Happy birthday to Rajesh Khanna

Happy birthday to Rajesh Khanna
The viewers of bollywood films wish happy birthday to Rajesh Khanna on 29th December, 2009. He had remained one of the most popular actors of 70s, before Amitabh Bacchan entered the film arena and gave birth to action films. The other reason why Rajesh Khanna is remembered even today was for the melodious music that he got from Kalyanji Anandji, RD Burman, Salil Choudhury, Laxmikant Pyarellal and other composers.

Although he started his career with films like Akhri Khat, Raaz, etc., in the late 60s, he got recognition with Shakti Shamanta’s super hit film Aradhana. In the 70s, Rajesh Khanna had a dream run with films of different directors including Hrishikesh Mukherjee, Asit Sen, Shakti Samanta and others.

Most of his films from 1971 to 1973, were super hit. And the music of these films created history. The songs of the film Anand, composed by Salil Choudhury were super hit, including “kahin door jab din dhal jaye”, “maine tere liye hi saat rang” sung by Mukesh and “zindagi kaisi hai peheli” sung by Manna Dey. The songs of the film Aan Milo Sajna composed by LP became super hit including Rafi’s song “aan milo sajna” and Kishore’s song “accha to hum chalte hai”.

The songs of the film Amar Prem composed by RD Burman became super hit including KK’s song “chingari koi bharke”, “kuch to log kahenge”, etc. Amar Prem was the hindi version of Uttam Kumar’s famour Bengali film Nishipadda. Similarly the songs of the film Kati Patang composed by RD Burman became super hit including songs of KK like “ai shaam mastani”, Mukesh’s song “jis gali me”, etc.

Similarly songs of the film Safar composed by Kalyanji Anandji became super hit. Kishore’s song “zindagi ka safar” can be considered as one of the best songs that he sang during his long career. The songs of the film Namak Haram composed by RD Burman, Roti composed by LP, Raaz composed by Kalyanji Anandji, Bawarchi composed by Madanmohan, were all very successful.

Rajesh Khanna created a romantic image and his films opposite various actresses like Sharmila Tagore in films like Aradhana, Amar Prem, Mumtaz in Aap Ki Kasam, Asha Parekh in Kati Patang, Aan Milo Sajna, Tanuja in Mere Jeevan Saathi, Hema Malini in Mehbooba, and others created an era of romantic films. He became a role model for the younger generation.

But from the time Amitabh Bacchan entered the film arena he not only dethroned Rajesh Khanna but more than that changed the dimension of bollywood films. He played anti-establishment characters and persuaded other superstars like Vinod Khanna, Shatrughun Sinha, Dharmender, Firoz Khan, Sunil Dutt and others to play similar type of roles.

Action films dominated bollywood industry and films like Sholay, Deewar, Kalicharan, Burning Train, Jugnu, Zakhmee, Dharmatma faded away Rajesh Khanna’s romantic films like Soutan, Prem Nagar and other films.

Rajesh Khanna’s wife Dimple Kapadia established herself into one of the most powerful actresses of bollywood films with success in Saagar, Jaanbaaz, Rudaali, Lekin, Krantiveer, etc.

Even then Rajesh Khanna continued acting for another 20 years and is even seen in a recent film in a role of an old person. Even Rishi Kapoor did cast him in his directorial venture title A ab laut chale.

The viewers expect Rajesh Khanna to contribute in character roles the way Big B, Vinod Khanna and other veteran actors have done over the years.

Effect of Jaikishan's death in the career of Shankar.

Effect of Jaikishan’s death in the career of Shankar.

Shankar Jaikishan dominated bollywood music for more than 25 years ranging from the late 40s to early 70s. Due to sad demise of Jaikishan in the 70s, the evergreen combination broke up and critics repent about the end of the contribution of the giant composers.

Shankar was very loyal towards the SJ Banner and continued to use it in films after 1971, when Jaikishan died and Shankar had composed the music himself. Jaikishan’s death was a big blow for Shankar who already was shocked about the demise of lyricist Shailendra in the late 60s, who had contributed for the tunes of Shankar. Shankar lost the big banners in the 70s, due to the death of Jaikishan.

For example Raj Kapoor shifted towards the music of Laxmikant Pyarellal from Bobby, in 1973, when Shankar was still alive and gave music in many films in the 70s. Raj Kapoor had never thought about any other composer in his entire career other than SJ, excepting films like Jagte Raho, where he had used Salil Choudhury or Ab Dilli Door Nahi, where Dattaram contributed, who was the assistant of SJ.

The big banner of GP Sippy went to RD Burman after the death of Jaikishan. SJ composed the music for the film Andaz in 1971. But RD Burman got the scope of composing music in films like Seeta Aur Geeta in 1972, Sholay in 1975, Shaan in 1980, Saagar in 1985, all were made under the GP Sippy Banner. Although Shankar continued to compose music in the mid-70s in films of Manoj Kumar like Beimaan or Sanyasi, but the big banner of GP Sippy was lost.

Shankar also lost the banner of Shakti Shamanta after 1971. Previously SJ composed music in Shakti Shamanta’s films An Evening in Paris and Pagla Kahin Ka. But after the death of Jaikishan, RD Burman got the scope of composing music in his films including Kati Patang and Amar Prem which were hit as well.

Whether the music suffered or changed after the death of Jaikishan is another question to be answered, but there is no doubt that Shankar lost most of the big banners in the 70s, after the death of Jaikishan in 1971.

Demise of Shakti Samanta.

Demise of Shakti Samanta.
Shakti Samanta, the veteran director and producer of successful bollywood films during the 60s and 70s died on 9th April, 2009. He is remembered for the evergreen romantic films he made in the 60s which had entertained the viewers to a great extent.

In the 50s, his film Howrah Bridge with Ashok Kumar and Madhubala did great business in the box-office. The music composed by OP Nayyar with songs like “aiye meherban”, “mera naam chin chin chu” entertained the viewers. The other black and white film included China Town with Shammi Kapoor and Shakila.

In China Town, Shakti Samanta did cast Shammi Kapoor in a double role, with one of the brothers being involved in smuggling activities in China Town. The other brother was used by the police to know the whereabouts of the other members of the gang. Ravi’s music was impressive with Rafi’s song “baar baar dekho” becoming super hit.

In the 60s Shakti Samanta came up with blockbusters like Kashmir Ki Kali and An Evening in Paris. From that time onwards Sharmila Tagore featured in nearly all his films. Shammi Kapoor’s rock and roll andaz was well balanced by westernized tunes composed by OP Nayyar and Shankar Jaikishan in the two films. The hit songs in the films include “diwana hua badal”, “kisi na kisi se”, “tareef karun kya uski”, “isharon isharon”, “aji aisa mouka”, “aasman se aya farishta”, “akele akele kahan ja rahe ho”, “raat ke humsafar”, etc., sung by Rafi and Asha.

In the 70s, all the films of Shakti Samanta were big hits include Rajesh Khanna’s films Aradhana, Amar Prem and Kati Patang. Again romantic stories, picturesque shooting and melodious music entertained the viewers and films became extremely successful.

Shakti Samanta also experiments with films made in both Bengali and Hindi with Bengal’s superstar Uttam Kumar. The films included Amanush and Anand Ashram which were made both in Bengali and hindi. Sharmila Tagore acted well in both these films opposite Uttam Kumar. Shaymal Mitra’s music was also very impressive along with landscapes of Sunderban where most of the films were shot.

The experiment of making Bengali and hindi film on the same subject continued with Shakti Samanta’ use of Big B in the early 80s. The film Anu Sandhan and Barsaat Ki Ek Raat did fantastic business with the action sequences and powerful performance of Big B and Rakhee. Rakhee played the role of blind girl in those films.

Although Shakti Samanta was not known for perfection that was achieved by stalwart directors like Bimal Roy, he is remembered by film historians as one of the grand entertainers who had used soft romantic stories and picturised them with his own dreams. His films should be restored and preserved.

Concepts of China Town have been used in later bollywood films.

Concepts of China Town have been used in later bollywood films.

Shakti Shamanta’s film China Town in the early 60s, had created a trend for following bollywood directors to make films on similar story lines. Shakti Shamanta banked his resources on the underworld activities in China Town in Kolkata at that time.

Shammi Kapoor had a double role in the film. He played the role of a smuggler in China Town who was arrested by the police after he met with an accident. But while he was kept in custody, another Shammi Kapoor was used by the police for extraction of information from China Town.

The law-abiding citizen played by Shammi Kapoor, was asked to pretend as the don of China Town and gather information about the other associates working in that area including the activity of Madan Puri in the film. This person was the twin brother of the don played by the other Shammi Kapoor.

Due to similarity in get up, most of the group members could not recognize the law-abiding citizen. Shammi Kapoor became successful in giving details of the associates of Smuggling Don of China Town to the police. Ravi gave very attractive music in the film with Rafi’s song “bar bar dekho” becoming a landmark hit. Shakila the heroine of the film did well opposite Shammi Kapoor. Helen also complimented the group members with her villainish performance.

In the 70s, bollywood films were made with similar storyline like that of China Town. The film Don made in the late 70s, also had double role of Big B. One of them was a smuggling don whereas the other person was an ordinary middle-class person. There also Iftekar, the police officer used the middle-class person to pretend as don and give information about the rest of the members of the underworld group. The film also became superhit.

Again the concept was used with modifications in Farhan Akhtar’s film Don made in the recent years. In this case Shahrukh Khan played the double role, with one of them playing the role of don, while the other pretending to be don. The story ended differently for keeping an option open for making a sequel of the film Don –The Chase Begins.

Shakti Shamanta’s trend had inspired the modern directors to make bollywood films with similar ideas. For those reason the black and white crime thriller should be restored.