Remembering Naushad on his birthday.

Remembering Naushad on his birthday.

The audience of film music in India remember dignified composer Naushad on his birthday on 25th December, 2009. He was a genius composer and shaped Indian film music with his classical gharana in the 40s from where it just grew with variety and innovation.

Naushad is remembered for his brilliant tunes over a period of 50 years down the memory lane. In the 40s, he composed music in many films including Anmol Ghari, but he stormed bollywood with romantic songs in Dulari, including “suhani raat dhal chuki” sung by Rafi, all the songs of Andaz, where he composed Rafi’s songs for Raj Kapoor and Mukesh’s songs for Dilip Kumar.

In the 50s, Naushad’s composition in Baiju Bawra made the listeners speechless. He won filmfare award for the best composer for his brilliant classical presentation in songs like “wo duniya ke rakhwale”, “man tarapata”, “tu gangi ki mauj”, etc., sung by Rafi and Lata. Rafi’s range was used to perfection and from that time the Rafi Naushad combination provided gems after gems. The different ragas and their timings were explained by Naushad in the film. Bharat Bhushan and Meena Kumari gave able lips in the songs composed by Naushad. Songs of Uran Khatula, like “wo dur ke musafir” sung by Rafi for Dilip Kumar also shook bollywood in the mid-50s.

In the 60s Naushad was unstoppable. His composition in Kohinoor for Rafi titled “madhuban me radhika nachere” and “do sitaron ka zameen” picturised on Dilip Kumar displayed the brilliance of Hindustani ragas. Naushad’s composition in Rajender Kumar’s Mere Mehboob, Naushad displayed the ghazal culture of Lucknow and Aligarh. The songs “mere mehboob tujhe meri muhobbat ki kasam”, “ai husn zara jag”, etc. sung by Rafi and picturised on Rajender Kumar was per se excellent. Naushad composed light songs in Mughal-i-azam for Lata including “pyar kiya to darna kya”, “mohe panghat ke nandlal”, and again composed thumri sung by Bare Ghulam Ali Khan in the same film.

Naushad also composed Bhojpuri music for Dilip Kumar in the film Ganga Jumna. The songs “nain lar jaihe” sung by Rafi was one of the examples of Naushad’s control of Bihari folk tune. Naushad was at his best in Dilip Kumar’s Leader. All the songs in the film sung by Rafi and Lata flabbergasted the listeners, including “ek shahenshah ne banwake haseen tajmahal”, “teri husn ki kya tareef karun”, “mujhe duniya walon”, etc. Naushad was excellent in Dilip Kumar’s Ram Aur Shyam. All the songs sung by Rafi and Lata in the film including “aye hai baharen dekho”, “yeh raat dulhan bangayi”, “mai hoon saki”, etc.

Critics consider Dil Diya Dard Liya as one of the best creations of Naushad. All the songs in the film became superhit including Rafi’s “dilruba maine tere”, “koi sagar dil ko behlata nahi”. Naushad Rafi and Dilip Kumar continued with their level of excellence in the film Aadmi, with Rafi’s songs like “na aadmi ka koi bharosa”, “aaj purani rahon se”, etc. Besides, Naushad composed excellent music in Rajender Kumar’s Palki, Saathi, Ganwar, etc. Rafi’s hit songs in those films included “dil-e-betaab ko seene se lagana hoga” sung with Suman Kalyanpur.

Naushad faded away from film music in the 70s, causing huge loss to the film industry. The classical gharana related to thumris, kajris, ghazals, etc., faded away with Naushad. Music became popular, but lost its class. Naushad received Dadasahab Phalke for his excellent contribution to bollywood music. His songs and the films should be preserved and restored.

Happy birthday to Raj Kapoor.

Happy birthday to Raj Kapoor.

Raj Kapoor is remembered by the nation on his birthday on 14th December, 2009. He was probably the most popular actor of bollywood films of the 40s, 50s and 60s other than Dilip Kumar.

Dilip Kumar and Raj Kapoor still remain the most popular actors of bollywood cinema in the last 70 years. One of the reasons of their immense success includes the superlative class of music being given to the giant actors by Naushad and Shankar Jaikishan.

Naushad gave classic tunes to Dilip Kumar in the films Uran Khatola, Kohinoor, Mughal-I-Azam, Leader, Dil Diya Dard Liya, Ram Aur Shyam, Aadmi, to name a few. Rafi and Shakeel Badayani were the other players in the deadly combination. Rafi’s songs for Dilip Kumar like “madhuban me radhika nachere”, “woh dur ke musafir”, “tere husn ki kya taarif karun”, “koi sagar dil ko behlata nahi”, “dilruba maine tere pyar me kya kya na kiya”, “aaj purani rahon se koi mujhe awaaz na den”, “na aadmi ka koi bharosa”, “do sitaron ka zameen par hai Milan aaj ki raat”, etc., remain one of the greatest creations of all times. If Naushad was unparallel as a composer, Shakeel Badayani was unparallel as a lyricist, Rafi was matchless as singer and Dilip Kumar matchless as an actor.

Producer director Raj Kapoor was the closest competitor of Dilip Kumar during the 40s, 50s and 60s. In fact both the giants had acted together in the film Andaz in 1949. Raj Kapoor’s deadly combination with Shankar Jaikishan had produced super hit films like Barsaat, Aah, Awara, Shree 40, Chori Chori, Anari, Jis Desh Me Ganga Behti Hai, Sangam, to name a few. The music of those films were equally popular and successful. Songs of Mukesh and Manna Dey like “ramaiya vasta maiya”, “mur murk e na dekh”, “sab kuch seekha humne”, “yeh raat bheegi bheegi”, “o mehbooba”, “dost dost na raha” “aa aab laut chalen”, had not lost their flavor even after 50 years of their creation. As Raj Kapoor had other qualities besides acting including production, direction, editing, etc., he is considered the greatest showman of all times even today.

As far as the compositions of Naushad and Shankar Jaikishan are considered, both the composers had very strong classical orientation. Naushad gave folk tunes to Dilip Kumar in Ganga Jumna sung by Rafi including “nain lad jaiy he” and Lata in “dhoondo dhoondo resaajna”, etc. Shankar Jaikishan gave folk tunes to Raj Kapoor in Teesri Kasam in songs like “chalet musafir” sung by Manna Dey, to name a few.

If Naushad displayed the muslim culture of Lucknow, Aligarh with his classical tunes in films like Leader, Kohinoor, Mughal-i-azam, Shankar Jaikishan displayed the European tunes in Raj Kapoor’s films Sangam, Around the World, etc., where the westernized orchestrations complimented the colourful scenary of the foreign countries. In fact, SJ’s tunes “chale jana zara theheron” showed the brilliance of Lake Erie and Niagra Falls stretching from Canada to USA, and mesmerizing the audience. Even in Sangam, the creation of SJ picturised in the snow-clad Switzerland titled “ishq the ishq, I love you” showed SJ’s capability of adapting to European tunes. The musical fountain in Around the World, showed the brilliance of SJ in the film Around the World.

The lyrics written by Shakeel Badayani in Dilip Kumar’s films where music was composed by Naushad were as innovative as the lyrics written by Hasrat Jaipuri and Shankar Jaikishan in Raj Kapoor’ films composed by Shankar Jaikishan. The lyrics contained urdu shairy, bhopuri language, ultramodern lyrics, rural language, etc. and appealed to the masses.

Naushad had composed music in more than 15 films of Dilip Kumar and the same is the case of Shankar Jaikishan in Raj Kapoor’s films. The music of each of those films can be analysed and revisited.

It is impossible to say whether Dilip Kumar’s combination with Naushad was greater than Raj Kapoor’s combination with Shankar Jaikishan, but it is true that the two giants had left assets for generations to cherish which had ended up being masterpieces. New actors, composers, singers, directors learn from the success of the Showman and Tragedy King and the works should be revisited.

Happy birthday to Tragedy King Dilip Kumar, the legend of legends.

Happy birthday to Tragedy King Dilip Kumar, the legend of legends.

The viewers of bollywood films wish happy birthday to Dilip Kumar, better known as Tragedy King on 11th December, 2009. An institution by himself, Dilip Kumar had been a torch bearer in the world of romantic acting for the last 70 years. Born in 1922, Yusuf Khan, one of the greatest actors of bollywood films of all times had created new dimensions at every decade with his unique style of acting.

Although his performance in tragic roles like Bimal Roy’s Devdas and Madhumati, Hrishikesh Mukherjee’s Musafir, and other landmark films had made him an icon of tragedy, he had proved his variation in comedy films, social films, action-oriented blockbusters. Directors like Bimal Roy, K. Asif, Tapan Sinha, Subhash Ghai, consider Dilip Kumar as the greatest actor of all times. He had made the characters immortal which he had played in his illustrious career.

He had given extraordinary lips in landmark songs of the 50s and 60s sung by Mohammad Rafi like “madhuban me radhika nachere” and “do sitaron ka zameen par hai milan aaj ki raat” in the film Kohinoor, “ek shahenshah ne banwake haseen tajmahal”, “tere husn ka kya tareef karun”, “apni azadi ko hum hargese mita sakte nahi”, in the film Leader, “dilruba maine tere pyar me kya kya na kiya”, “koi sagar dilko behlata nahi” in the film Dil Diya Dard Liya, “aaj ki raat mere”, “aye hai bahare dekho” in the film Ram Aur Shyam, to name a few. Giant composer Naushad made the greatest contribution in the films of Dilip Kumar, although Shankar Jaikishan gave quality music in the films Yahudi and Daag, Salil Choudhury contributed in the film Madhumati and Musafir.

Dilip Kumar had acted opposite all the leading actresses of 40s, 50s, 60s, 70s, 80s, including Madhubala in Tarana, Mughal-i-Azam, Nargis in Babul, Andaz, Meena Kumari in Kohinoor, Azad, Footpath, Vaijayantimala in Madhumati, Ganga Jumna, Leader, Wahida Rehman in Dil Diya Dard Liya, Aadmi, Ram Aur Shyam, Saira Banu in Sagina, Gopi, to name a few.

Even during the 80s, his character roles created new dimension in bollywood films. His performance in the film Mashal, Masdoor, Shakti, Karma, Vidhata had inspired the new generation of actors like Anil Kapoor, Rishi Kapoor, Sanjay Dutt and others. He has the record of getting the filmfare award for the best actor for the maximum number of times ( 8 times ) which had not been broken by even Shahrukh Khan till now.

Dilip Kumar had not learned acting from any acting school yet the way he had made Sarat Chandra Chatterjee’s character Devdas immortal, the actors of the next generation consider him an institution by himself. He had played roles of even trade union leaders in the film Sagina, he was the first actor in bollywood films to perform in a double role in the film Ram Aur Shyam. He created a trend and films with double roles were created in the same lines as that of Ram Aur Shyam in Seeta Aur Geeta, Chaalbaaz, Kishen Kanhaiya.

He received the highest civilian award given by Pakistan, Nishan –e- imtiaz which was previously received by only one Indian, that is the former Prime Minister Morarji Desai. He had also received Dadasaheb Phalke award for his contribution in bollywood films. It is not possible to highlight the contribution of the legend of legends in a small article, as he had created an image which made him indispensable over 70 years in bollywood films.

Yet his journey is not over. Even in the present age directors like Subhash Ghai engage him with his new projects these days. The viewers want Dilip Kumar to continue acting in bollywood films if his health permits. Viewers had got addicted to his soft tune of dialogue throwing and want him to reproduce the magic again.

Asha Parekh's comment on Dilip Kumar.

Asha Parekh’s comment on Dilip Kumar.

Renowned actress Asha Parekh made a very strange comment on Dilip Kumar. Her comment was reported in Times Of India on 29th November, 2009.

Asha Parekh was interviewed and asked that why did she never featured in any of the roles opposite Dilip Kumar during the 60s and 70s. She answered that she never acted opposite actors whom she did not like. She never liked Dilip Kumar and that was why she never acted opposite him. It can be mentioned that she acted opposite Shammi Kapoor in Dil Deke Dekho, Teesri Manzil, Jawan Muhobbat, etc., opposite Joy Mukherjee in Love In Tokyo, Ziddi, Phir Wohi Dil Laya Hoon, etc., opposite Biswajeet in Mere Sanam, opposite Dharmender in Aya Sawan Jhumke and other films, opposite Manoj Kumar in Upkar, opposite Sunil Dutt in Hindustani, Chirag, Zakhmee, etc., opposite Jeetender in Carwan, opposite Rajesh Khanna in Kati Patang, Baharon Ki Sapne,etc. In that respect the statement sounded very strange and arbitrary. It either signified that Dilip Kumar was inferior to most of the actors mentioned above, or as personality he had traits which were not liked by heroines.

If we look back at the career of Tragedy King Dilip Kumar, we will agree that he had acted opposite almost all the leading actresses from the 40s to 70s. Other than Raj Kapoor no other actor survived for such a long period of time and acted opposite different actresses. Dilip Kumar acted opposite Madhubala in Sangdil, Amar, Mughal-i-Azam, etc., opposite Nimmi in Uran Khatola, opposite Nargis in Babul, Andaz, etc., opposite Meena Kumari in Footpath, Azad, Yahudi, Kohinoor, etc., opposite Vaijayantimala in Naya Daur, Madhumati, Paigaam, Ganga Jumna, Leader, Sunghursh, etc., opposite Wahida Rehman in Ram Aur Shyam, Aadmi and Dil Diya Dard Liya, etc., opposite Usha Kiran in Musafir, opposite Suchitra Sen in Devdas. The list can go on and even junior actresses like Leena Chandravarkar featured opposite Dilip Kumar in Bairaag, Sharmila Tagore featured opposite Dilip Kumar in Dastaan, his wife Saira Banu acted in Sagina, Gopi, etc. None of the actresses ever complained about Dilip Kumar’s character.

Dilip Kumar had remained an institution by himself. Actors ranging from Manoj Kumar, Rajender Kumar to Anil Kapoor and Sharukh Khan are absolute admirers of the legendary actor. Even Big B in an interview in DD India said he could not match Dilip Kumar’s personality in Shakti where both the giant actors faced each other. So as far as Dilip Kumar’s legacy in bollywood there is no shadow of doubt and any actor of any contemporary period had referred the style of dialogue throwing of Dilip Kumar while featuring in tragic sequences.

So Asha Parekh’s comment sounds absolutely baseless and full of prejudice. Viewers feel that Asha Parekh could have learned acting if she got a scope of acting opposite Dilip Kumar. The comment should be ignored and does not make any difference in the brand image of Dilip Kumar who is the only recipient of Nishan –i-Imtiaz award given by Pakistan other than Ex-Prime Minister Morarji Desai.

Songs in Ranbir Kapoor's films.

Songs in Ranbir Kapoor’s films.

Songs play a very vital role in the careers of leading stars of bollywood films. Whenever the name of Raj Kapoor comes in the minds of viewers the songs namely “mera juta hai japani”, “awara hoon”, “mur murke na dekh”, “o mehbooba” comes in the minds of the viewers. Similarly Dilip Kumar is associated with songs like “madhuban me radhika nachere”, “do sitaron ka zameen par hai Milan”, “ek shahenshah ne banwake haseen tajmahal”, “aaj ki raat mere”, etc.

In that respect Ranbir Kapoor is blessed with good songs. He has acted in 4 films till now, namely Sawariya, Bacchna Aye Haseeno, Wake Up Sid, Ajab Prem Ki Gazab Kahani. All these films had very promising songs.

The songs “sawariya” and “jab se tume dekha” in the film Sawariya, had done great business inspite of the film not doing that well. The songs of the film Bacchna Aye Haseeno composed by Vishal Shekhar created storms. All the songs in the film became super hit.

The notable songs in Bachna Aye Haseeno included “khuda jane ke mai fida hoon”, “bacchna aye haseeno”, “ahista ahista”. The excellent lips of the actresses Bipasha Basu, Deepika Padukone and Minissha Lamba had helped Ranbir Kapoor to maintain balance in the film. Besides, the exotic locations in the film were also appreciated by the viewers.

Wake Up Sid was a serious film and as such the music did not matter that much. Even then the music was very decent in the film. The performance of Konkona Sen Sharma and Ranbir Kapoor was very realistic and that created a separate impression in the minds of the viewers.

Pritam did a grand job in the film Ajab Prem Ki Gazab Kahani. It had been the greatest hit of the career of Ranbir Kapoor. All the songs in the film became super hit. The leading song included “prem ki naiya”, etc. The onscreen chemistry of Ranbir Kapoor and Katrina Kaif had made the viewers speechless. The viewers are looking forward to more hit songs in the upcoming films of Ranbir Kapoor in future.

Dilip Kumar, Ram Aur Shyam and Trend-setting in double roles.

Dilip Kumar, Ram Aur Shyam and Trend-setting in double roles.

Dilip Kumar played his first double role in bollywood film Ram Aur Shyam. In the late 60s, Dilip Kumar’s performance created a landmark trend which was followed in other bollywood films later on.

Chanakya, the director of Ram Aur Shyam, gave two contrasting characters to Dilip Kumar, one being a docile character, the other one being a smart character. While Ram was savagely beaten by Pran, the brother in law of Dilip Kumar, Shyam took revenge and taught Pran a lesson.

Both the Dilip Kumar’s were emotionally involved with Mumtaz and Wahida Rehman. While the tragic andaz and comedy andaz of Dilip Kumar mesmerized the viewers in the film, the romantic sequences in the film created storms as for the first time shooting was done in Kodaikanal in South India. Rafi’s songs “aye hai baharen dekho zulmo sitam”, “aaj ki raat mere” composed by Naushad, written by Sahir Ludhiyanvi and picturized on Rafi created landmark in bollywood history. All the songs of the film became super hit.

After the success of Ram Aur Shyam, most of the directors were provoked to make films with the same formula. Seeta Aur Geeta in early 70s became super hit with the same formula, Chaalbaaz in the mid-80s did great business with the same formula, and Kishen Kanhaiya in the early 90s did fantastic business. Hema Malini, Sri Devi and Anil Kapoor played the double roles like Dilip Kumar in Ram Aur Shyam.

Dilip Kumar had remained a trend-setter in respect of tragic performances which other actors like Manoj Kumar, Rajender Kumar and Shahrukh Khan had followed. Even if they did not imitate Dilip Kumar, they were influenced by Dilip Kumar. Even character actor Kader Khan was influenced with Dilip Kumar’s style of acting. In respect of type of films where Dilip Kumar played the lead roles, the films had remained trend-setter.
Dilip Kumar’s Devdas had been remade a number of time, and whoever played the role of Devdas, they could not resist themselves from following few expressions of Dilip Kumar. Same is the case of Ram Aur Shyam. In the history of bollywood films, the first film which entertained the viewers with double roles of contrasting characters was Ram Aur Shyam and the film had not lost its appeal even today, after 40 years of its date of release. The film and the music should be restored.

Kalyanji Anandji cared for Rafi in the 70s.

Kalyanji Anandji cared for Rafi in the 70s.

Mohammad Rafi was the uncrowned king of bollywood music in the 50s and 60s. After the composers like Naushad, Shankar Jaikishan, Roshan, Madanmohan, Ghulam Mohammad, OP Nayyar, and others realized the range of voice of Rafi, they made him the first choice during a period when able singers like Mukesh, Manna Dey, Talat Mehmood, and others were at the top of their career. But Kalyanji Anandji’s association with Rafi in the 70s require special mention considering the fact that RD Burman and SD Burman sidelined Rafi to promote Kishore Kumar and with the death of Jaikishan, Roshan and many composers the only challenge that could be put forward before RD Burman was done by LP and KA.

Kalyanji Anandji started their career at that time. The film industry was not moved to that extent with his film Samrat Chandragupta in 1958. In Raj Kapoor’s film Chalia and Dulha Dulhan, KA gave decent music, with songs like “chalia mera naam”, “humne tumko pyar kiya hai jitna” sung by Mukesh becoming big hits. It was difficult for Kalyanji Anandji to get the scope of composing films of leading actors of the 60s who were associated with Rafi, for the sole reason that most of the actors were associated with established composers. Pradeep Kumar was associated with Roshan, Guru Dutt was associated with OP Nayyar, Shammi Kapoor and Rajender Kumar was associated with Shankar Jaikishan, Dilip Kumar was associated with Naushad, to name a few.

But wherever he got scope of composing music in the films of such big shots, he used Rafi very well. Rafi’s songs in Shammi Kapoor’s film Bluff Master (with hit song of Rafi like “govinda ala re”) and Joy Mukherjee’s film Ji Chahta Hai (the title song “ji chahta hai” require special mention) were very melodious. KA’s music in Shashi Kapoor’s film Jab Jab Phool Khilen created sensation in the mid 60s.

Each song of Rafi including “pardesiyon se na”, “mai yahan ek ajnabee hoon”, “na na karke pyar”, etc., entertained the audience. KA Rafi struck gold in Shashi Kapoor’s film Haseena Maan Jayegi. All the songs of the film were hits including “bekhudi me sanam”, “chale the saath milke”, “dilbar dilbar”, etc. Besides, KA also used Rafi in duet song “gulaabi raat gulaabi” with Asha in the film Upkar, where Mahendra Kapoor’s song “mere desh ki dharti” and Manna Dey’s song “kasme wade” made everlasting impact in the minds of the listeners.

KA Rafi combination was very successful in Rajesh Khanna’s film Raaz, with notable songs “akele hai chale ayon”. In the 70s, KA continued with their loyalty with Rafi. In Dilip Kumar’s Gopi, KA gave landmark bhajan “sukh ke saab saathi” which still remains one of the adorable devotional songs. KA and Rafi created storms with the film Geet.

Each and every song of Rafi in Rajender Kumar’s Geet became super hit including “aja tujhko pukare meri geet”. The compositions of KA involving folk flavor of the mountains always enchanted the Indian audience. Right from Himalay Ki Godme to Maryada, KA maintained the consistency.

KA Rafi combination created gold in Raj Kumar’s Maryada as well. Although KA gave songs to KK like “gussa itna hasin hai to” for Rajesh Khanna, they maintained the Raj Kumar Rafi combination by giving the song “dhol sajni dhol jani”. KA kept the Dilip Kumar and Rafi combination intact in the film Bairaag with hit songs like “peete peete”, “sari shahar me aapsa koi nahi”, etc. KA continued with Rafi in Feroz Khan’s films as well. One of the hit songs include “kya dekhte ho” from the film Qurbani.

Due to huge demand for KK to sing for Big B, KA had to comprise with KK in films like Muqaddar Ka Sikandar, but KA used Rafi to sing the same title song “rote hue ate hai sab” which was sung by KK. KA showed their respect for Rafi without doing injustice to Mukesh, Manna Dey, Kishore, Mahendra Kapoor and others. It is not possible to cover the Rafi KA combination in a small article as KA had contributed in more than 250 films over a period of 40 years. The songs and the films should be restored.

Dilip Kumar was matchless in Leader.

Dilip Kumar was matchless in Leader.

Tragedy King Dilip Kumar had been considered as one of the most dynamic actors that the country had ever produced in its history. In the last 70 years, no second actor in Indian celluloid had got the prestige or honour that Dilip Kumar had got. He had been the second Indian other than Ex-prime minister Morarji Desai, to receive the highest civilian award of Pakistan Nishan-e-imtiaz.

In the film Leader Dilip Kumar changed his image of a tragedy king and showed his comedy and romantic andaz. Initially he played the part of a young man who wanted to be a leader and followed the path of a guruji played by Motilal. But he met Vaijayantimala and fell in love with her.

The presentation of love in the film had the royal andaz with the brilliant music composed by Naushad and songs sung by Rafi creating magic in the film. Some of the everlasting hits included “teri husn ki kya taarif kaarun”, “abhi se muhobbat”, “ek shahehshah ne banwake haseen taajmahal”, “mujhe duniyawalon sharaabi na samjho”, etc. Vaijayantimala was at her best in the film. Her beauty and dancing skills mesmerized the viewers.

Besides, the character artists in the film including Naseer Hussain, Jayant and others played their own part to perfection. Dilip Kumar had such a magnetic personality, that he made the viewers sit in the chairs with his fantastic comedy andaz. His lips in the patriotic song “apni azaadi ko hum hargese mita sakte nahin” brought tears in the eyes of numerous Indians.

The court scene where Dilip Kumar pleaded innocence, was very hilarious. At the end of the film, Dilip Kumar also showed his action skills as he had to fight out against Jayant to prove the fact that he had not killed Motilal.

The film should be preserved for supreme performance of Dilip Kumar and Vaijayantimala, fantastic music of Naushad, outstanding songs sung by Rafi and Lata and brilliant team effort of the rest of contributors of the film.

Between Dilip Kumar and Naushad and Raj Kapoor and Shankar Jaikishan which combination was more deadly?

Between Dilip Kumar and Naushad and Raj Kapoor and Shankar Jaikishan which combination was more deadly?

Dilip Kumar and Raj Kapoor still remain the most popular actors of bollywood cinema in the last 70 years. One of the reasons of their immense success includes the superlative class of music being given to the giant actors by Naushad and Shankar Jaikishan.

Naushad gave classic tunes to Dilip Kumar in the films Uran Khatola, Kohinoor, Mughal-I-Azam, Leader, Dil Diya Dard Liya, Ram Aur Shyam, Aadmi, to name a few. Rafi and Shakeel Badayani were the other players in the deadly combination. Rafi’s songs for Dilip Kumar like “madhuban me radhika nachere”, “woh dur ke musafir”, “tere husn ki kya taarif karun”, “koi sagar dil ko behlata nahi”, “dilruba maine tere pyar me kya kya na kiya”, “aaj purani rahon se koi mujhe awaaz na den”, remain one of the greatest creations of all times. If Naushad was unparallel as a composer, Shakeel Badayani was unparallel as a lyricist, Rafi was matchless as singer and Dilip Kumar matchless as an actor.

Producer director Raj Kapoor was the closest competitor of Dilip Kumar during the 40s, 50s and 60s. In fact both the giants had acted together in the film Andaz in 1949. Raj Kapoor’s deadly combination with Shankar Jaikishan had produced super hit films like Barsaat, Aah, Awara, Shree 40, Chori Chori, Anari, Jis Desh Me Ganga Behti Hai, Sangam, to name a few. The music of those films were equally popular and successful. Songs of Mukesh and Manna Dey like “ramaiya vasta maiya”, “mur murk e na dekh”, “sab kuch humne”, “yeh raat bheegi bheegi”, “o mehbooba”, “dost dost na raha” had not lost their flavor even after 50 years of their creation. Hasrat Jaipuri and Shailendra as lyricists completed the complete chain of master creators. As Raj Kapoor had other qualities besides acting including production, direction, editing, etc., he is considered the greatest showman of all times even today.

It is impossible to say whether Dilip Kumar’s combination with Naushad was greater than Raj Kapoor’s combination with Shankar Jaikishan, but it is true that the two giants had left assets for generations to cherish which had ended up being masterpieces. New actors, composers, singers, directors learn from the success of the Showman and Tragedy King and the works should be revisited.

Happy birthday to Saira Banu.

Happy birthday to Saira Banu.

The viewers of bollywood films wish happy birthday to Saira Banu on 13th August, 2009. She used to be called beauty-queen of the 60s. Acting was there in her blood with her mother Nasim Banu doing well in many films in the 40s.

Saira Banu started her career with the film Junglee opposite Shammi Kapoor in 1961. The brilliant music of Shankar Jaikishan given in the film and exotic locations of Jammu and Kashmir flabbergasted the audience in the early 60s. All the songs in the film were super hit including “suku suku”, “meri yaar shabba khair”, “ehsaan tera hoga mujhpar”, “Kashmir ki kali hun mai”, to name a few.

Saira Banu went on to give hit after hit with Biswajeet and Joy Mukherjee as well. With Biswajeet her film April Fool became super hit. The songs of SJ again created storm including “april fool banaya”, “aa gale lag jaa”, etc. With Joy Mukherjee Saira Banu’s film Shagird stormed box-office in 1967. All the songs of Rafi and Lata were hits including “dil vil pyar vyar”, “woh hai zara khafa khafa”, “o bare miya diwane”, “duniya mehfil hai”, etc.

Saira Banu’s combination with Rajender Kumar was well accepted by the audience. All the three films opposite Jubilee Kumar including Ayee Milan Ki Bela, Aman and Jhuk Gaya Aasman became super hit. The songs of all those films composed by SJ again struck box-office. Prominent songs included “o priya kaun hai jo sapno me aya”, “tum khamseen ho”, “kahan chal diye”, “surahidar garden”, etc. Saira Banu balanced the powerful performance of Rajender Kumar in those films.

After marrying Dilip Kumar, Saira Banu acted in a number of films opposite him including Sagina, Gopi and Bairaag, most of which did well in the box-office. Her films with Raj Kapoor titled Diwana and Dev Anand titled Par Muhabbat did good business mainly due to hit music of Shankar Jaikishan. The songs of those films including “ai sanam jisne tujhe chaand si surat di hai”, “dil ki awaz khuda khair Karen” still remain the landmarks of Indian film music. Even Saira Banu’s comedy films like Parosan opposite Sunil Dutt, Kishore Kumar and Mehmood did brilliant business.

From the mid-70s Saira Banu faded away from the industry before acting in films opposite Big B like Zameer and Hera Pheri. The viewers expect her to contribute in bollywood films in character roles again.

Happy birthday to Rakhee

Happy birthday to Rakhee.

The viewers of bollywood films wish happy birthday to Rakhee on 15th August, 2009. She had contributed in bollywood films for more than 30 years. She had contributed both as a leading actress and also as a character actress.

Rakhee came to limelight with her successful film Sharmilee opposite Shashi Kapoor in the early 70s. The songs of the film composed by SD Burman became very successful, including the songs “khilte hai dil yahan”, “megha chaye aadhi raat”, etc. Rakhee played a double role and created attention.

In the mid-70s Rakhee acted in landmark roles including the one in the film Kabhi Kabhi opposite Big B and Shashi Kapoor. She loved a poet played by Big B, but had to marry Shashi Kapoor. The poetry of Big B created a great impact in the life of Rakhee. The songs of Mukesh and Lata composed by Khayyam in the film including “mai pal do pal ka shayar hoon” and “kabhi kabhi mere dil me” made the viewers spellbound.

Rakhee acted in many landmark films opposite Big B including Shakti Shamanta’s Bengali film Anusandhan, hindi film Barsaat Ki Ek Raat, Kala Patthar, Kasme Wade, etc. In the early 80s Rakhee played the role of her lifetime opposite Dilip Kumar in the film Shakti. She played the role of the mother of Big B, who faced the hostility between Dilip Kumar and Big B, one being the protector of law, while the other being the lawbreaker. The film became super hit. Rakhee was equally sublime in the film Shaan opposite Sunil Dutt. She beared the killing of her husband by the enemies and fought the battle against evil with Big B, Shashi Kapoor and Shatrughun Sinha.

In the 90s, Rakhee played many character roles in films like Anil Kapoor’s Ram Lakhan, Shahrukh Khan and Salman Khan’s Karan Arjun, Bobby Deol’s Soldier, to name a few. She had acted in more than 100 films and continues to act in many contemporary films.

The viewers expect her to continue the good work in the years to come.

Happy birthday to Vaijayantimala.

Happy birthday to Vaijayantimala.

The viewers of bollywood films wish happy birthday to dancing queen Vaijayantimala on 13th August, 2009. She had ruled bollywood films during the 50s and 60s, during an age when muslim actresses like Nargis, Madhubala, Meena Kumari rocked silver screen. She was the first South Indian actress to create a sensation in bollywood films and paved the way for other South Indian actresses to follow like Hema Malini, Sri Devi, Jaya Prada, Meenakshi Sheshadri, and others.

Her online chemistry with Tragedy King Dilip Kumar created history in bollywood. Most of their films including Devdas, Naya Daur, Madhumati, Paigham, Ganga Jumna, Leader, Sunghursh ended up being blockbusters. Besides dancing, she was sublime in the role of a tawaif in Bimal Roy’s film Devdas, in the role of village girl in Bimal Roy’s Madhumati. Probably Madhumati marks the best performance of Vaijayantimala in her entire career. Her innocence reflected in her acting and she made the audience spellbound with the lips given in songs composed by Salil Choudhury including “aa ja re pardesi”, “ghari ghari mera dil dharke”, “daiya re daiya re”, etc. She received the filmfare award for the best actress for the brilliant performance in the film.

On one hand she was brilliant opposite Dilip Kumar, on the other hand she created sensation with Raj Kapoor as well. Their film Nazrana did mediocre business. But Sangam was probably one of the biggest hits of Raj Kapoor in his entire life. Vaijayantimala’s stylish performance opposite both Raj Kapoor and Rajender Kumar created a benchmark which could hardly be reached. Sangam still remains one of the most landmark films based on triangular love story shot at exotic locations in London, Paris, and other European countries. Shankar Jaikishan was matchless in Sangam. The acting performance was excellent and she received the filmfare award for the best actress once again.

In the 60s, Vaijayantimala was matchless. Her name was enough to make any film hit. The list of her films include Nagin opposite Pradeep Kumar, Suraj opposite Rajender Kumar, Amrapali opposite Sunil Dutt, Prince opposite Shammi Kapoor, Choti Si Mulakat opposite Uttam Kumar, Jewel Thief opposite Dev Anand, Pyar Hi Pyar opposite Dharmender, to name a few. In fact her combination with Rajender Kumar and Shankar Jaikishan created sensation in the 60s. All their films ended up being silver jubilees including Aas Ka Panchi, Suraj, Sangam, Zindagi, etc. Besides her standard of classical dancing in films like Katputli or Amrapali had created interest among viewers to appreciate aesthetic dance numbers which became an art in due period of time.

Her films should be restored and preserved.

Mukesh is remembered on his birthday.

Mukesh is remembered on his birthday.

The viewers of bollywood films wish happy birthday to legendary singer Mukesh on 22nd July, 2009 and remember his great works. Mukesh was probably the most popular singer of the 50s, 60s an 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” from film Shree 420 composed by Shankar Jaikishan, “sab kuch sikha humne” from film Anari, 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, Manoj Kumar’s Pathar Ke Sanam composed by LP, require special mention.

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. Besides he received filmfare awards for his best performance in films like Anari, Pehchan, Beimaan, Kabhi Kabhi.

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.

The nation remembers Rafi on his death anniversary.

The nation remembers Rafi on his death anniversary.

The nation remembers Mohammad Rafi on his death anniversary on 31st july, 2009. It was a very painful experience for most of the music lovers of India and abroad to recollect the experience of 31st July, 1980. 29 years had passed since his death and yet time could not heal the wound inflicted in the hearts of numerous music lovers of the country.

He is still alive in the hearts of millions of Indians with his 26000 songs. He had given expression to almost all the leading stars of bollywood and also the poets and composers of the golden age. He had created such an invaluable treasure of songs most of which can be termed as masterpieces, that the listeners can cherish his work for ever.

Admirers of Naushad can hear Rafi’s “do sitaron ka zameen par hai Milan”, “man tarpat”, “koi sagar dil ko behlata nahi”, “ek shahenshahne banwake haseen tajmahal” thousand times, admirers of Shankar Jaikishan search Rafi in “o mere shahekhuba”, “chalke teri ankhose”, “ehsaan tera hoga mujhpar”, etc., admirers of Roshan find peace in Rafi’s “jo wada kiya ho”, “dil jo na keh saka”, “ab kya misaal doon”, “man re”, etc., admirers of Madan Mohan hear “tumhari zulfonki saye me”, “aap ke pehlu me”, “baad muddat key eh ghari aye”, etc., again and again. Besides Rafi had galvanized the fortunes of Laxmikant Pyarellal, OP Nayyar, SD Burman, Kalyanji Anandji, RD Burman and many other composers of the 50s, 60s, 70s. Articles after articles can be devoted to Rafi’s combination with the musical giants.

On the other hand Rafi had raised the standard of playback singing in the golden age which had become a benchmark which is difficult reach but can be followed by singers of the present day. Rafi had given different types of expressions for Dilip Kumar (madhuban me radhika, aaj purani rahon par), Shammi Kapoor (akele akele, diwana hua badal), Rajender Kumar (mere mehboob tujhe, o priya), Johnny Walker (ay dil mushkil, jangal me mor nacha), Pradeep Kumar (dil jo na keh saka, hum intezar karenge), Guru Dutt (chaudavi ka chand, yeh mahalon), Biswajeet (pukarta chala hoon mai, a gale lag ja) Bharat Bhushan (zindagi bhar nahi, kisiki yaad me), Joy Mukherjee (bahut shukriya, japan love in tokyo, Dharmender (naja kabhi ab na ja, gair tum bhula na doge), Jeetender (dhal gaya din, baar baar din yeh aye) and others. Rafi’s combination with these evergreen stars had been glorified and is still being revisited.

In respect of Rafi lovers all across the world, there is one big challenge to unearth many unheard songs including Rafi’s private albums. A number of songs sung in the regional languages had been preserved, including Bengali songs like songs of Nazrul Islam. Songs like “alga korogo khopar badhon”, “pakhitar buke”, “ekhono biday bolona”, “tomar nil dopati chok”, “e jibone mor”, amused the Bengali audience as well.

The playback singers of the present age like Sonu Nigam, Udit Narayan and others pay immense respect to Mohammad Rafi and still consider him as the legend of legends in the field of music. Sonu Nigam in the program Mohammad Rafi resurrected tried to sing Rafi’s classics in Europe. The listeners realized that the singing of versatile singer Sonu Nigam even could not match Rafi’s level of excellence and as such most of his songs can challenge the leading singers of India and Pakistan even today. With change in demands of music at this present moment with pop, rap, western collections becoming prevalent, Rafi is probably the only legend of the 50s, 60s, and 70s whose songs had still remained young.

The listeners should revisit the songs of Rafi and restore the creations to pay homage to the noble soul who departed the music -lovers 29 years ago.

Happy birthday to Amrish Puri.

Happy birthday to Amrish Puri.

The viewers of bollywood films provide their best wishes and wish happy birthday to Amrish Puri on 22nd June 2009. Amrish Puri died few years back and bollywood industry lost one of its indispensable actors ever.

His voice had an universal appeal and initially Amrish Puri was associated with realistic films directed by Shyam Benegal, Govind Nihalini and others. His performance in the films Bhumika, Aakrosh, Ardh Satya, Vijeta, Suraj Ka Satwa Ghora, Sardari Begum brought him national and international awards. But he became an indispensable figure in the commercial film industry with his manly body and outstanding voice.

His role JK in Ramesh Sippy’s successful film Shakti, balanced the soft tune of acting of Dilip Kumar as police officer and loud acting of Amitabh Bacchan as a smuggler. He killed Rakhee at the end of the film and was murdered by Big B when he was about to leave India. His act of kidnapping of Big B at a young age led to creation of a barrier between Dilip Kumar and Big B, where Big B thought Dilip Kumar never liked his son, which was untrue. It took Big B the entire film to know that Dilip Kumar loved him just his any other father.

Amrish Puri balanced Dilip Kumar’s personality in Mashal. Dilip Kumar was a journalist in the film and Amrish Puri, an underworld don, evicted Dilip Kumar from his house when he published real news about him. Dilip Kumar’s wife Wahida Rehman died in the streets when they were evicted from their house. Dilip Kumar later became a smuggler and killed Amrish Puri when he tried to murder Anil Kapoor, a young journalist who again reported true events.

Amrish Puri was sublime in Raj Kumar Santoshi’s film Ghayal. His character Balwant Rai was memorized by even children of India. He killed Raj Babbar and created false case against Sunny Deol. Sunny along with Sudesh Berry and others escaped from the jail and took revenge against Amrish Puri’s men inspite of Om Puri giving protection in the role of Police Officer Desouza. The entire action revolved around Amrish Puri.

Amrish Puri’s character Mogambo in Shekhar Kapoor’s Mr. India gave a new dimension to the character of villains. He dominated the film inspite of Anil Kapoor’s brilliance in using a scientific gazette to remain invisible. Amrish Puri never stuck to one style of acting and never got type-casted like other villains including Jeevan, Prem Chopra or Ajit.

He showed his comedy instincts in Hrishikesh Mukherjee’s Jhoot Bole Cowa Kate opposite Anil Kapoor and also David Dhawan’s Mujshe Shaadi Karogi opposite Salman Khan. Amrish Puri’s character role in films like China Gate, Chachi 420, still haunts viewers. He made viewers cry with his performance in the film Ghatak as father of Sunny Deol. He had cancer and died at the end of the film.

Amrish Puri acted in almost 400 films within a span of 25 years which include blockbusters like Big B’s Andha Kanoon, Aaj Ka Arjun, Dilip Kumar’s Duniya, Sunny Deol’s Damini, Ghatak, Gadar Ek Prem Katha, Sanjay Dutt’s Vijeta, Mahanta, to name a few. Critics argue that no other actor other than Om Puri and Naseeruddin Shah had shown the dynamism that Amrish Puri had shown over the years. His films should be restored and preserved for the new generation.

Nadira - the sizzling star of golden age.

Nadira – the sizzling star of golden age.

Nadira used to be considered a sizzling star of the 50s and 60s, the golden age of bollywood cinema. Her beauty was different than the traditional stars like Nargis or Madhubala, and her charishmatic intonation had created a separate place in the minds of viewers. She acted in the first coloured film of bollywood that is Aan, made in the early 50s opposite Dilip Kumar.

From Aan itself, the smartness of Nadira reflected in her acting as the film required horse-riding and adventurous acts which were difficult for other actresses of the same era. In 1955, Raj Kapoor gave the role of her lifetime in the film Shree 420. Her villainish performance in the film did outcast Nargis in the same film. The song “mur murke na dekh” composed by Shankar Jaikishan and sung by Asha Bhosle and Manna Dey was picturised on Nadira and Raj Kapoor. The lips of Nadira created a lasting impact in the minds of the viewers and Shree 420 became a super hit film.

The good part of Shree 420 in the career of Nadira was that it made her a rising star. But the bad part was that from that film her image in negative characters got bolstered and producers and directors started casting her in negative roles. In Dil Apna Aur Preeti Parayi, she acted opposite Raj Kumar and Meena Kumari. Raj Kumar had affair with Meena Kumari, a nurse in the film, and after marriage with Nadira, the weakness towards Meena Kumari led to disharmony in the family. Nadira matched Meena Kumari in acting in a musical blockbuster, where once again Shankar Jaikishan amazed the viewers with songs like “ajeeb dastan hai yeh”.

Nadira’s strong command over urdu had earned her majestic roles in films like Pakiza, where the muslim pardanashin community was shown. Nadira’s performance in the film was appreciated by the critics who consider the epic film of Kamal Hamrohi, as one of the greatest films of all times. In the mid-70s, with advent of action films, characterization of negative personalities underwent a change. Even in those films Nadira contributed in her own way. Her performance as a step-mother of Shabana Azmi in the film Amar Akbar Anthony created special attraction. Her torture towards Shabana’s family was detected by Vinod Khanna, who was police officer in the film and she was arrested.

In the mid-80s, she made valuable contribution in Ramesh Sippy’s romantic film Saagar. She was associated with Kamal Hassan, who made the viewers cry at the end of the film when his romance ended in failure. She loved Dimple Kapadia who was addicted towards Rishi Kapoor. When Rishi Kapoor was attacked by his relatives Kamal Hassan saved at the cost of his own life. Kamal Hassan had special relation with Nadira and he used to disclose his private matters to her. Nadira was compassionate towards Kamal Hassan when she came to know about his sacrifice.

In the 90s, Nadira’s performance in the TV serials directed by Gulzar, where Om Puri interviewed her about her film career, was equally impressive. Kamini Kaushal also acted in the serial and matched Nadira in the special role. Nadira’s films should be preserved to grace her remote style of performance having sizzling effect and also lasting appeal.

Films like Madhumati are creative works of art.

Films like Madhumati are creative works of art.
Films like Madhumati are creative works which had not become obsolete even with passage of time. Bimal Roy had experimented with the subject of re-incarnation which most sections of the people don’t believe in. But the strong performance of Dilip Kumar, Vaijayantimala, powerful direction of Bimal Roy, brilliant music of Salil Choudhury had made the views spellbound in 1958 and the film still remains as one of the classic creations of all times.

Dilip Kumar in his second birth had come to the same palace where he met Pran, the prince of the palace in his last birth. He told the story of his last birth to Tarun Bose. He was a forest officer, and worked within the estate of Pran, the ruler of the place. He entered into an affair with Vaijayantimala and convinced his father Jayant about the marriage. But when he went out of the city for official work, Pran brought Vaijayantimala in his palace, and she jumped from the roof and committed suicide.

Very significantly Dilip Kumar met another girl in the same place having similarity with Vaijayantimala. He asked her to cooperate with him and the police and create the same situation relating to murder before Pran so that he would confess about his guilt. The plan was made but the soul of Vaijayantimala told the story and Pran confessed his guilt even before the girl having similarity with Vaijayantimala could arrive in the palace. The soul of Vaijayantimala took Dilip Kumar to the roof and he slipped from the rooftop and died. Johnny Walker, the servant of Dilip Kumar and a local villager helped him all along the previous life.

In the second birth, again Vaijayantimala was married to Dilip Kumar. He heard about a railway accident and being worried went to search for his wife. He found his wife and child still arrive where the film ended. Although the story could not be believed by big section of the viewers, it entertained everyone. The songs “aja re pardesi”, “ghari ghari mera dil dharke”, “daiya re daiya re”, sung by Lata, “jangal me mor nacha”, “tute hue khwabon ne”, sung by Rafi, “suhana safar”, “dil tarap tarap ke” sung by Mukesh, stormed bollywood films for more than a decade. Salil Choudhury received the filmfare award for the best composer for his immortal composition in the film Madhumati.

One of the amazing factors of Bimal Roy’s classic lied in the romantic presentation of the film in the midst of glamourous locations. Although it was a black and white film, the shooting was mainly done outside the studio and vey romantic landscape with hills and waterfalls were shown in the film. The music was ably picturised and the popularity of Dilip Kumar and Vaijayntimala helped the director in getting the box-office support.

New directors can learn a lot from the classic creation of Bimal Roy which still can haunt the viewers with romantic appeal.

Happy birthday to Anupam Kher.

Happy birthday to Anupam Kher.

The viewers of bollywood films wish happy birthday to Anupam Kher on 7th March, 2007. He had been indispensable during the 80s and 90s and contributed both in commercial films and parallel cinema. He initially attracted the attention of critics by performing well in the film Surhansh. He played the role of an old person who had served the nation but was neglected after retirement.

At that time he got the offer of playing the role old persons one after the other at a young age. His performance in the films Daddy, Janam, etc. , were well appreciated by the thoughtful viewers. But the film that had made him a star was Karma.

Anupam Kher acted opposite Dilip Kumar in Subhash Ghai’s multi-starrer venture Karma. He played the role of a terrorist leader named Dr. Dang. He was arrested by Dilip Kumar, but his men blew up the prison and released him. He then took revenge by killing the family members of Dilip Kumar. Dilip Kumar created an army full of prisoners who were suffering life sentences including Anil Kapoor, Naseeruddin Shah and Jackie Shroff. He fought against the men of Anupam Kher and addressed terrorism with style.

From that time onwards, commercial directors started casting Anupam Kher either in villainous roles or comedy roles. He successfully acted in comedy roles in the film Ram Lakhan, as the father of Madhuri Dixit, Jamai Raja as the brother of Hema Malini, Khel, as the partner of Anil Kapoor and Madhuri Dixit. He received the maximum number of filmfare awards for comedy performance in the history of bollywood cinema.

Apart from relief characters, Anupam Kher acted in serious films and his performance was very natural over there. His performance in the film Kahona Pyar Hai, in the role of the father of Amisha Patel was very impressive. He sent killers to murder Hrithik Roshan, yet he concealed his own involvement in the plan to his daughter in style. He did very well in the film A Wednesday opposite Naseeruddin Shah.

His performance in the film China Gate, Khosla Ka Ghoshla, Akhree Rasta, requires special mention. He had acted in more than 300 films in a span of 25 years. In that respect no other actor other than Amrish Puri, Kader Khan and Paresh Rawal, had such an huge contribution in bollywood films like Anupam Kher.

The viewers expect him to continue the good work in the years to come.

Saira Banu in the 60s.

Saira Banu in the 60s.

Saira Banu is still considered to be one of the beauty-queens of the 60s. Bollywood films had very serious competition in that era. In respect of major actresses, different types of skills were exhibited in bollywood films in those days, including the classical dancing skills displayed by Vaijayantimala, Rajashree, Padmini, Asha Parekh and others, the versatile acting skills displayed by Meena Kumari, Wahida Rehman, the modernized performances displayed by Mumtaz, and others, to name a few.

In that era, Saira Banu came up with her distinct style and identity. Her carefree attitude in films and supreme screen-presence created a special interest among producers and directors to cast her opposite leading stars of bollywood. She started her career in style with the film Junglee opposite Shammi Kapoor. The excellent music of Shankar Jaikishan created added attraction for viewers with Rafi and Lata’s songs like “ehsaan tera hoga mujhpar”, “meri yaar shabba khair”, etc.

Saira Banu formed a fantastic pair with Jubilee Kumar Rajender Kumar in the 60s. All their films ended up with silver jubilees. The films Ayee Milan Ki Bela, Aman and Jhuk Gaya Aasman, had fantastic locations, beautiful music and romantic stories. Most of the songs of these films composed by Shankar Jaikishan became landmarks in Indian musical history. The successful songs of Rafi and Lata include “aha aye milan ki bela”, “tum khamseen ho”, “o sanam tere ho gaye hum”, “o priya, kaun hai jo sapno me aya”, “kahan chal diye”, “surahidar garden”, “to bura maan gaye”, to name a few. Saira Banu gave excellent lips in the respective songs in these films.

In 1967, Saira Banu acted opposite Raj Kapoor in the comedy film Diwana. Again Shankar Jaikishan’s songs for Mukesh mainly became extremely popular including “diwana mujhko log kahe”, “tumhare bhi jai jai”, “aye sanam jisne tujhe chaand sa surat di hai”, “pate ka baat kahega”, “humto jate apne gaon”, etc. Saira Banu played the role of a rich girl and adapted herself in the romantic role.

She was sublime opposite Joy Mukherjee in the film Shagird and Biswajeet in the film April Fool. Both these films had fantastic music of Shankar Jaikishan and Laxmikant Pyarellal and songs of Rafi and Lata including “woh hai zara, khafa khafa”, “a gale lag ja”, “april fool banaya”, etc.

After marrying Dilip Kumar Saira Banu acted in films opposite him like Sagina, Gopi, Bairaag, etc. Most of these films were made in 70s and by that Saira Banu was not that impressive as in the 60s.

Whenever the viewers recall their romantic experiences in 60s, the beauty-queens appearance in films like Pyar Mohabbat opposite Dev Anand, Parosan opposite Sunil Dutt, etc., still haunts them. The films should be preserved for those reasons.

Happy birthday to Pran.

Happy birthday to Pran.

The viewers of bollywood films wish happy birthday to Pran Sikand, the legendary actor on 12th January, 2009. He was one of indispensable personality in bollywood films without whom most of the films of the 50s and 60s could not be thought about. He also was a big star who was as popular as an antihero as the leading stars of 50s and 60s including Showman Raj Kapoor and Tragedy King Dilip Kumar.

Pran had acted in more than 300 films in his career which spanned over 60s years. He was a notorious dacoit in Raj Kapoor’s Jis Desh Me Ganga Behti Hai, who was reformed and persuaded to surrender before the police at the end of the film. He hammered Dilip Kumar all along the film Dil Diya Dard Liya, not knowing his identity. It was later known that Dilip Kumar was the king of the princely estate after the locket in his body was discovered. Dilip Kumar forgave him even after knowing that his affair with Wahida Rehman never blossomed into marriage due to Pran only. Among romantic songs of Rafi and Lata like “sawan aye ya na aye”, “dilruba main ne tere”, “koi sagar dil ko behlata nahi”, Pran kept a balance with his villanish pursuits.

In Ram Aur Shyam, Pran tortured one of the Dilip Kumars who played the role of his brother-in-law. When Dilip Kumar’s twin brother came to his wife he took revenge against the evil deeds of Pran. The film was serio-comic in nature with Dilip Kumar playing a double role for the first time in Ram Aur Shyam.

In the mid-60s, Pran changed his image by playing positive roles like the one he played in the film Upkar. In that film he played the role of a handicapped person but he was an observer who witnessed the good deeds of Manoj Kumar who was a farmer and the bad deeds of his own brother played by Prem Chopra. Pran’s lips in Manna Dey’s songs “kasme wade” is still remembered by cinematic audience today.

Pran was sublime in most of the hit films of the 60s like Shammi Kapoor’s Raj Kumar, Kashmir Ki Kali, An Evening in Paris, etc., Joy Mukherjee’s Love in Tokyo, Phir Wohi Dil Laya Hoon, Biswajeet’s Mere Sanam, Rajender Kumar’s Ganwar, to name a few. In the 70s he even matched himself with the action heroes of the other generation like Dharmender and Big B.

His performance in Big B’s film Zanjeer in the role of a Pathan requires special mention. In Amar Akbar Anthony, he was the father of Big B, Vinod Khanna and Rishi Kapoor and he faced the evil operations of Jeevan and his men all along the film. He kept his fit to such an extent that in action sequences, he never looked out of place in a film where Big B, Vinod Khanna who were much younger than him showed their own skills.

Pran continued his villainish performances in films of 80s including Dilip Kumar’s Duniya and Big B and Rajnikant’s Andha Kanoon. With notable actors coming in bollywood industry in the 80s like Amrish Puri, Danny, Paresh Rawal, Kader Khan, Anupam Kher, etc., Pran slowly faded away from the industry. By that time he had performed in more than 300 films.

Viewers remember him for his unique style of dialogue delivery, unique mannerisms and fantastic body. His viewers pay respect to the old actor on his birthday who had already received lifetime achievement award from Filmfare for his unique contribution to bollywood cinema.