In 3 days Prabhas starrer Kalki did business above 200 crores is heading towards hit status

In 3 days Prabhas starrer Kalki did business above 200 crores is heading towards hit status. Right from Prabhas to kamal Hassan, Amitabh Bacchan to Saswata Chatterjee gave great performances. Kalki 2898 AD (pronounced [kə.l.kɪ]) is a 2024 Indian Telugu-language epic science fiction film[7][8] directed by Nag Ashwin. It was produced by C. Aswani Dutt and co-produced by Swapna Dutt and Priyanka Dutt, under Vyjayanthi Movies. It featured an ensemble cast including Amitabh Bachchan, Kamal Haasan, Prabhas, Deepika Padukone, and Disha Patani. It is the first installment in the planned Kalki Cinematic Universe and inspired by Hindu scriptures. Set in a post-apocalyptic world in the year 2898 AD, the film follows the few selected who are on a mission to save the unborn child, Kalki, of SUM-80, a lab subject. The film was officially announced in February 2020 under the tentative title Prabhas 21, as it is the actor's 21st film in the lead role and was later changed to working title Project K.[9][10] Principal photography commenced a year later in July 2021 due to COVID-19 pandemic. It was shot sporadically in several legs over the next three years, and wrapped by late-May 2024. The official title was announced in July 2023. The film has music composed by Santhosh Narayanan, cinematography handled by Djordje Stojiljkovic and editing by Kotagiri Venkateswara Rao. Made on a ₹600 crore (US$72 million) production budget, it is the most expensive Indian film. Kalki 2898 AD was initially scheduled to release on 9 May 2024, but was postponed due to unfinished production works. It was released worldwide on 27 June 2024 in IMAX, 3D and other formats to generally positive reviews from critics.[11] Plot In 3102 BC, following the Kurukshetra War, Ashwatthama attempts to kill Uttarā's unborn child by invoking the Brahmashirastra. For this act, Krishna curses him to roam the earth as an immortal. His divine gem is also taken from his forehead, and his redemption is destined to occur through protecting and guiding Vishnu's last avatar, Kalki, during the Kali Yuga. By 2898 AD, six thousand years into the Kali Yuga, the desertified city of Kasi stands as the last known city in a post-apocalyptic world dominated by Supreme Yaskin, a totalitarian god-king. Yaskin rules from the "Complex", an inverted-pyramidal-megastructure that hovers above the city, extracting Earth's resources to sustain a gated paradise accessible only to those who can pay 1 million "units". His authority is enforced by Commander Manas, Counsellor Bani and the Raiders, who vigilantly guard against threats, particularly the prophesied arrival of Kalki. In this dystopian society, fertile female refugees in Kasi are forcibly taken to the Complex for Project K, an experiment aimed at producing a life-extending serum for the 200-year-old Yaskin through artificially inseminated foetuses. However, no woman survives more than 120 days of pregnancy, resulting in their deaths. Raia, a young girl disguised as a boy, narrowly escapes conscription with the help of rebels led by Rumi from the hidden city of Shambhala. Unfortunately, Rumi and Divya, falsely rumoured to be pregnant with Kalki, are captured and executed in public by Manas for not revealing Shambhala's location. Raia finds refuge in a cave, where she encounters Ashwatthama. She unknowingly brings him his divine gem, Shivamani, from the Shambhala rebels. Together, they set out to find the real mother of Kalki. SUM-80, a Project K subject hiding her 150-day pregnancy, is eventually captured. Manas extracts a drop of serum from her foetus, but the procedure is interrupted by Lilly, a Shambhala rebel posing as a Project K subject. Lilly helps SUM-80 escape, but stays behind to fight off the Raiders. Outside, they are met by other Shambhala rebels: Veeran, Kyra, and Ajju. Kyra renames SUM-80 as "Sumathi". En route to Shambhala, their convoy is ambushed by bounty hunters and Raiders after Manas places a bounty on Sumathi. Though they fend off the attackers, Kyra is killed. Bhairava, a bounty hunter aiming to secure Sumathi's bounty to enter the Complex, remains in pursuit with his AI supercar, Bujji. Ashwatthama learns through his gem that Sumathi’s unborn child is Kalki. Despite Bhairava's efforts, Ashwatthama subdues him and the group reaches Shambhala, where the tree of life blooms in recognition of Kalki's presence. Bhairava makes a deal with Manas to capture Sumathi in exchange for his entry into the Complex. Bhairava discovers Shambhala by deceiving a spy, Luke, and disguises himself as Ashwatthama by using his hologram technology. He convinces Sumathi to flee Shambhala, but they are intercepted by the real Ashwatthama. As they fight, Shambhala's leader, Mariam, takes Sumathi away. Bhairava, overpowered by Ashwatthama, transforms Bujji into a humanoid fighter but is again defeated. Manas and the Raiders track Bhairava to Shambhala and breach its defenses with a beam weapon provided by Yaskin. The Raiders overwhelm the Shambhalan army, and Mariam is killed. Manas chains Ashwatthama, but Bhairava, wielding Ashwatthama's walking stick, which is actually revealed to be Karna's bow, Vijaya Dhanush, awakens and attacks the Raiders. Bhairava, who is revealed to be a reincarnation of Karna,[a] uses the bow's power to rescue Sumathi and kill Manas. Ashwatthama, recognising his old friend, breaks free, but Bhairava, reminded of the bounty by Bujji, reverts to his former self and takes Sumathi away. Back at the Complex, Yaskin, informed of Manas's failure and death by Counsellor Bani, uses the extracted serum drop to transform into a youthful superhuman with multiple arms. He picks up Arjuna's bow, Gandiva, and declares his intention to personally capture Sumathi and her son and reshape the world. Cast Amitabh Bachchan as Ashwatthama[12], the son of sage and warrior Dronacharya and an ally to the Kauravas, who was cursed with immortality for attempting to kill an unborn Parikshit. He has since roamed the Earth for nearly six thousand years. Kamal Haasan as Supreme Yaskin, the proclaimed god of the Complex[13] Prabhas in a dual role as: Bhairava, a bounty hunter[14] Karna, an ancient sun elemental archer and warrior who was allied with the Kauravas, and a fierce rival to the Pandava Arjuna, his younger maternal half-brother. Deepika Padukone as SUM-80 alias Sumathi, a pregnant lab subject and the prophesied mother of Kalki[13] Disha Patani as Roxie[15] Saswata Chatterjee as Commander Manas[16] Brahmanandam as Rajan, Bhairava's landlord[17] Rajendra Prasad as Rumi[18] Shobhana as Mariam, the leader of Shambhala[19][b] Pasupathy as Veeran, a rebel from Shambhala Anna Ben as Kyra, a rebel from Shambhala Harshith Malgireddy as Luke[22] Kavya Ramachandran as Lilly, undercover rebel at the Complex[22] Ayaz Pasha as Ajju, a rebel from Shambhala[22] Anil George as Counsellor Bani[22] Keya Nair as Raia[22] Vinay Kumar as Sirius[22] Venkata Ramana as Ronnie[22] Hamish Boyd as Yuri[22] Sanghwa Shin as Leon[22] Keerthy Suresh as BU-JZ-1 alias Bujji, Bhairava's companion AI droid/vehicle (voice-over)[17] Cameo appearances Krishnakumar as Lord Krishna (voice-over by Arjun Das)[23], an incarnation of Vishnu, who was born during the time of Mahabharata to bring peace by aiding the Pandavas. He serves as Prince Arjuna's charioteer and strategist. Vijay Deverakonda as Arjuna[24], the third Pandava brother and a powerful archer who engages in combat with his elder maternal half-brother Karna. Dulquer Salmaan as Captain, Bhairava's guardian[24] Malvika Nair as Uttarā[25], the princess of Matysa, daughter-in-law of Arjuna and mother of Parikshit, the last living heir of the Kuru Dynasty following the Kurukshetra War. She and her baby were attacked by Ashwatthama's enchanted arrow after the war ended. Mrunal Thakur as Divya, a lady who was assumed to be Kalki's mother[24] S. S. Rajamouli as a bounty hunter and Bhairava's rival[24] Ram Gopal Varma as Chintu, a street food vendor[24] K. V. Anudeep as a dancer in the Complex[26] Faria Abdullah as a dancer in the Complex[26] Santhosh Narayanan as a dancer in the Complex Srinivas Avasarala as Bhairava's prospective buyer[26] Production Development Kalki 2898 AD is the first collaboration of Prabhas with Nag Ashwin. After the success of Mahanati in 2019, Nag Ashwin stated that he had been working on an original story, for which screenplay he used a long time on. He also stated that the production would begin soon.[27] The project would be funded by C. Aswani Dutt's Vyjayanthi Movies, which also funded Mahanati. The company announced on 7 August that the production would begin in September and posted a casting call for various artist positions.[28][29] On 26 February 2020, coinciding the occasion of 50th year since the establishment of Dutt's house, Prabhas was announced to be the lead actor. Tentatively titled Prabhas 21, production would begin after the actor completes filming for Radhe Shyam (2022).[30][9] The film was made on a production budget of ₹600 crore, and Prabhas was reported to receive ₹150 crore (US$18 million) as his remuneration.[31][32] The actor, however, reportedly decided to take the revenue sharing model, receiving ₹80 crore as advance, and a chunk of the profits would be given to him as remuneration.[33] In February 2021, it was reported that the filming would begin in March; however, Ashwin during the promotions for his short film in Pitta Kathalu (2021) stated that due to the COVID-19 pandemic and Prabhas' prior commitments, the filming would commence at the latter half of the year.[34] The film's official title, Kalki 2898 AD, was announced on 21 July 2023.[35] It is a reference to Kalki, an avatar of Hindu deity Vishnu in the Hindu eschatology, according to the Bhagavata Purana, and 3102 BC – traditionally thought to be the beginning of Kali Yuga after the Mahabharata War (the film being set 6,000 years into the Kali Yuga, the era of the asura/demon Kali).[36][37][38]

Tragedy king Dilip Kumar sahab gave the highest number of blockbusters in 100 years

The nation is shocked by demise of Tragedy King Dilip Kumar sahab's death at 99 years. The success rate of Dilip Kumar in Bollywood films is incomparable. Bollywood films had given superstars of different dimensions over the last 70 years. Right from Ashok Kumar to Rajender Kumar, Amitabh Bacchan to Shahrukh Khan, the superstars had entertained the audience and created records at box office over the years. These days viewers feel Salman Khan is the badshah of 100 crore, 200 crore, 300 crore club as his films Dabaang did business of 140 crores, Dabaang 2 158 crores, Ready 125 crores, Bodyguard 148 crores, Ek Tha Tiger 198 crores, Kick 232 crores, Prem Ratan Dhan Payo 219 crores, Sultan 300 crores and Bajrangi Bhaijaan 320 crores. Even after the records of these superstars are compared, there is incomparable record with one superstar of the millennium, that is Tragedy King Dilip Kumar. One of the reasons why the records are incomparable is due to the span of time that the records are spread over. Dilip Kumar was a superstar in the 1940s. He remained a superstar in 1950s. By the 1960s he became a legend. In the 1980s he became a phenonmenon. During Dilip Kumar’s time, success of films were measured in the context of number of weeks the films used to do business at box office. Now let us see the success in the context of the box office records. Dilip Kumar’s Mela in 1948 was a blockbuster hit doing business for more than 50 weeks and had been called a golden jubilee hit. SU Sunny directed the film. The music was composed by Naushad Ali. The legendary combination of Dilip Kumar, Naushad Ali, lyricist Shakeel Badayani and singer Rafisahab was created by that time. Dilip Kumar’s Andaz in 1949 was also a blockbuster hit and it remained the 2nd biggest blockbuster in 1949 after Raj Kapoor’s Barsaat. Andaz was directed by Mehboob Khan and had Dilip Kumar, Raj Kapoor and Nargis in the lead roles. The music was composed by Naushad Ali and the film was declared a golden jubilee hit which ran for more than 50 weeks. Dilip Kumar’s Babul in 1950 was a silver jubilee hit which ran for more than 25 weeks. It was directed by SU Sunny. Naushad Ali composed the music of the film. Dilip Kumar and Nargis played the lead roles in the film. Dilip Kumar’s Deedar in 1951 was again a blockbuster and golden jubilee hit running for more than 50 weeks. Dilip Kumar, Ashok Kumar and Nargis played the lead roles. Nitin Bose directed the film and the music was composed by Naushad Ali. Aan was Dilip Kumar’s first coloured and India’s first coloured film. In 1952, the blockbuster films was directed by Mehboob Khan. It was a multistarrer film with Dilip Kumar, Murad, Premnath, Nimmi and Nadira in the lead roles. The music was composed by Naushad Ali. By that time the equation was Dilip Kumar + Naushad Ali + Shakeel Badayani +Rafisahab = magic. The film did business of more than 50 weeks and became greatest blockbuster of the decade. Dilip Kumar’s Azad and Uran Khatola did business of more than 25 weeks in 1955 and were declared silver jubilees. Azad had Meena Kumari and Dilip Kumar in lead roles and music composed by C Ramchandran. Uran Khatola had Dilip Kumar and Nimmi in lead roles. SU Sunny directed the film and the music was composed by Naushad Ali. Dilip Kumar’s Naya Daur in 1957 was a golden jubilee hit running for more than 50 weeks. BR Chopra and Yash Chopra were involved in production and direction and the film was revolutionary one in the history of Indian films. OP Nayyar composed the music of the film. Dilip Kumar Vaijayantimala, Ajit and Johny Walker were in lead roles. Dilip Kumar’s Madhumati in 1958 was a golden jubilee hit running for more than 50 weeks. Bimal Roy directed the film and music was composed by Salil Choudhury. Dilip Kumar Vaijayantimala Johny Walker, Jayant were in lead roles. The film swept all the awards at filmfare in 1958 including best actor by Dilip Kumar, best composer by Salil Choudhury, best director by Bimal Roy. Dilip Kumar’s Paigham in 1959 was a silver jubilee hit running for more than 25 weeks. Dilip Kumar, Raj Kumar and Vaijayantimala were in lead roles. The music was composed by C Ramchandran. Dilip Kumar’s Kohinoor in 1960 was a golden jubilee hit running for more than 50 weeks. Dilip Kumar Meena Kumari, Kumkum and Jeevan were in lead roles. The music was composed by Naushad Ali, and Rafisahab’s “madhuban be radhika nachere” still is considered phenomenal rendition of raga style music in films. Dilip Kumar’s Mughal-i-Azam in 1960 was an all time blockbuster. It was a diamond jubilee hit running for more than 100 weeks. It created such a brilliant record at box office, that Sholay only broke the record in 1975. Dilip Kumar, Madhubala, Prithviraaj Kapoor, Durga Khote were in lead roles. The film was directed by K Asif and music composed by Naushad Ali. Dilip Kumar’s Ganga Jumna in 1961 was a golden jubilee hit running for more than 50 weeks. Nitin Bose directed the film. Dilip Kumar and Vaijayantimala were in the lead roles. The music was composed by Naushad Ali. Dilip Kumar’s Ram Aur Shyam in 1967 was a golden jubilee hit running for more than 50 weeks. T Chanakya directed the film. Dilip Kumar, Mumtaz, Pran and Wahida Rehman were in lead roles. The music was composed by Naushad Ali. Dilip Kumar for the first time acted in a double role. In the 1980s Dilip Kumar gave 2 golden jubilee hits, one was Shakti in 1982 and the other was Karma in 1986. Shakti had Dilip Kumar, Amitabh Bachan, Rakhee, Smita Patil, Amrish Puri in lead roles. The film was directed by Ramesh Sippy. Karma had Dilip Kumar, Nutan, Anil Kapoor, Jackie Shroff, Naseeruddin Shah, Anupam Kher in lead roles. Subhash Ghai directed the film and Laxmikant Pyarellal composed music of the film. So in a career of Dilip Kumar of 62 films, more than 25 films ending up as diamond jubilee, platinum jubilee, golden jubilee and silver jubilee is incomparable. India is indebted to Tragedy King for the business he gave over last 80 years. Only the record of Showman Raj Kapoor and in Bengal industry Mahanayak Uttam Kumar can come close to Dilip Kumar. Dilip Kumar always remained a phenomenon.

Tarun Banerjee became famous with fast numbers Chalo Rina and O Suleman

Tarun Banerjee’s Chalo Rina and O Suleman haunted bengalies. Singer Tarun Banerjee had sung everlasting songs during the golden age of Bengali music; that is the 50s and 60s. He had a deep voice with good pitch. Two of his songs “chalo Rina” and “o suleman” haunted the bengalies. “chalo rina” was composed by Abhijeet Banerjee. The song spoke about the singer calling his girlfriend to travel with him along the red village road, and red flowers blossom and the rural life unfolds itself. “o suleman” was written by Pulak Banerjee and composed by Prasanta Bhattacharya. “o suleman” had Arabian tunes embedded in them. So it talks about a girl who was seen by a seller, who could not find her again. The romantic appeal of both the songs “chalo rina” and “o suleman” haunted the bengalies for generations. His song “mor malanche bosonto nai” was very popular during the 60s. He was sublime in the song “champakoli go koto name dekechi tomae” composed by classical singer Manobendra Mukherjee. The song “konokchapa dhan” composed by Prabir Mojumdar and sung by Tarun Banerjee was equally popular. He was excellent in the songs he had sung for poet and composer Salil Choudhury. One of his legendary songs included “eso kache eso, kono kotha bolo” which became immensely popular during the 60s. His song “ankhi cholocholiya keno gele choliya” composed by Nikhil Chatterji also became very popular during that period. His other hit songs during that period included “tolpar tolpar moner kotha”, “magnelia aar kamelia phool”, etc. He also sang songs which were compositions made out of rhymes. One of the examples included “ek ekdin megh kore mon bole hariye jai”. He also sang the song “champa amar ogo jago” which was written by Salil Choudhury and composed by Sudhin Dasgupta. Very rarely the two highly talented lyricist and composer Salil Chodhury and Sudhin Dasgupta came together to compose the legendary songs. “champa amar ogo” was one of them. He had sung songs which were in the form of ballads. Some of them included “modhumati jay boye jay”, “cholo Rina”, “kajol nodir jole”, “aar deri nei”, to mention a few. He equally sublime in other modern songs like “alta payer”, “elona se elona”, etc. He also made valuable contribution in Bengali film music. His song “haridasher bulbulbhaja tatka taja khete moja” in the film Shriman Prithviraj was very popular. The song was composed by Hemant Kumar and the film was directed by eminent director Tarun Majumdar. It is not possible to highlight the contribution of Tarun Banerjee in Bengali modern songs in a small article, who had contributed during the 50s, 60s and 70s. His songs and films should be preserved and restored.

Ajoy Kar and Agradoot had immortal bond with superstar Uttam Kumar

Elegant combination of Uttam Kumar with Ajoy Kar and Agradoot. In the 1950s major films of Uttam Kumar created romantic appeal before the majority of audience of the country. His combination with Ajay Kar and Agradoot was very grand. Ajay Kar did cast Uttam Kumar for the first time in the film Griha Prabesh. It was a social film where Uttam Kumar and Suchitra sen were launched and they acted opposite other established artists like Manju Dey, Bikash Roy and others. In Shyamali in 1956, Ajay Kar utilized Uttam Kumar’s acting potential. It was a film relating to deaf and dumb character played by Kaberi Bose. Uttam Kumar played a very compassionate role and his experience of acting in stage opposite Sabitri Chatterjee in the play Shaymali helped him a lot. In 1957, Uttam Kumar’s film Harano Sir ended up being the biggest blockbuster of the decade. Suchitra Sen played the role of wife of Uttam Kumar. Uttam Kumar met with an accident and for his previous history. Suchitra Sen treated her and married her. But again Uttam Kumar met with an accident and forgot Suchitra Sen. The rest of the film was related to the struggle of Suchitra Sen in bringing back memories of Uttam Kumar of the past. Geeta Dutt’s song “tumi je amar” became bumper hit. Ajay Kar’s Saptapadi stands out as one of the greatest classics of the golden period. Critics argue that Saptapadi released in 1961 stands out as the best film of Uttam Kumar and Suchitra Sen in their entire career. Ajoy Kar probably made the best use of Uttam Kumar and Suchitra Sen in the film Saptapadi. It was a story of Tarashankar Banerjee on affair between hindu Brahmin played by Uttam Kumar with a Christian girl played by Suchitra Sen. Uttam Kumar’s father Chabi Biswas did not accept the marriage. Uttam Kumar became a Christian and a doctor but could not marry Suchitra Sen. The film was made at the backdrop of Second World War. Hemanta Mukherjee’s music in the film was very impressive. Ajay Kar reciprocated the magic in Uttam Kumar’s film Shono Boronari. The film was released in 1960. There Supriya Debi, the daughter of eminent barrister Udasin played by Chabi Biswas fell in love with a homeopathic doctor played by Uttam Kumar. As monetarily Uttam Kumar was no match to Chabi Biswas, a marriage was arranged with industrialist Dipak Mukherjee in the film. At the end of the film Supriya Debi left her house to accept Uttam Kumar. The music of Robin Chatterjee in the film was very impressive. Ajoy Kar made other successful films with Uttam Kumar including Khelaghar opposite Mala Sinha, Bardidi with Sandharani, to name a few. Agradoot included a group of directors were formed in 1946 by director Bibhuti Laha, sound recordist Jatin Dutta, Laboratory specialist Sailen Ghoshal, script writer Nitai Bhattacharya and producer Bimal Ghosh. With Uttam Kumar Agradoot made the film Sahajatri in 1951. Bharati Debi was the heroine of the film. After that Agradoot directed one after the other hit films with Uttam Kumar. Agniparikkha in 1954 directed by Agradoot became super hit. Uttam Kumar and Suchitra Sen were established as leading stars of Bengal. Anupam Ghatak composed the music of the film. Sandhya Mukherjee sang landmark songs like “gaane more indradhanu”, “ke tumi amare dako”, to name a few. From that time Suchitra Sen, singer Sandhya Mukherjee, music director Robin Chatterjee, Anupam Ghatak stormed Bengali films. Sabar Opore followed. Uttam Kumar played the role of lawyer in the film who re-opened a murder case where his father Chabi Biswas was proved guilty of murder. Again the combination with Suchitra Sen, Sandhya Mukherjee, Robin Chatterjee struck gold. The songs of Sandhya Mukherjee like “ghum ghum chand jhikimiki tara”, and Dhananjoy Bhattacharya like “kantaro aghate chino paye rakta jhare” became super hit. The other super hit films of Uttam Kumar and Suchitra Sen directed by Agradoot include Pathe Holo Deri, Bipasha, to name a few. Majority of Agradoot’s films were produced by MP Production and shot in MP Studio. One interesting statistics about Uttam Kumar Suchitra Sen pair is that from 1953 to 1959, both of them acted in 22 films. Majority of those films were directed by Agradoot and majority of them ended up being super hit films. Chabi Biswas was pivotal in playing the roles of fathers of Suchitra Sen and Uttam Kumar in majority of those films. Agradoot continued with his experiment in other Uttam Kumar films like Kuhak in 1961, Kokhono Megh in 1968, Choddobeshi in 1971. It was a great experiment of Agradoot in casting Uttam Kumar in negative role for the first time in Kuhak. Sabitri Chatterjee was the heroin. He wanted to take away the stolen money from Tarun Kumar’s son but was ultimately killed by Premangshu Basu. In Kokhono Megh Uttam Kumar played the role of detective with Kali Banerjee the villain. Anjana Bhowmick acted opposite Uttam Kumar. Agradoot also directed Uttam Kumar in serio-comic film Choddobeshi. Madhabi Mukherjee, Bikash Roy, Anubha Gupta were the other artists in the film. If the films of Ajoy Kumar and Agradoot were analyzed it will be seen while Uttam Kumar played the pivotal roles in all the films, the success of the films were dependent on outstanding music. The prominent music directors who contributed in the music of the films included Robin Chatterjee and Anupam Ghatak. The outstanding performances by character artists like Chabi Biswas took the films to a different horizon. Other male character artists performed beyond expectation including Kamal Mitra, Nitish Mukherjee, Bikash Roy, Pahari Sanyal, Kali Banerjee, Jahar Ganguly, to name a few. Also the female character artists like Malina Debi, Sunanda Debi, Chandrabati Debi, Chaya Debi, Padda Debi played landmark characters. The excellent literature of legendary writers like Tagore, Sarat Chandra Chatterjee, Bankim Chandra Chatterjee, and contemporary writers like Samaresh Basu, Subodh Ghosh appealed to the masses. If Uttam Kumar became mahanayak, the legendary superstar of Bengal, there was huge contribution of Ajay Kar and Agradoot in making him a superstar. /s320/85a8e35fa5fd27565702cd986d9dbf62%2BUttam%2Bkumar%2Bsharmila.jpg" width="298" height="320" data-original-width="564" data-original-height="606" />

Dev Anand sahab remained evergreen on 100th anniversary.

Dev Anand will be remembered by the nation for generations. Dev Sahab was remembered on his 100th birth anniversary and he has remained evergreen. Dev Sahab was remembered on 100th birth anniversary on 26th September 2023. Dev Anand was remembered on his birth anniversary on 26th September, 2023. Romantic star Dev Anand died in London on 4th December, 2011, at the age of 88 years. Everyone in India mourned his death right from Prime Minister Manmohan Singh to superstar Shahrukh Khan, actress Hema Malini to actor Rishi Kapoor. He was staying in London and died out of cardiac arrest as had been said by his son. Most of his fans all across the world had said that they Dev Anand never looked back at life, but looked forward and for that reason became the inspiration for every optimistic film personality. It was the end of an era, as Dev Anand represented Indian films for more than 60 years, right from 1946, when he started his career. His hit films included CID, Kala Pani, Hum Dono, Guide, Jewel Thief, to mention a few. He received filmfare award for best actor for his performance in the films Kala Pani and Guide. He received Dadasaheb Phalke award for immense contribution to bollywood films. He had also being remembered for his brilliant songs of Mohammad Rafi, Geeta Dutt and Lata Mangeshkar like “din dhal jaye”, “kabhi khud pe kabhi halat pe rona hoga”, “piya tose naina lage re”and brilliant compositions of Shankar Jaikishan, Sachin Dev Burman, and others. His songs sung by Rafisahab had been masterpieces like "kya se kya ho gaya", "kabhi khud pe", "aise to na dekho", "ankhon hi ankhon me", "tujhe jeevan ki dor se", "dil ka bhawar kare pukar", "teri zulfon ki judaai", "khoya khoya chand", "hum bekhudi me tuk ko pukare", "mai zindagi ka saath". The list goes on. Evergreen star Dev Anand had this year gave an interview to journalist Gautam Bhattacharya which had been published in Anandabazar Patrika on 25th June, 2011. He had said that he had been busy working with his new film Charge Sheet. He had crossed 88 years and still showed the enthusiasm to work on the sequel of the film Hare Rama Hare Krishna, which he made in 1971. When he was asked about Raj Kapoor and Dilip Kumar, he said, if Raj Kapoor would have taken care of his health he would have survived for more time and made more films. Dilip Kumar was happy to be an actor and never showed the interest of directing films. Dev Anand missed his team of performers like Vijay Anand, Kishore Kumar, Sachin Dev Burman, but he said that death was also a reality which people should face.

Rafisahab version songs with Sumanji Lataji Geetaji made the films super hit.

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.

Due to differences with original Ramayana the Indian audience did not accept Adipurush.

Adipurush earned 480 crores in 14 days but remained average earner. Adipurush did worldwide business of 410 crores in 7 days but there are differences which are standing in the way for making it a hit. In Adipurush, Ravana is shown to be taller than Lord Rama which is wrong. When Lord Rama with his monkey army or vanar sena had entered Sri Lanka, the fear that was existing in Lankan soldiers were not found. Hanuman could not identify Sanjeevani Booti so picked up the entire mountain. In the film it was shown he did it to save other soldiers. The good thing was the heroism shown for Meghnad Indrajit. But again Kumbhakarna's role was short and insignificant. The performances of Prabhash and Saif Ali Khan was good. Budget ₹500 crore Box office est.₹395 crore Adipurush (transl. First man)[a] is a 2023 Indian mythological action film based on the Hindu epic Ramayana.The film is directed and co-written by Om Raut, and produced by T-Series and Retrophiles. Shot simultaneously in Hindi and Telugu, the film stars Prabhas, Saif Ali Khan, Kriti Sanon, Sunny Singh and Devdatta Nage. Adipurush was announced in August 2020, through an official motion poster. Principal photography commenced in February 2021 and ended in November 2021 taking place primarily in Mumbai. The film's music is composed by Ajay–Atul. Adipurush is budgeted at ₹500 crore (US$63 million)[3] making it the one of the most expensive Indian films Adipurush was released on June 16, 2023, to mostly negative reviews from critics, who praised the soundtrack and cast performances but criticised Raut's direction, screenplay, dialogues, visuals, and deviation from the source material. Plot This plot summary may be a hook or written as if for a listings magazine. Please help improve it by ensuring it covers the whole story, however briefly, and in an encyclopedic style. (January 2023) (Learn how and when to remove this template message) Raghava is the legendary prince of Ayodhya, in the kingdom of Kosala. He goes into a 14 year exile to the forest, which was urged by his father King Dasharatha on the request of Raghava's stepmother, Kaikeyi. Raghava's travels across forests in the Indian subcontinent with his wife, Janaki and brother, Sesh. However, one day, Janaki is kidnapped and taken by Lankesh – the king of Lanka, which resulted in war leading to Lankesh's death and Raghava's eventual return to Ayodhya where Raghava is crowned as the king with jubilation and celebration. Cast Prabhas as Raghava Saif Ali Khan as Lankesh Kriti Sanon as Janaki Sunny Singh as Shesh Devdatta Nage as Bajrang Vatsal Sheth as Indrajit Sonal Chauhan as Mandodari Siddhant Karnick as Vibhishana Ayesha Madhukar as Sarama Tejaswini Pandit as Shurpanakha Krishna Kotian as Dasharatha Sonali Khare as Kaikeyi Ajit Shidhaye as Prahasta Asha Sharma as Shabari Bijay J. Anand as Brahma Production Development Adipurush, an adaptation of the Hindu epic Ramayana, was announced on 18 August 2020, via a promotional poster. Prabhas portrays Lord Rama under the direction of Om Raut who earlier helmed the period action film Tanhaji (2020). Om Raut was fascinated by the 1992 Japanese film Ramayana: The Legend of Prince Rama and was motivated to adapt the Ramayana into a film using modern technology. Raut wrote the script amidst COVID-19 lockdown in India. Prabhas immediately liked the project and the production company T-Series Films was on-board for the project. Adipurush is one of the most expensive Indian films ever made, with a budget of ₹500 crore (US$63 million). An amount of ₹250 crore (US$31 million) is estimated to be spent on visual effects. The original budget was initially estimated to be ₹400 crore (US$50 million). However, after the extreme backlash to the visual effects and CGI on the film's teaser, the budget was increased to ₹500 crore (US$63 million) to improve and enhance the visual effects, CGI, lighting and color grading.It was shot simultaneously in Hindi and Telugu languages, while also filmed in 3D. Casting In September 2020, the makers revealed that Prabhas is enacting Lord Rama's portrayal whose character name was later revealed as Raghava. Saif Ali Khan who already worked as an antagonist in Raut's Tanhaji has been signed for the role of Ravana with the name Lankesh. After rumours of Anushka Shetty, Anushka Sharma, Kiara Advani, and Keerthy Suresh being approached for the role of Sita, it was reported in November 2020 that Kriti Sanon has been cast to essay the role; her inclusion into the film was confirmed by makers four months later in March 2021. Sunny Singh who joined the sets in February 2021 is playing Lord Rama's younger brother Lakshmana. Filming Motion capture shoot for Adipurush begun on 19 January 2021. Muhurtam shot and formal launch was done on 2 February 2021 in Mumbai, India. Principal photography of the movie began that day, as informed by the makers. A massive fire accident took place at the filming location in Mumbai on the same day. Duplicate sets were erected same wise due to the fire breakout. In October 2021, Khan and Sanon wrapped up shoot. On 10 November 2021, the filming was completed. Box Office India reported that Adipurush had an "extraordinary first day" at both the domestic and overseas box office, grossing over ₹150 crore (US$19 million) worldwide. The film grossed a total of ₹240 crore (US$30 million) on its second day and a total of ₹313 crore (US$39 million) on its third day/opening weekend and a total of ₹340 crore (US$43 million) on its fourth day. The film has grossed ₹375 crore (US$47 million) worldwide so far.

Oscar winning director Satyajit Ray mentioned that Chabi Biswas was the greatest actor ever to grace Indian soil.

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

Shankar Jaikishanji were the highest paid music directors of 1940s, 1950s, 1960s 1970s

Shankarji Jaikishanji had very high remuneration during golden age of music. Shankarji Jaikishanji were the highest paid composers of their time.In 50s their fees per film ranged from 20000 TO 50000, till 1958. Choti Behen – They received Rs 75000 for film Chhoti Bahen. The film is remembered for great music in addition to lovely story. Anari – They received Rs75000 for Anadi in 1959. Raj Kapoorsahab and Nutanji played the lead characters and Raj Kapoorsahab and Shankar Jaikishanji received filmfare awards respectively for best actor and music director in that year. Love Marriage – SJ received Rs 75000 for film Love Marriage in 1959. Dev Anandsahab and Mala Sinhaji played the lead roles. Aas Ka Panchi – SJ received Rs 125000 for film Aas Ka Panchhi released in Feb 1961. Rajender Kumarji and Vaijayantimalaji played the lead roles. Sasural – SJ received Rs175000 for film Sasural in 1961.Rajender Kumarji and Saroja Deviji played the lead roles and Rafisahab received filmfare award for best male playback singer for the song “teri pyari pyari surat ko kisi ki nazar na lage” in film Sasural. Junglee – SJ received Rs 175000 for film Jungli released in Oct 1961. Shammi Kapoorji and Saira Banuji played the lead roles. Professor – SJ received Rs 225000 for film Professor released in 1962. Shammi Kapoorji and Kalpanaji played the lead roles and SJ won the filmfare award for the best music director in the year for the film Professor. Hamrahi – SJ received Rs 300000 for film Hamrahi released in 1963. Rajender Kumarji and Jamunaji played the lead roles. Dil Ek Mandir – SJ received Rs 300000 for film Dil Ek Mandir released in 1963. Rajender Kumarji and Meena Kumariji played the lead roles. Ayee Milan Ki Bela – SJ received Rs 350000 for film Ayee Milan Ki Bela in 1964. Rajender Kumarji and Saira Banuji played the lead roles in the film. 1964 Zindagi – SJ received Rs 450000 for film Zindagi in 1964. Rajender Kumarji and Vaijayantimalaji played lead roles in the film. Aarzoo – SJ received Rs 500000 for film Arzoo ( All time high ) in 1965. Rajender Kumarji and Sadhnaji played lead roles in the film. In 1967, J Om Prakash paid 70000/- to L.P. for music of Aaye Din Baharke. ( just 20% amount of his last SJ film Aayee Milan Ki Bela. These details are derived from Raju Bharatan's following two books. 1. Naushadnama 2. The down melody Lane. Looking back at Shankar Jaikishan and remembering the bond with Mohammad Rafi. Shankar Singh Raghuwanshi is remembered on his anniversary on 15th October, 2021. Jaikishan Dayabhai Panchal is remembered on 12th September, his death anniversary in 2021. The listeners of music all over the world wished happy birthday to legendary composer Jaikishan better known as Jaikishan Dayabhai Panchal on 4th November, 2021. He was part of the legendary duo Shankar Jaikishan who dominated bollwood music during the 1950s and 1960s. Rafisahab had a very sweet relationship with Shankar Jaikishan but unfortunately their relationship had not been glorified in bollywood history. Whenever contribution of composers relating to classic creations involving Rafi are highlighted the name of Naushad, Roshan, Madanmohan, OP Nayyar are glorified and the contribution of Shankar Jaikishan is ignored. If Rafi’s stylish andaz relating to westernized compositions are adequately it is Shankar Jaikishan who had used it to perfection. They had used Rafi for singing romantic songs with Japanese orchestration in Love in Tokyo including songs like “aja re aa zara aa”, “Japan, Love in Tokyo”, “ o mere shahekhuba”, etc. In Biswajeet’s April Fool SJ’s composition for Rafi including “aa gale lag ja” had westernized background. SJ’s composition for Rafi in Shammi Kapoor’s An Evening in Paris like “akele akele kahan ja rahe ho”, “raat ke humsafar”, had loud French music with echo effect and Rafi’s intonation was also westernized. Shankar Jaikishan gave a completely different style of music to Rafi in Rajender Kumar’s Aarzoo with songs like “aji ruth kar ab”, “chalke teri aankho se”, “ai nargisi mastana”, etc. SJ had given songs addressing children to Rafi including “nanne munne bache teri mutthi me kya hai” in Boot Polish, “hai na bolo bolo”, “re mamma re mamma re” in Shammi Kapoor’s Andaz and “chakke p chakka” in Brahmchari. Rafi pronounced the words with childish accent and SJ used the orchestration to attract children. There were ghazals also given by SJ for Rafi including “rukh se zara nakab” in Jeetender’s Mere Huzoor, “unke khayal aye to” in Raj Kumar’s Lal Patthar, “saaze dil ched de” in Pradeep Kumar’s Rajhaath, etc. Besides SJ’s creation involving Rafi in somber mood had created great impact including songs like “teri zulfon ki judai to nahi maangi thi” in Dev Anand’s Jab Pyar Kisi Se Hota Hai, “ehsaan tera hoga mujhpar” in Shammi Kapoor’s Junglee, “yaad na aye” in Rajender Kumar’s Dil Ek Mandir. Shankar Jaikishan had used Rafi’s classical andaz in the songs “radheke tune bansoori churai”, “ajahu na aye”, etc., and combined the ragas with devotional andaz. SJ had given music in almost 200 films within the span from 1949 to 1971, and at least each year they composed music for approximately 10 films. As Rafi was given predominance over other male singers SJ had use him in regular intervals even without doing injustice to Mukesh, Manna Dey, Kishore Kumar, Talat Mehmood and others. Songs like “kaun hai jo sapno me aya” from Jhuk Gaya Aasman, “to bura maan gaye” from Ayee Milan Ki Bela, “yeh ankhen” from Jab Pyar Kisi Se Hota Hai, “tujhe jeevan ki dor se” from Aasli Nakli, “dheere dheere chal” from Love Marriage, “badan pe sitaren lapete hue” from Prince, “mai kahin kavi na banjayun” from Pyar Hi Pyar, “mai gayun tum so jao” from Brahmchari, had not lost their flavour even 40 years after their creation due to sheer brilliance of Shankar Jaikishan. It is really tragic neither Shankar Jaikishan had received the accolades that they deserved nor Rafi’s association with them had been glorified but history says that the combination of Rafi with Shankar Jaikishan had produced invaluable creations which had become immortal over the period of time. Rafi had a dream run in the 60s, mainly in the films of Jubilee Kumar, Rajender Kumar for more than a number of reasons. Firstly Rajender Kumar acted in the production and direction of biggest banners of bollywood in the 60s. Secondly from 1963 to 1966, all his films ended up in silver jubilee showing his immense popularity and strong presence in the box-office. Shankar Jaikishan was equated with God in the early 60s and the main reason of the box-office success of Jubillee Kumar’s films was the superlative music given to him by both SJ and Naushad. In the film Ayee Milan Ki Bela, all the songs of SJ, picturised on Rajender Kumar and sung by Rafi became super hit The immortal songs include “mai pyar ka diwana“, “aha aye Milan ki bela“, “tum khamseen ho“, “to bura maan gaye“, “o sanam tere ho gaye hum“. Rajender Kumar and Saira Banu’s online chemistry in the film helped in the success of the film. SJ’s composition in the film Aarzoo, Humrahi and Sasural for Rajender Kumar and Rafi were equally rich. The brilliant songs include “chalke teri aankhose“, “ae nargisi mastana“, “aji ruth kar ab“, “yeh aansoo meri dil ki zubaan hai“, “teri pyari pyari surat ko“, “mujhko apne gale laga lo“, to mention a few. Sadhna complimented the powerful performance of Rajender Kumar in Aarzoo. The brilliant combination of Rafi, SJ and Rajender Kumar, continued in the film Dil Ek Mandir and Jhuk Gaya Aasman. Prominent songs include “yaad na jaye“, “jahan koi nahi“, “dil ek mandir hai“, “o priya kaun hai jo sapno me aya“, “kahan chal diye“, to mention a few. SJ Rafi and Rajender Kumar continued in the film Aman, where songs like “surahidar garden koel si hi awaz” still mesmerizes the listeners. Rafi, Rajender Kumar and SJ created history even in the film Suraj. The songs “kaise samjhayun“, “chehere pe giri zulfein“, “itna hai tujhse pyar mujhe“, “baharon phool barsao” had become immortal over the years. Rajender Kumar and Vaijayantimala’s screen presence were as majestic as the voice of Rafi and the quality of music of Shankar Jaikishan. The other films where the magic combination of Rafi, Rajender Kumar and Shankar Jaikishan made people speechless include Zindagi and Sangam, with the prominent songs being “pehle milethe sapno me” and “meherban likhoon“. When Shammi Kapoor was informed about Rafi’s death in 1980, he was told by the informer that he had lost his own voice. In other words it was said that Rafi’s voice had reached the soul of Shammi Kapoor, whose success in bollywood films was largely dependent on the golden voice of Rafi. Shankar Jaikishan had contributed in around 22 films of Shammi Kapoor and without the magical duo Rafi’s combination with Shammi Kapoor would not have fulfilled the popular demands of the musical audience. If SJ’s composition for Raj Kapoor mark the music catered to the masses, the composition for Rajender Kumar mark the sophisticated tunes catered towards the cultured audience, the compositions for Shammi Kapoor mark the westernized andaz addressed for the young generations. Shammi Kapoor brought the rock and roll andaz of Hollywood films in hindi films, and SJ and Rafi combined together to bring the energetic andaz of Shammi Kapoor who was considered to be a rebel star in the 60s. In fact his style was imitated by Joy Mukherjee and Biswajeet who were also blessed with melodious songs sung by Rafi in the 60s. SJ, Shammi Kapoor and Rafi combined together to give superhit songs in the film Junglee, including “ehsaan tera hoga mujhpar”, “meri yaar shabba khair”, “chahe koi mujhe jungle kahen”, etc. Saira Banu made her debut opposite Shammi Kapoor and the Subodh Mukherjee film became a trend setter for other directors of producers of the 60s. SJ, Shammi Kapoor and Rafi created the same magic in the film Janwar. Songs like “tumse achha kaun hai”, “lal chari maidan khari” became superhit along with romantic performance of Rajashree in the film. SJ, Shammi Kapoor and Rafi combination in the film Raj Kumar was equally sublime with songs like “hum hai rajkumar”, “tumne pukara aur hum chale ayen”, “tumne kisiki jaan ko”, to name a few. Sadhna was sublime along with Shammi Kapoor in the film. SJ, Shammi Kapoor and Rafi created magic again in the film An Evening in Paris. All the songs of the film became super hit including “aji aisa mauka”, “aasman se aya farishta”, “raat ke humsafar”, “akele akele kahan ja rahe ho”, “mera dil hai tera”, “diwane ka naam to pucho”, to name a few. The foreign locations of Paris were as majestic as the European music of SJ and modernized performance of Sharmila Tagore in the film. The brilliant combination of SJ, Shammi Kapoor and Rafi again created magic in the film Brahmchari. All the songs in the film including “dil ke jharoke me”, “chakke pe chakka”, “mai gavun tum so jayo”, “aajkal tere mere pyar ke charche” created storm in bollywood films. Shammi Kapoor won the filmfare for best actor for his performance in Brahmchari, and Shankar Jaikishan won the film fare for best music director for the same film, while Rafi won the filmfare for best singer for singing the song of the same film. Again Rajashree was sublime in the film. SJ, Shammi Kapoor and Rafi were equally brilliant in the film Prince where Vaijayantimala acted opposite Shammi Kapoor. Rafi’s songs “muqabla hum se na karo” was as hit as “badan pe sitaren lapete hue”. The same combination came up with brilliant songs in the film Laat Sahab. The songs “sawerewali gari se chale jayenge” and “aye chaand zara chup ja” became superhit. Nutan contributed well opposite Shammi Kapoor. The magic combination of SJ, Shammi Kapoor and Rafi contributed even in GP Sippy film, Andaz. All the songs of Rafi like “dil use do jo jaan deden”, “hai na bolo bolo”, “re mamma re mammare” became superhit. Hema Malini performed for the first time opposite Shammi Kapoor. The brilliant combination of SJ, Hasrat Jaipuri, Shailendra, Shammi Kapoor and Rafi ended with sad demise of Jaikishan in 1971. Articles after articles can be devoted on the magic combination who even created magic in other films like Tumse Accha Kaun Hai, Jawan Muhobbat, etc. Critics argue that OP Nayyar and Ravi also contributed in Shammi Kapoor’s films, but their music was also influenced by Shankar Jaikishan’s tunes. The films and the songs of Shammi Kapoor, Shankar Jaikishan and Rafi should be preserved for the future generations. A big section of music lovers agree that had Jaikishan not died in 1971, Rafi’s dominance in bollywood music not suffered at all. In fact SJ’s tunes were brilliant and were specifically catered towards the likings of common mass. They were not that technical which could not reach the audience. Besides SJ gave tunes in around 10 films per years all along the 50s and 60s, the era when Rafi was unbeatable.

In crime thriller films Raj Khosla sahab was a master blaster

Raj Khosla and bollywood films. Born in 1925 and died in 1991, Raj Khosla was considered by critics to be the path-breaker in crime-thriller films. His film CID in 1955, created a trend in respect of crime thrillers. He introduced Wahida Rehman and Shakila in the film. The music of the film composed by OP Nayyar was also impressive with hit songs of Rafi like “ankhon hi ankho me ishara ho gaya”, “leke pehla pehla pyar”, etc. His film Solwa Sal, involved Wahida Rehman being eloped by her boyfriend but later on brought back home by a journalist. In Bombai Ka Babu, there was a killer who entered into the family of the person he killed and then had an affair with the sister of the deceased. Dev Anand and Suchitra Sen played the lead roles in the film. The 60s saw Raj Khosla’s musical blockbusters. His film Ek Musafir Ek Haseena with Joy Mukherjee and Sadhna stormed bollywood. The songs composed by OP Nayyar for Rafi and Asha were super hit including “bahut shukriya bari meherbani”, “aap yuhi agar”, “hume dekhakar aapka muskurana”, etc. The shooting in Kashmir also raised interest in the minds of the viewers. In 1964, Raj Khosla came up with probably one of the greatest spooky films in bollywood, with the title “Woh Kaun Thi”. Sadhna played the roles of the two sisters who were exploited by Prem Chopra to terrorize Manoj Kumar and get his property. At the end of the film the secret was revealed. The music composed by Madan Mohan was brilliant with landmark songs like “naina barse”, “lagja gale”, etc. Raj Khosla continued with horror films with Mera Saya and Anita where Sadhna played the role of the ghosts. Sunil Dutt acted opposite Sadhna in Mera Saya while Manoj Kumar acted opposite her in Anita. The music was impressive again. In the mid-60s Raj Khosla again returned back to romantic dramas like Do Badan with Manoj Kumar and Asha Parekh. The music of Ravi with impressive songs like “jab chali thandi hawa”, require special mention. He also made films related to stories of dacoits like Mera Gaon Mera Desh with Dharmender. His last successful film included Mai Tulsi Tere Angan Ki. Both Nutan and Asha Parekh did well in their respective roles in the films. His other films like Do Badan and Dostana were impressive, but whenever the viewers remember the name of Raj Khosla, the first impressive comes in respect of horror stories and crime thrillers like Mera Saya and Who Kaun Thi. The films should be preserved and restored

On death anniversary of Showman Raj Kapoor sahab it can be said that his golden jubilee silver jubilee films are unparallel

The box-office success of Raj Kapoor films were amazing. Showman Raj Kapoor is considered to be the biggest superstar of Indian films for the last 100 years. Other than Dilip Kumar no other actor has box office success anywhere near Raj Kapoor. Credit goes to his own production, direction, music of Shankar Jaikishan, lyrics of Shailendra, Hasrat Jaipuri, camera work of Radhu Karmakar and brilliant singing by Mukeshji, Manna Dey Sahab, Lataji, Rafisahab and others and the entire team of Raj Kapoor. In 1948 Raj Kapoor directed his film Aag where he was the lead actor. But in 1949, Raj Kapoor’s Barsaat became the greatest blockbuster which was a golden jubilee hit running for more than 50 weeks. Raj Kapoor produced and directed the film with Nargis, Premnath, KN Singh, Nimmi playing important characters. It was the first time Shankar Jaikishan composed music for the film. Mukeshji’s song “chor gaye balam”, Lataji’s “hawa me udta jaye”, “jiya beqarar hai” became super hit. In the same year, Raj Kapoor and Dilip Kumar starrer Andaz was the 2nd biggest blockbuster. Nargis acted opposite the two titans Raj Kapoor and Dilip Kumar. Mehboob Khan directed the film and music was composed by Naushad Ali. In 1950, Raj Kapoor’s film Dastan was the 4th biggest hit of the year after Ashok Kumar’s Samadhi, Dilip Kumar’s Babul, and Ashok Kumar’s Sangram. Dastan was a silver jubilee hit running for more than 25 weeks. AR Kardar directed the film. Naushad Ali composed the music. Raj Kapoor, Suraiya, Veena played the lead roles. In 1951, Raj Kapoor’s Awaara became the biggest blockbuster. It was a golden jubilee hit and ran for more than 50 weeks. It became popular in Russia and Europe as well. Raj Kapoor produced and directed the film. The music was composed by Shankar Jaikishan. Nargis, Raj Kapoor, Prithviraj Kapoor, Leela Chitnis, KN Singh played the lead roles. Mukeshji’s song “awara hoon, yah gardish me hoon aasman ka tara hun”, Lataji’s “jab se balam ghar aye”, “ghar aya mere pardesi” became super hit. In 1952, Raj Kapoor’s Anhonee became the 5th biggest hit film. KA Abbas directed the film. Roshanlal Nagrath composed the music. Nargis, Raj Kapoor, Om Prakash played the lead roles. In the same year, Raj Kapoor’s Bewafa became the 8th biggest hit. Nargis, Raj Kapoor and Ashok Kumar played the lead roles. The film was directed by ML Anand. AR Qureshi composed the music. Talatji’s song “dil matwala lakh samhala”, “tumko phursat ho” became big hit. In that year Dilip Kumar Aan was the biggest blockbuster. In 1953, Raj Kapoor’s Aah became 9th biggest hit film. It was directed by Raja Nawathe and produced by Raj Kapoor. Music was composed by Shankar Jaikishan. Nargis, Raj Kapoor and Pran played the lead roles. Mukeshji’s song “aaja re”, “jane nan azar” and Lataji’s song “rajaki ayegi baraat” became superhit. In that year Pradeep Kumar’s Anarkali was the biggest blockbuster. In 1955, Raj Kapoor’s Shree 420 became the biggest blockbuster. It was a golden jubilee hit and ran for more than 50 weeks. Raj Kapoor produced and directed the film. The music was composed by Shankar Jaikishan. Rafisahab’s song “ramaiya vasta maiya”, Manna Deysahab’s song “dil ka haal sune dilwala”, “mur murke na dekh”, Lataji’s song “ichakdana” became super hit. In that year Dilip Kumar’s Azaad was the 2nd biggest hit. In 1956 Raj Kapoor’s Chori Chori was a silver jubilee hit running for more than 25 weeks. Nargis, Raj Kapoor, Pran played the lead role. The music was composed by Shankar Jaikishan. Manna Dey’s song “aaja sanam madhu chandni me hum”, “yeh raat bheegi bheegi”, Lataji’s “rasik balma” became super hit. In 1957 Raj Kapoor’s Sharda was a silver jubilee hit running for more than 25 weeks. Meena Kumari, Shyama acted opposite him. The music was composed by C Ramchandra. Mukeshji’s song “jap jap jap re”, Lataji’s song became super hit. In 1958, Raj Kapoor’s Phir Subah Hogi was a silver jubilee hit running for more than 25 weeks. Ramesh Saigal directed the film. The music was composed by Khayyam. Mala Sinha, Rehman acted opposite Raj Kapoor. Mukeshji’s songs “wo subah kabhi to ayegi”, “phir na kije meri gustakh nigahon ka gila” became super hit. In 1959, Raj Kapoor’s Anari was the biggest blockbuster and a golden jubilee hit. It ran for more than 50 weeks. Hrishikesh Mukherjee directed the film. Shankar Jaikishan composed music for the film. Nutan, Raj Kapoor, Lalita Power played the lead roles. Mukeshji’s song “sab kuch seekha humne”, “kisiki muskurahaton pe ho nisar”, Lataji’s song “yeh chand khilan”, became super hit. Raj Kapoor received the filmfare award for best actor for Anari in that year. In 1960, Raj Kapoor’s Jis Desh Me Ganga Behti Hai became the 4th biggest blockbuster and a golden jubilee hit running for more than 50 weeks. It was produced by Raj Kapoor and directed by Radhu Karmakar. Shankar Jaikishan composed the music of the film. Padmini, Pran acted opposite Raj Kapoor. Raj Kapoor again received filmfare award for best actor for the film. Lataji’s song “o maine pya kiya”, “o basanti pawanapawan”, Mukeshji’s song “aa ab laut chale”, “mera naam raju”, “hoton pe sacchai rehte hai” became super hit. In that year Dilip Kumar’s Mughal I Azam was the biggest blockbuster. In 1964, Raj Kapoor’s Sangam became the biggest blockbuster and a platinum jubilee hit. It ran for more than 75 weeks. Raj Kapoor produced and directed the film. Shankar Jaikishan composed the music of the film. Rajender Kumar, Vaijayantimala, Raj Kapoor played the lead roles. All the songs became super hit including Rafisahab’s “ki tum naaraaz na hona”, Mukeshji’s “bol radha bol”, “o mehbooba”, to name a few. Raj Kapoor’s other silver juvilee hits included Parvarish in 1958 opposite Mala Sinha, Mai Nashe Me Hoon opposite Mala Sinha in 1959, Chalia opposite Nutan in 1960, Shrimaan Satywadi opposite Shakila in 1960, Nazrana opposite Vaijayantimala, Usha Kiran in 1961, to name a few. The other films of Raj Kapoor which did better than average business included Bawre Nain opposite Geeta Bali in 1950, Do Ustad opposite Madhubala in 1959, Aashiq opposite Padmini in 1962, Dil Hi To Hai opposite Nutan in 1963, Diwana opposite Saira Banu and Around the World opposite Rajashree in 1967. After Mera Naam Joker’s failure in box office in 1970, Raj Kapoor did cast his son Rishi Kapoor from Bobby in his own films. So viewers saw actor Raj Kapoor in few films in the 1970s and 1980s. In a career of 67 films as actor, more than 25 films of Raj Kapoor ended up as golden jubilee, silver jubilee and platinum jubilee. It is an amazing record. Other than Tragedy King Dilip Kumar and Bengali superstar Uttam Kumar, no actor comes any close to the huge box office success of Showman Raj Kapoor.