On birth anniversary of Guru Duttsahab it can be said Rafisahab gave best combination with him.

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

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

On Rafisahab death anniversary it can be said that he gave greatest hits in the lives of composers and lyricists

On Rafisahab death anniversary it can be said he gave the biggest hits in the lives of lyricists and composers. By: Dr Souvik Chatterji Rafisahab is remembered all over the world on his death anniversary on 31st July 2026. Every lyricist, music director and composer between 1940s to 1970s rose to fame due to their association with Rafisahab. Naushad Ali Sahab’s greatest hit song and Shakeel Badayani’s greatest hit song was “o duniya ke rakhwale” in the film Baiju Bawra sung by Rafisahab in 1952. Bharat Bhushanji gave lips in the cult song. Incidentally Naushad Alisahab received filmfare award once in 1953 for the film Baiju Bawra. Naushad sahib received BFJA award for Dilip Kumar film music in Ganga Jumna. Rafisahab sang landmark songs like “nain lad jaihe o manwama”, “o chalia re chalia re man mei hamaar” written by Shakeel Badayani to name a few. Shakeel Badayaniji received filmfare awards for best lyricist in 1961 for Rafisahab sung song “chaudavi ka chand” in film Chaudavi ka chand. He received filmfare award in 1962 for Rafisahab song “husnwale tera jawab nahi” in film Gharana. Hasrat Jaipurisahab received filmfare award for best lyricist in 1967 for Rafisahab song “baharon phool barsaao” in film Suraj. Sahir Ludhiyanviji received filmfare award for best lyricist in 1964 for Rafisahab song “jo wada kiya wo nibhana parega” in film Taj Mahal. Majrooh Sultanpurisahab received filmfare award for best lyricist in 1965 for Rafisahab song “chahunga mai tujhe” in film Dosti. Shailendraij received filmfare award for best lyricist in 1969 for Rafisahab song “mai gayun tum so jayo” in film Brahmachari. Anand Bakshisahab received filmfare award for best lyricist in 1979 for Rafisahab song “aadmi musafir hai” in film Apnapan. Shankar Jaikishansahab received 9 filmfare awards. Out of that they received filmfare award in film Dil Apna Aur Preet Parayi with lead role of Raj Kumarsahab in 1961 due to Rafisahab song “jane kahan gaye”. In 1963 SJ received filmfare award in film Professor. There were many landmarks songs of Rafisahab for Shammi Kapoorji like “awaaz deke hume tum bulayo”, “ae gulbadan ae gulbadan”, to name a few. In 1967 SJ received filmfare award in Rajender Kumar film Suraj. Rafisahab sang many landmark songs like “baharon phool barsao”, “itna hai tumse pyar mujhe”, “kaise samjhayun”, “gustaqi maaf” to name a few. Rafisahab won best filmfare male playback singer award for Rajender Kumar film Sasural for the song “teri pyari pyari surat ko” composed by Shankar Jaikishansahab. The biggest hit song composed by Shankar Jaikishanji was “ki tum naraaz na hona” in film Sangam sung by Rafisahab for Rajender Kumarsahab. Roshanlal Nagrath sahab received filmfare award for Pradeep Kumar film Taj Mahal in 1964. Rafisahab many landmark songs like “jo wada kiya ho”, “jo baat tujh me hai” “pao chul lene do” to name a few in the film. Rafisahab received Sur Singer award in 1964 for Pradip Kumar film Chitralekha. The music director was Roshansahab and song was “man re tu kahe na dhir dhare” The biggest hit song composed by Roshanlal Nagrathji for Rafisahab was “man re tu kahe na dhir dhare” in film Chitralekha where Pradip Kumarsahab gave lips. OP Nayyarsahab received filmfare award in 1958 for Dilip Kumar film Naya Daur. Rafisahab sang many landmark songs in the film like “ure jab jab zulfen teri”, “maang ke saath tumhara”, “aana ho to aa”, “saathi haath barana” to name a few. The biggest hit song composed by OP Nayyarsahab was “pukarta chala hoon mai” sung by Rafisahab in 1965 where Biswajeetji gave lips. Salil Choudhurysahab received filmfare award in 1959 for Dilip Kumar film Madhumati. Rafisahab sang the landmark song “tute hue khwabon me” and “jangal me mor nacha” in the film. Ravi Shankar Sharma sahab received filmfare award in 1962 for Rajender Kumar film Gharana. Rafisahab sang the landmark song “husnwale tera jawab nahi”. Rafisahab also won best male playback singer award for the song “chaudavi ka chand” composed by Ravisahab in Guru Dutt film Chaudavi Ka Chand. The biggest hit song of Ravi Shankar Sharmaji for Rafisahab was “Chaudavi ka chand ho” in film Chaudavi ka chand where Guru Duttsahab gave lips. Madanmohansahab received national award for Sanjeev Kumar film Dastak in 1970. Rafisahab sang the song “tumse kahoon ek baat”. The biggest hit song composed by Madanmohansahab for Rafisahab included “kar chale hum fida jaan o tan saathiyo” in film Haqeekat in 1964. Laxmikant Pyarellalji received filmfare award in film Dosti in 1965. Rafisahab sang landmark songs like “chahunga mai tujhe”, “rahi manwa dukh ki chinta”, “koi jab raah nap aye”. Rafisahab son best male playback singer award for the song “chahunga mai tujhe”. Rafisahab received national award in Rishi Kapoor film Hum Kisi Se Kam Nahi. The song was “kya hua tera wada” composed by RD Burmansahab. Khayyamsahab shot to fame with Rafisahab song “jane kya dhoonti rehti yeh ankhe mujhme” in film Shola Aur Shabnam. Jaidevsahab rose to fame with Rafisahab song “mai zindagi ka saath nibhata chala gaya”in film Hum Dono. Chitraguptji rose to fame with Rafisahab song “chal ur ja re panchi” in film Bhabhi. Kalyanji Anandji rose to fame with Rafisahab song “pardesiyon se na ankhiya milana” in film Jab Jab Jab Phool Khilen. Ghulam Mohammadsahab rose to fame with Rafisahab song “chalo dildar chalo” in film Pakizaa. Iqbal Qureshi sahib rose to fame with Rafisahab song “subah na ayi” in film Cha Cha Cha. GS Kohlisahab rose to fame with Rafisahab song “agar mai puchu jawab doge” in film Shikari. Sonik Omi sahib rose to fame with Rafisahab song “dil ne phir yaad kiya” in film Dil Ne Phir Yaad Kiya. Usha Khannaji rose to fame with Rafisahab song “dil deke dekho” in film Dil Deke Dekho. Rafi's Baharon Phool Barsao was voted the most popular Hindi song in a BBC Asia Network poll commemorating 100 years of Hindi Cinema. In a CNN-IBN survey in 2013, he was voted the greatest voice of Hindi Cinema. In 2001, Rafi was named as the "best singer of the millennium" by Hero Honda and Stardust magazine. Rafisahab films and songs require restoration.

Sharmila Tagoreji said superstar Uttam Kumar was the greatest matinee idol who graced bengali celluloid

Sharmila Tagore. Sharmila Tagore once again came as guest judge in Zee Bangla Mirakkel Program on 6th March, 2012. Mir Afsar Ali asked him her experience of acting with Uttam Kumar. She said that Satyajit Ray said that if Uttam Kumar would have declined to act in the film Nayak, he would not have made the film at all. She said her first commercial film in Bengal was Shesh Anka, opposite superstar Uttam Kumar. She said was amazed to see Uttam Kumar’s directorial capability in the film Kalangini Kankabati. She was spellbound in the way Uttam Kumar explained the character in the film Kalangini Kankabati. The respect for Uttam Kumar just increased and increased. At the end she said Uttam Kumar was the greatest Bengali actor ever to have been born. Mir asked her which was the best shooting spot in India where Sharmila had acted. Sharmila answered that Shillong was the best place. She acted with Dev Anand in the film Ye Gulistan Hamara and the shooting took place in Shillong. She could not forget the experience. She said she would have been happy if the film Safar would have been remade. If it was remade then Vidya Balan would have been the ideal actress who could have acted in the film.

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Superstar Uttam Kumar the mahanayak of bengal is remembered on death anniversary

Uttam Kumar’s death anniversary brings great memories of the superstar of Bengal. Again, 24th July, 2026 will bring memories of Mahanayak Uttam Kumar. Superstar Uttam Kumar was remembered on his birth anniversary on 3rd September, 2023. Actor-turned-MPs Dev and Moon Moon Sen would be felicitated with the Mahanayak and Mahanayika Samman, the highest film award given by the West Bengal government. Chief Minister Mamata Banerjee will give the annual 'Mahanayak Uttam Kumar Samman' at Nazrul Mancha stadium tomorrow to felicitate the actors and technicians of the Bengali film industry. On her Facebook page, Banerjee said veteran actress Mousumi Chatterjee and reigning Bengali film superstar Dev will be the recipients of this year's 'Mahanayak Samman' while Moonmoon Sen will receive the 'Mahanayika Samman'. Both Dev and Sen had won the recent Lok Sabha polls on a Trinamool ticket. The awards were instituted in the year 2012 in the memory of the legendary actor 'Mahanayak' Uttam Kumar. Actor-director-producer Arindam Sil will be conferred with Special Film Award (Acting). Special Film Awards will also be presented to actors like Paoli Dam, Hiran Chatterjee, Abir Chatterjee, Indranil Sengupta, Kharaj Mukherjee, Rudranil Ghosh and others. Veterans of Bengali film industry like Chiranjeet Chakraborty, Sabyasachi Chakraborty, Mamata Shankar and Debashree Roy will be feted with Lifetime Achievement Awards. Veteran playback artiste Kumar Sanu will be felicitated with Lifetime Achievement Award for Music (playback Singer) while Special Film Awards (Music Director) will be presented to Sivaji Chattopadhyay, Arundhati Home Chowdhury and Adhir Chatterjee. Nispal Rane on behalf of Surinder Films will get Special Film award for the best producer. Special film award for direction will be given to Swapan Saha, Kamaleshwar Mukherjee and Prodipto Bhattacharyya. 50 actors had been awarded the Mahanayak Uttam Kumar award on his death anniversary on 24th July, 2013. Chief Minister Mamta Banerjee had started the awards in the memory of the greatest superstar of Bengal Mahanayak Uttam Kumar. Madhabi Mukherjee, Dipankar Dey, Ranjit Mullick and Sandhya Roy had been given lifetime achievement award. Incidentally Madhabi Mukherjee had acted in many super hit films of Uttam Kumar like Shankhabela, Choddobeshi, Agnisshar, etc. and Sandhya Roy had acted in many hit films of Uttam Kumar like Mayamrigo, Surjotapa. Director Goutam Ghosh had also been granted lifetime achievement award. Actors Partho Mukherjee, Chinmoy Roy, directors Sandip Ray, Raj Chakravarty, Sujit Saha, Koushik Ganguly and Srijit Mukherjee are given special awards. Actors Tapas Pal and Prasenjit Chatterjee are given Mahanayak Samman. Actors Saswata Chatterjee and Parambrata Chatterjee are given special awards. Film Producing companies are also awarded and felicitated including RD Bansal and Company, Arora Films, Shri Venkatesh films, New Theatres, to name a few. He had died almost 33 years ago, yet the viewers had not forgotten his films and still his presence is felt in the life bengalies in different parts of the world. In 2011 the Governer of West Bengal launched the 50 rupees postal stamp having the engraving of Uttam Kumar in it. Previously Raj Kapoor and Dilip Kumar’s faces were engraved in Postal stamps for remembering their contribution to Indian cinema. Last year, Mamta Banerjee, the Union Railway Minister, renamed the Tollygunge Metro Station as Mahanayak Uttam Kumar station. In 2011, the walls of the Tollygunge Metro Station had been filled with the pictures of films of Uttam Kumar. In fact the people of Tollygunge cannot associate the place without the existence of Uttam Kumar whose works glorified the different studios which carried on the legacy of Bengali Film Industry. Mamta Banerjee, the Chief Minister of West Bengal had also provided support to revive the Uttam Mancha and take care of Shilpi Sangsad, an organization created by Mahanayak Uttam Kumar to help the needy actors, actresses, technicians, etc. Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak in 1966 based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films. When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc. He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak in 1966, Chiriakhana in 1967, Tapan Sinha’s Jhinder Bandi in 1961, Upahaar in 1955 and Jotugriha in 1964, Ajoy Kar’s Harano Sur in 1957, Saptapadi in 1961, Suno Bara Nari in 1960, Agradoot’s Bipasha in 1962, Surjo Toron in 1958, Agragami’s Sagarika in 1956, Shonkhobela in 1966, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen. Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc. Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures. Out of his 205 films, around 37 of them ended up being blockbusters, around 50 were super hit films and around 50 were hit films. Actor Shatrughun Sinha in his interview before Bengali media had disclosed that when he was working in Pune Film and Television Institute, the graduates had unanimous view that Uttam Kumar, Raj Kapoor and Dilip Kumar were the greatest superstars of celluloid and had Uttam Kumar acted in more number of bollywood films, he would have remained as great a legend as Dilip Kumar or Raj Kapoor. Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, Manobendra Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs. Actor Shatrughun Sinha in his interview had said that during his student life in Pune Film and Television Institute, the upcoming actors used to debate about the charishma of Uttam Kumar, Raj Kapoor and Dilip Kumar. Although there was no unanimity about the finest actor among them, there was consensus about one fact had Uttam Kumar established himself in bollywood films by acting in more number of films, he would have been equally an international figure like Raj Kapoor or Dilip Kumar. Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future.

Shankar Jaikishan Rafisahab combination in 5 times and LP and Rafisahab combination in 5 times came in first 3 times in Binaca Geetmala

Rafisahab songs were loved by everyone. Here is a mention of the Rafisahab songs which topped Binaca Geetmala from 1954 to 1980. Here the Rafisahab Shankar Jaikishan combination. 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 in 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 1964, Rafisahab song "yeh mera prematra parkar" from film Sangam picturized on Rajender Kumarji and Vaijayantimalaji became 2nd in Binaca Geetmala with music of Shankar Jaikishanji and lyrics of Hasrat Jaipurisahab. 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. Here are the Rafisahab LP combination In 1977 Rafisahab song "parda hai parda" from film Amar Akbar Anthony picturized on Rishi Kapoorsahab and Neetu Singhji became 2nd in Binaca Geetmala with music of Laxmikant Pyarellalji and lyrics of Anand Bakshiji. In 1977, Rafisahab song "o meri mehbooba" from film Dharamveer film picturized on Dharmendersahab and Zeenat Amanji became 3rd in Binaca Geetmala with music of Laxmikant Pyarelalji and lyrics of Anand Bakshiji. In 1978, Rafisahab and Lataji song "aadmi musafir hai" from film Apnapan picturized on Jeetenderji Sulakshana Panditji became 2nd in Binaca Geetmala with music of Laxmikant Pyarellalji and lyrics of Anand Bakshiji. 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. In 1981, Rafisahab song "chal chal mere bhai" from film Naseeb picturized on Amitabh Bachan and Rishi Kapoorji became 3rd in Binaca Geetmala with music of Laxmikant Pyarelalji and lyrics of Anand Bakshiji 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 1957 Rafisahab song "sar jo tera chakraye" from picturized on Johnny Walkersahab in film Pyaasa became 2nd in Binaca Geetmala with music of SD Burmanji and lyrics of Sahir Ludhiyanvisahab. In 1957, Rafisahab song "laal laal gaal" from film Mr X became 3rd in Binaca Geetmala with music of N Duttasahab and lyrics of Majrooh Sultanpurisahab. 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 1960, Rafisahab song "chaudavi ka chand ho" from film Chaudavi Ka Chand picturized on Guru Duttsahab and Wahida Rehmanji became 2nd with music of Roshanlal Nagrathji and lyrics of Sahir Ludhianviji 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 in the songs. In 1961, Rafisahab song "abhi na jayo chor kar" from film Hum Dono picturized on Dev Anandsahab and Sadhnaji and composed by Jaidevji became second in Binaca Geetmala with lyrics of Sahir Ludhianviji 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 1962, Rafisahab song "ab kya misaal doon mai tumhae shabab ki" from film Aarti picturized on Pradeep Kumarsahab and Meena Kumariji became 3rd in Binaca Geetmala with music of Roshanlal Nagrathji and lyrics of Majrooh Sultanpurisahab. 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 1963, Rafisahab and Suman Kalyanpurji song "dil ek mandir hai" from film Dil Ek Mandir became 2nd in Binaca Geetmala with lips of Raj Kumarsahab Meena Kumariji and music of Shankar Jaikishanji and lyrics of Hasrat Jaipuriji. In 1964, Rafisahab song "yeh mera prematra parkar" from film Sangam picturized on Rajender Kumarji and Vaijayantimalaji became 2nd in Binaca Geetmala with music of Shankar Jaikishanji and lyrics of Hasrat Jaipurisahab. In 1964, Rafisahab and Lataji song "mere mehboob tujhe meri muhabbat ki kasam" picturized on Rajender Kumarsahab and Sadhnaji became 3rd in Binaca Geetmala with music of Naushadsahab and lyrics of Shakeel Badayanisahab. In 1965, Rafisahab song "chahunga mai tujhe saanjh sawere" picturized on Sudhir Kumar in film Dosti became 2nd in Binaca Geetmala with music of Laxmikant Pyarelalji and lyrics of Majrooh Sultanpurisahab. 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 1977 Rafisahab song "parda hai parda" from film Amar Akbar Anthony picturized on Rishi Kapoorsahab and Neetu Singhji became 2nd in Binaca Geetmala with music of Laxmikant Pyarellalji and lyrics of Anand Bakshiji. In 1977, Rafisahab song "o meri mehbooba" from film Dharamveer film picturized on Dharmendersahab and Zeenat Amanji became 3rd in Binaca Geetmala with music of Laxmikant Pyarelalji and lyrics of Anand Bakshiji. In 1978, Rafisahab and Lataji song "aadmi musafir hai" from film Apnapan picturized on Jeetenderji Sulakshana Panditji became 2nd in Binaca Geetmala with music of Laxmikant Pyarellalji and lyrics of Anand Bakshiji. In 1978, Rafisahab and Sushma Shresthji song "kya hua tera wada" from film Hum Kisi Se Kam Nahi picturized on Tariqsahab and Kajal Kiranji became 3rd in Binaca Geetmala with music of RD Burmansahab and lyrics of Majrooh Sultanpuriji. 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. In 1981, Rafisahab song "chal chal mere bhai" from film Naseeb picturized on Amitabh Bachan and Rishi Kapoorji became 3rd in Binaca Geetmala with music of Laxmikant Pyarelalji and lyrics of Anand Bakshiji So till 1981, Rafisahab song topped the first 3 places in Binaca Geetmala 22 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.

Superstar Uttam Kumar had a brilliant combination with composer Nochiketa Ghosh

Uttam Kumar and Nochiketa Ghosh Nochiketa Ghosh had contributed widely both in Bengali film music and Bengali modern songs in the 50s, 60s and 70s. In the 50s he showed his metal in Uttam Kumar’s film Nabajanma. Manobendra Mukherjee’s song “ore mon majhi” and Dhananjoy Bhattacharya’s “kalama katiya” gave expression to Nochiketa Ghosh’s folk tunes. Nochiketa Ghosh’s music in Uttam Kumar’s film Trijama was equally sublime. Sandhya Mukherjee’s song “banmoyurir naach dekhte jabo” and “matite chandramallika” were equally brilliant. In the 50s, the other notable films where Nochiketa Ghosh’s music was impressive include Uttam Kumar’s film Indrani and Prithibi Amare Chaye. Geeta Dutt’s song “nishiraat bankha chand”, “ogo shundoro”, “kanak kanak madhur badhon” were some of the greatest hits of Geeta Dutt in her entire career. The lips of Mala Sinha and Suchitra Sen were impressive in these films. Hemanta Mukherjee’s song “surjo dobar pala” became super hit in the late 50s. In the 60s, Nochiketa Ghosh composed music in average films. Prominent among them included Bhanu Pelo Lottery where Shyamal Mitra’s song “putul nebe go” became very popular. For 4 to 5 years, Nochiketa Ghosh went to Mumbai, so he did not contribute in Bengali films for those few years. He again made a huge comeback in Uttam Kumar’s film Nishi Padda in the early 70s. Manna Dey’s songs “ja khushi ora bole boluk”, “na na na aaj rate aar” became super hit in the 70s. Manna Dey’s songs in Uttam Kumar’s film Chiradiner, like “phool pakhi bondhu amar chilo”, “manush khun hole pore”, “lal nil sabujeri mela boseche”, “tumi amar chirodiner” became super hit. In Uttam Kumar’s film Stree, Manna Dey’s songs “hajar takar jhar batita”, “o se jotoi kalo hok”, “jemon shapinike posh manay ojha” became smash hit. Nochiketa Ghosh’s music in the film Sanyasi Raja was considered to be his best creation by critics. Manna Dey’s songs “shashikanto tumi dekchi”, “bhalobashar agun jalao”, were probably the best songs sung for Uttam Kumar in royal andaz. His composition in Uttam Kumar’s films Dhanni Meye and Mouchak require special mention. Manna Dey’s songs in these films like “sab khela sera bangalir tumi football”, “tabole to prem debena”, “paglagarod”, etc., flabbergasted the Bengali audience in the mid-70s. Nochiketa Ghosh made many landmark tunes in Bengali modern songs. Some of them included Manobendra Mukherjee’s romantic songs “seto naam dhore kono din dakeni amay”, “bone noy mone mor”, “o amar chandramallika”, “aha na roy na”, etc. His composition “amar ganer sworolipi lekha robe” for Hemanta Mukherjee stormed Bengal in the early 50s. He died in the late 70s, otherwise he would have given many more notable tunes. His songs and films should be preserved.

Superstra

Superstar Uttam Kumar gave brilliant performance opposite Anjana Bhowmick in film Chowrangee

In the film Chourangee Uttam Kumar shook the intellectuals and literary community. Uttam Kumar’s acting versatility reached the intellectuals of Bengal by mid-60s. His films including Tapan Sinha’s Jotugriha, Satyajit Ray’s Nayak, Ajoy’s Kar’s Saptapadi, ended up being cine-classics which had paved the way for thoughtful filmmaking in the later years. Chowrangee was the landmark literature of writer Shankar which was given expression by director Pinaki Mukherjee. Released in 1968, the film was related to the life of Grand Hotel in Kolkata. Uttam Kumar was the receptionist of the five star hotel, better known as Sata Bose. Subhendu Chatterji got a job as another receptionist in Grand Hotel, who was groomed and trained by Uttam Kumar. The striking part of the film lied in the depiction of numerous weird characters in the film who visited Grand Hotel during the 50s and 60s and whose activities could be predicted by Uttam Kumar with his profound experience in the hotel industry. Utpal Dutta played the role of Marco Polo, one of the members of the management of Grand Hotel. He gave the job to Subhendu Chatterji due to request of Dipak Mukherjee whom he knew very well. The character artists played significant role in the film. Biswajeet Chatterji played the role of Mr. Pakrasi, the son of Deepti Ray, who fell in love with Supriya Choudhury in the film. Bhanu Banerjee played the role of employee in Grand Hotel, Jahar Roy played the role of Chief Chef in the film, Prashanto Kumar played the role of the Violin Player in the film. Uttam Kumar fell in love with Anjana Bhowmick, an air-hostess who came to visit Grand Hotel a number of times. But at the end of the film when Uttam Kumar left the job and planned to go and settle in Mumbai after marrying Anjana Bhowmick, the last flight of Anjana Bhowmick crashed and the hopes of Uttam Kumar also crashed with the accident. Ashima Bhattacharya, the producer in the film composed a landmark song for Manna Dey. The song was titled “meghero khela akasho pare”. The remained as one of the greatest hit songs sung by Manna Dey for Uttam Kumar. The film Chowrangee should be preserved and restored for the classic literature, powerful direction, realistic performances and brilliant music.

Happy birth anniversary to superstar jubilee star Rajender Kumarsahab

The viewers wish happy birth anniversary of Rajender Kumar on 20th July, 2026. Mohammad Rafi, the eternal singer had sung more than 150 songs for Jubilee Kumar Rajender Kumar. Superstar Rajender Kumar had a deadly combination with Mohammad Rafi and Shankar Jaikishan. Whenever the three combined together they created history. In Dil Ek Mandir, Rafi’s song “jahan koi nahi” and “yaad na jaye” were created in two different moods. Both the compositions of Shankar Jaikishan were marvelous. Rafi was as outstanding as Rajender Kumar. The film was released in 1963. Rajender Kumar became Jubilee Kumar for having all his films doing business of more than 25 weeks between 1963 and 1966. Shankar Jaikishan was the leading composer composing majority of his songs. In the film Ayee Milan Ki Bela, released in 1964, all the songs sung by Rafi and picturized on Rajender Kumar became smash hits like “mai pyar ka diwana”, “aha aye Milan ki bela”, “to bura maan gaye”, “tum khamseen ho nadaan ho”, to name a few. In the same year, Rajender Kumar’s Sangam had a masterpiece of Shankar Jaikishan namely “yeh mera prempatra parkar”. The song became the greatest hit of 1964. The film Zindagi was also released in 1964. Shankar Jaikishan’s brilliant composition for Rafi namely “pehele mile the sapno me” mesmerized the viewers. In 1965, Shankar Jaikishan created magic in Rajender Kumar’s film Aarzoo. All the songs of Rafi touched the souls of the audience including “chalke teri ankhon se”, “aji humse bachkar kahan jayiyega”, “ai phoolon ki raani”, “aye nargise mastana”, to name a few. The exotic locations of Kashmir, the brilliant costumes of Rajender Kumar and Sadhna, elegant singing of Rafi and brilliance of Shankar Jaikishan created magic. The deadly combination continued in the film Suraj in 1966. All the songs of Rafi became smash hits like “baharon phool barsao”, “gustaqi maaf”, “kaise samjhaun”, “itna hai tujhse pyar mujhe”, to name a few. Rafi was brilliant in the duet songs as well where Suman Kalyanpur complimented Rafi. In 1967 and 1968, Rajender Kumar’s films Aman and Jhuk Gaya Aasman became hit due to the brilliant music of Shankar Jaikishan. Rafi’s songs in these films like “surahidar garden”, “aaj ki raat”, “o priya”, “saccha hai agar pyar mera sanam”, “kahan chal diye” stormed bollywood. Shankar Jaikishan composed music in the other films of Rajender Kumar as well including Aas Ka Panchi, where the title song was sung by Subir Sen, Dharti; where Rafi’s song “khuda bhi aaman se” became smash hit, etc. Rafi contributed in other films Rajender Kumar also where Shankar Jaikishan composed music including Shatranj. The songs and the films should be regularly telecast in the private channels to reach the excellent music to the younger 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. RD Burman’s domination in the 70s would have got very strong resistence had Jaikishan survived few years more. The immortal lyrics of Shailendra and Hasrat Jaipuri also ended with the sad expiry of Jaikishan in 1971. In the case of Naushad, his gharana was so classically oriented, that his composition for an actor had changed the destiny of the actor. Although Naushad and Rafi’s combination was associated mainly with respect to Tragedy King Dilip Kumar, he preserved a huge treasure of music for Rajender Kumar as well. Mere Mehboob, stands out as probably one of the greatest creations of Naushad ever in the history of bollywood music. All the songs of Rafi for Rajender Kumar, including “mere mehboob tujhe meri muhobbat ki kasam“, “tumse izhaar-e-haal kar baithe“, “ai husn zara jag tujhe ishq jagaye” had revealed the royal elite culture of Aligarh and Lucknow in the form of shayri and ghazals. Rajender Kumar and Sadhna were at their best in the film. Naushad and Rafi were sublime in Rajender Kumar’s film Palki. The song “dil-e-betaab ko sine se lagana hoga” shows the class of Naushad. Although Naushad utilized Rafi to perfection in Rajender Kumar’s Ganwar, he used Mukesh in major songs of the film Saathi due to pressure of the producer and director. Rafi and Rajender Kumar were blessed with the immortal creations of Shankar Jaikishan and Naushad in the 60s and the films and the songs should be preserved as rich assets of the nation which can be cherished for generations after generations.

Rafisahab songs came 22 times in first 3 places in Binaca Geetmala.

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 1957 Rafisahab song "sar jo tera chakraye" from picturized on Johnny Walkersahab in film Pyaasa became 2nd in Binaca Geetmala with music of SD Burmanji and lyrics of Sahir Ludhiyanvisahab. In 1957, Rafisahab song "laal laal gaal" from film Mr X became 3rd in Binaca Geetmala with music of N Duttasahab and lyrics of Majrooh Sultanpurisahab. 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 1960, Rafisahab song "chaudavi ka chand ho" from film Chaudavi Ka Chand picturized on Guru Duttsahab and Wahida Rehmanji became 2nd with music of Roshanlal Nagrathji and lyrics of Sahir Ludhianviji 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 in the songs. In 1961, Rafisahab song "abhi na jayo chor kar" from film Hum Dono picturized on Dev Anandsahab and Sadhnaji and composed by Jaidevji became second in Binaca Geetmala with lyrics of Sahir Ludhianviji 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 1962, Rafisahab song "ab kya misaal doon mai tumhae shabab ki" from film Aarti picturized on Pradeep Kumarsahab and Meena Kumariji became 3rd in Binaca Geetmala with music of Roshanlal Nagrathji and lyrics of Majrooh Sultanpurisahab. 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 1963, Rafisahab and Suman Kalyanpurji song "dil ek mandir hai" from film Dil Ek Mandir became 2nd in Binaca Geetmala with lips of Raj Kumarsahab Meena Kumariji and music of Shankar Jaikishanji and lyrics of Hasrat Jaipuriji. In 1964, Rafisahab song "yeh mera prematra parkar" from film Sangam picturized on Rajender Kumarji and Vaijayantimalaji became 2nd in Binaca Geetmala with music of Shankar Jaikishanji and lyrics of Hasrat Jaipurisahab. In 1964, Rafisahab and Lataji song "mere mehboob tujhe meri muhabbat ki kasam" picturized on Rajender Kumarsahab and Sadhnaji became 3rd in Binaca Geetmala with music of Naushadsahab and lyrics of Shakeel Badayanisahab. In 1965, Rafisahab song "chahunga mai tujhe saanjh sawere" picturized on Sudhir Kumar in film Dosti became 2nd in Binaca Geetmala with music of Laxmikant Pyarelalji and lyrics of Majrooh Sultanpurisahab. 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 1977 Rafisahab song "parda hai parda" from film Amar Akbar Anthony picturized on Rishi Kapoorsahab and Neetu Singhji became 2nd in Binaca Geetmala with music of Laxmikant Pyarellalji and lyrics of Anand Bakshiji. In 1977, Rafisahab song "o meri mehbooba" from film Dharamveer film picturized on Dharmendersahab and Zeenat Amanji became 3rd in Binaca Geetmala with music of Laxmikant Pyarelalji and lyrics of Anand Bakshiji. In 1978, Rafisahab and Lataji song "aadmi musafir hai" from film Apnapan picturized on Jeetenderji Sulakshana Panditji became 2nd in Binaca Geetmala with music of Laxmikant Pyarellalji and lyrics of Anand Bakshiji. In 1978, Rafisahab and Sushma Shresthji song "kya hua tera wada" from film Hum Kisi Se Kam Nahi picturized on Tariqsahab and Kajal Kiranji became 3rd in Binaca Geetmala with music of RD Burmansahab and lyrics of Majrooh Sultanpuriji. 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. In 1981, Rafisahab song "chal chal mere bhai" from film Naseeb picturized on Amitabh Bachan and Rishi Kapoorji became 3rd in Binaca Geetmala with music of Laxmikant Pyarelalji and lyrics of Anand Bakshiji So till 1981, Rafisahab song topped the first 3 places in Binaca Geetmala 22 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.

Happy birthday to stylish star Katrina Kaifji

Happy birthday to Katrina Kaif. The viewers of bollywood films wish happy birthday to Katrina Kaif on 16th July, 2026. In 2019 she has given super hit film Bharat opposite Salman Khan. Her film Tiger Zinda Hai opposite Salman Khan did business more than 339 crores which is her greatest blockbuster ever.

2014 was a successful year for her. Her film Bang Bang opposite Hrithik Roshan became a blockbuster doing 181 crores business. 2013 was a great year for Katrina Kaif. Her film Dhoom 3 opposite Amir Khan did business worth 260 crores and still remains India’s greatest blockbuster. 2012 was a great year for Katrina Kaif with her film Ek Tha Tiger opposite Salman Khan doing business of 199 crores and Jab Tak Hai Jaan opposite Shahrukh Khan doing business of 120 crores. In this month itself in 2011 Katrina Kaif’s new film Zindagi Na Milegi Dobara was released. She had acted opposite Hrithik Roshan, Farhan Akhtar and others in this film. Katrina Kaif had remained the uncrowned queen of bollywood films of the last 5 years. Her success in big budget films one after the other had given the number one position and producers and directors had relied upon her while experimenting with various subjects. She was brilliant and gorgeous opposite Salman Khan in the film Maine Pyar Kyun Kiya, gave electrifying performance opposite Akshay Kumar in the films Namaste London, Welcome, Singh is Kinng, was sublime opposite Govinda in the film Partner and Akshay Khanna in the film Race. With her gorgeous lips in romantic songs in all these films including “teri ore teri ore”, “allah duhayi hai”, “just chill chill”, etc., youngsters had become mad about her in the last few years. She had also replaced Aishwarya Rai in a number of advertisements and became the brand ambassador herself. Superstars in the past had accepted the fact that reaching the summit of popularity is difficult, but it is more difficult to maintain the popularity. Katrina Kaif had attained the first feat but has to maintain the stardom. In that respect Katrina’s fate was dependent on the success of the film New York. In 2009, her film was getting released for the first time, so lot of viewers have wide expectation from the film. In the film New York, Katrina Kaif had been asked to attend the birthday party by the crew members who were shooting a film in Philadelphia. Katrina was invited along with John Abraham and Kabir Khan. Crew members who came in one car got entry, while the car where Katrina, John Abraham, Neil Nitin Mukesh and Kabir Khan came, entry was denied. Their identity was required. All of them said that they were popular artists in Indian films. But such identification did not suffice the requirement. By the time, all the actors and actresses were successful to provide their identification, the party was over. The film was related to that subject.Katrina Kaif looked gorgeous as ever just like other films. 2010 opened up well for Katrina Kaif with her film Rajneeti opposite Ranbir Kapoor becoming hit. But her two films opposite Akshay Kumar had miserably failed at box-office, one was Priyadarshan’s film De Dana Dana, while the other was Farah Khan’s film Tees Maar Khan. Bollywood is a strange place. If two films fail in the career of even the number one actress she loses stardom and may lose offer of better roles in future. She has to strike form very soon, may be in 2011 itself. She is earning a lot from endorsement of landmarks brands, but that she is managing only due to her strong box-office presence. She acted opposite Ranbir Kapoor in the film Jagga Jasoos. The viewers expect that Katrina Kaif continue giving hits after hits in 2022. Viewers were waiting for her film Tiger 3 opposite Salman Khan in 2023.Tiger 3 did business of 280 crores in India and 480 crores worldwide.

Uttam Kumar and Suchitra Sen were uncomparable in film Rajlakkji Srikanto

Uttam Kumar and Suchitra Sen were brilliant in Rajlakkhi Srikanto. Superstar Uttam Kumar was sublime in the film Rajlakkhi Srikanto. The film had been directed by Haridas Bhattacharya. He had done brilliant job with the classic literature of Sarat Chandra Chatterji. Sarat Chandra Chatterji had written his biography in the stories relating to Srikanto. Rajlakkhi Srikanto was released in 1958. The masses always read the great literature of Sarat Chanda Chatterjee. It was even a bigger risk to make a film where the story is already known. Very significantly Uttam Kumar understood the poetic character of Sarat Chandra Chatterji and depicted the character in style. He went for a hunting expedition after being called by Anil Chatterji. There he met his neighbour Rajlakkhi played by Suchitra Sen. He loved her during infancy. He was shocked to see her become a baijee named Pyari Bai who had her own house in Patna, Bihar. She unfolded her story and said that her father died. Then her mother went to stay in her brother’s house. Her mami got her married to an old man. He wanted to sell her. Suchitra Sen ran from her house and given shelter by a baijee. She taught her music. She earned her living by being baijee. Composer Gyan Prakash Ghosh composed great classical tunes and singer Krishna Ganguly sang very well. Uttam Kumar also tried to live like a sadhu and joined the group of sadhus led by Jahar Ray. But the disease of chicken pox spread in the village, and to help a family of patients Uttam Kumar stayed in the village. But the family left him when he got infected with small pox. At the end of the film Uttam Kumar left for Burma to get a job. But he remained unmarried throughout his life due to the fact that he could not marry Suchitra Sen who played the role of Rajlakkhi. The film did excellent business and the supporting performers in the film did an excellent job including Sishir Batabyal, Haridhan, and others.

Bengali superstar Uttam Kumar and Arundhuti Debi created aristocratic pair in bengal

Uttam Kumar in the 50s and 60s acted opposite different actresses, some who were beautiful, like Sumitra Debi, Suchitra Sen, Sharmila Tagore, etc., while others who had wide ranging acting conceptions like Manju Dey, Sabitri Chatterji and others. Arundhuti Debi was one of the highly educated characters whose qualifications were expressed in the characters she had played in a long career spanning over 25 years. With Uttam Kumar Arundhuti Debi acted in approximately 8 films including Bokul, Shiulibari, Jhinder Bandi, Jotugriha, Nabajanma, Manmayi Girls School, Pushpodhonu and Bicharak. While in Bicharak, she expressed the feelings of a confused sister whose elder sister was married to Uttam Kumar. Uttam Kumar was attracted to Arundhuti Debi and when fire broke out in the house and his first wife Deepti Ray required his help, he declined to help her and allowed her to die. A similar type of case was adjudicated by Uttam Kumar when he was a judge, when Chabi Biswas, the Public Prosecutor talked about the liability of the accused who could have saved the life of his brother, but he did not do so. Uttam Kumar was asked by Arundhuti Debi to examine his own conscience about his liability towards Deepti Roy in Prabhat Mukherjee’s classic film. Arundhuti Debi and Uttam Kumar showed their comedy conception in the film Manmayi Girl’s School, where they had to pretend to be spouses, because their landlord rented his house to them only on the condition of marriage. But their playacting resulted in an affair with one another. In Pushpadhanu, Arundhuti Debi brought up her husband’s child after he deserted her and got attached with Uttam Kumar who understood the feelings of an established dancer who got recognition but was a loner. Jhinder Bandi was made with the historical touch of Prisoner of Zenda and Tapan Sinha astonished the viewers with his treatment in the Indian context. The royal style of living of Rajputs was well demonstrated by both Uttam Kumar and Arundhuti Debi. Shiulibari was directed by Pijus Bose, who utilized the talent of Uttam Kumar and Arundhuti in a story based on the life of villagers of West Bengal. Jotugriha, directed by Tapan Sinha, was probably the most successful film of Uttam Kumar and Arundhuti Debi. In that film lack of begetting a child led to disharmony of the married couple. Both Uttam Kumar and Arundhuti Debi got separated and even after separation never lost the respect of each other. The story ends with both the spouses travelling in to trains which crossed each other. The level of performance of both Uttam Kumar and Arundhuti Debi, was such that there were no Indian actor or actress who could match the standard of performance. Uttam Kumar was the greatest superstar of Bengali cinema and became one-man industry in the 70s. Critics argue that no Indian star other than Dilip Kumar and Raj Kapoor had the individual charishma which Uttam Kumar had and if his Hindi films clicked he could have created serious competition for the stars of 60s. But Arundhuti Debi’s films with Uttam Kumar were so rich in literature, script and performance that critics argue that the combination addressed the concerns of intellectual audience of the country more than any other combination. The films should be restored for their aesthetic value.

Classic literature influenced bollywood films

Influence of Bengali Classic Literature in Bollywood films.

Bengal in the eighteenth and nineteenth century had produced intellectuals of different dimensions in different fields including academics, politics, music, literature, social science, etc. Social reformers like Raja Ram Mohan Roy, Vidhyasagar brought social awakening through the prohibition of evil practices like Sati and bringing modern legislations with the help of the British Government in the colonial era like Widow Remarriage Act. In the field of religion Swami Vivekananda redefined Hinduism in his Chicago Conference in USA and provided the deliberations of Sri Ramakrisha in condemning materialist philosophy. Netaji Subhas Chandra Bose was one of the most dynamic personalities of the freedom struggle movement of India.



Literature is a field where the immortal works of the Bengali Legendary thinkers have influenced the silver screen the most which even has significance after around 50 years of creation of the classic works. Bankim Chandra Chatterji was given the title of Sahitya Samrat (the Monarch of literature) who nurtured Bengali language from its Sanskrit-oriented origin in almost the same manner in which mythologically Lord Mahadeva brought river Ganges from his knotted hair (jata) and created classic novels like Kapalkundala, Anandamath, Devichowdhurani, etc. His song Vandemataram had instilled patriotism and respect for the motherland and was the guiding mantra in India’s freedom movement which became the national song of the country after India got independence. His novel “Anandamath” was picturised as Bollywood film in 1950 with Pradeep Kumar, Bharat Bhushan, Prithviraj Kapoor playing significant roles.

Bimal Mitra’s epic literature Saheb Bibi Gulam, directed by Karthik Chatterji became a historically eminent work depicting the Zamindari existing in Kolkata during Colonial rule. Chabi Biswas was the second brother, showed the aristocracy, grantieur with which the feudal lords ruled the state. Uttamkumar was the observer of the events as Bhutnath.[1] Guru Dutt played the same role in the hindi film Saheb Bibi Aur Ghulam, 1962, where Meena Kumari played the chotibahu in her own style.

Rabindranath Tagore, the winner of Nobel Prize in literature for Gitanjali, in 1913 had galvanised the firmament of creativity with short stories, poetry, prose, plays, songs and had influenced both Bengali and Hindi films with his revolutionary thinking. His story Kabuliwala was directed by Tapan Sinha in 1957, with Chabi Biswas, the greatest actor of Bengali Silver Screen giving immortal performance of an Afghan father who left his country, came to Kolkata to sell his produce of mewa, pesta and loving a small Bengali girl “mini” who brought him memories of his own daughter back in the country.[2] Tapan Sinha’s films Khudito Pashan, Atithi, 1965, Satyajit Ray’s cineclassic, Teen Kanya, 1961, Gharebaire, 1984, are based on the immortal prices of work of Tagore.

Bimal Roy, the winner of a number of Filmfare awards for best direction in bollywood films made Kabuliwala with Balraj Sahani in 1961. Although the film could not create the same impact as the Bengali film Kabuliwala, yet the classic literature was well appreciated by the Indian masses. Previously Salil Chowdhury’s Do Beegha Zameen, in 1953 had kept its mark as a Bollywood film having strong storybase and powerful direction.

Sarat Chandra Chatterji, titled Katha Sahitwik, influenced Bollywood films the most as his language was understandable to the people of the grass root level and his observation on social, economic issues of rural Bengal had tremendous impact on the readers and filmlovers. His story Devdas picturised by Bimal Roy stormed the silver screen in 1955, providing Dilip Kumar the title of Tragedy king and the image which did not fade with changing times. The remake of Devdas by Sanjay Leela Bansali shows the fact the story is immortal and has not lost its significance even today, more than 70 years after its creation. Similarly Sarat Chandra Chatterji’s Parineeta was picturised by Bimal Roy in 1953 with Meena Kumari in the lead role. The same film had been remade by Pradeep Sarkar in recent times and had been well appreciated by the Indian masses showing the strength of the story and the depth of thought of the author.



Bimal Roy picturised Biraj Bahu in 1954, another story of Sarat Chandra Chatterji, showing the experiences of rural Bengal. Sarat Chandra Chatterji’s classic story Niskriti, based on the problems of joint family system was picturised in Bengali film and in the hindi film Apne Paraye, 1980, the pain of poverty was well depicted through strong performance of Shabana Azmi and Amol Palekar with Utpal Dutta’s compassionate andaz as elder brother. Sarat Chandra Chatterji could think ahead of his time, because joint families are getting eroded these days due to lack of adjustment and giving birth to nuclear families. Besides the biographies of Sarat Chandra Chatterji were picturised in Bengali cinema in Rajlakhi Srikanto,1958, Kamallata, 1969, where Uttamkumar represented Sarat Chandra himself and Abhaya Srikanto, 1965 where Basonto Chowdhury represented Sarat Chandra. In all these stories, the social stigmas, religious barriers, poverty existing in the rural countryside and condition of women was depicted with such a pictographic dimension that people find themselves and associate themselves in one character or the other.

Noted author Jorasondho had provided immortal stories based on his experiences as Jailor in a Bengal prison. Tapan Sinha mesmerised the Bengali audience with his powerful adaptation of the novel Louhakapat in 1958. Chabi Biswas’s performance was well acclaimed throughout Bengal and Nirmal Kumar playing the role of the observer was well appreciated. Bimal Roy made his epic film Bandini on the story of Jorasandho in 1963. The tragic background of individual prisoners made people think whether our justice system punishes the crime or the offender. Other landmark stories include hinger kachuri, written by Bibhutibhushan Mukherjee, which was picturised as Nishipadda, 1970, where Uttamkumar gave a lifetime performance and also translated into hindi version in Shakti Shamant’s Amar prem, 1972. The list can go on. As Bengalis are characterised with their depth of thinking, analysing and feeling human emotions, Bengali literature still is an invaluable asset, even today. Still realistic films can be made from the classic literature of different ages by thoughtful directors. Efforts should be made to translate the Bengali classic literature into different regional languages, so that more section of the society can cherish them for generations.


[1] My father Chitta Ranjan Chatterji, Ex-chief Public Prosecutor, Bankshall Court, had interviewed Dilip Roy, eminent actor of Bengali films who was his witness, in a case instituted in Bankshall Court, who said there was no second actor in India who could depict the role of Zamindar in the way Chabi Biswas had done in Saheb bibi Golam, Jalsaghar, Dui Purush, Antarikha, etc. He also said when Raj Kapoor tested Chabi Biswas in the role of a drunkard in the film Ekdin Ratre, 1955, his performance in the song “Ei duniyay bhai sabi hoy” sung by Manna Dey, he came down the trolley and saluted Chabi Biswas saying he had not seen an actor in Indian screen like Chabi Biswas. In the hindi version Jagte Raho, 1956, the same character was played by Motilal, but he could not match the level of excellence of Chabi Biswas.

[2] Kabuliwala received President’s Gold Medal for best film in 1957. Renowned Director Satyajit Ray in his TV interview on DD Bangla had said Chabi Biswas was the greatest actor ever to grace the silver screen and giving him direction was his greatest challenge in the award winning films Jalsaghar, 1958, Devi, 1960, Kanchenjungha, 1962. Chabi Biswas’s performance in the film Manik, 1956, the adaptation of Oliver Twist written by Charles Dickens, in a role of a handicapped grandfather could have brought him Oscar had the film being placed for the nomination.

Dadasahab Phalke winner Manoj Kumarsahab demise was a shock for the nation

Veteran dadasahab phalke winner Manoj Kumar died on cardiac arrest on 4th April 2025 at the age of 87 years. It is a very shocking news and the entire country mourns the death of the patriotic actor, the romantic actor and player of detective roles in mystery films. Happy birthday to Manoj Kumar. The viewers of bollywood films wish happy birthday to Manoj Kumar on 24th July, 2024

. He is almost 80

years old now. He started his career as a romantic hero, then showed his skills in the field of direction and created a separate identity as a patriotic hero. He later on earned the name of Bharat Kumar. Harikishan Giri Goswami, better known as Manoj Kumar, was a big admirer of Tragedy King Dilip Kumar. He was obsessed with Dilip Kumar’s performance in the film Shabnam, in 1949, and kept the name of the character of the film, which was Manoj Kumar. Although he started his career in the film Fashion in 1957, he got recognition with a lead role in the film Kaanch Ki Gudiya in 1960. Vijay Bhatt directed Hariyali Aur Raasta in 1962 changed the destiny of Manoj Kumar as a romantic hero. The songs of the film were composed by genius of genius Shankar Jaikishan, and with Mala Sinha’s assistance Manoj Kumar reached the hearts of millions of music lovers in the country. The songs in the film including “ifteda-e-ishq”, “yeh hariyali aur yeh raasta”, sung by Mukesh and Lata astonished the viewers. The film became super hit. In the mid-60s, Manoj Kumar landmark roles in suspense thrillers like Woh Kaun Thi, 1964, and Gumnaam, 1965. Woh Kaun Thi was a horror film of Raj Khosla where Manoj Kumar played the role of the doctor who got scared with the ghostly appearance of Sadhna, who played a double role in the film. He solved the mystery in the film got Prem Chopra arrested at the end after realizing that his wife had a twin sister who was used as a ghost. The music of Madan Mohan was brilliant and Lata’s songs “naina barse rimjhim”, “lagja gale”, etc., created sensation. Gumnaam was a murder thriller which stormed bollywood in the mid-60s. More than seven friends were given offer of going for holidays, but the flight was hijacked and the friends had to land at an island. Each of them was killed one after the other and no one knew who killed them. Manoj Kumar solved the mystery and unearthed the truth that Tarun Bose was the actual murderer. The music composed by Shankar Jaikishan was extraordinary with songs like “jane chaman shola badan” sung by Rafi and Sharda, “gumnaam hai koi” sung by Lata, “is duniya me jeena ho to”, “hum kale hai to kya hua dilwale hai” sung by Mohammad Rafi, etc. Manoj Kumar started his second innings with patriotic films like Shaheed, Upkaar, Purab Aur Paschim, Roti Kapra Aur Makaan, Kranti, moved the viewers and earned him respect. He directed of those films and got filmfare award for best director for excellent work in films like Upkaar and Roti Kapda and Makaan. His film Upkaar also received the national award for best film in 1967, and he gave life to the slogan of PM Lal Bahadur Shastri titled “jai jawan jai kisan” with Upkaar. In fact Upkaar, was the highest grosser film in 1967, surpassing all the other super hit films like Ram Aur Shyam, Jewel Thief, etc. The songs in Upkaar composed by Kalyanji Anandji were also brilliant including “mere desh ki dharti” sung by Mahendra Kapoor and “kasme wade pyar wafa sab” sung by Manna Dey. After Upkaar a big section of the crowd used to call Manoj Kumar as Bharat Kumar, as his patriotic feelings used to reflect in his creations. His other successful films as hero also include Patthar Ke Sanam, Anita, Aadmi, etc. He acted with childhood idol Dilip Kumar in Aadmi and Kranti. The songs of most of his films were of excellent class. Naushad’s creation in Aadmi, and Rafi’s songs like “na aadmi ka khoi bharosa”, “aaj purani rahon se”, etc., had remained invalueable assets over the period of time. The viewers expect him to continue the excellent work as a director in the years to come.

Rafisahab sang lovely songs for bengali superstar Uttam Kumar in combination with Shankar Jaikishan in film Choti Si Mulakat

In 1967, bengali Superstar Uttam Kumar ventured into bollywood opposite superstar Vaijayantimalaji in the film Choti Si Mulakat. Before Vaijayantimalaji was uncrowned queen of bollywood. All her films from Nagin to Naya Daur, Devdas to Zindagi, Sangam to Suraj became super hits blockbusters. This film was based on the story of Agni Parikkha which was super hit film of Uttam Kumar Suchitra Sen in bengali. But the hindi version did not get box office. All the songs of Rafisahab "tujhe dekha tujhe chaha", "choti si mulakat me pyar ban gayi", Ashaji's "mat ja mat ja" composed by Shankar Jaikishan were bumper hits. Tujhe dekha tujhe chaha still remains one of the best super hit duets of Suman Kalyanpur and Rafisahab over the decade. Vaijayantimalaji was at the peak of her career at that time commanding highest fees. Uttam Kumar was the bengali superstar who was known for brilliant looks and lovely voice. There was exotic locations of Jammu and Kashmir, Shimla and everything was in colour. There was powerful performances of character artists like Pratibha Debi, Tarun Bose, Shashikala, Rajender Nath and others. The film was directed by Alo Sarkar. It was amazing that in bollywood films with weak storyline and poor acting also became hits in the past, while Choti Si Mulakat with two superstars Vaijayantimalaji and Uttam Kumarji ended up without success.

Remembering legendary singer Geeta Duttji on death anniversary and remembering her brilliant combination with superstar Suchitra Sen

Suchitra Sen and Geeta Dutt. Viewers of Bollywood films and listeners of Bollywood music remember singer Geeta Dutt on 20th July, 2026. She died on this date in 1972. Suchitra Sen had a tremendous combination with singer Geeta Dutt and their understanding both in Bengali films and bollywood films had created history during the golden age, that is the 50s and 60s. In the film Indrani, all the songs sung by Geeta Dutt for Suchitra Sen including “jhanak jhanak madhur badan”, “nir choto khoti nei”, “ogo sundoro”, etc., all became super hit. Suchitra Sen provided hit films one after the other with Uttam Kumar, during that age and Indrani also falls in that category. Even in films where Geeta Dutt had sung only one song for Suchitra Sen, even in those films, the songs had a great impact in the success of the films. The song in the Ajoy Kar’s epic film Harano Sur, in 1957, titled “tumi je amar” had a unique appeal for the audience. Uttam Kumar lost his memory due to meeting with an accident and Suchitra Sen sang the song a number of times in the film. It haunted the viewers and touched the souls of numerous admirers of Bengali films. Geeta Dutt’s song for Suchitra Sen also in the film Hospital also became extremely successful. Ashok Kumar acted opposite Suchitra Sen in the film and the song was “ei shundar sharnali sondhae”. In bollywood films, SD Burman used Asha Bhosleji and asked her to sing like Geeta Duttji for Suchitra Sen in the film Bombai Ka Babu. Dev Anand acted opposite Suchitra Sen in the film and all the songs were super hits. The main songs included “dekhne me bhola hai”, “pa ma ga”, etc., where Asha Bhosleji's singing were replica of Geeta Duttji out of which some of them were duet songs with Mohammad Rafi and their romantic by every musical standard. As Suchitra Sen made memorable contribution in bollywood films for more than 30 years, a lot of legendary singers contributed for her during that period. There were hit songs sung by Sandhya Mukherjee in landmark films like Sagarika, Pathe Holo Deri, Sriti Tuku Thak, Uttar Falguni, Bipasha, etc. At the same time in bollywood films Lata had sung landmark songs for Suchitra Sen including “rahe na rahe hum” composed by Roshan in the film Mamta, “is mor se jate hai”, “tere bina zindagi me shikwa” composed by RD Burman in the film Aandhi. Even then Geeta Dutt was probably the only singer who sang songs for Suchitra Sen both in the Bengali films as well as the bollywood films. As Suchitra Sen’s hindi films were restricted to only Devdas, Champakali, Musafir, Mamta, Aandhi, etc, Geeta Dutt got a limited scope of contributing in Suchitra Sen’s hindi films. Even then, the songs are still remembered by many generations and for those reasons the films should also be preserved.

Golden singer Mukeshji is remembered on birth anniversary

Remembering Mukesh on his death anniversary. Great singer Mukesh is remembered both on his birth anniversary on 22nd July, 2025 and death anniversary on 27th August, 2026. The viewers of bollywood films remember legendary singer Mukesh on his death anniversary on 27th August, 2014. He was born on 22nd July, 1923 and died on 27th August, 1976 and people all over the world remember his great works. Mukesh was probably the most popular singer of the 50s, 60s and 70s after Mohammad Rafi. His nazal tune had huge amount of sensitiveness and he gave expression to brilliant composers of the golden age with the romantic voice. His combination with Showman Raj Kapoor was considered one of the golden combinations of the 40s, 50s, 60s. His notable songs for Raj Kapoor included “awara hoon” from film Awara, composed by Shankar Jaikishan, “aaja re” from film Aah, composed by Shankar Jaikishan, “ramaiya vasta maiya” and “mera joota hai japani” from film Shree 420 composed by Shankar Jaikishan, “sab kuch sikha humne”, “dil ki nazar se” and “kisiki muskurahaton pe ho nisar” from film Anari, “ai sanama jish ne tujhe chand sa surat di hai” from film Diwana, “sajanwa bairi ho gaye hamar”, from film Teesri Kasam, composed by SJ, etc. The list can go on. Shankar Jaikishan stormed bollywood films with their everlasting tunes for more than 25 years, and wherever they were associated with Raj Kapoor, Mukesh sang the songs of his lifetime. The combination gave everlasting hits in films like Barsaat, Jis Desh Me Ganga Behti Hai, Sangam, Ek Dil Sau Afsana, Around the World, Diwana, Teesri Kasam, Mera Naam Joker, to name a few. In non-Raj Kapoor films also Mukesh did a superlative job. His performance in Dilip Kumar’s Madhumati, composed by Salil Choudhury, Manoj Kumar’s Hariyali Aur Raasta composed by Shankar Jaikishan, Rajender Kumar’s Saathi composed by Naushad Ali, Manoj Kumar’s Pathar Ke Sanam composed by LP, require special mention. Some of the notable songs of Mukesh which had remained immortal in those films included “dil tarap tarap ke kehrahahe aabhi ja” in Madhumati, “ifteda-e-ishq me” in Hariyali Aur Raasta, “mera pyar bhi tuhe” in Saathi, “tauba yeh matwali chal” in Patthar Ke Sanam, etc. He died in 1976, and ended the era relating to soft romantic songs. His journay from the film Nirdosh in 1941 to Amar Akbar Anthony in 1977, remained unblemish. In 1974, he received national award for best singer for the song “kai baar yun hi dekha hai” from the film Rajnigandha, composed by Salil Choudhury. He deserved many more national awards, as he had sung from his soul bringing tears in the listener’s eyes. Besides he received filmfare awards for his best performance in films like Anari, Pehchan, Beimaan, Kabhi Kabhi. Even in the 70s, when slow music gradually lost its predominance, Mukesh’s songs in somber mood like “mai pal do pal ka shayar hoon” and “kabhi kabhi mere dil me” in the film Kabhi Kabhi composed by Khayyam and written by Sahir Ludhiyanvi created a permanent place in the hearts of millions of musiclovers. Articles after articles can be devoted on the successful combination of Mukesh with Shankar Jaikishan, Salil Choudhury, Naushad, Roshan, and others. His films and songs should be preserved.

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.