Rafisahab had huge role to play in the career of Jeetender.

Rafi’s brilliant combination with Jeetender in the 1960s. The viewers of Bollywood fims wish happy birthday to dancing star Jeetender on 7th April, 2015. Jeetender started his career in the early 1960s with the patronage of eminent director V. Shantaram. He was launched as hero opposite Rajashri in the film Geet Gaya Pattharone in 1964. At that time Jeetender had to face the competition from the rulers of bollywood films like Dilip Kumar, Raj Kapoor, Rajender Kumar and others. Probably Jeetender spend his toughest time of the career to cement his place between 1964 to 1970, when viewers starting recognizing Jeetender and appreciating his acting and dancing skills. The singer played a huge role in the success story of Jeetender was Mohammad Rafi. Rafi’s everlasting songs for Jeetender created a hall mark for super hit music which was one of main reasons for box-office success of the films. In the film Geet Gaya Pattharon Ne, Ramlal Choudhury composed the music. Mahendra Kapoor sang the hit song “ayiye padhariye” for Jeetender. In Jeetender ‘s film Gunahon Ka Devta, released in 1967, Shankar Jaikishan used Rafi in hit songs. Rafi’s song “humko to barbaad kiya hai” became bumper hit. Rafi and Manna Dey’s song “ayi hai bari door se mehmil me” is worth mentioning. Rafi Jeetender combination rocked bollywood with the film Farz in 1967. Laxmikant Pyarellal composed loud music for Rafi in songs like “mast baharon ka mai aashiq”, “baar baar din yeh aye” and “tujhse aye haseena”. Jeetender showed his dancing skills and viewers started calling him jumping juck. At the same time viewers enjoyed the western andaz of Mohammad Rafi in the peppy numbers. In Boond Jo Ban Gayi Mooti, released in 1967, Satish Bhatia composed music of the film. Mukesh’s song “yeh kaun chitrakaar hai” for Jeetender became big hit. In 1968, again Shankar Jaikishan and Rafi combination struck gold for Jeetender in the film Mere Huzur. Rafi’s song “rukh se zara naqab uthayo mere huzoor” had ghazal andaz. Raj Kumar also played important role in the film. Manna Dey sang excellent classical song “jhanak jhanak tori baje payelia”. Rafi was majestic in the songs “wo khushi mili hai mujhko”, “kya kya na sahe humne sitam aap ki khatir”, “gum uthane ke liye mai to jiye jayunga”. Hasrat Jaipuri wrote excellent lyrics for the film. In 1968 Jeetender acted in the film Suhaag Raat. Kalyanji Anandji composed the music of the film. Mukesh’s song “khush Raho” became hit. The Rafi Jeetender combination was back in 1968 with the film Aulad. Chitragupt composed music in the film. Rafi’s song “abke bahar ayi hai” had brilliant melody. The rendition of the song was splendid. Rafi and Lata’s duet song “armaan tha humein jinka” became bumper hit. Rafi and Lata’s duet song “nazuk nazuk badan mora” had folk effect. RD Burman composed music for Jeetender’s film Waris in 1969. All the songs were sung by Mohammad Rafi. All the songs became smash hits including “ek bechara pyar ka maara”, “lehrake aye hai jhoka bahaarka”, “kabhi kabhi aisa bhi hota hai”, etc. The LP Rafi and Jeetender combination dominated the chartbusters in 1969 in the films Jigri Dost, Do Bhai and Jeene Ki Raah. Jigri Dost’s songs of Rafi were super hit including “dil me kya hai”, “mere desh me pavan chale”, “raat suhaani jag rahi hai”, etc. Jeene Ki Raah’s songs were equally hit including “aa mere humjoli aa”, “aane se uske aye bahaar”, “ek banjaara gaye”, “chanda ko dhoonde sare tare nikal pare”. The magic continued in the film Do Bhai. Rafi was sublime in the songs “is duniya me aye duniyawalon”, “o geet nahin ban sakte”, “samne aaj dono jahan kea aa”, “jeena hai tere banker”. Rafi sang around 369 songs for Laxmikant Pyarellal in between 1963 to 1980. In that list at least 100 songs were picturized on Jeetender. LP used Rafi for Jeetender for the title song “dharti kahe pukarke” in the film Dharti Kahe Pukaarke in 1969. LP Rafi Jeetender combination stormed bollywood in the film Humjoli in 1970. All the songs of Rafi became bumper hit including “tik tik tik mera dil dole”, “hai re hai neend nahi aye”, “chal shuru ho ja”. Shankar Jaikishan continued with Rafi in Jeetender’s film Ek Naari Ek Brahmchari. Rafi was sublime in the songs “chirag kis ke ghar ka hai”, “are tu hai buddhu brahmchari”. Rafi LP and Jeetender again created magic in the film Himmat in 1970. All the songs became super hit including “hai shukr ke tu hai ladka”, “o piyo piyo ka zamana aya”, “das gayi nagin”, “maan jayiye”. In the 1970s Jeetender became a leading star of bollywood and never looked back. It is difficult to cover all the songs of Rafi for Jeetender because he had sung almost 100 songs for Jeetender. Viewers of bollywood films were entertained in other films of Jeetender including Banphool, Carwan, Badalte Rishtey, Aasha, etc. All the songs and the films should be preserved and restored.

Who was a bigger Tycoon Dilip Kumar or Raj Kapoor?

Raj Kapoor versus Dilip Kumar. Raj Kapoor and Dilip Kumar had remained the greatest legends of hindi cinema for the last 100 years. Ranbir Raj Kapoor, also known as Raj Kapoor, was the son of legendary actor Prithviraj Kapoor. Muhammad Yusuf Khan, also known as Dilip Kumar was the son of Fruit tycoon Lala Ghulam Sarwar. Raj Kapoor was born on 14th December, 1924, while Dilip Kumar was born on 11th December, 1922. They acted together only in one film titled Andaz in 1949, which was directed by Mehboob Khan. There were a lot of striking points of the two superstars who ruled bollywood films during the 40s, 50s and 60s. Raj Kapoor was awarded Padmabhushan in 1971, while Dilip Kumar was awarded Padmabhushan in 1991. Raj Kapoor was awarded Dadasaheb Phalke in 1987 and Dilip Kumar was awarded Dadasaheb Phalke award in 1994. In 1947, Raj Kapoor acted opposite Madhubala and Begum Para in the film Neel Kamal. In 1947, Dilip Kumar acted in the successful film Jugnu, although he started his career with the film Jwar Bhatta in 1944. While Raj Kapoor got the title of showman, with his projection of larger than life romantic stories in films like Barsaat, 1949, Awaara, 1951, Shree 420, 1955, Sangam, 1964, etc; Dilip Kumar got the title of Tragedy King with his projection of the sad personality in films like Devdaas, 1955, Musafir, 1957, Madhumati, 1958, Mughal –i-Azam, 1960, etc. Both the actors acted opposite leading actresses of the golden age including Nimmi, Nargis, Meena Kumari, Madhubala, Wahida Rehman, Vaijayantimala, to name a few, although Raj Kapoor acted in 17 films opposite Nargis, while Dilip Kumar acted in 7 films opposite Vaijayantimala. While Raj Kapoor at an age of 22 years married Krishna Kapoor at an age of 16 years who was his maternal cousin in 1944; Dilip Kumar at an age of 44 years married Saira Banu at an age of 22 years in 1966. Both Raj Kapoor and Dilip Kumar supported the Congress, but although Raj Kapoor did not join active politics, Dilip Kumar became Member of Rajya Sabha and also Sheriff of Mumbai. While Raj Kapoor had marathon combination with composer Shankar Jaikishan, lyricists Shailendra and Hasrat Jaipuri and singers Mukesh, Lata and Manna Dey, who worked with him in more than 15 films; Dilip Kumar had immortal bond with composed Naushad, lyricist Shakeel Badayani and singer Mohammad Rafi who had contributed in more than 15 films of the legend. While Raj Kapoor won filmfare awards in different categories including best actor, best director, best producer, etc; Dilip Kumar won the filmfare award for best actor for record 8 times. Raj Kapoor had died in 1988 and Dilip Kumar had retired from films after acting in the film Qila, many years ago. Their works should be preserved and restored.

The nation remembers Oscar Winning Director Satyajit Ray.

The nation remembered Satyajit Ray on 23rd April, 2017. The nation remembered Satyajit Ray on his death anniversary on 23rd April, 2017

. Not only he was the recipient of the prestigious Oscar awards, he was the path-breaker in Indian films who taught the next-generation the art of story-telling. In 2010, Society had celebrated the 89th birth anniversary of the legendary director by showcasing some of his notable works like ‘Agantuk’, (The Stranger), ‘Jalsaghar’, (The Music Room), ‘Charulata’, (The lonely wife). The films were shown in Cinemax, Metro Big Cinemas and NCPA. After the films were shown, the significance of such films was discussed by Bhawna Somayya, ex-editor of Screen, filmmaker Sujoy Ghosh and film academicians from all across the country. Besides, discussions were held to highlight the contribution of Ray as a writer, an illustrator, an activist of the film society movement and a filmmaker. Internationally acclaimed directors like Shyam Bengal, Adoor Gopalakrishnan, were greatly influenced by Satyajit Ray’s films like Apu Trilogy, Jalsagar, Nayak, Mahanagar, etc., and they themselves became eminent story-tellers of the following period. The use of nature, the birds, and background, and the use of theme music in translating an unknown event to a group of individuals had enchanted the thoughtful directors all across the world. Even directors of the present period like Goutam Ghosh are influenced by the works of Satyajit Ray. He made Abar Aranye which was a sequel to Satyajit Ray’s film Aranyer Dinratri. A personality like Ray could only make a film like Kanchenjungha, where the greatness of the Himalayas overshadowed the ego of a materialistic industrialist played by Satyajit Ray. An important part of Satyajit Ray’s creations include his literature on diverse subjects. While his Sandip Ray had taken the challenge of converting the Feluda Series into feelings, his literature relating to horror-based subject matters, his series of 12 stories are yet to be converted into films. Sandip Ray’s films Bombaier Bombete, Kailashe Kelenkari, Baksho Rahasya, based on epic literature of Ray had got good response from the viewers. But Ray’s brilliant stories in the 12 series like Ebaro Baro, Aro Baro, Ek Dojon Goppo, Aro Ek Dojon, Eker Pite Dui, are yet to see the light of celluloid. Ray’s stories like Khagam, based on the theme of human being converted into a snake, Pterodactyler dim, based on the prehistoric era, Fritze, based on the topic of life in a doll, Asomongobabur Kukur, based on the weird mannerisms of dogs, had bewildered the readers. If such stories are adapted and made into films, the viewers will enjoy them to the brim. The legacy of Ray whether in the form of neo-realistic films like Pather Panchali, or suspense –thriller stories relating to Feluda Series or Professor Shanku, still continues, even 18 years after his death. The stories should be translated in different languages, and films should be preserved and restored.