Happy birthday Kishore Kumar.

Kishore Kumar had been remembered on his birthday. Kishore Kumar had been remembered on his birthday on 4th August, 2013. Kishore Kumar, the master entertainer had been one of the most colourful personalities of bollywood who just became more and more and more popular over the years, now it is almost 26 years after his demise. In respect of his acting performances hardly any actor even dared to imitate him as his improvisations were spontaneous. The part that is followed by numerous singers all over the country is his singing style. When KK acted as hero in bollywood films he showed his acting capability even in playback singing like the song “c a t cat, cat mane billi” in the film Dilli Ka Thag. He brought out all the sounds of the animals that were named in the song. In the film Chalti Ka Naam Gari, in the song “paanch rupaiya bara ana” he imitated SD Burman and in every paragraph he had created a new style which justified the lyrics. In Half Ticket he showed the childishness in the song “chil chil chillake” composed by Salil Choudhury, which became very popular among children. He even sang the ladies version of the song “o sawariya” in the film Half Ticket, when he was teasing Pran during a song sequence. He had acted opposite many versatile actresses like Nutan in Dilli Ka Thug, Madhubala in Jhumru, Vaijayantimala in Aasha, to name a few. All his innovations created history when he concentrated in playback singing only in the 70s. He made the audience realize that he was singing for Dev Anand, or Rajesh Khanna or Big B, to name a few. His songs “gata rahe mera dil” from Guide, “roop tera mastana” from Aradhana, “kuch to log kahenge” from Amar Prem, “tere mere Milan ki” from Abhimaan have created history over the years. With Big B he had a tremendous combination and had sung in almost all the films of Big B till 1987, including Don, Shaan, Mr. Natwarlal, Do Aur Do Paanch, Amar Akbar Anthony, Muqaddar Ka Sikandar, Kaalia, Silsila, etc. The list can go on. In the 80s, it was KK all the way, when he had no competitors. All his songs in Big B’s film Namakhalal, Sharaabi, became record hits. Even in Rishi Kapoor’s Saagar, his song “saagar kinare” had romantic appeal. Composers like RD Burman, Bappi Lahiri, Rajesh Roshan could not think about any composition without KK. He provided playback for almost all the leading actors of bollywood in the 80s, namely Amitabh Bacchan, Rishi Kapoor, Vinod Khanna, Anil Kapoor, Mithun Chakravarty, Kamal Hassan, and others. He became the legend of legends and all the actors of the 70s and 80s are indebted for his colourful playback. After his death Kumar Shanu, Abhijeet, Vinod Rathod, Babul Supriyo and other singers had established themselves by following his style of singing. It has not happened with any other playback singer of bollywood. His styles were very entertaining, romantic and filmic. Articles after articles can be devoted to the master entertainer and it can be said that he had remained alive all over the years in his numerous films and thousands of songs. His films and songs should be preserved.

Farooq Sheikh and Deepti Naval were excellent in film Kisi Se Na Kehna.

Actors Farooq Sheikh and Deepti Naval were a brilliant intellectual pair who stormed Bollywood films in the 1980s. They were cast in different experimental characters after the pair of Naseeruddin Smita Patil and Om Puri Shabana Azmi. Kisi Se Na Kehna was a light-hearted comedy film made by Hrishikesh Mukherjee in 1983. The film was produced by Ashok Raut or Jayant Pathare. The music was composed by Bappi Lahiri. In the film Farooq Sheikh became the general manager of the firm run by SN Banerjee. He fell in love with Deepti Naval who was the niece of SN Banerjee. Utpal Dutta, the father of Farooq Sheikh wanted to get him married to girl who knew Indian traditions and did not know the language. Utpal Dutta himself went to see a number of girls and found that the ones who were modern learned poor culture and were disrespectful towards elders. He asked Farooq Sheikh to marry only that girl who knew not a single letter of English. Sayeed Jaffery helped Farooq Sheikh and Deepti Naval to get married. He asked Deepti Naval and SN Banerjee to pretend that they were from the village and never heard any English word in life. Deepti Naval faced huge trouble as she was a learned doctor, but she managed the false relationship. Deven Verma, her cousin brother was the relief character in the film who was seen with different girlfriends at different times. At the end of the film when Utpal Dutta faced a heart attack, Deepti Naval had to give an injection to save him and told the truth. At the beginning Utpal Dutta told her to leave his house but after hearing the version from Sayeed Jaffery reconciled the situation. Hrishikesh Mukherjee gave a great message in the film. He showed the world that development is not based on roughness created by advanced education but the humbleness earned by traditional knowledge. Farooq Sheikh and Deepti Naval after creating havoc with brilliant performances in the films Saath Saath, Katha, Chasme Badoor, continued the dream run in the film Kisi Se Na Kehna. Utpal Dutta had a class of his own when it came to acting. Right from negative roles in the films Barsaat Ki Ek Raat to comedy roles in Golmaal and social roles in Kisi Se Na Kehna, he became the pride of the industry in character roles. Sayeed Jaffery was a great actor and showed his class in films like Shatranj Ki Khiladi, Masoom and many other films. The music of Bappi Lahiri was impressive with Asha Bhosle’s song “kisi se na kehna” which was very soft and melodious. The film should be restored and preserved.

Meena Kumari is remembered on her birth anniversary.

The viewers of bollywood films remembered Tragedy Queen Meena Kumari both on her birth anniversary on 1st August, 2013 on her death anniversary on 31st March, 2013. Meena Kumari can be considered as the greatest actress of Bollywood during the golden age who had portrayed images and characters showing complexity of the mind of the Indian women and the social ostentations that they had faced during different periods of time. Meena Kumari, born on 1st August, 1932, known as Mahjabeen Bano, stormed into the Indian silver screen in 1952, with the sublime performance in Baiju Bawra. Although the film had been renowned for everlasting composition of Hindustani ragas by Naushad and supreme performance of Mohammad Rafi, with songs like “man tarpata”, “woh duniya ke rakhwale”, etc., Meena Kumari’s performance opposite Bharat Bhushan showed the filmlovers that she had come to conquer Bollywood with her soft style of acting. In the 50s Meena Kumari’s performance in films like Parineeta, 1953, Footpath, 1954, Yahudi, 1958, etc. were appreciated by critics, but she had created her image of martyr in the film Sharda, 1957, where even after having an affair with Raj Kapoor, in the film she had to sarcrifice her affection to marry Raj Mehra, his father, who was much older than her. In Dil Ek Mandir, 1963, Meena Kumari after having affair with Rajender Kumar in her youth had to marry Raj Kumar, due to social pressure. But from the time she had married Raj Kumar, she fulfilled all the duties of a middle class Hindu woman, and brought her sick husband to the hospital at the mercy of Rajender Kumar. She prayed to God, for the recovery of Raj Kumar. Rajender Kumar sacrificed his life to treat her husband and died at the end of the film. The songs composed by Shankar Jaikishan and sung by Rafi and Lata, had not lost their significance even today. In 1962, Meena Kumari, performed the role of choti bahu, in Guru Dutt’s Saheb Bibi aur Ghulam, the film showing the zamindari raj (dominance of Feudal lords) existing in the British capital in India, that is Kolkata. She was married to the youngest son in a family of zamindars who used to attend mujras in Jaan bazaar, in Kolkata, where performers from Lucknow, Benaras used to come and exhibit their skills of singing classical songs. She tried to retain her husband Rehman at home, and through her conversation, Guru Dutt, the observer came to know about the history of the family. Meena Kumar’s performance opposite Pradeep Kumar, used to create a different dimension, as her pardanashin image had matched with royal style of acting of Pradeep Kumar. After the success of Aarti, 1962; Meena Kumari, acted in the blockbusters Bheegi Raat, 1965, and Bahu Begum, 1967, opposite Pradeep Kumar and Ashok Kumar. In Bheegi Raat, she loved Pradeep Kumar, yet due to an accident which made her legs paralysed she could not attend the engagement and worked in the house of Ashok Kumar as governess. When society boycotted Ashok Kumar, she agreed to marry her, but presence of Pradeep Kumar at the end of the film in the song “dil jo na keh saka” compelled Ashok Kumar to sacrifice his affair and go back to London. It was a film where, Rafi, Lata, Roshan and the actors all had provided their best performance possible. Meena Kumar’s other film with Pradeep Kumar titled Chitralekha was also successful. Meena Kumari had become immortal with her classic performance in the film Pakeeza, 1971, opposite Raj Kumar, which took around 10 years to be completed. It was created on a subject related to women brought up in kotha and exhibited the class of women who could not give the recognition to their next generation as their father’s are not known. The music composed by Ghulam Mohammad, Lata and Rafi’s songs, Kamal Humrohi’s direction (the husband of Meena Kumari) all complemented each other, and the film became historical piece of document. The greatest hallmark of Meena Kumari lied in her ability to depict the helplessness of Indian women existing specially in the 50s and 60s, when the patriarchal society dominated them and they had no independent income to live separately against the pressure of society. In her performances, beauty, aristrocracy, tragedy, personality all blended into one. Whenever we think about cine-classics like Dil Apna aur Preet Parayi, 1960, or Ghazal, 1965, Meena Kumari’s image automatically comes in our mind. She died in 1972, only at an age of 41. Meena Kumari’s films should be restored in an archive for future generations to learn the art of understanding the characters from the core of the heart the way Meena Kumari had done during the golden age of Indian cinema.