Actor of actors Chabi Biswas was remembered on birth anniversary

After working with many actors Chabi Biswas was considered the greatest actor by Satyajit Ray. Satyajit Ray, the Oscar winning director of Indian films considered Chabi Biswas as the greatest actor ever to have been born in Asian soil. Ray brought the neo-realistic movement in Indian films and when he made a statement about an actor that statement the verdict of Supreme Court judge. In that perspective Ray’s comments about Chabi Biswas in Shamik Banerjee’s interview had justified the fact that Chabi Biswas was the only actor in Indian cinema whose improvisation in a Satyajit Ray film had flabbergasted international audience of US, Canada, France, Germany, etc. Satyajit Ray was known as the greatest perfectionist of his age. His script had each and every dimension relating to the work of the actors and actresses and there was hardly any scope of improvisation. But Chabi Biswas was such a great actor who could hardly be directed, nor guided, as his own innovation relating to the respective role that he played was brilliant by every acting standard. Ray had cast Chabi Biswas in three films Jalsaghar, Debi and Kanchenjungha, and due to his tragic death in 1962, Ray never got the scope of experimenting with the legendary actor in his following films. In Jalsaghar, the character Biswambhar Roy could not have been portrayed by any actor better than Chabi Biswas. It was based on the epic literature of Tarashankar Bandopadhyay, where Ray showed his brilliance in the depiction of Feudal System during Colonial period in Bengal. For Chabi Biswas, aristocracy got predominance in his life as a zamindar, and that dignity, personality, honour could not be sacrificed during his lifetime. As long as Chabi Biswas’s wealth matched with his aristocracy, the zamindar compromised with other aspects of life, but when the upcoming wealthy people in the village like Gangapodo Basu, by becoming rich through business, tried to equate themselves with the dignified landlord, they faced the tassled. Ray admitted, the scene where Chabi Biswas brought baijee (classical singer) from Benaras to perform in his house and Gangapodo Basu tried to give her reward and Chabi Biswas prevented him, the diction, the aristocracy and dignity could only be portrayed by Chabi Biswas. He said a performer can be first rewarded by the host who called her, not the invitee. The scene where Chabi Biswas was told that due to lack of duty paid by the farmers, there was no money to light the jharlonthon, Chabi Biswas went upstairs and showed the photographs of his ancestors whose sacred legacy he carried forward, and that was the scene which shook international audience. Ray once said, had Chabi Biswas been born in US, he would have received Oscar award for his performance in Jalsaghar. Chabi Biswas’s performance in the film Debi, based on the epic literature of Prabhat Mukhpadhay, was unparallel. He almost got the illusion of seeing Goddess Kali in Sharmila Tagore, who was his daughter -in-law. The expression for the belief which was based on devotion to God, was very complex, which could be only played by Chabi Biswas. Ray admitted, that had Chabi Biswas not been there, he would not have made the film at all. In respect of roles having dignified presence, Chabi Biswas could not be replaced. The best example was Kanchenjungha. There Chabi Biswas a rich industrialist. He could not equate others with himself as he had money, power, recognition in society. But Ray experimented with the abstract subject of the greatness of Kanchenjungha creating an impact in the minds of all the passersby including an egoist of the stature of Chabi Biswas. That was the reason when Chabi Biswas called the name of his friend Banerjee, the film ended with the realization. All the films of Satyajit Ray where he exploited the majestic performance of all time great actor Chabi Biswas should be restored and preserved. Lessons of acting and film making cannot be learned in a better than observing the great works of the two giants together.

Rafisahab topped the Binaca Geetmala 8 times

Rafisahab songs were loved by everyone. Here is a mention of the Rafisahab songs which topped Binaca Geetmala from 1954 to 1980. In 1956 Rafisahab song "aye dil hai mushkil" from film CID topped the Binaca Geetmala with lips of Johnny Walker Kumkumji and voice of Rafisahab and Geeta Duttji. OP Nayyarsahab composed music of the film. In 1957 Rafisahab song "zara saamne to aa chaliye" from film Janam Janam Ke Phere topped Binaca Geetmala. Lataji sang the song with Rafisahab. It was composed by SN Tripathi, where lips were given by Manher Desai and Nirupa Royji. In 1960 Rafisahab song "zindagi bhar nahi bhulegi woh barsaat ki raat" from film Barsaat Ki Raat topped Binace Geetmala. Roshansahab composed the song and Sahir Ludhianviji wrote the lyrics. Bharat Bhushanji and Madhubalaji were the lead actors of the film. In 1961, Rafisahab song "teri pyari pyari soorat ko" from film Sasural topped Binaca Geetmala. Shankar Jaiishanji composed the song and Hasrat Jaipurisahab wrote the lyrics. Rajender Kumarsahab and Sarojadeviji gave lips the songs. In 1962, Rafisahab song "ehsaan tera hoga mujhpar" from film Junglee topped Binaca Geetmala. Shankar Jaikishanji composed the song and Hasrat Jaipuriji wrote the lyrics. Shammi Kapoorsahab and Saira Banuji gave lips. In 1963, Rafisahab song "jo wada kiya woh nibhana parega" from film Taj Mahal topped Binaca Geetmala. Roshanji composed the song and Sahir Ludhiyanvi wrote the lyrics. Pradip Kumarji and Beena Royji gave lips in the song which was sung by Lataji also. In 1966, Rafisahab song "baharon phool barsao" from film Suraj topped Binaca Geetmala. Shankar Jaikishanji composed the song and Hasrat Jaipuriji wrote the lyrics. Rajender Kumarji and Vyjayantimalaji gave lips. In 1980, Rafisahab song "dafliwale dafli baja" from film Sargam topped Binaca Geetmala. Laxmikant Pyarellalji composed the song and Anand Bakshiji wrote the lyrics. Rishi Kapoorsahab and Jaya Pradaji gave lips and Lataji sang the song with Rafisahab. So till 1980, Rafisahab song topped Binaca Geetmala 8 times. The Male and female version songs of Rafisahab with Lataji and other singers were masterpieces. By: Dr Souvik Chatterji During the 1950s and 1960s there were many landmark male and female version songs created by composers and poets. The version songs of Rafisahab were masterpieces. Shankar Jaikishanji used Rafisahab in the song “ehsan tera hoga mujhpar” for Shammi Kapoorji in film Junglee in 1961. The same song had Lataji effect for Saira Banuji in the film. Roshanji used Rafisahab in the version song in film Barsaat Ki Raat, where the title song composed by Bharat Bhushanji became blockbuster hit. Lataji sang the version song for Madhubalaji in the film. Naushadji used Rafisahb in Rajender Kumarji song “mere mehboob tujhe meri muhabbat ka kasam” in film Mere Mehboob in 1963. Lataji sang the version song for Sadhnaji in the film. Shankar Jaikishanji used Rafisahab for Dharmenderji version of song “gar tum bhula na doge” where Lataji sang the Sharmilaji version. Rafisahab sang Pradip Kumarji song “dil jo na keh saka” composed by Roshanji in film Bheegi Raat in 1965. Meena Kumariji version was sung by Lataji in the film. In film Mamta in 1966, Suchitra Senji song “rahe na rahe hum” was sung by Lataji. The same song in a different version for Ashok Kumarji was sung by Rafisahab and Suman Kalyanpurji. In Shammi Kapoorji film Pagla Kahin Ka, Rafisahab song “tum mujhe bhula na payoge” was very brilliant where Lataji sang the Asha Parekhji version. In Balraj Sahaniji film Bhabhi, Rafisahab song “chal ur ja re pachi” was created was theme song in film Bhabhi composed by Chitraguptji in 1958. Talatji also sang the same song recorded for Bhabhi. In Joy Mukherjeeji film Love in Tokyo, in 1966, Shankar Jaikishanji composed “o mere shahe khuba” sung by Rafisahab. Lataji sang the version song for Asha Parekhji. In Sunil Duttji film Chirag, Rafisahab sang the song “teri ankhon ke siwa” composed by Madanmohansahab. Lataji sang the version song for Asha Parekhji. In Guru Duttji film Aar Paar, in 1954, Rafisahab sang duet song “sun sun sun sun zalima” composed by OP Nayyarji. Geeta Duttji sang the version song for Shyamaji in the same film. The list goes on. The songs really matched the sequences in the films and the composers also utilized the brilliance of Rafisahab and other singers very well.

Shankar Jaikishan songs came in first 3 numbers in Binaca Geetmala from 1953 to 1971

Immortal combination of Shankar Jaikishan with Mohammad Rafi sahab. Great composer Shankar Singh Raghubvanshi is remembered on his birth anniversary on 15th October, 2024. He was also remembered on death anniversary on 26th April, 2023 Their songs ranked first in 6 years in Binaca Geetmala also between 1949 and 1971. In many years Shankar Jaikishanji songs ranked in the first 3 songs between 1953 to 1971. In 1953 Shankar Jaikishanji song "muhabbat ki dastan aaj suno" sung by Lataji in film Mayurpankh ranked 3rd in Binaca Geetmala. In 1955 "mera joota hai japani" sung by Mukeshji for Raj Kapoorsahab composed by SJ in film Shree 420 was first in Binaca Geetmala. In 1956 "tu pyar ka sagar hai" sung by Manna Deysahab for Balraj Sahaniji composed by SJ in film Seema was third in Binaca Geetmala. In 1958 "bol re katputli dori" sung by Lataji for Vaijayantimalaji composed by SJ in film Katputli was third in Binaca Geetmala. In 1959 "zahid sharab pine de masjid me baitkar" sung by Mukeshji for Raj Kapoorji composed by SJ in film Main Nashe Me Hoon was second in Binaca Geetmala. In 1959, "sab kuch seekha humne na sikhi hoshiyari" sung by Mukeshji for Raj Kapoorji composed by SJ in film Anari was third in Binaca Geetmala. In 1961 "teri pyari pyari surat ko kisi ki nazar na lage" sung by Rafisahab for Rajender Kumarsahab in film Sasural composed by Shankar Jaikishan was first in Binaca Geetmala. In 1961 " o maine pyar kiya" sung by Lataji for Padminiji in film Jis Desh Me Ganga Behti Hai ranked third in Binaca Geetmala. In 1962 "ehsaan tera hoga mujhpar" sung by Rafisahab for Shammi Kapoorji in film Junglee composed by SJ was first in Binaca Geetmala. In 1963, "dil ek mandir hai" sung by Rafisahab Suman Kalyanpurji for Raj Kumarji Meena Kumariji in film Dil Ek Mandir composed by SJ was second in Binaca Geetmala. In 1964 "bol radha bol sangam hoga ki nahi" sung by Mukeshji for Raj Kapoorsahab in film Sangam composed by Shankar Jaikishan was first in Binaca Geetmala. In 1964 "yeh mera prem patra parkar" sung by Rafisahab for Rajender Kumarji in film Sangam composed by SJ was second in Binaca Geetmala. In 1966 "baharon phool barsao mera mehboob aya hai", sung by Rafisahab for Rajender Kumarji in film Suraj composed by Shankar Jaikishan was first in Binaca Geetmala. In 1969, "parai hoon parai" sung by Lataji for Asha Parekhji in film Kanyadan composed by Shankar Jaikishanji was third in Binaca Geetmala. In 1971, "zindagi ek safar hai suhana" sung by Kishore Kumarji for Rajesh Khannaji in film Andaz was first in Binaca Geetmala.

. He was one of the genius composers of the famous duo Shankar Jaikishan. In the 1940s, 1950s and 1960s a number of composers dominated Bollywood films. Naushad Ali, Roshanlal Nagrath, Madanmohan Kohli, OP Nayyar, all had the class of their own. Shankar Jaikishan composed music in almost 195 films in that golden age. One of the great reasons of Shankar Jaikishan’s huge success was due to the great combination with immortal singer Mohammad Rafi Sahab. If Rafi’s stylish andaz relating to westernized compositions are adequately it is Shankar Jaikishan who had used it to perfection. They had used Rafi for singing romantic songs with Japanese orchestration in Love in Tokyo, released in 1966 including songs like “aja re aa zara aa”, “Japan, Love in Tokyo”, “ o mere shahekhuba”, etc. In Biswajeet’s April Fool, released in 1964 SJ’s composition for Rafi including “aa gale lag ja” had westernized background. At the same time Rafi’s song “tumhe chaha” with Suman Kalyanpur was a great rendition in pensive mood. SJ’s composition for Rafi in Shammi Kapoor’s An Evening in Paris, in 1967, like “akele akele kahan ja rahe ho”, “raat ke humsafar”, had loud French music with echo effect and Rafi’s intonation was also westernized. Shankar Jaikishan gave a completely different style of music to Rafi in Rajender Kumar’s Aarzoo, released in 1965 with songs like “aji ruth kar ab”, “chalke teri aankho se”, “ai nargisi mastana”, etc. SJ had given songs addressing children to Rafi including “nanne munne bache teri mutthi me kya hai” in Boot Polish which was produced by Raj Kapoor and released in 1954, “hai na bolo bolo”, “re mamma re mamma re” in Shammi Kapoor’s Andaz, released in 1971 and “chakke p chakka” in Brahmchari, in 1969. Rafi pronounced the words with childish accent and SJ used the orchestration to attract children. There were ghazals also given by SJ for Rafi including “rukh se zara nakab”, “kya kya na kahe” in Jeetender’s Mere Huzoor, “unke khayal aye to” in Raj Kumar’s Lal Patthar, “aye bahaar banke” in Pradeep Kumar’s Rajhaath, etc. Besides SJ’s creation involving Rafi in somber mood had created great impact including songs like “teri zulfon ki judai to nahi maangi thi” in Dev Anand’s Jab Pyar Kisi Se Hota Hai, “ehsaan tera hoga mujhpar” in Shammi Kapoor’s Junglee, “yaad na aye” in Rajender Kumar’s Dil Ek Mandir. Shankar Jaikishan had used Rafi’s classical andaz in the songs “radheke tune bansoori churai”, “ajahu na aye”, etc., and combined the ragas with devotional andaz. SJ has given music in almost 200 films within the span from 1949 to 1971, and at least each year they composed music for approximately 10 films. As Rafi was given predominance over other male singers SJ had use him in regular intervals even without doing injustice to Mukesh, Manna Dey, Kishore Kumar, Talat Mehmood and others. Songs like “kaun hai jo sapno me aya” from Jhuk Gaya Aasman, “to bura maan gaye” from Ayee Milan Ki Bela, “yeh ankhen” from Jab Pyar Kisi Se Hota Hai, “tujhe jeevan ki dor se” from Aasli Nakli, “dheere dheere chal” from Love Marriage, “badan pe sitaren lapete hue” from Prince, “mai kahin kavi na banjayun” from Pyar Hi Pyar, “mai gayun tum so jao” from Brahmchari, had not lost their flavour even 40 years after their creation due to sheer brilliance of Shankar Jaikishan. It is really tragic neither Shankar Jaikishan had received the accolades that they deserved nor Rafi’s association with them had been glorified but history says that the combination of Rafi with Shankar Jaikishan had produced invaluable creations which had become immortal over the period of time.