Ghazal Ka Shehzada Madanmohan Kohli was remembered with his combination with Rafisahab.

The country remembers the death anniversary of legendary composer Madanmohan Kohli on 14th July, 2018. The legendary composer left us more than 38 years ago but left the country with innumerable treasure of ghazals. If any composer had utilised the ghazal andaz of Mohammad Rafi to the best of his potentiality it is Madanmohan whose name appears in the minds of the lovers of music across the nation. Madanmohan’s father Rai Bahadur chunnilal send his son to Dehradun to join the army. Instead he left the army and joined All India Radio in Lucknow. He came in contact with Ustad Faizz Khan, Ustad Ali Akbar Khan and carried on their legacy in the compositions he made for 30 years which can be classified as masterpieces. As Madanmohan was not associated with the Big Banners like RK or Navketan, he was not categorised with any star of bollywood during 50s, 60s, 70s. Further he never wanted to balance the popular test of music and excellent class of classical compositions he created. But the compositions were so rich in lyrics and tunes that the musical pandits had no way but to admire them. The golden age of bollywood music was categorised with the excellence of Mohammad Rafi and as such if any composer neglected Rafi and tried to reach the summit of popularity they have invited their own downfall. Madanmohan did not make such a mistake. He started his career with the film Ankhen in 1950. He also composed music for Raj Kapoor’s film Ashiana in 1952. His notable songs for Rafi in the film Railway Platform, 1956, include “basti basti parbat parbat”. In Gateway of India, 1957, Madanmohan used Mohammad Rafi for the song “do ghari woh jo pass aa baithe” picturised on Bharatbhushan. It was very successful and strengthened the everlasting bond of Rafi with Madanmohan. Rafi’s intoxicating appeal in the song “kabhi na khabhi kahin na kahin koi na koi toi ayega” in the film Sharabi, 1964, composed by Madanmohan can be classified one of the best songs in sombre mood. The most majestic ghazals of Rafi composed by Madanmohan include “kisiki yaad me apnako hai bhulaye huye” and “baad muddat ke yeh ghari ayi” from the film Jahan ara, 1964, picturised on Bharat Bhushan. Talat Mehmood’s song in the same film “phir wohi sham wohi gham wohi tanhai hai” was also based on ghazal andaz. The classic lyrics were written by Rajinder Kishan. The film titled Ghazal, in 1964, was based on ghazals and Rafi was outstanding by every standard in the song “rang aur noor ki baraat kise pesh karun.” In the same year Rafi’s patriotic flavour was bolstered in the song “kar chale hum fida jan-o-tan sathiyon” in the film Haqeeqat, where Rafi’s ghazal titled “hoke majboor usne bulaya hoga” shared with Bhupinder Singh, Manna Dey and Talat Mehmood was sensational. The majestic lyrics were written by Kaifi Azmi. In the film Neela Akash, 1965, picturised on Dharmender, Rafi’s song “akhri geet muhobbat ka sunayun to chalun” showed the tragic note of Madanmohan. In the film Need Hamari Khwab Tumkhari, all the songs were sung by Rafi including “husn ne jab isq se takraya tha”. Returning back to ghazals, Rafi’s song “aap ke pehlu me akar” in the film Mera Saya, 1966, was as outstanding as Lata’s title song “tu jahan jahan chalega mera saya saath hoga”. The lyrics were written by Raja Mehendi Ali Kahan. Raj Khosla’s crime thriller ended up becoming a musical blockbuster just like Woh Kaun Thi, in 1964, where Madanmohan’s composition “naina barse,” “lagja gale”, etc. for Lata Mangeshkar was probably the most immortal creation in the history of film music, with Sadhna giving life time performances in ghostly characters in both these films. The landmark ghazal “tumhari zulf ke saye me sham karlunga” in the film Naunihal, in 1967, is probably one of the five best ghazals Rafi did sing in his life. Experts in music realise that ages will pass, but no second singer can provide blood and flesh in the superlative ghazal of Madanmohan the way Rafi had done in this song. Kaifi Azmi has written sensational lyrics for the abovementioned song. People started thinking that Rafi and Madanmohan were made for each other. The belief was put to action in the next film Dulhan Ek raat ki, in 1967, picturised on Dharmender in the song “ek haseen sham ko dil mera kho gaya. In the film Chirag, 1969, “teri aakhon ke siwa duniya me rakkha kya hai” Madanmohan combined ghazal with light orchestration to try to inspire the common listeners in understanding these type of songs. In the film Heer Ranjha, 1971, picturised on Rajkumar, Rafi’s song “yeh duniya yeh mehfil” was well acclaimed by music lovers. Rafi was outstanding by every standard in the song “tum jo mil gaye ho” in the film Hanste Zakhm, 1973, where Madanmohan synchronised lightning with his own orchestration. Madanmohan also gave a tremendous break to Bhupinder Singh in the song “dil dhoonta hai, phir wohi, fursat ke raat din” written by Gulzar in Sanjeev Kumar’s Mausam in 1975. Rafi had the song “chari re chari kaise gale me pari.” Madanmohan’s last performance with Jaidev brought out Rafi’s Himalayan range in the film Laila Majnu in 1977. Rafi’s songs “tere dar pe aya hoon,” “barbad muhobat ka duya saath liye ja”, picturised on Rishi Kapoor showed his master spirit of adapting to tunes of middle east which was the geographical location where the story was based. Madanmohan died in 1975, without even seeing the success of Laila Majnu, it appeared like out of seven sur in every octave one sur had gone, because, the majestic combination of Madanmohan with Rafi cannot be forgotten through ages. Rafi’s archive should restore Madanmohan’s combination to let the next generation know about the high esteem with which Madanmohan addressed Mohammad Rafi during the golden age of film music.

Happy birthday to Mumtaz.

Happy birthday to Mumtaz. The viewers of bollywood films wish happy birthday to brilliant dancer and actress Mumtaz on 31st July, 2018. Mumtaz stormed the silver screen with her dancing capabilities in the bollywood films of 60s. Mumtaz initially acted in small budget films like Boxer, Tarzan, Kingkong, etc. She acted in many of the films opposite he-man Dara Singh. She impressed the viewers with her item number in the film Brahmchari, opposite Shammi Kapoor, titled “aaj kal tere mere pyar ke charche”, where SJs rock and roll composition was given adequate expression by Mumtaz. She acted very well opposite Dilip Kumar in Ram Aur Shyam. She acted as a village girl who did not recognise the difference when Ram came to the village, who had identical get up as Shyam the person she loved. Her role of vamp in Biswajeet’s film Mere Sanam impressed everyone. She gave able lips in Asha Bhoshle’s song “yeh hai reshmi zulfon ka andhera”. She did well opposite Manoj Kumar in the film Patthar Ke Sanam. Mumtaz matched Jeetender in the film Jeegri Dost. She was very polite and submissive in the film and gave good lips in the songs “raat suhani jag rahi hai” sung by Lata and Rafi and composed by Laxmikant Pyarelal. All her films opposite Jeetender became super hit including Ek Nari Ek Brahmchari, Khilouna, Katputli, Roop Tera Mastana, etc. She had been very successful in the films opposite Rajesh Khanna most of which everlasting hits like Do Raaste, Aap Ki Kasam, Roti, etc. Her excellent lips in successful songs opposite Rajesh Khanna namely “gore rang pehna itna gumah kar”, “jai jai shivshankar” attracted the attention of the viewers. In Aap Ki Kasam, she was thrown out of the house by Rajesh Khanna due to misunderstanding, who repented for the cruel act throughout his life. He returned back when Mumtaz had solemnized the marriage of her child at the end of the film. She also did well in Pyar Kiye Jaa, opposite Mehmood. It was a comedy film where Mehmood wanted to be a director but never got a producer who invested money in his film. He was duped by Shashi Kapoor and Kishore Kumar who posed to be rich men, and when he could not direct any film he ultimately married Mumtaz. Mumtaz showed her rock and roll dancing style in the song “o mere maina”, sung by Asha and Manna Dey and composed by Laxmikant Pyarelal. Mumtaz also acted in a number of films opposite Firoz Khan, including films like Apradh, Jadu Tona, etc. She received filmfare award for the best actress for her performance in the film Khilouna. She left films in the late 70s and did not appear even in character roles after that. Viewers still feel that she had acting talent in her and if she wanted she could have acted in modern films. She received filmfare lifetime achievement award too. Still she is remembered by the viewers and whenever her films like Loafer, opposite Dharmender, or Patthar ke sanam, opposite Manoj Kumar is shown in TV Channels, viewers refresh their old memories about her sweet performances in these films.

The film Maine Pyar Kyun Kiya was a trendsetter.

The film Maine Pyar Kyun Kiya was a trend setter. The film Maine Pyar Kyun Kiya was another brilliant venture of David Dhawan. It was a multi-starrer film produced by Sohail Khan. Three sets of pairs were experimented with in the year 2005, and from that time onwards it has become a trend setter. The actors and actresses who performed in the film included Salman Khan, Katrina kaif , Sushmita Sen ,Sohail Khan, Arshad Warsi , Isha Koppikar, Rajpal Yadav and others. Salman Khan was an orthopedic surgeon in the film. He had an affair with Katrina Kaif, who was a model. To stop the female patients from flirting with him, Salman told everyone that he was married. Katrina also believed in the fact. She asked Salman Khan to introduce her with his wife. He convinced Sushmita Sen, his nurse, to pretend as his wife. Sushmita met Katrina with two children of her relative and spoke about her relationship with Salman. Katrina thought the children were Salman’s children and wanted to meet them. When the children were introduced Katrina came to know that her previous wife had a boy friend. Then she wanted to meet him and for that matter Salman Khan had to ask Arshad Warsi to act with Sushmita Sen. Then came the artificial divorce scene, where Salman Khan’s mother stepped in from Punjab and accepted Sushmita Sen as the wife of Salman Khan. At the end of the film Sushmita Sen went to Karina Kaif and told the truth. Katrina asked Salman Khan to marry Sushmita Sen who agreed to pretend as his wife. Katrina Kaif married Sohail Khan who was struggling actor in the film. The entire story was depicted with comedy sequences. Himmesh Reshamiya’s music composition was very impressive. All the songs in the film became super hits including “just chill chill”, “saajan, tumse pyar ki larayi me”, “teri meri love story ka angle”, etc. Sonu Nigam, Udit Narayan and other singers contributed well in the film. The performance of Rajpal Yadav in the role of soldier who lost his legs in Cargill War requires special mention. Rajpal Yadav’s legs were normal, yet he used to come to Salman Khan’s clinic only to meet Sushmita Sen. He helped Salman Khan to reach the airport to stop Sushmita Sen to leave the country at the end of the film. Arshad Warsi’s acting as lawyer in the divorce scene was phenomenal. Isha Koppikar did not get proper scope of dialogue throwing in the film but her dance performance in the song “saajan, tujhse pyar ki ladayi me” was very impressive. The performance of Salman Khan’s mother by the actress who was also an Officer in the Ministry of Tourism, Rajasthan was extraordinary. Katrina Kaif and Sushmita Sen looked the beautiful in the film if compared with any other film in their career. Sohail Khan spend most of his career in production and direction of films, but in respect of his performance probably he did his best in the comedy role which was as important as Salman’s role. Day by day Salman Khan also has matured as a good comedian, because these days producers and directors rank him after Anil Kapoor and Govinda, whenever they think about comedy films. David Dhawan should continue with brilliant ventures like Maine Pyar Kyun Kiya in future also.