chand”.
In the film Tere Ghar Ke Saamne, all the songs were melodious including “tere ghar ke saamne”, “tu kahan yeh bata”, etc. Rafi and Lata had sung sweet songs in the film which were picturised on Dev Anand and Nootan. The songs of the film Teen Deviyan were successful including “aise to na dekho” sung by Rafi and “are yaar mera dil bhi hai gazab” sung by Kishore Kumar.
Probably SD Burman gave his best in the film Guide. The song “kya se kya ho gaya”, “tere mere sapne” and “din dhal jaye” sung by Rafi, “gata rahe mera dil” sung by Kishore and “piya tose naina lagere” and “katon se kheech ke who aanchal” sung by Lata were landmarks in Indian film industry. The songs were as popular as the film.
SD Burman also contributed well in the film Jewel Thief. Asha’s song “raat nashili hai” was as successful as Lata’s song “rulake gaya sapna mera” and Rafi’s song “dil pukare are are are” was as successful as Kishore’s song “yeh dil na hota bechara”. The film was a crime thriller and the powerful performance of Ahsok Kumar and Vaijayantimala was matched by the quality music composed by SD Burman.
The other successful films of Dev Anand where SD Burman contributed with quality music include Prem Pujari, Taxi Driver, Baazi, etc. SD Burman gave good songs to Geeta Dutt, Mukesh, Talat Mehmood and other singers as well.
The songs and the films should be restored for the next generation.
Friday, May 16, 2008
Wahida Rehman and SD Burman.
Wahida Rehman and SD Burman.
By: Supriya Chatterji.
As Wahida Rehman performed in a number of films made by Navketan Banner and SD Burman was also associated with the same banner, SD Burman had composed many songs that were picturised on Wahida Rehman. The songs “jane kya” from the film Pyaasa, picturised on Wahida Rahman carried the theme of SD Burman’s own song “mono dilon badhu”. Geeta Dutt sang the song in the film. The same film had quality songs sung by Rafi including “yeh mahalon, yeh tajhon ki duniya”.
The song “waqt ne kiya kya haseen sitam”, composed by SD Burman in the film Kagaz Ka Phool, became landmark hit. The song was again sung by Geeta Dutt. The film had a serious subject matter, and the song suited the theme of the film. There were other notable songs also there in the film including “beechre sabhi bari bari”.
In Guide, all the songs composed by SD Burman and sung by Lata, became super hits. The songs “katon se khichke who aanchal”, “piya tose naina lage re”, became trendsetters in the mid-60s. Wahida Rehman also displayed her dancing skills in the film. Guide, was successful due to the diverse types of songs in the film. Other songs like “gata rahe mera dil” sunb by Kishore Kumar and “din dhal jaye”, “kya se kya ho gaya”, etc., sung by Rafi became mega hits. The song “tere mere sapne” also was very successful.
SD Burman’s composition in the film Prem Pujari, picturised on Wahida Rehman, titled “rangila re”, became super hit. It was sung by Lata and created a great impact in the minds of the viewers. The other notable song in the film was “phulon ke rang se”, sung by Kishore Kumar, which was based on SD Burman’s own song “barne gandhe chande madhute”.
In the mid-70s, Sd Burman became sick and he died in 1975. Had he survived for a longer period who could have composed more songs for Wahida Rehman. The songs and the films of Wahida Rehman are rich assets of bollywood industry and should be preserved for future generations.
Wednesday, February 27, 2008
Laxmikant Pyarellal and Lata.
Laxmikant Pyarelal and Lata.
Laxmikant Pyarelal had a very eventful musical combination with Lata over 40 years. They were as respectful towards Rafi as they regarded Lata. Even during the phase when music got commercialised in the 80s, Laxmikant Pyarelal survived in the industry and provided everlasting tunes to Lata.
In Parasmani, in n1963, Laxmikant Pyarelal had given immortal tunes to Rafi including “roushan tumhi se duniya”. The same film had a melodious duet song for Lata and Rafi titled “woh jab yaad aye bahut yaad aye”. Their composition for Lata and Mukesh titled “sawan ka mahina”, picturised on Nutan and Sunil Dutt became an everlasting hit in the 60s.
Laxmikant Pyarelal’s composition in the film Izzat, titled “yeh dil tum bin kahi lagta nahi” sung by Lata and Rafi was a masterpiece. In those days producers never dictated terms to the composers and as such the best compositions of Laxmikant Pyarelal came in the 60s and 70s, which included “woh hai zara khafa khafa” sung by Lata and Rafi in Shagird, picturised on Saira Banu and Joy Mukherjee. Laxmikant Pyarelal’s composition in Jigri Dost, titled “raat suhani” sung by Lata and Rafi and picturised on Mumtaz and Jeetender had a huge romantic appeal.
In the early 70s, also Laxmikant Pyarelal created semi-classical compositions like “patta patta” sung by Lata and Rafi which also became hit. After the death of Jaikishan in 1971, Raj Kapoor used Laxmikant Pyarelal for the rest of his films and Lata made significant contribution in all those films. Songs like “hum tum ek kamre me bandh ho” from Bobby, “satyam shivam sundaram” from Satyam Shivam Sundaram, became landmark hits.
Also songs like “koel bole”, “dafliwale” from the film Sargam picturised on Jaya Prada and Rishi Kapoor, and sung by Lata and Rafi, created sensation in the late 70s. Even in the early 80s, the title song of the film Ek Duje Ke Liye, became very very successful. Laxmikant Pyarelal had the capability of catering to the needs of the new generation and was the only composer of the 60s who could survive in the 80s when action films dominated bollywood.
Lata’s combination with Laxmikant Pyarelal marks diverse types of songs and some of them like “aya sawan jhumke”, from Aya Sawan Jhumke, “aap mujhe acche lagne lage”, from Jeene ki raah, all the songs from the film Banphool, had not lost their appeal even today. The songs should be restored for immense musical value.
Related Reading
Saturday, February 23, 2008
Lata and SD Burman.
Lata and SD Burman.
SD Burman had experimented with different singers during his tenure in bollywood films including Geeta Dutt, Asha Bhosle. Among them he had special respect towards Lata due to her melodious voice. Lata had sung the songs “piya to se naina lage re” and “aaj phir jeene ki tamanna hai” composed by SD Burman, extraordinarily which gave a new dimension to the film Guide in 1965, picturised on Wahida Rehman. Her song “rulake gaya sapna mera” brought tears in the eyes of listeners in the film Jewel Thief, in 1967, picturised on Vaijayantimala.
Lata was sublime in her performance in Tere Ghar Ke Saamne in the song “yeh tanhai haie re hai”, and the duet song “dekho rutha na karo” with Rafi, composed by SD Burman wchih was picturised on Nutan. The film Abhimaan in 1973, was based on music and Lata’s performance in each of the songs were unique, including the songs “tere mere milan ki”, “teri bindiya re” which were sung by Kishore and Rafi also. Jaya Bacchan gave immortal lips in the legendary songs in the film.
SD Burman had given landmark songs to Lata also in Hrishikesh Mukherjee’s film Chupke Chupke in 1975. the film was based on the story portrayed in Uttamkumar’s Choddobeshi, and the bengali actresses Jaya Bacchan and Sharmila Tagore tried to maintain the Bengali flavour in the film. Lata’s song “chupke chupke” was very big hit.
In Bimal Roy’s Sujata and Bandini, SD gave folk tunes to Lata and in both these films the songs played a significant role for their success. Songs like “mora gora anng laile”, sung by Lata had not lost its appeal even today. SD Burman had lot of love and respect for Geeta Dutt as he gave songs like “jane kya tune kiya”, “waqt ne kiya kya haseen sitam”, picturised on Wahida Rehman which became very famous during the 50s. Similarly SD had given landmark songs to Asha including “raat nashili hai”, in Jewel Thief, picturised on Tanuja, “acchaji mai hari” the duet song of Asha and Rafi in Kala Pani, 1958.
But whenever he thought about the song which would mark his identity Lata’s name automatically came in his mind. His songs in Milli, like “maine kaha phoolon se”, or the song “dil pukare are are are” from Jewel Thief, shows that SD Burman also believed that Lata was indispensable in the golden age of Indian film music. The songs composed by SD Burman and sung by Lata should be restored and preserved.
Related Reading
Thursday, November 22, 2007
SD Burman and Rafi.
SD Burman and Mohammad Rafi
Sachin Dev Burman was born in Tripura, where the fields, soil, trees and nature as a whole had shaped the music. There cannot be any music which is sweeter than the compositions that God has created in nature for human beings to cherish generation after generations. What is required is the poetic and musical mind to realise the melodies evident in the breeze, in the rainfall, in the fragrance of flowers blossoming at the arrival of spring. Tripura is situated at the border of East Bengal, and as a landmass has similarity with East Bengal and West Bengal which in Bengali we term as “nodi matric” meaning being fed by a number of rivers.The minds of the people in this part of the world is as soft as the alluvial soil of the Ganges, the Brahmaputra, the Padma and other rivers.
SD Burman came to Kolkata and learned Classical Music from the Giant of Ustadi Gharana named Viswadev Chatterji.Viswadev’s famous song “Nabaruno Rage” used to be played as the first song in All India Radio in the morning, everyday and acted as messanger of dawn.The genius had taught SD Burman, ragas of different origin and created a legacy of Hindustani classical which shaped SD Burman into a grand creator as known by the later generations.
SD Burman had his own basic discs in Bengali, some having flavour of folk songs, others having the orthodox ragas embedded in them.His notable songs include “Paddar dheu re”, “Jhilmil jhilmil jhiler jole dheu kheliya jaire”,”mono dilona badhu”,etc. When he went to Bombay, he took Manna Dey with him, another legendary singer of the Bengali modern era. Manna Dey dominated the BEngali film arena with his tremedous performance in Uttamkumar’s films “shankhobela”, “Antony firingi”,etc in the 60s and 70s.
SD Burman got involved with the Navketan Banner and composed most of his songs for that banner. But he developed an everlasting bond with Mohammad Rafi, the man with the golden voice who had an answer for the different emotions of human being, including happiness, tragedy, comedy,etc.
SD Burman had composed the songs “yeh mahalon ,yeh takhton, yeh tajho ki duniya” in the film Pyasa, 1957 and “Bichre sabhi, bari bari” in the film Kagaz ke phool, 1959, for Gurudutt, with whatever pathos he had in him. Rafi brought tears in the eyes of music lovers with his compassionate andaz.
Manna Dey sometimes had a grievance, that inspite of the classical control being possessed by him SD Burman had preferred Rafi in some of the classical compositions. In the film Meri Surat Teri Ankhen, Manna Dey gave a superlative performance with the song “Pucho na kaise maine rain bitayi.” Rafi had superceded SD Burman himself with the performance of “Tere bin sune” composed in raag Pilu which was the hindi version of SD’s own song”Ami chinu Eka basoroJagaye”.
In the film Tere Ghar ke saamne, 1963, SD Burman’s composition “tu kahan yeh bata”,”tere gharke saamne” “dil ka bhanwar karen pukar”and the rest of the songs combined sweetness of Rafi’s voice with the folk effect in the orchestration. In the film “Teen deviyan” Rafi’s song “aise to na dekho” and “Kahin bekhayal hoker” had Ghazal andaz.Besides Rafi’s preformance in Guide,1965, with the songs “Tere mere sapne”, “din Dhal Jaye”"Kaise kya ho gaya bewafa hogaya tere pyar me” brought out the softer side of SD Burman.
There are other songs like “Hum bekhudi me tumko pukare chale gaye” in the film kalapani,1960, where Rafi matched SD Burman himself (his bengali song was “Ghum bhulechi”) and “yeh di diwana hai” and “mehbooba teri tasveer” in te film “Isqe par zor nahin” where Rafi’s excellence is balanced with SD Burman’s orchestration.In Rajenderkumar’s film Talash, SD Burman brought out his best for Rafi in the song “Palkon ke peeche se.”
The list of songs showing Rafi’s combination with SD Burman can go on. But one thing is common, whenever SD Burman was passionate about the hindi version of his own songs, Rafi appeared in his mind automatically. Rafi’s Archive should contain SD Burman’s creation also to show the background of folk song and hindustani classical, used in the songs composed in 50s, 60s, 70s.
Related Reading
SD Burman came to Kolkata and learned Classical Music from the Giant of Ustadi Gharana named Viswadev Chatterji.Viswadev’s famous song “Nabaruno Rage” used to be played as the first song in All India Radio in the morning, everyday and acted as messanger of dawn.The genius had taught SD Burman, ragas of different origin and created a legacy of Hindustani classical which shaped SD Burman into a grand creator as known by the later generations.
SD Burman had his own basic discs in Bengali, some having flavour of folk songs, others having the orthodox ragas embedded in them.His notable songs include “Paddar dheu re”, “Jhilmil jhilmil jhiler jole dheu kheliya jaire”,”mono dilona badhu”,etc. When he went to Bombay, he took Manna Dey with him, another legendary singer of the Bengali modern era. Manna Dey dominated the BEngali film arena with his tremedous performance in Uttamkumar’s films “shankhobela”, “Antony firingi”,etc in the 60s and 70s.
SD Burman got involved with the Navketan Banner and composed most of his songs for that banner. But he developed an everlasting bond with Mohammad Rafi, the man with the golden voice who had an answer for the different emotions of human being, including happiness, tragedy, comedy,etc.
SD Burman had composed the songs “yeh mahalon ,yeh takhton, yeh tajho ki duniya” in the film Pyasa, 1957 and “Bichre sabhi, bari bari” in the film Kagaz ke phool, 1959, for Gurudutt, with whatever pathos he had in him. Rafi brought tears in the eyes of music lovers with his compassionate andaz.
Manna Dey sometimes had a grievance, that inspite of the classical control being possessed by him SD Burman had preferred Rafi in some of the classical compositions. In the film Meri Surat Teri Ankhen, Manna Dey gave a superlative performance with the song “Pucho na kaise maine rain bitayi.” Rafi had superceded SD Burman himself with the performance of “Tere bin sune” composed in raag Pilu which was the hindi version of SD’s own song”Ami chinu Eka basoroJagaye”.
In the film Tere Ghar ke saamne, 1963, SD Burman’s composition “tu kahan yeh bata”,”tere gharke saamne” “dil ka bhanwar karen pukar”and the rest of the songs combined sweetness of Rafi’s voice with the folk effect in the orchestration. In the film “Teen deviyan” Rafi’s song “aise to na dekho” and “Kahin bekhayal hoker” had Ghazal andaz.Besides Rafi’s preformance in Guide,1965, with the songs “Tere mere sapne”, “din Dhal Jaye”"Kaise kya ho gaya bewafa hogaya tere pyar me” brought out the softer side of SD Burman.
There are other songs like “Hum bekhudi me tumko pukare chale gaye” in the film kalapani,1960, where Rafi matched SD Burman himself (his bengali song was “Ghum bhulechi”) and “yeh di diwana hai” and “mehbooba teri tasveer” in te film “Isqe par zor nahin” where Rafi’s excellence is balanced with SD Burman’s orchestration.In Rajenderkumar’s film Talash, SD Burman brought out his best for Rafi in the song “Palkon ke peeche se.”
The list of songs showing Rafi’s combination with SD Burman can go on. But one thing is common, whenever SD Burman was passionate about the hindi version of his own songs, Rafi appeared in his mind automatically. Rafi’s Archive should contain SD Burman’s creation also to show the background of folk song and hindustani classical, used in the songs composed in 50s, 60s, 70s.
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.
- Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
- OP Nayyar’s immortal relationship with Mohammad Rafi.
- Salil Chowdhury’s relationship with Mohammad Rafi.
- Ravi’s memorable combination with Rafi.
- Roshan's everlasting bond with Mohammad Rafi.
- SD Burman and Mohammad Rafi.
- Rafi’s pleasant memories with Madanmohan.
- Khayyam and Jaidev’s relationship with Mohammad Rafi.
- Kalyanji Anandji’s association with Mohammad Rafi.
- Naushad’s association with Rafi.
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