page no : 1
SURAIYAJI
S. D. BURMAN
MADHUBALA
SARASWATI RANE
NUSRAT FATEH ALI KHAN
SHAUKAT DEHELAVI NAASHAD
DEVIKA RANI CHAUDHURY
SUDHA MALHOTRA
RAJKUMARI DUBEY
JATIN LALIT
BULO C RANI

page no : 2

SHARMILA TAGORE
INDEEVAR
SHAKTI SAMANTA
M E E N A K U M A R I
S A N J E E V K U M A R
SRI DEVI
GEETA BALI
MAJRU SULTANPURI
KAIFI AZMI
RAJA MEHDI ALI KHAN

page no : 3

RAJENDRA KRISHAN
TANUJA SAMARTH
MALA SINHA
AAMIR KHAN
KATRINA KAIF



suraiyaji


Born Suraiya Jamaal Sheikh
June 15, 1929 (1929-06-15) (age 79)
Gujranwala, Punjab, now Pakistan
Died January 31, 2004 (aged 75)

Suraiya Jamaal Sheikh (June 15, 1929 - January 31, 2004) was a singer and actress in Indian films, and was popularly known as Suraiya in the film industry. She became a superstar in the 1940s and 50s during the time when actors sang their own songs. IF SHANTA APTE brought spontaneity and refreshing directness in her singing and song-delivery style, Suraiya marked a completely dif­ferent but equally important breakaway from tradition. Born Suraiya Jamal Sheikh in Lahore, she introduced the typical 'adakari' of North Indian Muslims into Hindi films. Expertly combining gestures, music, speech and eloquent eyes, she paved the way for later hearthrobs like Rekha and Madhuri Dixit with her bewitching song delivery. Alhough Noorjehan and Khurshid also brought the same Muslim adakari onscreen with their films, it was Suraiya who shone out as the epitome of that style. Save for her arresting, almond-shaped eyes, Suraiya was not a classic beauty; nor did she trained in classical music. Suraiya , the lovely melody queen created aura with her popular numbers like 'tu mera chaand, main teri chandani' ,'dil-e-nadan, tujhe hua kya hai' and 'woh paas rahe ya door rahe' . Her sultry looks and al­luring eyes matched her melodious voice and distinc­tive style to make her one of the greatest feminine icons of her time, attracting a gen­eration of young women who sought to emulate her and young men who mooned for her.

Early life

Suraiya was born in Gujranwala, Punjab now in Pakistan and was the only child of her parents. She was a dark plain looking girl and was not trained in music, however she went on to become a successful actress and singer.

She had been educated in New Girls' High School in Bombay. Simultaneously she was given religious teachings in Persian at home.

Career

Like many leading ladies of the past, Suraiya's entry into the world of movies was more accidental, than otherwise

Suraiya made her debut as a child artist in Usne Kya Socha (1937). Her films as a child artist ran between 1937 and 1941. She got a break in films with the help of her uncle Zahoor, who was a popular villain of his time. In 1941 during a holiday from school, she accompanied her uncle to Mohan Studios to see the shooting of the film Taj Mahal (1941), a film by Nanubhai Vakil. Vakil noticed the 12-year old girl and chose her to play the role of a young Mumtaz Mahal as they had nobody else to play the role. During her school days she used to participate in "Children Program" on Radio along with Shammi and Rajkapoor. She could sing some popular songs of that time with melody and fidelity . Naushad had heard her voice on the All India Radio where she sang for a children's programme at the insistence of friend Raj Kapoor and neighbour Madan Mohan. From radio, Suraiya moved on to playback singing -- App.reciating her singing talent, a song "Boot karun mein polish" was recorded in her voice by Naushad Sahib in 1942 for the film "Nai-Dunia". In the same year she performed a role in film "Station Master" Other films of her playback singing with music by Naushad Sahib were "Sharda" (Punchi Ja- pechey raha hae bachpan mera), "Qanoon" and "Sanjog"Her singing career soon found a mentor in music maestro Naushad chose her to sing as a 13 year old for Mehtaab in Kardar's Sharda (1942). Suraiya had to stand on a stool to reach the mike to croon Panchi ja, picturised on the much-older heroine, Mehtaab.
She was effectively launched as a singing star in Bombay Talkies Humaari Baat (1943).

She initially started by playing secondary roles in films like K. Asif's Phool (1944) but She made her presence felt in perhaps India's first multi-starrer, played strong supporting second lead roles to Noorjehan in Mehboob Khan's Anmol Ghadi (1946) and Munawar Sultana in Dard (1947). Suraiya had her moments with Socha Tha Kya, Main Dil Mein Dard Basa La Aayee and Man Leta Hai. She got the break as a heroine for the movie Tadbir (1945) at the recommendation of K. L. Saigal who liked her voice during a rehearsal. She went on to co-star with Saigal for two more films Omar Khayyam (1946) and Parwana (1947). More opportunities appeared for Suraiya after reigning actresses Noor Jehan and Khursheed Bano migrated to Pakistan during the 1947 partition. the last remembered for her haunting rendition of Jab Tumhi Nahin Apne.Her pairing with the then superstar Dev Anand was a huge hit and the two went on to star in many successful movies together - Afsar, Shayar and Jeet etal.

Nadira, who later costarred with Suraiya in Waris, says, "My father went repeatedly to the theatre to watch Suraiya sing Socha tha kya. He would walk out the moment the song ended."

Suraiya had an edge over her contemporaries Kamini Kaushal and Nargis because she could sing her own songs. The years 1948-49 were the best of her career - The 1948-49 phase saw her rise to her peak. After three hits Pyar Ki Jeet (1948), Badi Bahen and Dillagi (1949), she became the highest paid female star. At her peak, Suraiya generated hysteria comparable only to Rajesh Khanna in the late 1960s and early 1970s. Shop owners would down their shutters to see her starrers on the first day itself, crowds would throng outside her residence at Marine Drive in Bombay just to get a glimpse of her and actor Dharmendra recalls going to see Dillagi 40 times! Her songs from the above films Tere Nainon Ne Chori Kiya, O Door Jaanewaale (Pyar ki Jeet), Woh Paas Rahe Ya Door Rahe, O Likhnewaale Ne, Bigdi Bananewaale (Badi Bahen) and Tu Mera Chand, Murliwaale Murli Bajaa (Dillagi) were hummed in every nook and corner of the country. Her reign at the top was brief and her films started flopping in the 1950s. She made a comeback with Waaris and Mirza Ghalib (1954) in which she played the role of the married Ghalib's lover.She made a short-lived comeback with Waaris (1954) and Mirza Ghalib (1954). The latter saw her finest dramatic performance as she made alive and vivid the role of the married Ghalib's lover, a courtesan. Ghalib also saw some of her finest singing - Aah ko Chaihiye Ek Umar, Nuktacheen Hai Gham-e-Dil, Dil-e-Nadaan Tujhe Hua Kya Hai, Yeh Na Thi Humari Kismet etc. Her singing is till date regarded as the definitive Ghalib. In fact India's then Prime Minister Jawaharlal Nehru paid her the ultimate compliment by telling her " Tumne Mirza Ghalib ki Rooh ko Zinda Kar Diya" (she had brought Mirza Ghalib to life). In Nitin Bose's Waris (1954), Suraiya costarred with singing star Talat Mehmood (incidentally, she played heroine opposite another singer who tried to be an actor, Mukesh, in 1953's Mashuqa, too). With the sonorous melody, Rahi matwale, Anil Biswas and Suraiya proved their continuing relevance in a new age. Her last film was Rustom Sohrab (1963) following which she kept away from films. A spate of indifferent films followed. Suraiya had grew bulkier but her songs were still exquisite --- Aap se pyar hua jaata hai in Shama (1961), or the serene duet with Talat, Man dheere dheere gaye re in Maalik (1958). In 1963, to the strains of Yeh kaisi ajab dastaan ho gayee hai, the Sajjad jewel from Rustom Sohrab, Suraiya bade farewell to the studios. Suraiya Jamaal Sheikh's legend has endured for over four decades after her retirement post Rustom Sohrab (1963). It is fuelled by her one-time Dev Anand association, her repertoire of lilting songs and an air of mystique.

She stayed at "Krishna Mahal", her Marine Drive residence in Mumbai til her death. The walls and mirrors of Krishna Mahal flat on Marine Drive, are the only objects that set their eyes on this star of yesteryears. But she broke her self-imposed exile when she made a rare appearance at the Screen Videocon awards when Sunil Dutt presented her the Lifetime Achievement award. Radiant in a white salwar kameez she carried herself with the grace of a much younger woman.

The gentle sway of her hips spoke of her delicate style of dancing. The only thing that had remained completely unchanged was her voice. Tremulous with emotion, Suraiya's voice was choked with emotion when she took her award. She spoke of her long association with the film world and she was deeply touched that audiences still remembered her. But when Javed Jaffery pressed her to sing or just hum -- she refused. As a star shestill remembers the meaning of letting a legend live. Heroines are captured forever on the silver screen and the public's memory must never be updated.

Personal life

But her luck did not hold out in her personal life and Suraiya faced her biggestdisappointment. She first met Dev Anand in 1948, when she was just 19 years old. They were co-starring in the film Vidya and on the second day itself cupid struck. During the shooting of a song, a boat capsized and Dev Anand saved Suraiya from drowning. . And when he saved her from drowning during the filming of the song `Kinare Kinare Chale Jayenge', Suraiya was convinced that she had met her cosmic mate. She fell in love with him. Suraiya was romantically involved with actor Dev Anand and the two of them did six films together between 1948 and 1951. but her grandmother opposed the relationship. They were romantically linked and were all set to marry when her strict grandmother put her foot down and broke their relationship. She banned meeting, telephone calls and even talking on the sets. The entire affair was conducted in a clandestine manner with friends like Durga Khote and Kamini Kaushal going out of their way to engineer secret rendezvous. On the sets of the film Jeet, Dev Anand finally proposed to Suraiya and gave her a diamond ring worth Rs 3,000 -- a princely sum for a fledgling star. But even that memento was snatched away from her when her grandmother saw the ring and threw it away into the sea. She also burnt all of Dev Anand's letters in front of Suraiya's eyes. Her objection to the romance: (Dev Anand is a Hindu while Suraiya is a Muslim). A hunt for a Muslim husband began but marriagewas not in Suraiya's fate. In 1951, Dev Anand married Kalpana Kartik -- ending one of the silver screen's greatest romances. The heartbroken Suraiya never married though many leading men of her time were interested in her.Surraiya's idol was Gregory Peck and he visited her by surprise during a night of 1954 while in transit at Mumbai on his way to Srilanka for shooting. He was much impressed by her simplicity.Dev Anand molded himself in postures of Gregory Peck but after long awaiting he married Kaplna Kartak.Suraiya remained unmarried all her life.

Dev Anand accepts his love for Suraiya

the unmarried Suraiya lives alone in her plush Marine Drive apartment. Rarely does one see a bejewelled Suraiya at a party. Even after her strict grandmother, who kept suitors at bay and producers at arm's length, passed away, Suraiya continued to be inaccessible to the hoi polloi.

Her decision to reside in an ivory tower has added to her mystique, while her resolve to shun character roles ensured that she is always remembered as a heroine. Most quaintly, Suraiya also chose not to sing any new film song in the last 40 years.

Death

She died in 2004 of old age at 75. In 2004, during the Sansui Awards, actress Jaya Bhaduri received the Lifetime Achievement Award and while she was on stage, she was disappointed that no one gave a tribute to the legendary actress Suraiya who had passed right around that time.

Suraiya's dastaan, ajeeb but fascinating, continues to thrive on lore, speculation and memories.


http://en.wikipedia.org/wiki/Suraiya

http://www.chakpak.com/celebrity/suraiya/biography/8847

http://www.bollymood.com/biography/suraiya/

http://www.indianmelody.com/suraiyaarticle1.htm


Filmography

Actress:

* 1960s
* 1950s
* 1940s

1. Rustom Sohrab (1963) .... Shehzadi Tehmina
2. Shama (1961) .... Roshan Ara

3. Malik (1958)
4. Trolley Driver (1958)
5. Mr. Lambu (1956)
6. Inaam (1955)
7. Bilwamangal (1954)
8. Mirza Ghalib (1954) .... Chaudvin
9. Shama Parwana (1954) .... Sahebzadi Aalam
10. Waris (1954) .... Shobha ... aka Heir
11. Mashooka (1953)
12. Deewana (1952)
13. Goonj (1952)
14. Khubsurat (1952) ... aka Khubsoorat (India: Hindi title: alternative transliteration)
15. Lal Kunwar (1952)
16. Moti Mahal (1952)
17. Do Sitare (1951)
18. Rajput (1951)
19. Sanam (1951)
20. Afsar (1950) .... Bimala ... aka Officer
21. Badi Bahen (1950) ... aka Elder Sister
22. Dastan (1950) .... Indira
23. Kamal Ke Phool (1950)
24. Khiladi (1950)
25. Nili (1950)
26. Shaan (1950)
27. Jeet (1949) .... Jeet
28. Amar Kahani (1949)
29. Badi Bahen (1949)
30. Balam (1949)
31. Bombay (1949)
32. Char Din (1949)
33. Dillagi (1949) .... Heer ... aka Mischief (International: English title)
34. Duniya (1949)
35. Lekh (1949)
36. Naach (1949)
37. Shair (1949) .... Rani
38. Shayar (1949)
39. Singaar (1949)
40. Aaj Ki Raat (1948)
41. Gajre (1948)
42. Kajal (1948) ... aka Eyes (International: English title)
43. Pyaar Ki Jeet (1948)
44. Rang Mahal (1948)
45. Shakti (1948)
46. Vidya (1948) .... Vidya
47. Bhatakti Maina (1947)
48. Dak Bangla (1947)
49. Dard (1947)
50. Do Dil (1947)
51. Do Naina (1947)
52. Naatak (1947)
53. Parwana (1947) .... Gopi
54. 1857 (1946) ... aka Eighteen Fifty-Seven
55. Anmol Ghadi (1946) .... Basanti ... aka Precious Time
56. Chehra (1946)
57. Jag Biti (1946)
58. Main Kya Karun (1945)
59. Phool (1945)... aka The Flower
60. Tadbir (1945) .... Saguna
61. Hamari Baat (1943)
62. Ishara (1943)
63. Station Master (1942) .... Usha
64. Tamanna (1942)
65. Taj Mahal (1941) .... Child Mumtaz

Music Department:

* 1960s
* 1950s
* 1940s

1. Do Dil (1965) (playback singer)
2. Rustom Sohrab (1963) (playback singer)
3. Shama (1961) (playback singer)
4. Malik (1958) (playback singer)
5. Taqdeer (1958) (playback singer)
6. Trolley Driver (1958) (playback singer)
7. Mr. Lambu (1956) (playback singer)
8. Bilwamangal (1954) (playback singer)
9. Mirza Ghalib (1954) (playback singer)
10. Waris (1954) (playback singer)
... aka Heir
11. Mashooka (1953) (playback singer)
12. Deewana (1952) (playback singer)
13. Goonj (1952) (playback singer)
14. Khubsurat (1952) (playback singer)... aka Khubsoorat (India: Hindi title: alternative transliteration)
15. Lal Kunwar (1952) (playback singer)
16. Moti Mahal (1952) (playback singer)
17. Rajput (1951) (playback singer)
18. Sanam (1951) (playback singer)
19. Afsar (1950) (playback singer)... aka Officer
20. Badi Bahen (1950) (playback singer)... aka Elder Sister
21. Dastan (1950) (playback singer)
22. Kamal Ke Phool (1950) (playback singer)
23. Nili (1950) (playback singer)
24. Shaan (1950) (playback singer)
25. Jeet (1949) (playback singer)
26. Amar Kahani (1949) (playback singer)
27. Badi Bahen (1949) (playback singer)
28. Dillagi (1949) (playback singer)... aka Mischief (International: English title)
29. Duniya (1949) (playback singer)
30. Lekh (1949) (playback singer)
31. Naach (1949) (playback singer)
32. Shair (1949) (playback singer)
33. Singaar (1949) (playback singer)
34. Gajre (1948) (playback singer)
35. Rang Mahal (1948) (playback singer)
36. Shakti (1948) (playback singer)
37. Vidya (1948) (playback singer)
38. Dak Bangla (1947) (playback singer)
39. Dard (1947) (playback singer)
40. Do Dil (1947) (playback singer)
41. Naatak (1947) (playback singer)
42. Anmol Ghadi (1946) (playback singer)
... aka Precious Time
43. Jag Biti (1946) (playback singer)
44. Tadbir (1945) (playback singer)
45. Kanoon (1943) (playback singer)
... aka The Law (International: English title)
46. Sharda (1942) (playback singer)

Soundtrack:

1. Malik (1958) (performer: "Man Dhire Dhire Gaye Re Malum Nahin Kyon")
2. Mirza Ghalib (1954) (performer: "Dil-e-nadan Tujhe", "Aah Ko Chahiye Ek Umar",

"Nukta Cheen Hai", "Jahan Koi Na Ho", "Yeh Na Thi Hamari Qismat")

Producer:

1. Shagoon (1964) (producer) (as Suraiya Mubin)

Thanks:

1. Lorie (1984) (grateful acknowledgment)

songs of suraiyaji movie details n lyrics

1] Anmol Ghadi (1946) starring Amir Banu, Anwari, Leela Mishra, Murad, Noor Jehan, Suraiya, Surendra & Zahoor.
Lyrics composed by Tanvir Naqvi.
Music composed by Naushad Ali.
This movie had some very popular songs sung by Noor Jahan and Suraiya. Here are the Suraiya songs:

[1]mai dil mei dard basaa laayi

lyrics for mai dil mein dard basa laayi, nainon se nain mila aayi, unko apne man ki baatein bina kahe samjha aayi.

[2]man leta hai angdayi jawani chhayi

lyrics for man letaa hai a.Nga.Daaii, jIvan pe javAnI chhaaI.

lyrics in Hindi for man letaa hai a.Nga.Daaii, jIvan pe javAnI chhaaI.

[3]sochaa thaa kyaa, kyaa ho gayaa

lyrics for sochaa thaa kyaa kyaa ho gayaa. apnaa jise samjhe the hum afsos vo apnaa na thaa.

lyrics in Hindi for sochaa thaa kyaa kyaa ho gayaa. apnaa jise samjhe the hum afsos vo apnaa na thaa.

2] Badi Bahan (1949) starring Suraiya, Geeta Bali, Rehman & Pran.
Lyrics composed by Rajinder Krishan.
Music composed by Husnlal Bhagatram.

[1]tum mujhko bhool jaao ab hum na mil

[2]wo paas rahen yaa duur rahen nazron

lyrics for vo paas rahen yaa duur rahen nazaron me.n samaaye rahte hain. itnaa to bataa de koii hame.n, kyaa pyaar isii ko kahate hain.

lyrics in Hindi for vo paas rahen yaa duur rahen nazaron me.n samaaye rahte hain. itnaa to bataa de koii hame.n, kyaa pyaar isii ko kahate hain.

3] Bilwamangal (1954) starring Suraiya, Ulhas, Nirupa Roy & Asha Mathur.
Producer: Minal Movies
Director: D. N. Madhok
Lyrics: D. N. Madhok
Music Director: Bulo C. Rani

[1]hum ishq ke maaron ko do dil diye

[2]parwane se preet seekh li shamaa se

4] Dillagi (1949) starring Suraiya, Shyam, Amar, Amir Banu & Chanda Bai
Producer & Director: Kardar
Lyrics: Shakeel Badayuni
Music Director: Naushad

[1]char din ki thi chandni phir andher

[2]duniyaa kyaa jaane meraa afsaanaa

3]le ke dil chupke se kiyaa majboor

[4]murliwale murli bajaa sun sun murli

[5]niraalaa mohabbat kaa dastoor dekha

[6]tera khayaal dil se bhulaya na jaye

5] Gajre (1948) starring Suraiya, Agha, Geeta Nizami, Maruti, Moti Lal & Sangeeta
Director: RD Mathur
Lyrics: G. S. Nepali
Music Director: Anil Biswas

[1]duur papiha bola raat adhi rah gayi

[2]jalne ke siwaa yahaan kya rakha hai

[3]reh reh kar teraa chaand rulata hai

6] Goonj (1952) starring Suraiya, Suresh, Bhagwan, Madan Puri, Manju, Randhir, Ravikant & Sapru.
Lyrics composed by D. N. Madhok.
Music composed by Sardul Kwatra

[1]chale ja rahe ho jo nazren churaaye

[2]dil me umangen sajan nainon me rang

7] Jeet (1949) starring Suraiya, Dev Anand, Bhagwan, Durga Khote, Habib, Kanhaiya Lal & Madan Puri
Director: Mohan Sinha
Producer: Raj Kirti Chitra
Lyrics: Prem Dhawan
Music Director: Anil Biswas

[1]ban jao hindustani ab kaisi manmani

[2]kaam karo bhai jag me apna naam kar

[3]kuch phool khile armaano ke par jee

[4]tum mann kee peedaa kyaa jaano

[5]tum meet mere tum shyam mere yug ke

8] Mirza Ghalib (1954) starring Suraiya and Bharat Bhushan.
Music composed by Ghulam Mohammad.
The movie was about the legendary poet Mirza Ghalib and his poems have been sung here.

[1]aah ko chaahiye ek umar asar hone

[2]nuktachin hai gam-e-dil usko sunaye

[3]rahiye ab aisi jagah jaha koi na ho

[4]ye na thee hamaari kismat ki wisal

9] Mr. Lambu (1956) starring Suraiya, Minu Mumtaz, Helen, Bhagwan, N. A. Ansari & Sheikh Mukhtar
Director: NA Ansari
Producer : Sheikh Mukhtar Prod.
Lyrics: Jan Nisar Akhtar
Music Director: O. P. Nayyar

[1]yaad karun tori batiyaa ro ro bitau

10] Nayi Duniya (1942)starring Suraiya
Lyrics: Tanveer Naqvi
Music Director: Naushad Ali

[1]boot karun mai polish babu boot


11] Pyar Ki Jeet 1948) starring Suraiya & Rehman.
Lyrics composed by Rajinder Krishan.
Music composed by Husnlal Bhagatram.

[1]o duur jaanewaale wada na bhul jana

lyrics for o duur jaane vaale vaadaa na bhuul jaanaa. raate.n huI andherii tum chaa.Nd ban ke aanaa.

lyrics in Hindi for o duur jaane vaale vaadaa na bhuul jaanaa. raate.n huI andherii tum chaa.Nd ban ke aanaa.

[2]tere naino ne chori kiya mera chota

lyrics for tere naino.n ne chorI kiyA, morA chhoTA sA jiyA paradesiyA.

lyrics in Hindi for tere naino.n ne chorI kiyA, morA chhoTA sA jiyA paradesiyA.

[12] Rustom Sohrab (1963) starred Suraiya as the shehzadi. Prithviraj Kapoor portrayed her husband Rustom & Premnath portrayed her son Sohrab. Mumtaz was also in the movie.

This was Suraiya's last film. After this she retired.
Lyrics composed by Qamar Jalalabadi.
Music composed by Sajjad Hussain.

[1]ye kaisi ajab daastaan ho gayi hai

lyrics for ye kaisi ajab daastaan ho gayi hai, chhupaate chhupaate bayaan ho gayi hai.

13] Shaan (1950)starring Suraiya & Rehman
Lyrics: Rajinder Krishan
Music Director: Hansraj Behl

[1]o pardesi balma ab na tadpa o zalim

[2]tadap ai dil tadapne se zara aarsam

[3]kaho ji kis ki sachchi shaan
majboor hoon mai nashaad hoon mai

14] duets Suraiya sang with Mohammad Rafi in the movie Shaan:

[1]dil ke dhoke mei na aanaa

[2]hum bhee akele tum bhee akele

[3]hum tum se wafa karte tum hum se wafa karte

15] Shama (1961) starring Suraiya, Nimmi, Kumud Tripathi, Leela Mishra & Vijay Dutt
Producer : Tasweeristan
Director: Lekhraj Bhakri
Lyrics: Kaifi Azmi
Music Director: Ghulam Mohammed

[1]mast ankhon mei shararat kabhi aisi

16]Shama Parwana (1954)starring Suraiya & Shammi Kapoor.
Lyrics composed by Majrooh Sultanpuri.
Music composed by Husnlal Bhagatram.

[1]meraa dildaar naa milaayaa

[2]o jaan-e-tamannaa alvidaa alvidaa

17] Vidya (1948) starring Suraiya, Dev Anand, Amirbai Karnataki, Cuckoo & Madan Puri.
Director: G. Tridevi
Producer: Jeet Prod.
Music Director: S. D. Burman
Lyrics: Shanti Swaroop and Y. N. Joshi

[1]aaj meraa dil kisi pe aa gayaa

[2]jhoom rahi khushiyon ki naaow aaj

[3]kinare-2 chale jayenge jeewan naiya

[4]kise maalum tha 2 din me sawan beet

[5]o Krishna Kanhaai aashaon ki duniya

[6]laayi khushi ki duniyaa hanste hue

Suraiya was joined by Mukesh in the above song. One of the few duets they sang together.

18]Waris (1954) starring Suraiya, Talat Mahmood and Nadira.
Lyrics: Qamar Jalalabadi
Music Director: Anil Biswas

Suraiya and Talat Mahmood sang the songs both on and off screen. Please note that the duet version of this song is more popular and can be found at the Suraiya and Talat Mahmood duets page by using the following link.

[1]raahi matwaale tuu aa jaa ek baar

19] Dard (1947) starring Suraiya, Shyam, Badri Prasad, Husn Bano, Munawar Sultana & Nusrat.
Lyrics composed by Shakeel Badayuni.
Music composed by Naushad.

[1]beech bhanvar mei aan phasa hai dil

lyrics for beech bhanvar mein aan phansa hai dil ka safeena shaah-e-madeenaa

[2]chale dil ki duniya jo barbad karke

[3]dil dhadke aankh mori phadke

lyrics for dil dhadke aankh mori phadke. chale jaana na dekho ji bichhad ke.

20] Dastan (1950)starring Suraiya, Raj Kapoor, Murad, Pratima Devi & Veena.
Lyrics composed by Shakeel Badayuni.
Music composed by Naushad.

[1]aayaa mere dil mei tu ban ke dil ki

[2]ai shamma tu bata tera parwana kaun

The song 'ai shamma tu bata tera parwana kaun hai' is preceded by some dialogues. Raj Kapoor's voice seems to be heard here.

[3]mohabbat badhaa ke judaa ho gaye

[4]naam tera hai zubaan par yaad teri

[5]naino mei preet hai hothon pe geet

[6]ye mausam aur ye tanhaai

21]Maalik (1958) starring Talat Mehmood & Suraiya.
Lyrics composed by Shakeel Badayuni.
Music composed by Ghulam Mohammad.
Suraiya and Talat Mehmood sang the song and it was also filmed on them.

[1]mann dhire gaye re malum nahin kyon

lyrics for man dheere dheere gaaye re, maaloom nahi kyon. bin gaaye raha na jaaye re, maaloom nahi kyon.

22] Mirza Ghalib (1954) starring Suraiya and Bharat Bhushan.
Lyrics were composed by Mirza Ghalib in late 18th century.
Music composed by Ghulam Mohammad.
Suraiya sang her own songs and Talat Mehmood was playback singer for Bharat Bhushan.

[1]dil-e-nadan tujhe hua kya hai akhir

lyrics for dil-e-naadaa.n tujhe huaa kyaa hai. aakhir is dard kii davaa kyaa hai

lyrics in Hindi for dil-e-naadaa.n tujhe huaa kyaa hai. aakhir is dard kii davaa kyaa hai

23] Waaris (1954) starring Talat Mehmood With Suraiya & Nadira.
Lyrics composed by Qamar Jalalabadi.
Music composed by Anil Biswas.
There was no playback singing since both Talat Mehmood & Suraiya sang for themselves.

[1]duur hote nahi jo dil me raha karte

[2]ghar tera apna ghar lage jaye kahan

[3]raahi matwaale tu ched ek baar mann

lyrics for raahii matavaale, tuu chhe.D ik baar, man kaa sitaar. jaane kab chorii-chorii aaii hai bahaar chhe.D man kaa sitaar.

lyrics in Hindi for raahii matavaale, tuu chhe.D ik baar, man kaa sitaar. jaane kab chorii-chorii aaii hai bahaar chhe.D man kaa sitaar.

[url=http://suraiya-songs.tripod.com/]http://suraiya-songs.tripod.com/

S D Burman

Born October 1, 1906(1906-10-01)

Comilla, British India (now Bangladesh)

Died October 31, 1975 (aged 69)

Bombay, Maharashtra, India

Years active 1933-1975

Spouse(s) Meera Dev Burman, nee Dasgupta (1923-2007)

Aesthetically and culturally inclined toward Bengali music, Sachin Dev Burman (Bengali October 1, 1906 - October 31, 1975), also credited as Burman da, Kumar Sachindra Dev Barman, Sachin karta or S. D. Burman, was one of the most famous music composers for Hindi movies and a Bengali singer and composer. His son Rahul Dev Burman also achieved great success as a Bollywood music director in his own right.

S.D. Burman proved that age is no impediment for creativity. He was the only great composer who remained in high demand right till the end of his life, unlike his contemporaries who gradually faded away. His greatest gift lay in the fact he could be equally jazzy and trendy in a dhoti. His grip on Indian folklore, his sound classical base, his capacity to absorb from the scene around him made him the greatest all-rounder in Indian Film Music. And to think he never sat down on a harmonium to compose! His tunes would come to him in a flash on a long walk or a drive or even out fishing at sea!

Sachin Dev Burman, also known by the title of Sachin Karta owing to his royal lineage of the Comilla Rajbari (erstwhile East Bengal and Assam).

S. D. Burman was born on October 1, 1906, in Comilla, British India, now in Bangladesh, to Nirmala Devi and Nabadwipchandra Dev Burman, the second son of 'Ishanachandra Dev Burman', Raja of Tripura, (r. 1849-1862). his father, who was a sitarist and Dhrupad singer - Nabadip Chandra Deb Burman, an expert at the sitar, the Dhrupad gharana and sculpture. Sachin was the youngest of the five sons, of his parents, who had nine children in all.

He did his B.A. from Calcutta University.

Sachin Dev Burman was under the tutelage of his father while there were other informal sources of his education – Madhav and Anwar who introduced him to the world of the Ramayana and the richness of folklores. Later Ustad Badal Khan and Bhishmadev Chattopadhyay were appointed to instill in the young Sachin Dev Burman roots of eastern classical music.

Sachin left home after he came to know about his brother's evil interests against him.He wandered for years in the forests of Assam and Tripura from where he gained his formidable knowledge and rich repertoire of the rich folk of that region and Bengal.

Later SD became a disciple of Ustad Aftabuddin Khan, becoming an ace flautist, and started his own music school, ‘Sur Mandir’ in Calcutta in the 1930’s. He made a reputation in Bengal as a folk singer and light classical music and learnt more under the illustrious K. C. Dey (Manna Dey’s uncle) .

Early work for radio was based on East bengali and North eastern folk-music.

On his arrival in Kolkata, Sachin Dev Burman trained under K.C.Dey.

It was at this time that he had his first break with All India Radio, Kolkata, where his early work was based on East Bengali and Tripuri folk-music, and soon made a reputation for himself in folk and light classical music, consequently his film compositions were often influenced by his huge repertory of folk-tunes from the Bengali, Bhatiali, Sari and Dhamail traditions of Tripura Kingdom. In the same year, his first record was also released (Hindustan Musical Product), with "Khamaj" semi classical, E Pathery Aaj Eso Priyo on one side and the folk Dakle Kokil Roj Bihane on the reverse side" on 78 rpm for Hindustan Records in 1932 and the record became a hit big enough to establish Sachin Dev Burman as a kingpin of Bollywood music.

In the following decade he reached his peak as a singer, cutting as many as 131 songs in Bengali, and also sang for composers like Himangsu Dutta, RC Boral, Nazrul Islam and Sailesh Das Gupta.

In early 30s made a reputation in bengal as singer of folk and light classical music, e.g. at the Allahabad Sangeet Sammelan (Music Conference) in 1935. First record was of a Nazrul Islam composition, leading to a long and productive releationship with the writer/composer.

Film debut singing for Pankaj Mullick in Atorthy's Yahudi Ki Ladki (1933) but the songs were scrapped and re-sung by Pahadi Sanyal. But then he got another break in Tinkari Chakravarty's Sanjher Pidim (1935). SD sang in the Calcutta - made Hindi film
Seeta (1934). He also scored music for Rajkumar Nirshoney, a Bengali film, in 1940.

In 1934, he attended the All India Music Conference, at the invitation of Allahabad University, where he presented his Bengali Thumri, at to an illustrious audience, with the likes of Vijaya Lakshmi Pandit and the inimitable Abdul Karim Khan of Kirana Gharana. Later in the year he was invited to Bengal Music Conference, Kolkata, which was inaugurated by Rabindranath Tagore, here again he sang his thumri, and was awarded a Gold Medal.

His first stint at music composition started with Bengali plays, Sati Tirtha and Janani, eventually gave his first score was in 1937 in the Bengali film Rajgee.

He built a house, in Southend Park, Ballygunge, Kolkata, and in 1937, at the All India Music Conference, Allahabad, he met a music student at Rabindranath Tagore’s Shantiniketan, Meera Dasgupta (1923-2007), the granddaughter of Justice Raibahadur Kamalnath Dasgupta from Dhaka; soon she became his student and they married on February 10, 1938 in Calcutta , though having married a non-royal, created a furor within the royal family, and subsequently he severed his ties with the family, and forfeited his inheritance.

The couple's only child, Rahul Dev Burman was born in 1939, and later, both Meera Devi and Rahul assisted, S.D. Burman with some of the musical compositions.

S D Burman also did a singing role in Urdu film Selima (1934) and another role in Dhiren Ganguli's film, Bidrohi (1935)


his second film Rajkumarer Nirbashan (1940) became a hit, there was no turning back after that. He gave successful music in Bengali films like, Jevaan Sangini, Protishodh (1941), Abhoyer Biye (1942), and Chaddobeshi (1944).

After the death of two close friends – lyricist Ajay Bhattacharya and composer Himangshu Dutta and at the behest of Filmistan’s Sasadhar Mukherjee, Burman went to Bombay in 1944.

He continued giving music in Bengali cinema, even after he moved to Bombay in 1944, and started the second inning of his musical career, giving music for over 17 Bengali films in the all.

In 1944, at the request of Sasadhar Mukherjee of Filmistan, who asked him to give score for two Ashok Kumar starrers, Shikari (1946) and Aath Din, However these two hits were not big enough to earn him a niche in the big bad world of Bombay music. but his first major breakthrough came the following year with the company's Do Bhai (1947). The song Mera Sundar Sapna Beet Gaya sung by Geeta Dutt was her breakthrough song into the film industry. In 1949, came Shabnam, his biggest hit yet with Filmistan, especially noticeable for its multi-lingual hit song Yeh Duniya Roop ki Chor, by Shamshad Begum, which became a rage in those days.
Disillusioned with the materialism of Bombay, S D Burman left the Ashok Kumar starrer Mashaal (1950) incomplete and decided to board the first train back to Calcutta. Fortunately, he was dissuaded from doing so. Just when he was calling it quits, Ashok Kumar requested Sachin Dev Burman to compose for Mashaal which instantly took the composer to the pinnacles of success.

During his brief musical sojourn at Kolkata, Burman earned the earnest audience of great stalwarts like Kazi Nazrul Islam, Dhurjati Prasad Mukhopadhyay, Dilip RoyRavi Shankar, Kishore Kumar, Hemant Mukhopadhyay et al. In Bombay Burman’s art married those of Kaifi Azmi,Anand Bakshi, Majrooh Sultanpuri, Sahir Ludhianvi, Dev Anand and the likes and gave to India some of the greatest hits of all times. During this time he offered guiding hands to Asha Bhosle, Kishore Kumar, Geeta Dutt, Manna Dey and many other such experts whose names today stand for themselves. Subsequently he composed for the films of Guru Dutt and gave films like Baazi, Pyasaa, Kagaz ke Phool, Jaal to name a few.

His Tadbeer se bigdi hui taqdeer… deserves special mention for the harmonious marriage of the tune and the words.

In 1950s, S D Burman teamed up with Dev Anand's Nav Ketan Productions to create musical hits like Taxi Driver (1954), Munimji (1955), Paying Guest (1957), Nau Do Gyarah (1957) and Kalapani (1958). The songs sung by Mohammad Rafi and Kishore Kumar became popular. Burman da composed the music for Dev Anand's production company Navketan's first film Afsar (1950). With the success of their second film, Baazi (1951) he made it to the top and a long association with Navketan and Dev Anand was on its way. "Baazi"'s jazzy musical score revealed a new facet of singer Geeta Dutt, who was mainly known for melancholy songs and bhajans. While every song in the film was a hit, one stood out for special appeal - "Tadbir se Bigdi Hui Taqdeer", a ghazal that was occidentalized into a seductive song.

He also wrote music for the Guru Dutt classics - Pyaasa (1957) and Kaagaz Ke Phool (1959). The soundtrack of Devdas (1955) was also composed by him. House No. 44 (1955), Funtoosh (1956), and Solva Saal (1958) were other S D Burman hits. In 1959 came Sujata, a masterpiece by Bimal Roy, and S D created magic again with "Jalte hai jiske liye" by Talat Mamood.

When Guru Dutt made comparatively light-weight films like Baazi and Jaal (1952), Burmanda reflected their mood with compositions like Suno Gajar Kya Gaye or De Bhi Chuke Hum and when Guru Dutt made his somber masterpieces - Pyaasa (1957) and Kaagaz ke Phool (1959), he was right on target with Jinhe Naaz Hai Hind and Waqt ne Kiya Kya Haseen Sitam.

In 1957, S D Burman fell out with Lata Mangeshkar and adopted her younger sister Asha Bhosle as his lead female singer. The team of S D Burman, Kishore Kumar, Asha Bhosle and lyricist Majrooh Sultanpuri became popular for their duet songs. Thus, he was responsible along with O.P. Nayyar for shaping Asha Bhosle as a singer of repute, who became his daughter-in-law after she married Rahul Dev Burman .

In 1958, S D Burman gave music for Kishore Kumar's house production Chalti Ka Naam Gaadi, the same year he was awarded the Sangeet Natak Akademi Award for Music direction, and remains the only music director to have won the prestigious award.

Early on in his career, he refused to allow his voice be lip-synced on film by actors, as a result, even later on, in Hindi cinema, his thin yet powerful voice was often used as bardic commentary to haunting results, as in Ore Majhi Mere Sajan Hai Us Paar Bandini (1963), Wahaan Kaun hai Tera from "Guide" (1965) and finally Safal Hogi Teri Aradhana from Aradhana (1969), for which he received the National Film Award for Best Male Playback Singer for the year, 1970 .

Ill health caused a slump in his career in the early 1960s but he gave many hit films in late 1960s. In 1961, S D Burman and Lata Mangeshkar came together during the recording of R D Burman's first song for the movie Chhote Nawab (1961). They reconciled their differences and started working again in 1962.

The Dev Anand-S D Burman partnership, under Navketan banner, continued to churn out musical hits like Bambai Ka Babu (1960), Tere Ghar Ke Samne (1963), Teen Devian (1965), Guide (1965) and Jewel Thief (1967). In 1963, he composed songs for Meri Surat Teri Aankhen and Manna Dey sang the song "Poocho Na Kaise Maine" in raga Ahir Bhairav. This song is based on a Bengali composition by Kazi Nazrul Islam, Aruno-kaanti ke go jogi bhikaari, based on raga bhairavi (morning raga)[citation needed].

Other S D Burman hits from this period were Bandini (1963) and Ziddi (1964). In Bandini, Sampooran Singh (well known as Gulzar), made his debut as a lyricist with the song "Mora Gora Ang lai le, mohe shaam rang daai de". Guide (1965) starring Dev Anand, was probably the best of his work during the time with all the songs super hit as well as the film; but unfortunately it did not receive the Filmfare award in best music director category for that year, which remained always a discussion among the Bollywood film pandits.

Aradhana (1969) is considered a landmark score in the Bollywood history. The music of the movie shaped the careers of singer Kishore Kumar, lyricist Anand Bakshi, filmmaker Shakti Samanta and R D Burman (associate music director). For the song "Mere Sapno ki raani", Sachin Dev made R.D play the mouth organ[citation needed]. It was responsible in Kishore Kumar's second coming and went on to make him the top male playback singer of Hindi Films.

His thin timbrel-like voice was used for commentaries in Aradhana and Guide. Sachin Dev Burman’s hits are a plethora. Mentioning some of them will be doing injustice to the rest. He was the reigning music baron of the decades from the 1950s to the 1970s. He worked with the supreme names in Bombay and gave to posterity some of the unforgettable melodies of all times. The films with Dev Anand and Guru Dutt deserve special mention. Shabnam was his most raved about hit with Filmistan. He holds the record for having the greatest number of hits per film.

While paying tribute to his contribution to films, we often overlook Burman’s stage performances with Ustad Fayyaz Khan, Abdul Karim Khan and other such maestros. He was a celebrated singer in intellectual circles of Kolkata. Burman also acted in one film – Dhiren Ganguly’s Bidrohi.

Dev Anand and S D Burman continued their musical partnership in Prem Pujari (1969).

Tere Mere Sapne (1971), Sharmilee (1971), Abhimaan (1973), Prem Nagar (1974), Sagina (1974), Zameer (1974) Chupke Chupke (1975), and Mili (1975) are other classics from this period.

S D Burman went into coma soon after recording the song Badi sooni sooni (sung by Kishore Kumar) for the film Mili.

He died on October 31, 1975 in Bombay (now Mumbai).

On October 1, 2007, marking his 101st birth anniversary, India postal department released a commemorative postage stamp, in Agartala, where an exhibition on his life and work was also inaugurated; the the state government of Tripura, also confers the yearly, 'Sachin Dev Burman Memorial Award' in Music.

He passed on the baton to his son Rahul Dev Burman who was definitely the greatest achievement that the Sachin Karta could have had. Tributes to Sachin Dev Burman did not cease with him just as his music did not cease with him. Agartala (Tripura), the royal family of his ancestors has a bridge dedicated in his name. An S.D.Burman award has also been set up in his honour. The Sur Singar Samsad Academy Award is given to talents of music. The West Bengal government has decided to declare Sachin Dev Burman’s house a heritage building. A postage stamp was displayed to commemorate his 101st birth anniversary. Sachin Dev Burman wrote his autobiography called Sargamer Nikhad. A biography was released on the minstrel’s 101st birth anniversary. Sachin Dev Burman’s fans have attached the epithet “golden� to his era. Apart from his skill at music, he was known for his professionalism and dedication to his work.

A perfectionist to the core, he waited for the recording of the song Hontho pe aisi baat … till a certain drum arrived from Sikkim. He also set multiple tunes for the same song allowing the film maker to call the final shots. The film Aradhana which established the careers of more than one person like Kishore Kumar, Anand Bakshi etc had Sachin Dev Burman as its music director. The little known facts are that this great musician was also proficient at the flute and took keen interest in angling, hockey and lawn tennis in the manner of the royalty from which he hailed.

On October 1, 2007, marking his 101st birth anniversary, India postal department released a commemorative postage stamp, in Agartala, where an exhibition on his life and work was also inaugurated; the the state government of Tripura, also confers the yearly, 'Sachin Dev Burman Memorial Award' in Music.

A commemorative postage stamp on Sachin Dev Burman was brought out Monday, coinciding with the 101st birth anniversary of the legendary music maestro and scion of the Tripura royal family that was celebrated with much fanfare here.

"To keep the maestro's memory alive, the Tripura government, as part of the ongoing S.D. Burman centenary celebrations, has renamed the state's music college here after him, and released a music cassette containing 20 of his best songs in Bengali and Kokborok (the state's official tribal language)," said Anil Sarkar, Tripura's information and cultural affairs minister.

The state government has said that besides preserving and promoting his music, it would also support research on the maestro.

"He is very much alive within us ... in our mind and soul through his music," Sarkar said.

The minister had on behalf of the Tripura government recently led an official delegation to Mumbai to felicitate Meera Dev Burman, the music composer's 84-year-old ailing widow.

The 101st birth anniversary was observed with a daylong programme, which included an exhibition depicting the life and work of Burman, grandson of Tripura's 180th erstwhile king Ishan Chandra Manikya.

On the occasion, the Sachin Dev Burman Memorial Award was presented to well-known singer Sadagar Debbarma, who has composed over 400 songs and played a pivotal role in popularising traditional tribal songs and culture.

Born in Comilla's Chortha village, 85 km south of Dhaka (now in Bangladesh), on Oct 1, 1906, Burman was a noted Bollywood music composer and an all-time great Bengali singer and composer. His son Rahul Dev Burman also made it big in Bollywood as a music director.

S.D. Burman was born in the royal family of Tripura and began his training in classical music under his father Nabadwipchandra Dev Burman.

"S.D. Burman's mother Nirupama Devi, who was a princess of the Manipuri royal family, also played a key role by giving inspiration, encouragement and assistance to make him famous," the minister stated.

"The death of his father in 1930 upset him. He left the Tripura palace and went to Kolkata and took shelter in a small rented accommodation and thus began his struggle for existence," said Pannalal Roy, a senior official and editor of a commemorative book on the maestro.

"It still remains a mystery as to why the great singer turned his back on Tripura despite being a scion of the royal family," said Roy.

Roy said that after his father's death, the then Tripura king Maharaja Birbikram Kishore Manikya Bahadur offered Burman the post of education minister, but he preferred to remain in the world of music.

Sarkar said: "The Tripura government, following a recent resolution of the state legislative assembly, has urged the centre to request the Bangladesh government to take steps for conservation of S.D. Burman's ancestral residences in Comilla."

According to him, the Kolkata Municipal Corporation has come forward to declare Burman's north Kolkata house a 'heritage building'.

Filmography

Rajgee (1937)

Jakher Dhan (1939)

Jevaan Sangini (1940)

Protishodh (1941)

Abhoyer Biye (1942)

Chaddobeshi (1944)

Shikari (1945)

Aath Din (1946)

Shabnam (1949)

Baazi (1951)

Jaal (1952)

Baaz (1953)

Taxi Driver (1954)

Devdas (1955)

Pyaasa (1957)

Chalti Ka Naam Gaadi (1958)

Kaagaz Ke Phool (1959)

Sujata (1959)

Bambai Ka Babu (1960)

Tere Ghar Ke Samne (1963)

Bandini (1963)

Ziddi (1964)

Guide (1965)

Jewel Thief (1967)

Prem Pujari (1969)

Aradhana (1969)

Ishq Par Zor Nahin (1970)

Sharmilee (1971)

Naya Zamana (1971)

Tere Mere Sapne (1971)

Anuraag (1972)

Jugnu (1973)

Chhupa Rustam (1973)

Abhimaan (1973)

Phagun (1973)

Prem Nagar (1974)

Zameer (1974)

Sagina (1974)

Chupke Chupke (1975)

Mili (1975)

Awards and recognitions

1934: Gold Medal, Bengal All India Music Conference, Kolkata 1934

1958: Sangeet Natak Akademi Award

1958: Asia Film Society Award


National Film Awards

1970: National Film Award for Best Male Playback Singer: Aradhana: Safal Hogi Teri Aradhana

1974: National Film Award for Best Music Direction: Zindagi Zindagi

1969: Padma Shri


International Jury on Folk Music


Filmfare Awards


1954: Filmfare Best Music Director Award: Taxi Driver


1973: Filmfare Best Music Director Award: Abhimaan


1959: Filmfare Best Music Director Award: Sujata: Nomination


1965: Filmfare Best Music Director Award: Guide: Nomination


1969: Filmfare Best Music Director Award : Aradhana: Nomination


1970: Filmfare Best Music Director Award: Talaash: Nomination


1974: Filmfare Best Music Director Award: Prem Nagar : Nomination


BFJA Awards


1965: Best Music (Hindi Section): Teen Deviyan


1966: Best Music (Hindi Section): Guide


1966: Best Male Playback Singer (Hindi Section): Guide


1969: Best Music (Hindi Section): Aradhana


1973: Best Music (Hindi Section): Abhimaan

http://en.wikipedia.org/wiki/Sachin_Dev_Burman

http://www.bollywoodsargam.com/sports_news...ywood_news.html

http://www.india-forums.com/forum_posts.asp?TID=239069

Madhubala

Madhubala (Hindi: मध�बाला, Urdu: مدھو بالا) (February 14, 1933 �" February 23, 1969), is considered one of the most beautiful actresses to have graced the screens of Bollywood.

Madhubala was born as Mumtaz Jehan Begum Dehlavi in Delhi as the 5th child into a poor, conservative Pashtun Muslim family of 11 children. Mumtaz Begum Jehan Dehlavi, was a popular Hindi film actress who starred in several successful films in the 1950s and early 1960s, many of which have achieved classic and cult status today. With her contemporaries, Nargis and Meena Kumari, she is widely regarded as one of the most talented and influential actresses to have appeared on the screens of Hindi Cinema.

Mumtaz Begum Jehan Dehlavi, famously known as Madhubala, was born in Delhi, India on February 14, 1933. She was Muslim, the fifth child of a conservative family of eleven children.

After Madhubala's father, Ataullah Khan lost his job at the Imperial Tobacco Company, the family endured many hardships including the deaths of four of Madhubala's sisters and her two brothers. Madhubala and four other sisters remained. A Muslim Holy Man is said to have predicted that the young Mumtaz would earn fame and fortune but would lead an unhappy life and die at a young age. Madhubala, with literal meaning of her name being damsel of honey has continued to be considered with utmost admiration, with multiple generation of Hindi movie goers even today. Her father, Ataullah Khan was a coachman in Dehli, who migrated to Bombay remembering the holy man's words and also in search for a better livelihood. In search of a better life for his impoverished family, her father relocated them to Mumbai. There they struggled for over a year and often frequented the Mumbai film studios in search of work. Young Mumtaz entered films at the age of nine.

Her first film was the box-office success, Basant (1942) in which she played the daughter of the popular actress, Mumtaz Shanti. She then went on to act in several films as a child artist. It was the celebrated actress, Devika Rani, impressed by her performances and potential, who advised her to change her name to Madhubala. Her talent was clearly evident and she soon garnered a reputation as a reliable and professional performer. By the time she was an adolescent, her uncommon good looks and tall, lissome figure, meant she was already being groomed for lead roles.

Her first break came when filmmaker, Kidar Sharma cast her opposite Raj Kapoor in Neel Kamal (1947). Until that point, she had always been billed as Mumtaz but after this film she was credited as Madhubala. She was only fourteen years old, but Madhubala had finally arrived on the Indian screen in a lead role. Though the film was not a commercial success, she was noticed and her performance well received.

In the next two years she blossomed into a captivating beauty (film media and fans referred to her as the Venus of the Screen). However it was not until she starred in the coveted lead role of Bombay Talkies production, Mahal in 1949, that Madhubala became a fully fledged star and a household name. Audiences enthused over Madhubala's enigmatic screen presence and beauty. Though she was only sixteen at the time, critics widley acknowledged that her subtle and skillful performance upstaged her seasoned co-star, Ashok Kumar. The film became a popular success and the song Aayega Aanewala heralded the arrival of two new superstars both Madhubala and playback singer Lata Mangeshkar.

In the early 1950s as Madhubala became one of the most sought-after actresses in India, she also attracted interest from Hollywood. She appeared in many American magazines such as Theatre Arts. In their August 1952 issue, Madhubala was featured in an extensive article with a full page photo. The piece was entitled: The Biggest Star in the World (And She's Not in Beverly Hills). It presented the actress as a mysterious and ethereal woman of mythical beauty with a legion of fans.

During this period, on a trip to Mumbai and its film studios, the American filmmaker Frank Capra was pampered and hosted by the elite of the Hindi movie industry. However the one star he really wanted to meet was conspicuous by her absence, Madhubala. A meeting to discuss an opening for Madhubala in Hollywood was proposed by Capra. Madhubala's father declined and put an emphatic end to her potential Hollywood film career.

Madhubala had many successful films following Mahal. With pressure to secure herself and her family financially, she acted in as many as twenty-four films in the first four years of her adult career. Consequently, critics of the time commented that Madhubala's beauty was greater than her acting ability. This was in part due to careless choices in film roles. As sole support of her family, she accepted work in any film, causing her credibility as a dramatic actress to be seriously compromised. Something she later expressed regret over.

Many other hits followed Mahal with a spate of films opposite the leading men of the day- Ashok Kumar, Rehman, Dilip Kumar, and Dev Anand, but by the mid-1950s, some of her films flopped. But she silenced her critics in 1958, when four of her films turned out to be superhits - Phagun opposite Bharat Bhushan, Howrah Bridge opposite Ashok Kumar, Kala Pani opposite Dev Anand and Chalti ka Naam Gaadi opposite her husband-to-be, Kishore Kumar.

Critics said that Madhubala's beauty was greater than her acting ability, but this was in part due to unwise choices on her part and on that of her father, who was her manager. She was the sole support of a large and desperately poor family, and seemed to take on any role she could get, even if her credibility as a serious actress was compromised.

Madhubala was proposed by three men and turned to Nargis who was a close friend for advice. Nargis suggested that Bharat Bhushan would respect her as he was a widower whereas Pradeep Kumar and Kishore Kumar were already married. However she had already made up her mind on Kishore Kumar as he was like a breath of fresh air in her life.

She accepted as he was the first man who came into her life on the rebound whilst shooting Chalti Ka Naam Gadi and Jhumroo. Her father had informed Kishore that Madhubala would be flying to London for a complicated operation and he could marry her on her return but Kishore knew she wanted to get married before she died and he wanted to fulfill her desire.

They had a civil ceremony . His parents refused to attend the wedding and never really accepted Madhubala as they thought she had broken their sons marriage. When Madhubala went to touch her father-in-law's feet he moved away. Madhubala and Kishore also had a Hindu ceremony to please his parents but they were still not happy. This was all in 1960, the year they were married.

She did have aspirations to appear in more prestigious films with challenging roles. Bimal Roy's Biraj Bahu (1954) being a case in point. Madhubala having read the novel, was desperate to secure the lead in the film adaptation. Assuming she would command her market price (one of the highest), Bimal Roy passed her over in favour of a then, struggling Kamini Kaushal. When Madhubala learned that this was a factor in her losing the part, she lamented the fact that she would have performed in the film for a fee of one rupee. Such was her desire to improve her image as a serious actress.

As a star, Madhubala did ascend to the top of the industry. Her co-stars at the time were the most poular of the period: Ashok Kumar, Raj Kapoor, Rehman, Pradeep Kumar, Shammi Kapoor, Dilip Kumar, Sunil Dutt and Dev Anand. Madhubala also appeared alongside many notable leading ladies of the time including Kamini Kaushal, Suraiya, Geeta Bali, Nalini Jaywant and Nimmi. The directors she worked with were amongst the most prolific and respected: Mehboob Khan (Amar), Guru Dutt (Mr & Mrs 55), Kamal Amrohi (Mahal) and K. Asif (Mughal-E-Azam) . She also ventured into production and made the film Naata (1955) which she also acted in.

During the 1950s, Madhubala proved herself a versatile performer in starring roles, in almost every genre of film being made at the time. She was the archetypal lady fair in the popular swashbuckler, Badal (1951) and was next seen as an uninhibitted village belle in Tarana (1951). She was convincing as the traditional ideal of Indian womanhood in Sangdil (1952) and was well received in a comic performance as the spoilt heiress, Anita in Guru Dutt's classic satire Mr. and Mrs. 55 (1955). In 1956 she had success in historical costume dramas such as Shirin-Farhad and Raj-Hath. Equally successful in contemporary characterizations, she was memorable in a double role in the social film Kal Hamara Hai (1959). Madhubala played the cigarette smoking dancer Bella, and her more conventional saintly sister Madhu.

Suddenly in the mid-1950s her films, even major ones like Mehboob Khan's Amar (1954), fared so badly commercially that she was labelled "Box Office Poison". She turned her career around in 1958, with a string of hit films: Howrah Bridge opposite Ashok Kumar featured Madhubala in the unusual role of an Anglo-Indian Cabaret singer, embroiled in Calcutta's Chinatown underworld. She made a big impact with a daring (for the time) Westernized image, with her cascading locks, deep cut blouses, fitted Capri pants and tailored Chinese dresses. Madhubala's sensuous torch song from the film, Aye Meherebaan, dubbed by Asha Bhosle, was a popular hit with audiences, and is widely quoted and celebrated to this day. Howrah Bridge was followed by Phagun opposite Bharat Bhushan, Kala Pani opposite Dev Anand, the perennial hit Chalti Ka Naam Gaadi opposite her husband-to-be, Kishore Kumar and Barsaat Ki Raat (1960), opposite Bharat Bhushan again.

In 1960, she consolidated these successes, and her super-star status when she went on to appear in the epic mega-budget historical, Mughal-E-Azam. This film is widley perceived to be the crowning glory of her career and perhaps the decade of filmmaking in India.

It was the film Mughal-e-Azam that marked what many consider to be her greatest and definitive characterization as the doomed courtesan Anarkali. Director K. Asif, unaware of the extent of Madhubala's illness, required long and grueling shooting schedules that made heavy physical demands on her. Whether it was posing as a veiled statue in suffocating make-up for hours under the sweltering studio lights or being shackled with heavy chains. From 1951 through to 1959 Madhubala invested her best efforts into Mughal-e-Azam. Post 1956 and her separation from Dilip Kumar, the film's remaining intimate romantic scenes were filmed under much tension and strain between Madhubala and her now estranged co-star. This emotionally and physically taxing experience is widely perceived as a major factor in her subsequent decline in health and premature death.

On August 5, 1960, Mughal-e-Azam released and became the biggest grossing film at that time, a record that went unbroken for 15 years until the release of the film Sholay in 1975. It still ranks second in the list of all time box-office hits of Indian cinema (inflation adjusted). Despite performing alongside the most respected acting talent of the industry, Prithviraj Kapoor, Durga Khote, and Dilip Kumar, critics recognised and appreciated Madhubala's intelligent and multi layered performance. She received some recognition as a serious actress when she was nominated for a Filmfare Award. However she did not win, losing out to Bina Rai for her performance in the film Ghunghat (1960). In Khatija Akbar's biography on Madhubala (see reference section), Dilip Kumar paid tribute to her talent: "Had she lived, and had she selected her films with more care, she would have been far superior to her contemporaries. Apart from being very versatile and an excellent artiste, she had a warm and cheerful nature. God had gifted her with so many things..."

In 1960, Madhubala hit the peak of her career and popularity with the release of back-to-back blockbusters Mughal E Azam and Barsaat Ki Raat.

In 1960, it was Mughal-e-Azam that marked one of her greatest performances as the doomed courtesan Anarkali Wali. Sadly, being plagued with a persistent heart disease, she was confined to bed for the last nine years of her life. She did have the odd release in this period like Passport (1961), Jhumroo (1961), Boy Friend (1961), Half Ticket (1962) and Sharabi (1964), but they were mostly old films that managed to limp towards release but above average at the box-office.

However, most of her other films issued in this period were marred by her absence in later portions when her illness prevented her from completing them. They suffer from compromised editing and in some cases the use of "doubles" in an attempt to patch in scenes that Madhubala was unable to shoot.

She was offered strong, author-backed roles, but her deteriorating health did not permit her to enjoy this period and develop as an actress. At this point Madhubala became so ill that she could not accept any new films or even complete her existing assignments. In the biography by Khatija Akbar, her frequent co-star Dev Anand recalled: "She was so robust and full of life and energy. She was always laughing and enjoyed her work.

One could never conceive she was seriously ill. Then one day out of the blue she just disappeared...".

Her last released film Jwala, although filmed in the late 1950s, was not issued until 1971, two years after her death. Incidentally, apart from some Technicolor sequences in Mughal-e-Azam, Jwala is the only time Madhubala appeared in a colour film.

Madhubala's heart problem was discovered in 1950 after she frequently coughed up blood on the sets. She was born with a cardiac defect commonly known as a "hole in the heart". At the time, heart surgery was not widely available.

Her illness was kept a secret from the industry for many years, though one incident was widely reported by the film media in 1954. Madhubala was filming in Madras for S.S. Vassan's film Bahut Din Huwe. She became very ill and vomited blood on the set. Vassan and his wife were very hospitable and cared for her until she was well again. Madhubala was extremely grateful and as a result broke her own rule of never attending film premieres, even her own, by making an exception for Bahut Din Huwe (1954) and the following year, another Vassan production, Insaniyat (1955). The incident in Madras was down-played and soon forgotten, enabling Madhubala to continue working and to establish herself as an A-grade star.

In 1960, Madhubala sought treatment in London as her condition deteriorated. Complicated heart surgery was in its infancy and offered her some hope of a cure. After an examination the doctors there refused to operate, convinced her chances of surviving the procedure were minimal[citation needed]. Their advice was that she should rest and avoid overexertion, and predicted that she could live for another year. Knowing her death was imminent, Madhubala returned to India, but defied the predictions by living for another 9 years.

In 1966, with a slight improvement in her health, Madhubala tried working again opposite Raj Kapoor in the film Chalack. Film media heralded her "comeback" with much fanfare and publicity. Stills from this time showed a still beautiful but pale and wan-looking Madhubala. However, within a few days of filming, her frail health caused her to collapse and the film remained incomplete and unreleased.

When acting was clearly no longer an option, Madhubala turned her attention to film making. In 1969 she was set to make her directorial debut with a film named Farz aur Ishq. However the film was never made, as during the pre production stages, Madhubala finally succumbed to her illness and died on February 23rd, 1969, shortly after her 36th birthday. She was buried at Santa Cruz Cemetery by her family and husband Kishore Kumar.

In her short life, Madhubala made over 70 films. She is often compared with Marilyn Monroe and has a similar position in Indian film history. Perhaps because she died before being relegated to supporting or character roles, to this day Madhubala remains one of the most enduring and celebrated legends of Indian cinema. Her continuing appeal to film fans was underlined in a 1990 poll conducted by Movie magazine, when Madhubala was voted the most popular Hindi actress of all time, garnering 58% of the votes.

I consider her similar to Geeta Bali in this manner who also died as early as 35 and did similar number of movies. Both were known for their beauty, acting and energy.

Why Dilip Kumar never married Madhubala::Bollywood Vintage love

the gorgeous Madhubala was immortalised when the Indian government released a stamp in her name. We spoke to her youngest sister, Madhur Bhushan, who gave us a closer insight into Madhubala's life, her romance with Dilip Kumar, her unhappy marriage to Kishore kumar, and her illness. Madhur, whose real name is Zahida, is nine years younger than Madhubala. Out of 10 children, she is one of the four still alive. Over to Madhur:

On Madhubala's entry into films

My father, Ataullah Khan, was working in the Imperial Tobacco Company in Peshawar, Pakistan, when he lost his job and decided to come to Mumbai. Madhubala was seven at that time. Her real name was Mumtaz Begum. We called her Mazliappa, as she was the fifth child. My father started looking for a job. He also took Madhubala to film studios. She got work in Basant (1942) at the age of nine.

The leading lady's name was Mumtaz Shanti, so Madhubala was called Baby Mumtaz, when she was a child actress. She got her first break in Kirdar Sharma's Neel Kamal. Kirdar's wife was supposed to play the lead role but she passed away. As Madhubala knew the dialogues, she became a heroine at the age of 13. From this film onwards, she was credited as Madhubala. The film did not do well, but her work was appreciated. Madhubala shot to fame in 1949 with Mahal. She was 16. At that time, no one realised that she was sick, not even my father. Madhubala was a healthy child, and very bubbly.

'Madhubala was not ready to believe that she was sick' On Madhubala's illness

Madhubala first vomited blood when she was in Chennai shooting for S S Vassan's Bahut Din Huwe (1954). She was treated, and she resumed shooting. Nobody thought she was sick until she fainted on J K Nanda's sets while shooting with Raj Kapoor on Chalack (1957). The film never got completed. That's when the doctor said that she had a hole in her heart. She was 24 then. She was advised bed rest for three months, but after a month of rest, Madhubala resumed work. Looking at her, one would not say that she was sick. She, herself, was not ready to believe that she was sick.

Her last film was Mughal-E-Azam, which released in 1960. People think that she worked after that too, but that's not true. She had completed all her films in the 10 years that it took for Mughal-E-Azam to be made. Some movies released after she was bedridden but she was in no condition to work after Mughal-E-Azam. In fact, in some of the scenes, you will notice that she looks pale and sick.

'Madhubala's father never allowed her to attend movie premieres' On her family

People say that my family knew she was ill but we did not treat her; that we hid this fact from producers to get work. But there was no technology back then to check whether she had a hole in a heart, so how would any of us know? We came to know only in 1957. After three years, she went to London for treatment. But it was too late. Madhubala died after nine years.

Everybody blamed my father. But he was protective about his daughters since his sons had died at the ages of five and six. He was an uneducated man but he was like Madhubala's manager. He took care of her work but never interfered on what films she should take up. He never allowed Madhubala to attend movie premieres because he felt overexposure would kill her career. He always wanted fans to crave for her.

In the picture: Bharat Bhushan and Madhubala in a still from Barsaat Ki Raat.

'She loved Dilipsaab till the day she died' On her romance with Dilip Kumar

The reason Madhubala broke up with Dilip Kumar was B R Chopra's film Naya Daur, not my father. Madhubala had shot a part of the film when the makers decided to go for an outdoor shoot to Gwalior. The place was known for dacoits, so my father asked them to change the location. They disagreed because they wanted a hilly terrain. So my father asked her to quit the film. He was ready to pay the deficit.

Chopra asked Dilip Kumar for help. Dilipsaab and Madhubala were engaged then. Dilipsaab tried to mediate but Madhubala refused to disobey her father. Chopra's production filed a case against her, which went on for a year. But this did not spoil their relationship. Dilipsaab told her to forget movies and get married to him. She said she would marry him, provided he apologised to her father. He refused, so Madhubala left him. That one 'sorry' could have changed her life. She loved Dilipsaab till the day she died.

'Kishore Kumar was not a good husband' On Madhubala's marriage to Kishore Kumar When Madhubala fell sick and was planning to go to London for treatment, Kishore Kumar proposed marriage. My father wanted her to wait and get a clean chit from the London doctors first. But Madhubala married Kishore Kumar out of stubbornness, and anger towards Dilipsaab. They got married in 1960. She was 27 years old.

Once the doctor gave his verdict -- that she would not live for long -- Kishorebhai brought her a house in Mumbai's Carter Road and dumped her there alone, with a nurse and a driver. He would come once in about four months to see her. He did not take her phone calls. Kishorebhai was madly in love with Madhubala but once she returned from London, he dumped her. He was not a good husband.

Madhubala was very depressed because no one came to meet her. Once upon a time, she was hot property in the industry. But when she was bedridden and dying, not a single person met her. Also, she could no longer dress up. She was in night gowns most of the time. She died at the age of 36.

Madhubala the indian icon

When she was a success, she was referred as the Venus Queen but when she was unsuccessful, she was called box office poison.

Later in her teenage years Devika Rani renamed her Madhubala

. In 1949 the movie which made her box office success was Mahal, at the age of sixteen Madhubala became a star.

On the sets of Tarana, Madhubala met and fell in love with co star Dilip Kumar. Madhubala sent a rose with a note to Dilip Kumar dressing room telling him to accept it if he loved her. Dilip Kumar quite amused with the gesture accepted the rose, unaware that Madhubala had already done this with another co star on the sets of her film Badal. At the time Madhubala was young and nave and was easily falling in love with her co-stars or directors, namely Kamal Amrohi the director of Mahal. However Madhubala was madly in love with Dilip Kumar, she had become so smitten by him that she totally forgot about her other love interests.

Unfortunately for Madhubala, Dilip Kumar and Premnath her co star in Badal worked in a film together and they learnt of Madhubala deception. Premnath quickly stepped away from the relationship giving Dilip Kumar and Madhubala a chance to continue their courtship. Dilip Kumar and Madhubala had a seven year courtship and in the time they made four movies together including the unforgettable Mughal E Azam. Their relationship ended abruptly when Madhubala father refused for Madhubala to go to outdoor shooting for the movie Naya Daur. The director therefore dropped Madhubala and asked another actress to take the role.

Madhubala father became angry that his daughter had suddenly gotten kicked off the movie that he threatened to sue the director, the director then counter sued and the matter ended up in court where Dilip Kumar testified against Madhubala. In court when being questioned Dilip Kumar declared his love for Madhubala.

Including the court case and other matters Dilip Kumar and Madhubala relationship ended abruptly. There was also the matter of Madhubala father, the possessive and arrogant man didn't want Madhubala to get married to Dilip Kumar as she was a sole earner of the family and if she left, she would take her income with her.

Even though their relationship had ended they still had to work together as Mughal E- Azam wasn't completed yet. In the period they worked together in Mughal E- Azam Dilip Kumar did not utter a word to Madhubala and the only words he said to her was the words of Salim. There was scene in the movie were Salim slapped Anarkali across the face, Dilip Kumar did this with such force that tears came to Madhubala eyes. Madhubala couldn't cope and put all her sorrows into the movie, Madhubala had now become like her character Anarkali, the father separating the two lovers but in this case it was Madhubala father playing Akbar and not letting his daughter seek happiness.

Whilst making Jhumroo and Chalti ka naam ghadi Madhubala met Kishore Kumar her future husband. Madhubala was proposed by three men, but she chose to marry Kishore Kumar an already married man. Madhubala chose to marry Kishore Kumar because she met him on the rebound from her break up from Dilip Kumar. Kishore Kumar was breath of fresh air after the bitter relationship with Dilip Kumar. After Kishore Kumar divorced his first wife in 1958 he married Madhubala, Kishore Kumar converted to Islam. Kishore Kumar parents weren't too happy about the marriage and refused to accept Madhubala as a daughter in law.

To please them, Madhubala and Kishore Kumar had Hindu wedding ceremony but to no avail, they were still stubborn.

Kishore Kumar loved Madhubala but he was not a decent husband, Kishore Kumar married Madhubala because he thought she could help him financially. The only reason Kishore Kumar signed Chalti Ka naam Ghadi because he thought it would flop at the box office and he would be relieved from paying tax. At the time of their marriage Kishore Kumar wasn't financially secure and wished Madhubala would help him out. Of course Madhubala only used her money on her family and didn't help Kishore Kumar but after the success of Chalti ka naam ghadi Kishore Kumar didn't need any money of Madhubala.

In 1960 Mughal E Azam was finally finished, after working on it for ten years Madhubala finally completed the five hour movie which had become a classic in the Indian cinema. Even though she portrayed the tragedian Anarkali with such convection Madhubala didn't receive the filmfare award that she deserved.

By the 1960 Madhubala's health had deteriorated and she had to step down from making any more movies of course she had the odd releases in the 60's but they were mostly old movies that were finally released. Such movies as half ticket with Kishore Kumar, Sharabi and passport and her last movie was Jwala with Sunil dutt, this was the only colour movie that she made in her lifetime. Well Mughal E Azam was coloured after she had gone.

In her last days on this earth Madhubala was confined to her bed, she had odd visits from friends and family's but no one wanted to know about her anymore. When she was famous and in the lime time, everyone was falling to her feet but when she was dying no one was there not even her husband.

Madhubala tried making a comeback in a movie with Raj Kapoor but on the very first day she collapsed on the set and the movie was shelved. She also tried filmmaking but she never had the chance to fulfil her desire. Madhubala died on the 23rd of February 1969 on a Sunday morning nine days after her 36th birthday. The day before her death Madhubala expressed her feelings to see Dilip Kumar but he did not come. Madhubala was buried at Santacruz burial ground with her diary, Dilip Kumar did not attend the funeral, and it is not known if he was invited.

Madhubala has more fans now then she did when she was alive, from old people who remember watching her movies when they were young and youngster who after watching Mughal E Azam have become fascinated with the beautiful Anarkali and the actress Madhubala. Her young fans are dedicating videos on utube and making tribute videos in her memory. Madhubala has more video dedicated to her on utube then any thespian in the movie industry. Just recently on 18th March 2008 a stamp was produced by the Indian post featuring pictures of Madhubala, the only actors to be given this honour was Nargis, Guru Dutt and Kishore Kumar.

Madhubala will remain an icon around the globe for many years to come, as she is gaining fans everyday. After the re- release of Mughal E Azam in colour youngster were able to appreciate Madhubala in colour and become mesmerised in her beauty and talent. None of the actress today compare to Madhubala and the only other actress that could be closely compared to her is Madhuri Dixit and yet Madhuri Dixit still misses something.

May she rest in peace, the wonderful, talented, beautiful and the one and only Madhubala.

http://www.iloveindia.com/indian-heroes/madhubala.html

http://www.imdb.com/name/nm0534870/bio

http://www.imdb.com/name/nm0534870/

http://www.4to40.com/legends/index.asp?id=838

http://en.wikipedia.org/wiki/Madhubala

http://www.bollymood.com/biography/madhubala/

http://www.helium.com/items/1133698-madhubala

SARASWATI RANE

SARASWATI RANE as Sakina [Chhotutai] was born in Miraj (October 1916). Sakina was the youngest daughter of the legendary maestro of the Kirana gharana, Ustad Abdul Karim Khan Sahib and Smt. Tarabai Mane. After separating from Karim Khan, Tarabai renamed all her children and Sakina became Kumari Saraswati Mane. The surname "Mane" was derived from her mother's surname. Saraswati was initiated into music by her illustrious brother Sureshbabu Mane. After about 1930, she also learnt from her sister Smt. Hirabai Barodekar, Ustad Nathan Khan (1889-1946) of the Jaipur gharana and Prof. B. R. Deodhar of the Gwalior gharana.

Working on stage in her mother's 'Nutan Sangeet Natak Mandali', with luminaries like Bal Gandharva, Master Krishnarao, Vinayakbuwa Patwardhan, Sawai Gandharva and Meenakshi Shirodkar, musicals like 'Soubhadra', 'Sanchaya Kollol' and 'Ekacha Pyala' brought her fame. Between 1929 and
1933 she cut several discs with the ‘Odeon’ label under the name of Kumari Saraswati Mane, rendering Hindi Bhajans and Marathi Bhavgeet.

In the meantime, she married Mr. Sunderrao Rane. In the early 1940's, she made recordings as a playback singer for movies such as 'Paisa Bolto Aahe' (Marathi, 1943). She also acted in a Marathi film 'Savitri', and later took to playback singing for Marathi and Hindi films. She provided playback to over 50 films. She sang in almost all the films produced by Acharya P. K. Atre. Her song 'Beena madhur madhur vacha bol' in raga Bhimpalas from the Hindi/Marathi film 'Ram Rajya' (Prakash Films) was most popular. Her songs were heard all over North India. Younger listeners will probably remember her rendering Raga Shudh Kalyan with her grand daughter Shrimati Meena Faterpekar in the movie 'Bhumika', directed by the renowned director Shyam Benegal.

Saraswati Rane cut over 200 songs on 78 rpm discs consisting of classical, light classical and film songs. She was probably one of the pioneering female playback singers of the Indian film industry.

However, in order to concentrate on the performance of Hindustani classical music, at one point in time she virtually stop accepting offers for playback singing. By then, she was a regular performer for All India Radio, and had also made several gramophone records with 'Odeon', 'His Master's Voice', 'Columbia', and 'Young India' records, apart from her countrywide concert tours. Her renderings of Ragas Chandrakauns, Basant Bahar, Yaman and the immortal Marathi numbers 'Ghanashyam Nayani Aalaa', 'Jaa Ghevuni Sandesh Pakhara', the duets with her sister Hirabai Barodekar remain ever-popular. She also had the honour of singing the Maharashtra Geet on the very first Maharashtra Day, the 1st of May, along with her sister. She has also recorded a LP record of duet with her sister Heerabai Barodekar in 1960. She received several awards including the prestigious ITC Award 2006, presented at the ITC Sangeet Sammelan in Delhi.

She was very active in music circles and used to attend music programs and functions. She attended the Hirabai Barodekar birth centenary program at Sharada Sangeet Vidyalaya, Bandra in May 2006. She participated in this function and sang raga Todi. Smt. Saraswatibai Rane, the last living member of Ustad Abdul Karim Khan’s family passed away at Pune on Tuesday October 10, 2006.

Member Rashmi Mehta

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Admin.

respected sir,

will reply in all biography

just give me 2 days plz

as i had collected all informations from many links

thanking u sir.

Nusrat Fateh Ali Khan

Nusrat Fateh Ali Khan (Urdu: �†صرت �تح ع�„�‰ خاں, October 13, 1948 �€“ August 16, 1997), was a Pakistani musician, primarily a singer of Qawwali, the devotional music of the Sufis (a mystical tradition within Islam). He featured in Time magazine's 2006 list of 'Asian Heroes'. Among other honorary titles bestowed upon him, Nusrat was called Shahenshah-e-Qawwali, meaning The Emperor of Qawwali.


Date of Birth 13 October 1948, Lyallpur, Faisalabad, Punjab, Pakistan

Died August 16, 1997 (aged 48) London, England, UK (cardiac arrest)

Genre(s) Qawwali, Ghazal

Occupation(s) Singer

Instrument(s) Harmonium Tabla Vocals

Representative Albums: "Devotional Songs," "Shahbaaz," "Greatest Hits of Nusrat Fateh Ali Khan"

Representative Songs: "Mustt Mustt," "Haq Ali Ali Haq," "My Heart, My Life"

Years active 1965-1997

Holds the world's record (verified by the Guinness Book of World Records) for the biggest recording output by a Qawwali artist (a total of 125 albums of recorded music).

Brother of Farrukh Fateh Ali Khan and uncle of Rahat Ali Khan.

Considered one of the greatest singers ever recorded. He possessed a six-octave vocal range and could perform at a high-level of intensity for several hours.

His family have been musicans and singers of Qawwali (Islamic devotional music) for six centuries. Nusrat's father, himself a singer, died in 1964 when Nusrat was about 16. His father had wanted his son to become a doctor because Qawwali is a very challenging style to learn. Ten days after his father's death, Nusrat had a dream where his father came to him and told him to sing, touching his throat. Nusrat woke up singing, and gave his first public performance at his father's funeral ceremony forty days later.

Category World Music DVDs, Music Video Movies, Pop Music Videos Videos, Live Performances, Live Concerts, World, India/Pakistan

Composer Nusrat Fateh Ali Khan


Without doubt, the most important qawwal is Nusrat Fateh Ali Khan & Party; "party" being a generic term for a qawwali ensemble. Between 1973 and 1993, his recorded output could only be described as prodigious, with more than 50 albums to his ... Full Descriptionname on numerous Pakistani, British, American, European and Japanese labels. This concert was recorded at the height of Khan's career and fully displays his vocal mastery and tremendous power in performance.

Qawwali is the vibrant music of Sufi tradition that has been practiced for over 700 years, and Nusrat Fateh Ali Khan's family has performed it for over 600 of those. The artist is the most prolific and popular contemporary practitioner of the form, and he is shown here in concert at the peak of his career.

Nusrat Fateh Ali Khan was born on October 13, 1948 in the city of Faisalabad, Pakistan. He was the fifth child and first son of Ustad Fateh Ali Khan, a distinguished and legendary musicologist, vocalist, instrumentalist, and Qawwal. Nusrat's family, which included his four older sisters and his younger brother, Farrukh Fateh Ali Khan grew in central Lyallpur, in a small flat which was rented from a local businessman.

Qawwali is a performance art that has traditionally been passed down within families. Nusrat's family has an unbroken tradition of performing Qawwali for approximately 600 years[citation needed]. Nusrat's father was initially reluctant to allow him to enter the family business, instead hoping his son would become a doctor or an engineer, having felt Qawwals had a low social status. However, Nusrat's enthusiasm for Qawwali eventually persuaded his father to train him in the art. Nusrat began by learning to play tabla alongside his father before progressing to learn Raag Vidya and Bolbandish. He then went on to learn to sing within the classical framework of khayal in the Qawwal Bachchon Ka Gharana and was taught dhrupad from the Dagar family.

As a young qawwal, Khan learned his art in the traditional manner, through his family. His father, Ustad Fateh Ali Khan, as well as his uncles, were qawwalis, and they trained Khan in the family tradition of singing in a high register. Khan also received instruction on the tabla, a small hand drum.Khan's training with his father was cut short when his father died in 1964, leaving Nusrat's paternal uncles, Ustad Mubarak Ali Khan and Ustad Salamat Ali Khan, to complete his training.

His first performance was at a traditional graveside ceremony for his father, known as chehlum, which took place forty days after his father's death. In 1971, after the death of Ustad Mubarak Ali Khan, Nusrat became the official leader of the family Qawwali party and the party became known as Nusrat Fateh Ali Khan, Mujahid Mubarak Ali Khan & Party. Nusrat assumed leadership of the party, despite the fact that Mujahid Mubarak Ali Khan, who was Ustad Mubarak Ali Khan's son, was considerably older than him.

Nusrat's first public performance as the leader of the Qawwali party was at a studio recording broadcast as part of an annual music festival organised by Radio Pakistan, known as Jashn-e-Baharan. Nusrat went on to distinguish himself from other Qawwals and became renowned on the Indian subcontinent and in the Muslim world. He sang mainly in Urdu and Punjabi and occasionally in Persian, Brajbhasha and Hindi. His first major hit in Pakistan was the song Haq Ali Ali, which was performed in a traditional style and with traditional instrumentation. The song featured restrained use of Nusrat's sargam improvisations and attracted a large number of listeners.

Early in his career, Nusrat was signed up by Oriental Star Agencies [OSA] of Birmingham UK to their Star Cassette Label. OSA sponsored regular concert tours by Nusrat to the U.K. from the early '80s onwards, and released much of this live material (albeit not always very well recorded) on cassette, CD, videotape and DVD.

The vast majority of Nusrat's qawwali performances that are available today in video format on various labels comes from these OSA-sponsored concert tours.

Nusrat Fateh Ali Khan, internationally recognized for his mastery of a form of Islamic devotional music known as qawwali (pronounced kah-wah-lee), first gained significant attention in the United States in 1989 when he performed at the Brooklyn Academy of Music's Next Wave Festival. Prior to that, the Sabri Brothers had been the United States' significant import of traditional Pakistani music, appearing in the United States during the mid-1970s. Three years after Khan's first U.S. appearance, the singer would spend a year as artist in residence at the University of Washington's music department.

New York Times music critic Jon Pareles places qawwali in an ecstatic musical tradition alongside American gospel, Moroccan joujouka, and even techno music, which tends to create emotional highs through simple melodies and driving beats, gathering "intensity through repetition and improvisational flights." Qawwali is believed to have originated among the Chisti order of Sufis in the tenth century.

Khan's large, almost Buddha-esque body often moves in rapid motion to his music's emotional peaks; his hands jab outward, brushing, as if carving the images of divine spirit from the air. His rapt audience--at least those of Pakistani background, who comprise the greater portion of his listeners--follows with fevered shouts and dancing, afterwards gathering below the stage to shower their beloved singer with money and flowers. Khan seems to almost goad his listeners into musical intoxication, pleading in fierce cries, imitating the rhythmic insistence of the drums, and calling back and forth with other singers in his "party," the favored term for the other singers (qawwalis) and instrumentalists who sit in a group on the stage with the lead qawwal.

The World Music Institute, located in New York City, has been a chief promoter of Khan's work in the West, along with many other important nonwestern folk and classical musicians. For example, in 1993 Khan opened and closed a five-hour "Masters of India and Pakistan" concert that featured music of his region, Hindustani, as well as the work of performers from southern Pakisan.

sing through the whole day or night in religious celebration. "When I had the stamina, I'd sing for 10 hours," he once recalled. But, by age 45, the singer found himself limited to sessions of three or four hours. These shrines, or dargahs, are generally the tombs-- symbolic or otherwise--of saints where the faithful enter musically induced, trance-like states allowing communion with God. Traditionally, qawwalis sat opposite the saint's tomb. In the intervening space would be the audience in a circle formation, and in its center a spiritual leader surrounded by prominent devotees. Such sites are the true home of qawwali, although the music has also been performed at important events such as weddings feasts.

In his introduction to the program for Khan's 1993 World Music Institute performance, Robert Browning wrote, "The qawwal will dwell on certain words ... creating great depth in the apparently simple language of certain Sufi texts. He will often repeat a phrase or sentence indicating both the obvious and hidden content by emphasizing or ruminating upon particular words and syllables ... [so that, for example] a spinning wheel becomes the wheel of life." Qawwali texts are most commonly medieval Persian Sufi poetry, and Khan, like other qawwalis, learns each poem by heart. Although the verses are available in books, it is the manner of performing each text that must be learned from another qawwal. Thus, the music is basically an oral tradition.

Browning stated that "rarely is a complete poem recited--rather the singer will join segments from different poems or add lines from another text." This free association from memorized poems is done to emphasize a certain meaning, or to try a new direction in the effort to move the audience to spiritual awakening. The qawwal must exhibit great sensitivity in noting when a listener is moved to divine ecstasy, and must repeat the same phrase over and over; according to Sufi belief, interruption would threaten the ecstatic with death.

Often, qawwali poetry's apparent subject is romantic love, or even wine intoxication--though liquor is shunned by Islam. These are symbolic subjects, however: romantic love serves as an allegory and facet of divine love, while intoxication refers to the joyous trance induced by qawwali. The oft mentioned "tavern," as in the famous Persian poem "In the Tavern of Ruin," refers to one's spiritual master who houses God's love.

The melodic sources for performing qawwali poems are usually set by trdition. The tunes are North Indian in nature, meaning the octave has seven degrees and the various scales come from light classical ragas. Ragas are a traditional form of Hindu music, calling for improvisation on a theme evoking religious belief, the improvisation generally following prescribed patterns and progressions. Modern qawwali represents a spectrum of influences and geographic territories.

Generally associated with the Sufi religion, qawwali also has Hindu, Sikh, and Muslim followers. Currently, Urdu is the music's "first language," as Ken Hunt noted in his profile of Khan for Folk Roots. However, qawwalis also sing in Hindi, Sindhi, Punjabi, and classical Persian, not to mention local tongues. The literary sources of qawwali range too, though texts are chiefly medieval Persian Sufi poetry. The program for Khan's 1993 tour included, for example, a thirteenth-century Persian poem by the famed Amir Khusrau.


In his article for Folk Roots, Hunt described the scowl that comes over Khan's face when discussing the depiction of qawwali in films. For several years a debased form of qawwali has formed the soundtrack of many movies generated by a prolific Indian film industry. Khan understandably decries this long-standing commercialization of a sacred art form.

Yet, as an artist himself, Khan has embraced nontraditional elements since his 1989 U.S. visit. Western instruments and such big-name musicians as Jan Garbarek and Peter Gabriel have strongly influenced Khan's output in recent years. This Western flavor is evident in the singer's recording Mustt Mustt and numerous remixes, including those by Bally Sagoo in Magic Touch.

Khan defends such breaks with tradition as "experiments" and seems to feel that attracting an audience is important to make people aware of qawwali. The pressures on this revered singer to widen his audience echo those placed on performers of any type of traditional folk music. The artist is pulled in two directions: As a traditionalist, he is entrusted with preserving the music's form, and yet as a musician, he feels the need to discover new forms of self-expression. Noting that many qawwalis have abandoned shrine performance for financial reasons, Khan has expressed that he cannot forego his spiritual and personal links to such sites. Each year, he returns to perform at two dargahs, one in Lahore and one in Pak Patan.

Khan has made numerous recordings over the years, with titles now numbering more than 100. While his works of the early 1990s disappoint some fans of the traditional sound who find in the modern output a weakening of musical and spiritual integrity, such early classical recordings as En Concert a Paris and Traditional Sufi Qawwalis Volumes 1 and 2 form a timeless buffer against loss of the past.

Nusrat reached out to Western audiences through his work with Peter Gabriel on the soundtrack to The Last Temptation of Christ in 1985, his collaborations with Canadian musician Michael Brook (on the albums Mustt Mustt (1990) and Night Song (1996) and his work with Pearl Jam lead singer Eddie Vedder in 1995 on two songs for the soundtrack to Dead Man Walking. He also contributed to the soundtrack of Natural Born Killers. Nusrat was unhappy with the use of his vocals on the Natural Born Killers soundtrack, stating that the nature of the film was contrary to the beliefs and the ideals conveyed in his work.

Peter Gabriel's Real World label later released five albums of Nusrat's traditional Qawwali, together with some of his experimental work which included the albums Mustt Mustt and Star Rise. Nusrat provided vocals for The Prayer Cycle, which was put together by Jonathan Elias, but died before the vocals could be completed. Alanis Morissette was brought in to sing with his unfinished vocals. He also performed traditional Qawwali before international audiences at several WOMAD world music festivals and the single Dam Mast Qalandar was remixed by electronic trip hop group Massive Attack in 1998.

His album Intoxicated Spirit was nominated for a Grammy award in 1997 for best traditional folk album.

When Nusrat toured in foreign countries, he would watch television commercials in order to identify the melodies and chord progressions popular in that country. He would then try to choose similar sounding songs from his repertoire for his performances.[citation needed] After his death, the song "Solemn Prayer", on which Nusrat provided vocals, was used by Peter Gabriel on his album Up and in the soundtrack to the film Blood Diamond.

Nusrat contributed songs to, and performed in, several Pakistani films. Shortly before his death, he recorded a song each for two Bollywood films, Aur Pyaar Ho Gaya (in which he also appeared) and Kachche Dhaage. He also sang the immensely-popular title song of the film, Dhadkan. There was also a song sung by him in the movie Kartoos, starting Sanjay Dutt and Manisha Koirola

Nusrat contributed the song 'Gurus of Peace' to the album 'Vande Mataram', composed by Oscar-winning composer A.R. Rahman, and released to celebrate the 50th anniversary of India's independence.

According to the Guinness Book of World Records, Nusrat Fateh Ali Khan holds the world record for the largest recorded output by a Qawwali artist�€�a total of 125 albums as of 2001. Since then, many posthumous albums have been released, but an accurate count of the total number of albums is not available.

Nusrat was taken ill with kidney and liver failure on August 11, 1997 in London, England while on the way to Los Angeles in order to receive a kidney transplant. Nusrat died of a sudden cardiac arrest at Cromwell Hospital, London, on Saturday, August 16, 1997, aged 48, at the height of his career. His body was returned to Faisalabad, Pakistan and his funeral was attended by thousands of people.

Nusrat's style of Qawwali

Nusrat is responsible for the modern evolution of Qawwali. Though not the first to do so, he popularized the blending of khayal singing and techniques with Qawwali. This, in short, took the form of improvised solos during the songs using the sargam technique, in which the performer sings the names of the notes he is singing. He also attempted to blend Qawwali music with more western styles such as electronic music.

Nusrat's Qawwali usually follows the standard form. A song begins with a short instrumental prelude played on the harmonium, accompanied by percussion. Then the instruments refrain, and the main singers launch into the alap, which establishes the raag, the tonal structure of the music. At this point, introductory poetic verses are sung. These are usually drawn not from the main song, but from thematically related songs. The melody is improvised within the structure of the raag.

After the introductory verses, the main song starts, and the rhythmic portion of the song begins. The tabla and dholak begin to play, and the chorus aids and abets percussion by clapping their hands. The song proceeds in a "call and response" format. The same song may be sung quite differently by different groups. The lyrics will be essentially the same, but the melody can differ depending on which gharana or lineage the group belongs to. As is traditional in Qawwali, Nusrat and the side-singers will interject alap solos, and fragments of other poems or even improvised lyrics. A song usually has two or three sets of refrains, which can be compared to the verse chorus structure found in western music. Songs last about twenty minutes on average, with a few lasting an hour or more.

Nusrat was noted for introducing other forms of improvisation into the style. From his classical music training, he would interject much more complex alap improvisations, with more vibrato and note bending. He would also interject sargam improvisations.

While it is undoubtedly difficult to put into words what makes Nusrat's music so deeply appealing to so many listeners, many of whom do not understand a single word of the languages he sings in, here is one fan's attempt to explain: "Nusrat's music invites us to eavesdrop on a man communing with his God, ever so eloquently. He makes the act of singing a passionate offering to God. But we do not merely eavesdrop. The deepest part of Nusrat's magic lies in the fact that he is able to bring our hearts to resonate with the music, so deeply, that we ourselves become full partners in that offering. He sings to God, and by listening, we also sing to God".

Without doubt the most important qawwal is Nusrat Fateh Ali Khan & Party -- "Party" is a generic term for a qawwali ensemble but is also used in Sikhism and to describe some classical music ensembles, for example, shehnai maestro Bismillah Khan & Party. Dubbed Shahen-Shah-e-Qawwali (the Brightest Star in Qawwali), he was born on October 13, 1948, in Lyallpur in the Punjab Province of Pakistan. He made his first recording in 1973 in Pakistan and a number of early EMI (Pakistan) albums jointly billed him with his uncle Mubarak Ali Khan. Since these mainly cassette albums were invariably undated and numerous, it is difficult to place them in any more accurate chronological sequence than catalog-number order. Between 1973 and 1993 his recorded output could only be described as prodigious, with more than 50 album releases to his name on numerous Pakistani, British, American, European and Japanese labels. Heavily over-recorded, blighted with a rash of poppy remix albums or albums with Westernized instrumentation or arrangements, his recorded work is a mire to suck in the uninitiated and their money. Converts, however, do not escape scot-free. Although some releases hint at their nature with coded titles such as Volume 4 Punjabi (Oriental Star CD SR013) from 1990 or Ghazals Urdu (Oriental Star CD SR055) from 1992, the chosen language and style is frequently a matter of conjecture or uncertainty. While the Western market is saturated with his work, the Indian market is supersaturated, and his recorded output is in danger of overwhelming any sense of taste.

Real World was the label largely responsible for Khan's breakthrough into a non-Indian audience. It was their marketing skills and the platform provided by the WOMAD organization which introduced him to Westerners. Mustt Mustt (Real World CD RW 15) released in 1990 was a deliberate attempt to target the white market with its non-traditional arrangements, yet it seems positively cherubic beside later abominations. "All these albums are experiments," he told me in 1993. "There are some people who do not understand at all but just like my voice. I add new lyrics and modern instruments to attract the audience. This has been very successful." Success, however, bred indifference to the virtues and values of the original music. Many find the remix albums, the Western and youth-market releases, a source of despair: buyer beware remains the watchword. When singing his traditional work he remains peerless. Many fans regret the dilution of his talent that has occurred with his "experiments." However, in 1994, reportedly tired of unauthorized releases, he took greater control of both his business affairs and his concert and recording activities. With his international renown at an all-time peak, Khan died on August 16, 1997; a seemingly endless procession of posthumous releases appeared in the years to follow.



Nusrat Fateh Ali Khan�€™s first ever biography launched
May 29th, 2008 - 1:59 pm ICT by admin - Send to a friend:

Islamabad , May 29 (ANI): Qawwali Emperor Nusrat Fateh Ali Khans first ever biography was released here by Dr Pierre Alain Baud, a researcher and journalist.

The function organized to present the biography comprised of four presentations, depicting the life and work of late Nusrat Fateh Ali Khan, three short films and a 10-15 panels exhibition, reported the Daily Times

Dr Baud works towards spreading the artistic expressions of the �€œSufis of East�€� to the world, and has worked for many years on Nusrat Fateh Ali Khan, written several books, booklets and research articles on music of Pakistan and Sufism.

Late Nusrat was coined as the �€œQawwali Emperor�€� while his unique voice with rich lyrics of poetry brought ecstatic celebrations.

Speaking on the occasion, French Ambassador Regis de Belenet said that the presentation would revive the unmatched sounds of the voice of this singer that no proper metaphors or comparisons could ever describe the emotions felt by his worldwide audiences. He recalled that Nusrat�€™s first concert at Theatre de la ville in Paris , in autumn 1985 made him one of the best ambassadors of Pakistan and moreover a voice celebrated as a mean to bring people closer.

He appreciated Dr Pierre-Alain Baud for his passion for music and Sufism, which made him well known among the Sufi singers community in Pakistan . (ANI)


Folk Punjab
Punjabi Folk & Sufi Songs

Folk Song
Dhol Mahia Dhol Mahia

Baba Farid
Farida Turia Turia Ja

Folk Song
Heeray Ni Ranjha Jogi Ho Gaya

Folk Song
Ho Jaye Je Pyar Te Sona Bhul Janda

Folk Song
Jadon Da Tu Rus Gayon

Folk Song
Kina Sohna Teenon (Remix)

Folk Song
Kisay Da Yaar Na Vichray (Remix)

Folk Song
Koi Mera Dil Lay Gaya

Folk Song
Loey Loey Aaja Mahi

Shiv Kumar Batalvi
Maye Ni Maye Mere Geetan De Nainan Vich

Folk Song
Menon Teri Dewani Ve (Remix)

Folk Song
Menon Yaadan Terian

Bulleh Shah
Mera Piya Ghar Aaya

Folk Song
Ni Sayyo Asaan Naina De Akhay Lagay

Folk Song
Sanon Rog Laan Walia

Folk Song
Sari Sari Raat

Folk Song
Sun Chakrhay Di Mithi Mithi Kook

Folk Song
Tere Ishq Nachaya

Faiz Ahmad Faiz
Ve Pardesia

Folk Song
Yaadan Vichray Sajan Dian Aayin


Biba Sada Dil Morr Dey

Biba Sada Dil Morr Dey

Dam Mast Qalandar Mast

Dam Mast Qalandar Mast

Kinna Sohna Tenu Rab Ne Banaeya

Kinna Sohna Tenu Rab Ne Banaeya

Mian Muhammad Bakhsh
Saif ul Malook - 1 of 2

Saif ul Malook - 1 of 2

Mian Muhammad Bakhsh
Saif ul Malook - 2 of 2

Saif ul Malook - 2 of 2

Sanu Ik Pal Chain Naa Aavey

Sanu Ik Pal Chain Naa Aavey


Composition of Nusrat's Qawwali Party

The composition of Nusrat's party changed over the twenty-six years that he led the party. Listed below is a snapshot of the party, circa 1983:

1. Mujahid Mubarak Ali Khan: Nusrat's first cousin, vocals

2. Farrukh Fateh Ali Khan: Nusrat's brother, vocals and lead harmonium

3. Rehmat Ali: vocals and second harmonium

4. Maqsood Hussain: vocals

5. Rahat Nusrat Fateh Ali Khan: Nusrat's nephew & pupil, vocals

6. Dildar Hussain: percussion

7. Majawar Abbas: mandolin and guitar/chorus, handclapping

8. Mohammed Iqbal Naqvi: secretary of the party, chorus, handclapping

9. Asad Ali: chorus, handclapping Nusrat's cousin

10. Ghulam Farid: chorus, handclapping

11. Kaukab Ali: chorus, handclapping

TRIBUTES

The late American rock singer Jeff Buckley paid his tribute to Nusrat on the album, Live at Sin-é. In his introduction, he states, "Nusrat, he's my Elvis," before performing the song "Yeh Jo Halka Halka Saroor Hai." The recording generated interest among the audience who were previously unaware of his music. He also stated in an interview, "I idolize Nusrat, he's a god too." Buckley died in May 1997 in Memphis, Tennessee, 3 months before Nusrat. In addition, Nusrat's posthumously released The Supreme Collection Vol. 1 has liner notes written by Buckley, to whom this album is dedicated.

On his death, WBAI-NY in New York aired only his music for 25 hours non-stop.

Eddie Vedder said, "I was lucky to work with Nusrat, a true musician who won't be replaced in my life. There was definitely a spiritual element in his music." Eddie Vedder also incorporated 'Nusrat Fateh Ali Khan' into the lyrics of 'Wishlist' during the 98' Yield tour in Melbourne, Australia.

SPIN magazine listed Nusrat as one of the 50 most influential artists of music in 1998.

Paul Williams picked a concert performance by Nusrat for inclusion in his 2000 book The 20th Century's Greatest Hits: a "top-40" list, in which he devotes a chapter each to what he considers the top 40 artistic achievements of the 20th century in any field (including art, movies, music, fiction, non-fiction, science-fiction).

In 2004, a tribute band called Brooklyn Qawwali Party (formerly Brook's Qawwali Party) was formed in New York City by percussionist Brook Martinez to perform the music of Nusrat. The 13-piece group still performs mostly instrumental jazz versions of Nusrat's qawwalis, using the instruments conventionally associated with jazz rather than those associated with qawwali.

TIME magazine's issue of November 6, 2006, "60 Years of Asian Heroes", lists Nusrat as one of the top 12 Artists and Thinkers in the last 60 years.

The Red Hot Chili Peppers wrote a tribute song about Nusrat, called "Circle of the Noose". It has never been released.

The Derek Trucks Band released "Makki Madni" on their 2002 album Joyful Noise with Rahat Nusrat Fateh Ali Khan singing. In addition they released a studio recorded medley of "Sahib Teri Bandi/Maki Madni" on their 2006 album Songlines, in which Derek Trucks emulates Nusrat's vocals (from the album "The Last Prophet") with his slide guitar playing.

In 2007, London-based producer Gaudi released Dub Qawwali, featuring dub reggae with Nusrat's vocals.

In the British-Asian and South Asia his music was popularised by remixes by various artists the most prominent being Bally Sagoo. He also featured in a song with A.R. Rahman. He was relatively well known in the Far east especilaly in Japan where he was known as "Singing Buddha" plus "Quintessence of the Human singing" in Tunisia, "Voice of Paradise" in USA, "Pavarotti of the East" in France.

Nusrat has been an inspiration to many successful younger singers in India, Pakistan and the Middle East. The most notable among them is Kailash Kher, whose style has often been compared to Nusrat's.

Documentaries

Nusrat has Left the Building... But When? (1997). Directed by Farjad Nabi. (This 20-minute docudrama focuses on Nusrat's early career.)

A Voice from Heaven (1999). Directed by Giuseppe Asaro. (This 75-minute documentary, available on VHS and DVD, provides an excellent introduction to Nusrat's life and work.)

Concert films

The JVC Video Anthology of World Music and Dance (1990). Video 14 (of 30) (South Asia IV). Produced by Ichikawa Katsumori; directed by Nakagawa Kunikiko and Ichihashi Yuji; in collaboration with the National Museum of Ethnology, Osaka. [Tokyo]: JVC, Victor Company of Japan; Cambridge, Massachusetts: distributed by Rounder Records.

Features a studio performance by Nusrat Fateh Ali Khan and Party (two Urdu-language songs: a Hamd (song in praise of Allah), and a Manqabat for Khwaja Mu`inuddin Chishti, a 13th century Sufi saint. Filmed in Tokyo, Japan, September 20, 1987, for Asian Traditional Performing Arts).

Nusrat! Live at Meany (1998). Produced by the University of Washington. (87-minute document of a January 23, 1993 concert at Meany Hall, University of Washington in Seattle, during Nusrat's residency at the Ethnomusicology Program there.)

Live in Concert in the U.K. (DVD, vols. 1-17) [OSA]; recorded between 1983 and 1993; first thirteen listed below:

Live in Concert in UK (DVD vol. 1)

Live in Concert (DVD vol. 2)

Live in Concert (DVD vol. 3)

Live in UK (DVD vol. 4)

Live in UK (DVD vol. 5)

Live in Concert (DVD vol. 6)

Live in UK (DVD vol. 7)

Live in UK (DVD vol. 8)

Live in UK (DVD vol. 9)

Live in UK (DVD vol. 10)

Live in UK (DVD vol. 11)

Digbeth Birmingham 12 November 1983 (DVD vol. 12)

Digbeth 30 October 1983 (DVD vol. 13)

Akhiyan Udeek Diyan (DVD) [Nupur Audio]

Je Tun Rab Nu Manauna (DVD) [Nupur Audio]

Yaadan Vicchre Sajan Diyan Aayiyan (DVD) [Nupur Audio]

Rang-e-Nusrat (DVD, vols. 1-11) [Music Today]; recorded between 1983 and 1993 (same material as the OSA DVDs)

VHS videotapes, vols. 1-21 [OSA]; recorded between 1983 and 1993 (same material as the OSA DVDs)

Luxor Cinema Birmingham (VHS vol. 1, 1979)

Digbeth Birmingham (VHS vol. 2, 1983)

St. Francis Hall Birmingham (VHS vol. 3, 1983)

Royal Oak Birmingham (VHS vol. 4, 1983)

Private Mehfil (Wallace Lawley Centre, Lozells Birmingham, November 1983) (VHS vol. 5)

Private Mehfil (VHS vol. 6, 1983)

Natraj Cinema Leicester (VHS vol. 7, 1983)

Live In Southall (VHS vol. 8)

Live In Bradford (VHS vol. 9, 1983)

Live In Birmingham (VHS vol. 10, 1985)

Allah Ditta Hall (VHS vol. 11, 1985)

Nusrat in popular culture

A hero in the novel "Chapayev and Void" by Viktor Pelevin is listening to a tape by an imaginary band Crimson Jihad which is described as a duo of Nusrat Fateh Ali Khan and Robert Fripp from King Crimson.

In Mira Nair's movie Monsoon Wedding, in one scene when a car drives up to the wedding house, Nusrat's "Allah Hoo" is playing in the car.

HBO's Sex and the City had his rendition Tere Bin Nahin Lagda/Jaania in Episode 9 of Season 2

Natural Born Killers features some pieces by Nusrat Fateh Ali Khan, including "Allah, Mohammed, Char Yaar", as well as "Taboo" with Peter Gabriel. In documentaries, it is said that director Oliver Stone always had Nusrat's music playing on the set in between takes.

Bend It Like Beckham features Tere Bin Nahin Lagda/Jaania playing in the background several times during the movie.

In Shoaib Mansoor's film "Khuda Ke Liye", Nusrat is described as a talented Pakistani musician who introduced Qawwali to the West.


songs in hindi movies

lyrics - music director - singers - lyricist - movie - year - actors
1]baha na aansoo - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos -1999 [1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala, Gulsh

2]band lifaafa dil mera - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

3]dil pardesi - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

4]ek jawaani - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage
2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

5]ek sharaarat hone ko hai - Kavitha Krishnamurthy [+], Kumar Sanu [+] [duet,+] - Nusrat Fateh Ali Khan, Anu Malik [both] - Safdar Aah Sitapuri - Duplicate - 1998
[1990..1999] - Juhi Chawla, Shahrukh Khan

6]
gham hai ya khushi hai tu - Alka Yagnik [+] - Anu Malik, Nusrat Fateh Ali Khan [both] - Majrooh Sultanpuri - Kartoos - 1999-[1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

6]ishq da rutba - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos - 1999
[1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

7]khaali dil nahin - Alka Yagnik [+], Hans Raj Hans [+] [duet,+] - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

8]meri saanson mein basa hain tera hi ek naam - Udit Narayan [+] - Nusrat Fateh Ali Khan - Javed Akhtar - Aur Pyar Ho Gaya

9]o rabba - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos - 1999
[1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

10]oopar khuda - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000
[2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

11]pyaar nahin karna - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage -
2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

12]tere bin nahin jeena mar jaana dholna - Lata Mangeshkar [+] - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

13]tere bin nahin jeena mar jaana dholna - Sukhvinder Singh [+] - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

14]teri yaad - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos -1999
[1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

15]vallaah yeh ladki - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos - 1999 [1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

http://www.answers.com/topic/nusrat-fateh-ali-khan

http://www.earthmusic.net/hindi-film-songs.php?mdid[]=fak&mdmtype=plus

http://en.wikipedia.org/wiki/Nusrat_Fateh_Ali_Khan

http://www.thaindian.com/newsportal/india-...d_10054125.html

http://www.folkpunjab.com/nusrat-fateh-ali-khan/

http://www.apnaavenue.com/2009/biography-o...teh-ali-khan-2/

http://www.rollingstone.com/artists/nusrat...ikhan/biography

Ustad Nusrat Fateh Ali Khan a world-renowned Pakistani musician, was primarily a singer of Qawwali, the devotional music of the Sufis, a mystical offshoot of Islam. Ustad Nusrat is credited with taking this traditional musical art form to an international level and creating a new generation of Qawwali lovers both in Pakistan and around the world. Traditionally, Qawwali has been a family business. Nusrat�€™s family (originally from Afghanistan) has an unbroken tradition of performing qawwali for the last 600 years. Among other honorary titles bestowed upon him, Nusrat was called Shahenshah-e-Qawwali, meaning The Emperor of Qawwals.

Rashmi_mehta ji
You have made some nice efforts in collecting all this information. I guess because of non-visibility of your threads due to their awaiting moderation the information is slightly distributed.
To help you I am collecting your posts in this single thread for ready reference.
Keep up the good posts.
Also it should be possible for you to edit your posts to put in the sources.

8]Shaukat Dehelavi Naashad

This article is about Indian and Pakistani film musician Nashad, the MD of Baradari, etc. Visit the Indian film musician's page, Naushad Ali, the MD of Rattan, Mughal-e-Azam, etc.
Shaukat Dehlavi (1923-1981) was a music composer. He composed music for Hindi films in 1940s and 1950s, sometimes under names Nashad ('naashaad') or Shaukat Haidari.

Nashad was born as Shaukat Ali in Delhi, India, in 1923. He received his early academic education in a local high school in Delhi. He was drawn to music at a tender age. He learned to play flute and mastered it with astonishing rapidity.

His immense love of music took him to Bombay.

He put his name as Shaukat Dehelvi and made his music debut in 1947 action film ‘Dildaar’. Director: Shev Raj, Lyrics: C.M. Muneer, Cast: Sagina, Yashonat, Dev Radha and Deepak.

He put his name as Shaukat Husain to compose for the 1948 film ‘Jeenay do’. Banner: J. Hind Chitra, Director: A. F. Keka and Majeed, Cast: Monica Devi, Pana Laal, Haresh, Ratan Piya, Laila Gupta and Shanta Kanwar.

He put his name as Shaukat Ali to compose for the 1948 film ‘Payal’.

He put his name again as "Shaukat Dehelvi" to compose for 1948 film ‘Suhagi’.

In 1948, he also composed songs for film ‘Tutay taray’ as Shaukat Dehelvi. Released under the banner of Sheikh Mukhtar’s film production unit called ‘Omar Khayyam films’, Director: Haresh, Cast: Shamim Banu and Moti Laal. In this film, he composed Bahadur Shah Zafar’s ghazal ‘Na kisi ki Aankh ka noor hoon’.

In 1949, He composed music for actor-director Yaqoob’s movie, ‘Aiye’. Cast: Yaqoob and Silo Chena Cheterji.

In 1949, Nashad put his name as Shaukat Husain Haideri and composed songs for film ‘Dada’. Director: Haresh, released under the banner of ‘Omar Khayyam films’, Cast: Sheikh Mukhtar, Begum Para, Munawwar Sultana, Shayam, Murad, Mukhri, and Gullu. It was released in Jubilee cinema, Karachi.

In 1953, film director, Nakshab Jarachavi, changed Shaukat Ali’s name to Nashad. This name accompanied him for the rest of his life. Nashad composed for his 1953 movie ‘Naghma’, Cast: Nadira and Ashok Kumar.

His other films are: ‘Chaar Chaand’, cast: Sheyama and Saresh. Music, Nashad.

‘Darwaza’, director: Shahid Lateef, husband of writer Ismat Chughtai, cast: Sheyama and Chandar Shehkar. He introduced singer Sauman Kalyanpur for the first time in this film.

‘Subse Bada Rupaiya’, director: P. L. Santoshi, cast: Shashi Kala and Sundar, music: Nashad and O. P. Nayyar.

‘Shehzada’ (1955), director: Mohan Sehna, cast: Shela Ramani and Ajeet, music: Nashad and S. Mohinder.

‘Jawab’.

‘Baaradari, director: K. Amarnath, lyrics: Khumar Barabankvi, cast: Gita Bali, Ajeet, Chandrashehkar and Pran. This film had the songs ‘Bhula nahin dena ji bhula nahin dena, zamaana kharaab hai, bhula nahin dena’ by Shamshad Begum, and also ‘Tasveer banata hoon tasveer naheen banti’ by Talat Mehmood. Nashad himself sang a song in this film.

‘Aawara shehzadi’, Director, Pyarelal, cast: Meena Shori and Diljeet, music: Nashad and Jimmi.

‘Jallad’, cast: Veena, Munawwar Sultana and Nasir Khan.

‘Bada Bhai’, cast: Kaamni Koshal and Ajit.

‘Mehfil’, cast: Rehana and Diljeet.

‘Hathkari,’ cast: Shakila and Moti Laal.

‘Zindigi ya tufaan’ cast: Nautan and Perdeep Kumar.

‘Zara bachh kay’ cast: Nanda and Saresh.

‘Qatil’ cast: Chitra and Prem Nath.

‘Flight to Aasaam’, cast: Shakila and Ranjan.

‘Pyar ki dastaan’, cast: Anita Guha and Suresh Kumar.

‘Roop laikha’ cast: Wajeeh Chaudhari and Mahipal.

‘Maya mehel’ cast: Helen and Mahipal.

Nashad’s last film in India as a music composer was the 1962 film ‘Flying man’.

He migrated to Pakistan and debuted in Pakistan as a composer in the 1964 film ‘Maikhana’, director: Nakhshab Jarachavi, scriptwriter: Agha Nasir.

Nashad felt privileged to work with probably the two all-time greatest music composers of the Sub-continent, Master Ghulam Haider and Naushad. Additionally, Nashad coordinated with a group of instrumentalists and attained expertise in various musical instruments.

He married singer Premlata. His son, Wajid_Ali_Nashad, is also a music composer in Pakistan. His another son, Imran Ali Nashad, made his mark as a singer.

Nashad died in January 1981 at 58 years of age.

Sources
http://en.wikipedia.org/wiki/Nashad
http://instapedia.com/m/Nash_Aguas
http://instapedia.com/m/Naushad

Devika Rani Chaudhury

Born Devika Rani Chaudhury
March 30, 1908(1908-03-30)
Vishakhapatnam, British India
Died March 9, 1994 (aged 85)
Bangalore, India
Other name(s) The Dragon Lady
Years active 1925 - 1943 ( As An Actress)
Spouse(s) Himanshu Rai (1929 - 1940 His Death)
Svetoslav Roerich (1945 - 1993 His Death)


Popularly known as the First Lady of the Hindi screen. Devika Rani was the grand-daughter of Rabindra Nath Tagore's sister, Sukumari Devi, and the only Indian actress to have gathered rave reviews from the hard-nosed English press: " Devika Rani is one of the most delicately glamorous cinema stars we have ever seen" - Sunday Pictorial, London. "You will never hear a lovelier voice or diction,or see a lovelier face.Devika Rani is a singular beauty" - The Star, London. "Devika Rani is lovely, she puts the stereotyped charms of Hollywood blondes completely in the shade" - Daily Despatch, Manchester .

HER TURNOUT as an unlouchablc girl in 'Acchut Kanya , with those classic pencilled eye-brows, exotic beaded necklace rind the choli-style daringly knee-letiglh dress, became ihe defining image of the gaon ki gori. Bui in real life, she was Ihe cousin n male cosmopolitan woman of the world, brushing shoulders with legendary giants of the film universe, hobnobbing with European aristoc­racy and picking up a dress sense and personal Style that earned her ihe deserved sobriquet ol the 'Indian Marlene Dietrich', The daughter of an army officer, Colonel Choudhury, Devika Rani brought her father's military discipline and iron control to the burgeoning film industry. 1 ler success as a star and then the manager of Bombay Talkies enabled her to dominate the early years ol Indian .sound cinema. She clashed ferociously with stars such as Ashok Kumar, gaining a 'killer' reputation.

Devika Rani Roerich is not only one of the most colourful personalities of India, but the darling of film fans of more than two generations. She is a gifted artiste, well versed in all the techniques of film making. Indeed, she is verily a symbol of "Satyam, Shivam, Sundaram" (Truth, goodness and beauty).

Like most actors oilier time, Rani was a multi-faceted personality with a variety of talents was an early Indian movie star.

She was Born in Waltair now called Vishakhapatnam, Devika Rani came from a high profile background of Bengal. Devika Rani's maternal grandmother Indumati Devi was the daughter of Tagore's elder sister Saudamini Devi; she thus is related matrilineally to Tagore. Her father M N Chaudhuri also belonged to an illustrious family of Bengal who was the first Indian Surgeon-General of Madras. Her uncles, i.e. her father's brothers, were famous men, like Justice Sir Ashutosh Chaudhuri, Barrister Jogesh Chandra Chaudhuri, and author Pramatha Chaudhuri. Her mother's name was Leela.

She was educated in England and while at School. She completed her early schooling in the early 1920s. she received a scholarship from the Royal Academy of Dramatic Arts and the Royal Academy of Music in London to study acting and music and then studied drama at the Royal Academy of Dramatic Art (RADA) and the Royal Academy of Music in London, UK.

She took up the study of applied arts in London, specialising in textile designing and decor, and also studied architecture. She also earned a degree in archi­tecture and became a successful designer of Paisley textiles and apprenticed under Elizabeth Arden. At an early age, she was already earning her living as a textile designer at a leading art studio in London. Here, through her Brahmo connections, she met with scriptwriter Niranjan Pal who would eventually write many of her most successful screen roles.

While in London she met the well-known Indian producer Himansu Rai who produced famous Indian films like "The Light of Asia"1925, "Shiraz" and "A Throw of Dice"1929 for Indian and international markets which was scheduled for production for England, Germany and the Continent. Mr.Rai persuaded Devika Rani to join his production unit, to further the cause of Indian films. She worked on the costumes and sets of this production under the guidance of the art director Promod Roy and studied the art of production. She signed a contract in London with Mr.Bruce Wolfe who was then associated with Himansu Rai.

Devika Rani married Indian producer and actor Himanshu Rai in 1929.

Married to Himarishu Rai, she served as a costume designer on his firsi production, 'Prapancha Pash1.

After marriage they left for Germany where Rai made A Throw of Dice (1929) in collaboration with Germany's famous UFA Studio.
Mr.Rai was the only Indian producer with the famous German film concern U.F.A. in Berlin. At the U.F.A. Studios, Devika Rani learnt costumes designing, make-up, decor and other different branches of film production with special training in acting.

She apprenticed in the Eric Pommer production unit at U.F.A., where she studied the art and techniques of acting under the guidance of Germany's great director Pabst, and other famous directors.

She was a U.F.A. at the time of the epoch-making change over from silent to the talkie films, and with Himansu Rai had the rare opportunity of seeing and studying the various changes and experiments in the new talking pictures.

At the time, Devika Rani also acted with Himansu Rai in a play for U.F.A. which took them to Switzerland and the Scandinavian countries, where they were received with the highest honours.

She was also a student in the production unit of the famous State producer Max Heinhardt in Germany.

While attending the film's editing in Germany, she met Fritz Lang, G.W. Pabst and Slernberg, assiifed Marlene Dietrich on ihe sel of 'Der Blaue Engel', and worked briefly with Max Reinhardl.

Alter political trouble began in Germany, she and her husband returned to India.

Devika Rani and Himansu Rai returned to India, to produce their first international talking picture "KARMA" (1933). in which Devika Rani, Himansu Rai, Princess Suda Rani of Burdwan and others acted. "KARMA" was produced both in English and Hindusthani and was completed at the Stall Studios in London. It was the first Indian talking picture in English and Hindusthani to be released in England and on the Continent as well as Indian.

"KARMA" was received with the highest approbation by the public of London. The premier was inaugurated by Lord Irwin and attended by the highest officials and England's most distinguished artiste. The same success was accorded to "KARMA" throughout Great Britain and wherever it was released.

The release of "KARMA" in India created a sensation, it was the beginning of a new era in Indian motion picture production.

It was in "KARMA" that Devika Rani established herself as a "star" of first magnitude.

During the screening of "KARMA", Devika Rani was honoured by an invitation of the B.B.C. at London to act in the first television broadcast in Britain which was relayed throughout the country. She was also chosen to inaugurate the first B.B.C. broadcast on the short wave length to India. Her dancing was accomplished enough to be lealured in one of ihe first BBC broadcasts to India (performed on If) May 1933).

It was Himansu Rai's idea to attract to films the best elements of society as he believed that education and a cultured background where essential to achieve high standards in art.

Devika Rani is also accredited for having acted in the longest kissing scene in the movie world with her husband Himanshu Rai in Karma (1933). It was 4 minutes long and very controversial in the then culturally orthodox India.

The Bombay Talkies Ltd., was founded by Himansu Rai and Devika Rani in 1934 in Malad, Bombay. It was a public limited company formed by eminent businessmen of Bombay including F.E.Dinhsaw, Sir Firoze Sethna and others whose films challenged the caste system. The advent of the Bombay Talkies gave an impetus to Indian films. Under the painstaking supervision of Himansu Rai, it purchased the most modern equipment from Germany. Franz Osten, director and a handful of technicians came down from England and Germany. By 1935, stream of Hindi productions began to emerge from Bombay Talkies Ltd.

The Bombay Talkies set a new standard in motion picture production in India on most up-to-date lines with experts from England, Germany, France who also trained young Indian men and women in the art and techniques of films production. It was responsible for a vast number of famous producers, directors, stars, musicians, writers, poets and technicians who even today rank among the best in the country.

Making films such as 'Jawani Ri Hawa', Janmabboomi'. 'Jeevan Naiya". 'Jeevan Prabhat', 'Savitri', 'Durga', 'Anjaan', and the image-defining 'Acrhu! Kanya'.

Beginning with Jawani ki Hawa (1935), a murder mystery. Devika Rani played the lead in most of these early productions. Their films were of a high technical standard and had a glossy look to them reminiscent of the films of MGM.

Devika Rani and Ashok Kumar in Achhut Kanya, 1936.

Her controversial enmity with bud­ding star Ashok Kumar did not prevent
her from agreeing lo act with him once he became a star and they became the most popular screen duo ol the first decade of Hindi talkies.

In addition to Devika Rani, other notable actors to work for Bombay Talkies at one point or another included Ashok Kumar and Madhubala.

Devika Rani was the star of the Bombay Talkies Ltd. Her outstanding portrayals, her style of acting and new approach created a distinct form and tradition. She acted in numerous films, many of which have become classics of the Indian screen. Among her most famous pictures were "Jawani-Ki-Hawa", "Jeevan Nayya", "Achoot Kanya", "Savitri", "Jeevan Prabhat", "Durga", "Vachan", "Nirmala" and "Izzat".

She was acclaimed as India's greatest film actress, and was popularly known as the "First Lady of the Indian screen". During this period, Devika Rani was the recipient of numerous honours, awards, medals and prizes from the film industry, the Press and the public.

Devika Rani formed a successful team with Ashok Kumar, which ironically started due to a scandal as she eloped with her hero of Jawani ki Hawa, Najam-ul-Hussain. Rai found her and got her to come back and forgave her but not Hussain and Bombay Talkies Ltd. needed a new leading man.

In 1936, actor Najam-ul-Hussain, who was casted as the leading man in Jeevan Naiya, fell ill and the studio head Himanshu Rai called upon his laboratory assistant Ashok Kumar to take the leading man's part and thus began a six-decade-long acting career for that action.

The two of them starred in a series of films starting with Jeevan Naiya (1936) but it was Achut Kanya (1936), which capitulated Devika Rani and Ashok Kumar to big time fame. The love story between an untouchable girl and a Brahmin boy was both a critical and commercial success with critics going in raptures over Devika's performance.<br />Going with the trend she even sang her own songs in films with Main Ban ki Chidiya with Ashok Kumar from Achut Kanya remembered till today. Devika Rani continued acting till 1943 and when Rai died in 1940 she took over the reins at Bombay Talkies.

After the death of the great founder of the Bombay Talkies Mr.Himansu Rai in 1940, Devika Rani was made Controller of Production of the Bombay Talkies. She was a partner and also a producer of the concern. She was asked to assume the responsibility of management of the Bombay Talkies including the business.

As producer and controller of production of the company, Devika Rani continued the high standard of its productions with such outstanding successes as "Punarmilan", "Kangan", "Bandhan", "Basant", "Kismat", "Hamari Baat", etc.,

The shares of the company rose to their highest level during this period. Among some of the outstanding artistes trained and presented for the first time on the screen during the period are such famous names as Leela Chitnis, Dilip Kumar, Madhubala, Mumtaz, Shanti, etc., as well as many outstanding technicians, producers, directors, story and screen writers and artistes who are among the most successful film personalities of today.

Widowed in 1940, she fought for control of her husband's studio Bombay Talkies, she had to share control with Sashadhar Mukherjee, but in 1943 Sashadhar, Ashok Kumar and a lot of Bombay talkies veterans left and formed a new studio - Filmistan. After that Bombay Talkies started to fade.

In 1945 at the height of her film career, In 1945, she gol tired of film making Devika Rani decided to retire from the Bombay Talkies Ltd. But eventually the economics of filmmaking and tussles with other studio executives led her to take voluntary retirement.

She married famed Russian painter Svetoslav Roerich and stayed at their huge estate near Bangalore in South India - marrying the Russian painter Svctoslav Roerich, rais­ing eyebrows and keeping the gossip-mongers busy till the very end.

She was a member of the Central Government Audio Visual Education Board.

In later years, she settled in Bangalore with her second husband Svetoslav Roerich and built the Tataguni estate on Kanakpura Road. The estate is famous for the dispute that ensued over it after her death as the Indian and Russian governments and relatives went to court over its control.

She remained in Bangalore the public eve right until hei death in 1994.

At her funeral, Devika Rani was given full state honors.

She was also nominated to the National Academy of Dance, Drama, Music and Films, the Sangeet Natak Akademi, Delhi, as a nominee of the Central Government and was a member of the Executive Board of the National Academy, Member of the Lalit Kala Akademi and the National Handicrafts Board and Member of the Indian Council for Cultural Relations.

On Republic Day, January 26, 1958, the President of India conferred the decoration of "PADMA SHRI" on Devika Rani for her valuable contribution to Indian motion picture.

On November 21, 1970, the Government of India conferred on Devika Rani the first Dadasaheb Phalke Award for her outstanding service to the film industry. Equally invaluable is the prestigious Soviet Land Nehru award conferred on her in 1989.


Sources
http://in.movies.yahoo.com/artists/Devika-...mmary-3675.html

http://www.imdb.com/name/nm0710151/bio

http://www.bollymood.com/biography/devika-rani/

http://www.parinda.com/movies/devika_rani.shtml

http://en.wikipedia.org/wiki/Devika_Rani

Sudha Malhotra

Sudha Malhotra was born on November 30, 1936 in New Delhi. Sudha spent her childhood days in Lahore, Bhopal and Firozpur. She completed her graduation in music from Agra University. Sudha Malhotra gained her grooming in Indian classical music, under the guidance of Ustad Abdul Rehman Khan and Pandit Laxman Prasad Jaipurwale. She began her musical career at a tender age of five. Her talent was discovered by the then famous and revolutionary music director Ghulam Haider, at a programme in Firozepur in the aid of Red Cross. With her enrapturing beauty and melodious voice she chiselled out her career to perfection as a child artist in All India Radio, Lahore. Later, Sudha gained new heights by joining film singing at the age of eleven. Singing has always been the first love for Sudha and in this field, with her very first break as a playback singer in the film Aarzoo, under the baton of Anil Biswas, with an evergreen song 'Mila Gaye Nain..', she showed promise of a competent voice. She sang with Manna Dey and Parul Ghosh in the films 'Aandolan' and 'Vande Mataram'.


Renowned singer Sudha Malhotra, is counted among the top most singers in the country.Sudha started her musical career at the young age of five. Sudha’s parents saw Sudha’s devotion to music and they discovered the great talent in her. She was discovered in Lahore by the famous music director, Ghulam Haider, who saw her holding a gathering of about sixteen thousand spellbound, when she sang in a programme in Ferozepur in aid of the Red Cross.

Thenafter she performed in All India Radio, Lahore. And, there was no looking back.Sudha gained new heights by joining film singing at the age of eleven. Sudha Malhotra had her grooming in Indian classical music, under the guidance of Ustad Abdul Rehman Khan and Pandit Laxman Prasad Jaipurwale. Singing has always been the first love for Sudha and in this field, with her very first break as a playback singer in the film Aarzoo, under the baton of Anil Biswas, with an evergreen song ‘Mila Gaye Nain’; she showed promise of a competent voice.

She sang in the films Aarzoo, Dhool Ka Phool, Ab Dilli Door Nahin, Girl Friend, Barsat Ki Raat , Didi , Kala Pani, Prem Rog, Dekh Kabira Roya , Gauhar, Dil e Nadan, Babar and many more. Sudha’s versatility led to more films and different kinds of songs. Each time it was a challenge that gave her listeners another treat. During the making of the film Didi, the music director N. Dutta fell ill and the track was needed urgently. Young Sudha was the singer. Always ready to rise to the challenge, Sudha stepped in and took over. She composed the song ‘Tum Mujhe Bhool Bhi Jao’, recorded it and made the delivery on schedule time. It was but naturally, a hit. Besides singing in Hindi films, Sudha has sung in many regional languages.

Success comes from within and Sudha was determined. Her musical achievements included a lot of stage performances around the world. She had the good opportunity of singing under the able guidance of many music directors, like Roshan, S.D. Burman, Ghulam Mohammad, N. Datta, Madan Mohan and a number of others, which established her voice with versatility to render any type of composition. Her bhajan in Kala Pani ‘Na Main Dhan Chahun’ became immensely popular. She sang the famous qawwali ‘Ishq Ishq’ in the film Barsat Ki Raat. This song was recorded for a period of twenty-nine continuous hours. She was awarded the Kala Bhushan award by Giani Zail Singh, the then president of India. She was also felicitated by Rajeev Gandhi for Dandi march.

It takes an extraordinary person to give up unlimited potential for fame and glory and settle for the anonymity of marital harmony. Once again it was her conviction that helped Sudha. Sudha’s spirit has always been irrepressible. Success comes from within and Sudha was determined. So Sudha sang bhajans in her family mandir and a new devotion was born. She has come out with a number of bhajan cassettes. Besides, she has many LPs of ghazals and bhajans. She has sung the famous shlokas, ‘Mano Buddhi Hankar’, for the Chinmayanand Mission, which thereafter was repeated by many other singers. Ghazals have also been her forte’. She has sung under the direction of Jagjit Singh, Khayyam, and Jaidev etc. and has cut many discs. Today Sudha’s zest for life is as unconquerable as ever.



Music Department:

* 1980s
* 1960s
* 1950s

1. Prem Rog (1982) (playback singer) ... aka Love Sickness (International: English title)

2. Kinare Kinare (1963) (playback singer) ... aka On the Shore

3. Barsaat Ki Raat (1960) (playback singer)

4. Ek Ke Baad Ek (1960) (playback singer)

5. Kalpana (1960) (playback singer) ... aka Inheritance (International: English title)

6. Love in Simla (1960) (playback singer)

7. Zalim Tera Jawab Nahin (1960) (playback singer)

8. Dhool Ka Phool (1959) (playback singer) ... aka Blossom of Dust ... aka Flowers of the Dust

9. Chalti Ka Naam Gaadi (1958) (playback singer) ... aka That Which Runs Is a Car

10. Parvarish (1958) (playback singer)

11. Solva Saal (1958) (playback singer)

12. Ab Dilli Dur Nahin (1957) (playback singer)

13. Changez Khan (1957) (playback singer)

14. Dekh Kabira Roya (1957) (playback singer)

15. Mr. X (1957) (playback singer)

16. Mumtaz Mahal (1957) (playback singer)

17. Naya Zamana (1957) (playback singer)

18. Mirza Ghalib (1954) (playback singer)

Soundtrack:

1. Dhool Ka Phool (1959) (performer: "Kaase Kahoon Man Ki Baat") ... aka Blossom of Dust ... aka Flowers of the Dust

2. Kaagaz Ke Phool (1959) (performer: "San San San Jo Chali Hawa") ... aka Paper Flowers

3. Dekh Kabira Roya (1957) (performer: "Tum Meri Raakho Laaj Hari")

4. Mirza Ghalib (1954) (performer: "Ganga Ki Ret")

Filmography

Playback Singer

Prem Rog 1982

Dil-E-Nadaan 1982

Kinare Kinare 1963

Issi Ka Naam Dunia Hai 1962

Babar 1960

Barsaat Ki Raat 1960

Ek Ke Baad Ek 1960

Girlfriend 1960

Jo Huwa So Bhool Ja 1960

Kala Bazar 1960

Kalpana 1960

Love In Simla 1960

C.I.D.Girl 1959

Chandrasena 1959

Dhool Ka Phool 1959

Didi 1959

Ghar Ghar Ki Baat 1959

Gokul Ka Chor 1959

Hira Moti 1959

Kaagaz Ke Phool 1959

Kal-Hamara-Hai 1959

Madam X.Y.Z 1959

Chalti Ka Naam Gadi 1958

Detective 1958

Gaj Gauri 1958

Hathkadi 1958

Parvarish 1958

Raj Tilak 1958

Solva Saal 1958

Zindagi Ya Toofan 1958

Ab Dilli Door Nahin 1957

Anjali 1957

Chamak Chandni 1957

Dekh Kabira Roya 1957

Dushman 1957

Mr. X 1957

Naya Zamana 1957

Neel Mani 1957

Pawan Putra Hanuman 1957

Ustad 1957

Rangeen Raaten 1956

Ghar Ghar Mein Diwali 1955

Barati 1954

Mirza Ghalib 1954

Audiographer

Dekh Kabira Roya 1957

Music Director

Didi 1959

Few of hit songs of Sudha Malhotra are follows :

1]aata hai karaar beqaraar hone mein

2]aavaaz de raha hai koi

3]aaya re aaya re rut basant aaya re

4]aayi aayi re malniyaan bikaner se

5]ab chaahe to le lo meri jaan

6]ae bekal bechain nindiya

7]ae dil beqaraar dekh tu na kisise pyaar kar

8]apna samajh ke aankh milaane ka shukriya

9]baaje ghoongharwa naache jiyarwa

10]baaten banaanewaale dil ko churaanewaale

11]bach jaa nazar ke teer se

12]ban mein bole bulbul aur man mein bole maina

13]banana hai hamko bada aadmi

14]barse room barse jhoom

15]bijli si dil pe giri jaaye

16]chale banke piya banwaasi

17]chupke se dil mein mere chori chori

18]dhanwanti ko kanta lage daude log hazaar

19]dil hain jiska deewaana jigar hai nishana

20]ek baar to mil lo gale

movies

1]Prem Rog (1982)

2]Kinara Kinare (1964)

3]Barsat Ki Raat (1960)

4]Kala Bazar (1960)

5]Masoom (1960)

6]Zaalim Tera Jawab Nahin (1960)

7]Dhool Ka Phool (1959)

8]Chalti Ka Naam Gaadi (1958)

9]Parvarish (1958)

10]Ab Dilli Door Nahin (1957)

11]Mumtaz Mahal (1957)

12]Naya Zamana (1957)

albums :


1]Salam E Hasrat Quabool

2]Aashna Hokar Agar Na

3]Khwab Tha Ya Khayal Tha

4]Didi

5]Black Rider

songs with movie details

1] Razia Sultan (1961) starring Jairaj & Nirupa Roy
Lyrics: Asad Bhopali
Music Director: Lachiram Tamar
Singers: Sudha Malhotra, Asha Bhonsle & S. Balbir

[1]nahin hai ko badaa husn se zamaane mein

2]Rifle Girl
Lyrics: Surinder Kohli
Music Director: Harbans

[1]baaje ghoongharwa naache jiyarwaa

[2]jaadu bhari ye nazar dil mei

[3]chal mere lallu dikhaa kamaal (Duet with Surendra Kohli)

3]Sachche Moti
Lyrics: Sahir Ludhianvi
Music Director: Narayan Datta
Singers: Sudha Malhotra & Asha Bhonsle

[1]Sachche ka hai bolbala suno re bhai (Duet with Asha Bhonsle)

4] Sahara
Lyrics: Bharat Vyas
Music Director: Hemant Kumar

[1]mujhe tarke talluk ke liye samjhaya jaataa hai

5] Sara Jahan Hamara (1961) starring Premnath, Shyama, Heeralal, Rajeshwari, Azra & Jankidas.
Lyrics: Qamil Chandpuri
Music Director: Babul
Siner: Sudha Malhotra

[1]haai mai mar gayi

6] Shahi Farman
Lyrics: Akhtar Romani
Music Director: Harbans

[1]dil hai jiska deewana jigar hai nishana

[2]jaun kahaan ko to har laila pe hai har majnu (Duet with Mahendra Kapoor)

7] Sheikh Chilli (1956) starring Mahipal, Shyama, Agha, B. M. Vyas, Bhagwan & Moti.
Producer: Ratan Moti
Director: Ramchandra Thakur
Lyrics: Indra Chandra
Music Director: Vinod

[1]zulfon se baandh ke rakhoonigi

8] Shesh Naag

[1]chale ban ke piya banwaasi

[2]jaago jhanjhar jhanan

[3]jo kuchh dekha keh na sakoon

[4]mann ke paas aa ke

9] Shikar
Lyrics: Indeevar
Music Director: Bulo C. Rani

[1]aataa hai qaraar beqaraar hone mei

[2]chupke se dil mei mere chori chori

[3]bahaar dekh ke dil aur beqaraar hua (Duet with Moti Sagar)

[10]Sim Sim Marjina (1958) starring Mahipal, Shakeela, Maruti, Helen, Hiralal, Tiwari & Roopmala.
Producer: Golden Movies
Director: Narendra Dave
Lyrics: Prem Dhawan & Hasrat Lucknavi
Music Director: A. R. Qureshi

[1]husn hansta hi rahegaa

[2]mujhe apnaa jalwaa dikhaa

[3]pyaar ka nazrana liye

[4]such such bolo kya kasoor ho gayaa

[5]tukde tukde dil huaa

[6]musafir hain hum tum ye duniya saare (group song with Mohammad Rafi & Mubarak Begum

11] Suhag
Lyrics: Ehsan Rizvi
Music Director: T. G. Lingappa

[1]barse ruum barse jhoom

[2]yauwan mein hoon yauwan hoon (Duet with Sabita Banerjee)

12] Sunehre Qadam (1966) starring Shashikala & Rehman.
Lyrics: Mahendra Pran
Music Director: Bulo C. Rani
Singers: Sudha Malhotra & G. M. Durrani

[1]na to inkaar kiyaa na to iqraar kiyaa (Duet with G. M. Durrani)

[2]ye ghar aapkaa hai chale aaiye (Duet with G. M. Durrani)

13] Suwarna Sundari (1957) starring B. Saroja Devi & Nageshwara Rao Akkineni.
Producer: Adi Narayana Rao
Director: Vedantam Raghavaiah
Lyrics: Bharat Vyas
Music Director: Adi Narayana Rao
Singer: Sudha Malhotra

[1]hat hat jaa re natkhat piyaa

14] Tankhah
Lyrics: Shewan Rizvi
Music Director: Bhola Shrestha

[1]bannaa hai hum ko badaa aadmi

[15] Teen Bhai.
Lyrics: Bharat Vyas
Music Director: Arun Kumar Mukherjee

[1]bann mei bole bulbul aur mann mei bole mainaa

[16] Tere Dwar Khada Bhagwan
Lyrics: Pyarelal Santoshi
Music Director: Shanti Kumar Desai

[1]jan se dekha tujhe mujhe jalyaaye jiya

[17]Ustad:


[1]bedardi beimaan natkhat sa

Sources

http://www.indianetzone.com/18/sudha_malhotra%20htm.htm
http://www.imdb.com/name/nm0539502/
http://www.gomolo.in/People/PeopleFilmogra...spx?pplid=14296
http://sudha-malhotra.tripod.com

Rajkumari Dubey

Birth name Rajkumari Dubey
Born 1924
British India
Died 2000
India
Genre(s) playback singing
Occupation(s) Singer
Instrument(s) Vocalist
Years active 1949-1977


Rajkumari Dubey (1924) was an early playback singer in Bollywood.

Rajkumari was born in 1924. She never really had the opportunity to learn to sing, but was always supported by her family. She was just 10 years old when she recorded her first song for HMV in 1934 and she started her career as a stage artiste. Vijay Bhatt and Shankar Bhatt of Prakash Pictures spotted her during one of her shows. They liked her voice and persuaded her to discontinue acting on stage as it would spoil her voice (In those days, there were no mikes and you had to shout to be heard). So she quit theatre, and became an employee of Prakash Pictures as an actress and singer.

Rajkumari's first film with them was a Hindi-Gujarati bilingual called Sansar Leela Nayi Duniya. She got important roles in films like Aankh Ka Tara and Turki Sher (1933). She was the heroine Bhakt Ke Bhagwan and Insaaf Ki Topi (1934). In those days she often acted opposite Zakaria Khan (late actor Amjad Khan's father, whose screen name was Jayant). She also used to sing for popular music director Lallubhai. She began getting fed up with having to watch on her figure and decided to stick to just singing as a career. After she quit Prakash Pictures, she began playback singing for actresses like Ratnamala, Shobhana Samarth, etc. and soon she became the First Female Playback Singer of Indian Cinema.

She sang many Gujarati and Punjabi songs. Even though she was not trained to sing, she was very good at picking up what her composers taught her. They thought she was a trained singer! She was able to also establish herself as a classical singer and excelled in singing and voice production within the framework of classical forms of thumri and dadra. Among her peers were Shamshad Begum, Zohrabai Ambalewali, Juthika Roy, Zeenat Begum, etc. Both Shamshad and Zohrabai had resounding voices with a high range, while Rajkumari had a soft voice with a small range. She sang quite a few songs with Mukesh. She did not get much opportunity to sing with Mohammed Rafi - mainly because Lata Mangeshkar was a fast upcoming singer at the time. She sang with Noor Jehan in Naukar (1943). She never sang with K. C. Dey, but she did sing songs composed by him, as well a his nephew, Manna Dey.

Rajkumari was married very late in life. Her husband was V.K. Dubey who was from Benares (Uttar Pradesh) where he spent a lot of his time (because he owned a shop there), while she settled in Bombay. He later joined her in Bombay.

Later, she would go on to sing songs for Neel Kamal, a Raj Kapoor and Madhubala starrer, and Hulchul (1951); but her two most famous films would be Bawre Nain (1950) and Mahal (1949), where she sang for the Indian actress Madhubala. By this time however Lata Mangeshkar and Asha Bhosle had shot to fame, relegating most other female singers in the industry to the sidelines.

She sang her only song for O P Nayyar in the 1952 movie Aasmaan which was his debut movie, Jab Se Pee Piya Aan Base. The story goes that he was considering Lata Mangeshkar for the song. (Rest of the songs of the movie are sung by Geeta Dutt and C H Atma ). When somebody told this to lata she said something about him which led to a misunderstanding. Angered O P made Rajkumari sing this song and never repeated her. He never used Lata to sing for him as well.

Rajkumari endured a long dry spell until music director Naushad spotted her singing in the chorus for his background score for Pakeezah (1972). Naushad was much taken aback by this, having greatly respected her in her heyday, and heartbroken to hear that she was reduced to singing in the chorus to make ends meet. As a result, he gave her an entire song to herself in Pakeezah, Najariya ki Mari. Her last film song was recorded for R.D. Burman in the film Kitaab, Har Din Jo Beeta. She died in poverty in early 2000.


Sources
en.wikipedia.org/wiki/Rajkumari_Dubey

Jatin Lalit

Birth name Jatin Pandit and Lalit Pandit
Also known as Jatin-Lalit
Occupation(s) Film composer
Years active 1992 – 2006
(they work independently after 2006)

Jatin Lalit are a Bollywood film composer duo consisting of Jatin Pandit and his younger brother Lalit. Jatin-Lalit is a short version of their full names, which appears on covers of music CDs, DVDs. Jatin Pandit and Lalit Pandit are their actual names. Lalit is nine years younger than Jatin. Born in the traditional Mewati Gharana, sons of the renowned classical singer Pandit Pratap Narayan, and nephews of musical Maestro Pandit Jasraj, Bollywood actresses Sulakshana Pandit and Vijeta Pandit are their sisters actresses and playback singers and music director Aadesh Shrivastava is their brother-in-law, being married to the younger of the two sisters, Vijeta.

They are brothers and come from a lineage of Indian classical musicians.However the duo have developed a unique sense of music different from their classical lineage. They were trained by their own father and Pandit Ramprasadji during their childhood. They also learned to play piano, guitar and various forms of percussion instruments.

Jatin-Lalit are indeed blessed with an envious pedigree. And the film industry is mighty pleased about the fact that the duo chose the field of film music to display their abundant talent besides the aforementioned pedigree. No other music director/duo has been as successful in the recent times, as the youthful brothers, whose niche is melody and harmony packaged in the modern musical arrangement style. This, perhaps, stems from the fact that besides the traditional Hindustani formal music training (from their father and Pandit Ramprasadji),they were also encouraged to learn and play western musical instruments. Singing was also a childhood passion, a talent which they (albeit rarely) have utilised with great aplomb in films like "Jo Jeeta Wohi Sikandar," etc.

These two talented brothers, Jatin and Lalit, have rocked the industry for a considerable span of years.

Jatin-Lalit's most powerful assets remain their originality and fusion of east and west in their music, factors omnipresent in each of their musical scores. As they themselves modestly claim, "We are forever on a learning curve. Hopefully, our best is yet to come." For the sake of the Hindi film music, this should remain the sign of the times to come.

Having successfully done film music, the brothers Jatin-Lalit are now turning their sights towards a private album. Between their film assignments, they are working on a pop album and Lalit will sing for that as well. They have a fine sense of melody and harmony, now if they can get hold of some soul-stirring lyrics, they will have a winner on their hands.

Their compositions are strongly influenced by R. D. Burman's style of music making. Towards the second half of the nineties, they were among the most sought after music directors in the Indian film industry


They started their career with film Yaara Dildara (1992) and the famous soundtrack of the movie was " Bin tere sanam... ".but were much recognized by the hit film Khiladi that was a sound prototype for the brand of music the composers were to create in subsequent years.With Khiladi (1992), came their vibrant soundtrack laced with nuggets like ‘Waada raha sanam’ and ‘Dekha teri mast nigahon mein’, the talented duo announced their arrival in style. From the beginning, there has been a distinct, almost over-whelming influence of the R D Burman school on their work . For instance the song from Jo Jeeta Wohi Sikandar (1992) ‘Shaher ki pariyon ke peechhe’ has shades of R D Burman's music.Also ‘Ruk jaa, o dil deewane’ from Dilwale Dulhaniya Le Jayenge sounds similar to ‘Bachchna aye haseenon from Hum Kisise Kam Nahin (1977).

After two major time succcesses Khiladi and Jo Jeeta Wohi Sikandar happened Raju Ban Gaya Gentleman (1992) and Kabhi Haan Kabhi Naa, which had numbers like ‘Loveria hua’ and ‘Deewana, dil deewana’.

They were steppping up the stairs of success consistently and yet another blockbluster Yash Chopra's love story Dilwale Dulhaniya Le Jayenge gave them immense success.And Jatin -Lalit shot to genuine stardom. From the title song to ‘Mere khwabon mein’ and ‘Naa jaane mere’, everywas a diferent flavour of youth and vibrancy.

Their next venture was Sanjay Leela Bhansali's Khamoshi-The Musical.Its songs were a challenge to each singer like ‘Yeh dil sun raha hai’sung by Kavita Krishnamurthy with its varying pitch, and the Hariharan's ‘Bahon ke darmiyaan’.Followed were films Yes Boss,containing songs, ‘Main koi aisa geet gaaon’ and ‘Chaand taare’.In 1998 came a series of musical hits for the duo like Pyaar Kiya To Darna Kya (‘Deewana Main Chala’), Jab Pyaar Kisi Se Hota Hai (‘O jaana, na jaana’) and Pyaar To Hona Hi Tha (‘Jab kisi ki taraf dil), to Ghulam and it's clarion call, ‘Aati kya Khandala’, and the final explosion, Kuch Kuch Hota Hai.The songs of the later film like ‘Koi mil gaya’, ‘Ladki badi anjaani hai’ and ‘Sajanji ghar aaye’ aren't extraordinary, they haven't exactly faded from public memory.

Dil Kya Kare, Khoobsurat (1999) and Shah Rukh Khan's home production, Phir Bhi Dil Hai Hindustani (2000),Sarfarosh(1999) containing ‘Zindagi Maut Na Ban Jaaye’ are some of the projects they have done in the recent years.Followed by al time hits like Mohabbatein , Kabhi Khushi Kabhi Gham, and Chalte Chalte that had refreshing numbers like ' Tauba Tumhaare Yeh Ishaare', ' Chalte Chalte' .. Definitely they have created their own charm with the kind of music they compose.

The duo has worked with a variety of lyricists and singers including Javed Akhtar, Anand Bakshi, Udit Narayan, and Kumar Sanu. During the last few years of their joint career, their music albums contained several songs composed by other musicians. This practice was not liked by Jatin-Lalit; however, the producer and director insisted on it.[citation needed] In Karan Johar's Kabhi Khushi Kabhie Gham two of the tracks were composed by Sandesh Shandilya. In Chalte Chalte, Aadesh Shrivastava composed several songs. Also in Pyaar Kiya To Darna Kya, one song was composed by Himesh Reshammiya and Sajid-Wajid.

They were also some of the first composers to write songs performed by Bollywood film stars rather than playback singers. They specially composed "Ae kya bolti tu" in the film Ghulam for the lead actor Aamir Khan. They also composed a song for Sanjay Dutt to sing in the movie Khoobsurat.


Jatin and Lalit have borrowed extensively from other musical artists in writing their compositions. In a 2007 interview with the Times of India, Lalit stated that "A producer or a director will hand us a CD and ask us to produce similar music. We as composers don't have a choice but to put in our best creative talent in it. Composing music is very tedious today."

Jatin appeared in the movie Jo Jeeta Wohi Sikandar during the song "Diwane Hum Pyar Ke". He also performed the song, "Ruth Ke Hamse Kabhi" in the film.

Jatin-Lalit are generally reclusive: they rarely attend industry parties or conduct interviews with the media.[citation needed] Jatin-Lalit were appointed as judges in the Zee Television musical show Sa Re Ga Ma Pa. They were also judges on another musical show, Star Voice of IndiaJatin has also appeared as a mentor in a popular TV show Jhoom India. He also was Judge and Mentor in Popular Reality show on Sony Waar Pariwaar. This show was hosted by Urmilla Matondkar. The show has been truly appreciated by the Indian community all over the world especially in the USA.

After working for almost 16 years together, they announced that they would be parting ways due to some personal problems. Reasons for the separation are unknown, but entertainment writers have speculated that the split is because of financial matters.

Lalit and Jatin have both continued to compose separately. Lalit scored the 2007 film, Life Mein Kabhie Kabhiee, Showbiz, and Horn Ok Pleassss.

Jatin composed the score for Saurav Shukla's upcoming film, "I am 24", starring Neha Dhupia and Rajat Kapoor.It is a Planman Motion Films Presentation.

He also composed for filmmaker Raja Sen's film Krishnakanter Will. "I am working on the number. I am trying to make it in such a way that it goes along with the novel written by Bankimchandra Chattopadhyay. The song will be melody based," says Jatin.[citation needed] He also recorded an album for the president of the Indian Business and Professional Council, Abbas Ali Mirza. He is also doing the Music for Kundan Shah's next. Considering the strong track record Jatin Lalit had with Kundan Shah, this film could be the next Kabhi Haa Kabhi Naa for Jatin. Jatin is also working on the maiden venture of Gazebo Entertainment's "Saturday Night".

They have been nominated and have won several prestigious awards each year since they started their career in 1990. Out of the innumerable examples are films like "Jo Jeeta Wohi Sikandar," "Khiladi," "Dilwale Dulhaniya Le Jayenge," "Khamoshi," "Yes Boss" and the recent "Kuch Kuch Hota Hai."


Awards And Honors:

Award Song-Movie

Zee Cine Award Kuch Kuch Hota Hai

Viewers Choice Award Kuch Kuch Hota Hai

Their soundtrack of Dilwale Dulhaniya Le Jayenge was judged the top Hindi soundtrack of all time by on-line voters on the BBC Asian Network. The number two and three positions also went to Jatin-Lalit for their compositions from Kabhi Khushi Kabhie Gham and Kuch Kuch Hota Hai.


Yaara Dildara (1991)

Jo Jeeta Wohi Sikander (1992)

Khiladi (1992)

Raju Ban Gaya Gentleman (1992)

Aadmi (1993)

Ashant (1993)

Bhookamp (1993)

Boy Friend (1993)

Vishnu Vijaya (1993)

Cheetah (1994)

Dusmanon Ka Dushman (1994)

Hanste Khelte (1994)

Kabhi Haan Kabhi Naa (1994)

Lakshya (1994)

Vaade Iraade (1994)

Zaalim (1994)

Dilwale Dulhaniya Le Jayenge (1995)

Gangster (1995)

Nishana (1995)

Pandav (1995)

Biyer Phul (1996)

Fareb (1996)

Khamoshi (1996)

Return Of Jewel Thief (1996)

Agni (1997)

Daava (1997)

Ek Phool Teen Kante (1997)

***** Gardi (1997)

Tum Jiyo Hazaro Saal (1997)

Yes Boss (1997)

Badadin (1998)

Billa No. 302 (1998)

Dhoondte Reh Jaaoge (1998)

Ghulam (1998)

Jab Pyar Kisise Hota Hai (1998)

Khoobsurat (1998)


Kuch Kuch Hota Hai (1998)

Pyar To Hona Hi Tha (1998)

Saazish (1998)

Dil Kya Kare (1999)

Dillagi (1999)

Pyaar Kiya To Darna Kya (1999)

Pyar Koi Khel Nahin (1999)

Sar Aankhon Par (1999)

Sangharsh (1999

Sarfarosh (1999)

Silsila Hai Pyar Ka (1999)

Vaastav (1999)

Dhai Akshar Prem Ke (2000)

Mohabbatein (2000)

Phir Bhi Dil Hai Hindustani (2000)

Raja Ko Rani Se Pyar Ho Gaya (2000)

Raju Chacha (2000)

Yeh Hai Mumbai Meri Jaan (2000)

Albela (2001)

Censor (2001)

Kabhi Khushi Kabhie Gham (2001)

Aankhen (2002)

Kehtaa Hai Dil Baar Baar (2002)

Kranti (2002)

Soch (2002)

Waah! Tera Kya Kehna (2002)

Chalte Chalte (2003)

Haasil (2003)

Zameer (2003) Mar 26 (4 days ago) delete haal kaisa hai

Aur Phir Ek Din (2004)

Hum Tum (2004)

Main Hogaya Tumhara (2004)

Mulaqwaat (2004)

Rok Sako To Rok Lo (2004)

Sab Kuch Hai Par Kuch Bhi Kahin (2004)

Aap Jaisa Koi Nahin (2005)

Khamosshh -Ek Raat (2005)

Chand Sa Roshan Chehra (2005)

Filmstar (2005)

Pyaar Mein Twist (2005)

Revathi (2005)

Fanaa (2006)

Mera Dil Leke Dekho (2006)

Faisla

Loveria

Sab Kuch Hai Par Kuch Bhi Nahi

Mr. White Mr. Black (2008)

http://www.hindilyrix.com/musicians/musici...atin-lalit.html

http://www.hindilyrics.net/profiles/jatin-lalit.html

http://en.wikipedia.org/wiki/Jatin_Lalit

http://in.movies.yahoo.com/artists/Jatin-L...raphy-5818.html

Bulo C Rani


A music director, however popular, is often forgotten with the passage of
time when the trend of music changes.

Bulo C Rani was one such composer whose best is buried under the debris of
time. When the slow paced melodious music was replaced by the fast paced
rhythmic melodies Bulo suddenly lost his relevance as a composer. He lived
in a state of hybernation for so long that his death - a suicide - on 24th
May 1993 at 73 was reported as if it was a matter of no big consequence. The
eventful career of Bulo C Rani in the 40's and the early 50's was forgotten.

Bulo c rani was born on may 6, 1920 in hyderabad, sindh and his original name was bulo chandiramani ramchandani. his father chandiram was also a composer n has composed for a film insan ya shaitaan[1933]. bulo obviously grew up in a musical atmosphere and hence in a way, it was not surprising that after graduating, he went to lahore with the express intension of composing for films n joined ghulam haider for a while he came to mumbai in 1942 with D N Madhok and joine ranjit films to assist Khemchand Prakash.

Khyanchand gave him a break asasinger in 1942 in Mehman. in 1942 Gyan Dutt also gave him opportunity to sing. In 1943 he got six films to sing in. O JOGAN O BAIRAGI in Shankar Parvati [music by Gyan Dutt] was v popular. in 1944 he composed for Pagli Duniya. Hecomposed for the film murti. in it Badariya Baras Gayi - which mukesh's first song as the composer often claimed with pride - won popularity. His music for jogan [1946] gave d first break to Talat Mahamud.

Bulo composed for over 100 films.

In order to analyse this early composer - who haltingly stagered on - following interesting devices he employed deserve mention :
sometimes the composer barely succeeded in camouflaging the intrinsic prose quality of the 'lyrics' which he had to treat as a song!

Poor attempts at lyrical texture, often resulting in indifferent versifications, certainly posed difficulties to comprosers - he tried the strategy of placing verses sung in free rhythm between stanzas sung in rhythm or employed interesting tempos for certain emphatically pronounced and projected words - thus seeking redress from difficult composing situations created by poor versifacations.

He instited on extended pieces of instrumental music before beginning d song.He give pleasant surprises - he began with one single instrument - he began without orchestra - without any perceptible rhythm.

Emplyment of non - Indian instruments - those not normally identified as Western was his favourite device - piano, piccolo - type of flute, melodic material effect as western, band music - another non- Indaian vogue of music to attract Indaians!

Bulo c ranis' tunes:

PARDESI PIYA RE

BHADO KI RAAT PE PADE BARSAAT RE

DEKHI TERI DUNIYA

MERI KYA HAI KHATA

TUMSE MOHABBAT KAUN KARE

TIRCHHI NAZARIYAAKE BAAN

AKHINYA MILAKE

KYA KARUN SAJNI AAYE NA BALAM

AA JAO TADAPATE HAI ARMAAN

EK PARDESI MERA DIL LE GAYA


there are expected instances on Indain Idioms used in with discernible skill. In this catagory falls an appropriate use of raga and tala enjoying sanction of the tradition of the tradition of art music.

After 68 fiilms in 22 years, he does not appear to have a deep musical mark!

his music was not highly original, but it successfully exploited the intrinsic acceptability of conventional forms such as bhajans, or the newly circulating patriotic musical idioms, which appealed to certain stock responses.

one wonders whether he was more adequate as a singer than a composer - at least when he began his career when actor - singers had singing voices!

Mukesh, after his initial failure as a singer, drew attention only when he
sang for Bulo in 'Moorty' ( 'Badariya baras gai us paar'/with Hamida and
khursheed/1945 )

The film 'Jogan' (1950) was a land -mark in Bulo's career. His composing
skill enabled him to enhance the inherent charm of Meerabai's traditional
bhajans such as 'ghoonghat Ke Pat Khol re', 'Main to giridhar Ke ghar jaaoon
', 'Damag damag dole naiya' and ' Jogi mat ja, mat ja'. Even the Holi song
('Rang daaro ri') and the sentimental one in the voice of Talat ('Sundarta
Ke Sabhi Shikari') were no less appealing. More than Dilip Kumar and Nargis
in the film it was Bulo's music which turned out to be the real star.

Before 'Jogan' came his way Bulo had already earned recognition through the
films such as 'Rajputani' ('Ja parwane ja kahin shama jal rahi hai/Mukesh,
hamida and 'Anjuman ('Kaise bataoon tum se is dil ko pyar kyun hai'
/Shamshed, Mukesh) and the immense popularity of the song 'Armaan bhara dil
toot gaya' ('Wafa/Lata, Mukesh)

Bulo C Rani had a special fascination for heavy voices which were capable of
more expressive power. For the same reason he was able to create a great
impact on listeners with the voices of Amirbai ('Sooni padi hai payar ki
duniya tere baghair'/ 'Carvan').
Zohra ('Ankhon mein intezaar Ki duniya liye huve'/'Carvan') and geeta Roy
(Dutt) in the songs of 'Jogan'. Bulo did not hesitate to create an
enchanting melody in the song 'Badi bhool hui tujhe pyar kiya' in 'Maghroor'

'Bilwamangal' (1954) was the last significant film of Bulo c Rani. Suraiya
sang one of her most memorable song 'Parwanon se preet seekhli, shama se
seekha jal jaana' and so did C.H. Atma in 'Panghat pe more shyam bajaaye
muraliya'.

Despite the popularity of a stray song such as 'Hamen to loot liya milke
husn Walon ne' (Ismail Azad/'Al Hilal'/1958). Bulo C Rani just continued to
drift because his music had not remained a viable commercial proposition.

After 'Sunhare Qadam' (1966). Bulo's career came to an end. Having once
enjoyed the position of prominence the lack of assignment made him restless.

It was an irony of fate that the song he composed in the voice of Lata in
his last film 'Sunhare Qadam' was 'Maangne se jo maut mil jaati, Kaun jeeta
zamane men'.

Irony was that in life he asked for death and he got it.


filmography :


1966

01] Jadoo Music Director

02] Sunhere Kadam Music Director

1965

03] Shai Lootera Music Director

04] Son Of Hatimtai Music Director

05] Chhupa Rustom Music Director

1964

06] Haqdaar Music Director

1963

07] Magic Box

1962

08] Jadoo Mahal

09]Madam Zorro

Shree Ganesh

1961

10] Anarbala Music Director

11] Room No. 17 Music Director

1960

12] Pedro Music Director

13] Abdulla Music Director

14] Black Tiger Music Director

1959

15] Tin Tin Tin Music Director

16] Rasiya

1958

17] Al Halal Music Director

1957

18] Jivan Sathi

1956

19] Noor - E - Yaman

20] Badshah Salamat Music Director

21] Ram Navami Music Director

22] Aabroo Music Director

1955

Veer Rajputaani

23] Haseena

24] Madhur Milan

25] Shikaar

1954

26] Aurat Teri Yahi Kahani

27] Bilwamangal


1953

28] Husn Ka Chor Music Director

29] Gul Sanobar Music Director

1952

30] Izzat Music Director

31] Nirmal Music Director

32]Baghdad Music Director

1951

33] Pyar Ki Baaten

34] Wafa

1950

35] Lavangi Music Director

36] Jogan Music Director

1949

37] Narad Muni Music Director

38] Garibi music Director

39] Nazare Music Director

40] Nanand Bhojai Music Director

41] Bhulbhulaiya

1948

42] Bichhade Balam Music Director

43] Gunsundari Music Director

44] Jai Hanuman Music Director

45] Mitti Ke Khiloune Music Director

46] Anjuman Music Director

1947

47] Kaun Hamara Music Director

48] Pahali Pahechan Music Director

49] Bela Music Director

50] Piya Ghar Aja Music Director

51] Woh Zamana Music Director

1946

52] Dharti Music Director

53] Rajputani Music Director

54] Shravan Kumar Music Director

55] Saalgirah

1945

56] Preet Music Director

57] Chand Chakori Music Director

58] Moorti Music Director

59] Prabhuka Ghar Music Director

1944

60] Pagli Duniya Music Director

61] Caravan Music Director

http://www.downmelodylane.com/bulocrani.html

http://books.google.com/books?id=ZI1wqkWsI...DD4zOkASR25GoAQ

Bulo C Rani was really great composer. Not much information is available on him.
Wish someone could start a thread on his songs. It would be really great.

respected hildebrand,

thanks for ur all guidence n made me easy to work out

its by ur inspirations only i m here with all these work

regards

Hildebrand

The above article is a precis of the Ashok Da. Ranade one from Music Beyond Boundaries.....hearing his early songs - specifically from Moorti and Rajputani - one does wonder what went wrong. O Jogi O Bairagi with his vocals was uploaded recently on my request. Its a lovely duet with Amirbai.

Kind Regards
Faraaj

You are most welcome rashmi ji.

Yes Faraaj
I know that song is a precis of the book by Ranade. Rashmi ji has given a link of a review of the book as the source as well. The book is certainly well written. I found some good information in it. Would have liked reading about Gyan Dutt there as well though. He's covered Shamshad and Geeta ji also very elegantly. Talking of Shamshad, rashmi ji is the same member who has been helping with making all the lists from EM database I had put up there. I'm quite thankful to her for spending lots of time putting them together.
Waiting for your contributions there too.

I feel the problem with Bulo C Rani was twofold:-
1. Hits for him dried up after late 50s leading to his getting assignments in B or C grade movies which were not publicised much even if they had good music by him. Hence, work
dried up for him soon. Some people say he was not able to cope up with new trend of faster music but I don't tend to agree with that much. He also didn't have support of some
production houses too in the later years.
2. He himself didn't promote himself well. Even when his songs became hit people talked about the singers/actors but not about him. Publicity is also needed to survive in industry.

Its really sad that such a great artist who gave reportedly over 100 movies in 22 years died unsung by committing suicide due to frustration.
In Geeta Dutt Biography, The Skylark, Mukul Roy has also commented about the strangeness of why he failed to get assignments later and was so less known.
To quote part of his words on Bulo C. Rani,

I also find it very strange considering Mukesh, Talat Mehmood and also C.H. Atma(which I came to know from the biography) made entries to film music through him and went on to be legends.
I think the same goes for Mukul Roy himself and some other MDs like Avinash Vyas, Gyan Dutt who gave brilliant music but are not remembered suitably today.

Sharmila tagore

Being Sharmila

Sharmila Tagore, the '60s stunner, is as charming as ever in her 60s. The glamorous image will work for the moment. But you won't remain young all your life SHARMILA TAGORE

The exquisite Sharmila Tagore made hearts flutter as she she played the sometimes haughty and sometimes nice damsel in Bengali and Hindi cinema. Sharmila Tagore is undeniably the Bengal tigress. Millions of hearts were stolen right away when she appeared in her first film what with her glorious dimples and sassy smile. Her repertoire includes a wide range of histrionics from being a sex symbol to a sophisticated stylish icon to a National award winner.

Sharmila Tagore headed the Indian Censor Board and is also a UNICEF Goodwill Ambassador. In 1997, she was recognized for her work in cinema with the Filmfare Lifetime Achievement Award.

Every Indian who's sighed over Sharmila Tagore's dimples, drowned in that Kashmir ki Kali smile, seduced by her bikini babe image, and then cried with her in Amar Prem and Mausam will agree that the actor knows how to age gracefully. One can't quite believe that the mother of the hunk Saif Ali just celebrated her 62nd birthday!

Grandmother, mother of two actors and a designer, talented actor who tugged at audience heartstrings in the recent Virudhdh, chairperson of the Censor Board of Film Certification (CBFC), the Begum of Pataudi... the roles she plays in real life are as myriad as those celluloid roles. The list is impressive: Devi, Apur Sansar, An Evening in Paris, Anupama, Aradhana, Mausam, Amar Prem, Chupke Chupke, Anand Ashram and more. When her contemporaries were perceived as easy pushovers, Sharmila always had her fiercely independent identity.

Sharmila Tagore is one of the few true legendary actors of Indian cinema. Her career in movies spans the art films of Satyajit Ray, Bollywood extravaganzas, classic social dramas, and Indian parallel cinema. She is also considered of the most glamorous figures in the history of Indian Popular cinema.

Sharmila Tagore is one of the few true legendary actors of Indian cinema. Her career in movies spans the art films of Satyajit Ray, Bollywood extravaganzas, classic social dramas, and Indian parallel cinema. She is also considered of the most glamorous figures in the history of Indian Popular cinema.

Excerpt from IndiaInfo article, She was also a style setter. Her butterfly knot blouse, her style of making up, long eyelashes, her curvy dresses all became a fashion statement. In the mean time she also appeared on the cover of a magazine in two piece bikini which became the talk of the town.

Sharmila Tagore was born on 8th December 1946 in Hyderabad, Andhra Pradesh, India to a Bengali Brahmo family. Her father is Gitindranath Tagore who was a Deputy General Manager of Elgin Mills and she is the great grand daughter of the Nobel Laureate Rabindranath Tagore.

She is married to Mansoor Ali Khan, the Nawab of Pataudi who was the former captain of the Indian cricket team. Their children are Saif Ali Khan, Saba Ali Khan and Soha Ali Khan. Saif and Soha are actors.actor Saif Ali Khan born 16 August 1970, Saba and Soha Ali Khan, born 4 October 1978.

Sharmila Tagore headed the Indian Censor Board and is also a UNICEF Goodwill Ambassador. In 1997, she was recognized for her work in cinema with the Filmfare Lifetime Achievement Award.

Sharmila Tagore’s Movies
She began acting when she was fourteen years old in Bengali movies and worked frequently with Satyajit Ray. Tagore soon got many offers from Bollywood and has given many unforgettable performances. She became one of the first Indian actresses to appear in a bikini onscreen.

1959 to 1969 Sharmila Tagore’s first Bengali movie was Satyajit Ray’s Apur Sansar (1959), which was the last part of a trilogy. Devi (1960) saw her as Doyamoyee who comes to believe she is an avatar of the Goddess Kali. According to her those films were just an offhand chance and she acted in them out of sheer curiosity.

She made her debut in Bollywood with Kashmir Ki Kali directed by the famous director Shakti Samantha (1964 opposite Shammi Kapoor as Champa who falls in love with Rajiv who pretends to be a poor man.

In 1966 she took up the titular role of Anupama in the Hrishikesh Mukherjee's film. Though she sported a stylised bouffant, she vowed everyone as the simple, shy and soft-spoken girl.

She teamed up with Shammi Kapoor again in 1967 for An Evening in Paris, in which she played a dual role. She jolted everyone and went on to become one of the most hottest and glamorous actress of hertimes after she acted in a double role in An Evening in Paris. Millions went ga-ga over coquettish expressions in the song Akele Akele Kahan Ja rahe ho.

In 1968, she got married to the Nawab of Pataudi, the former Indian Captain Mansoor Ali Khan much to the disappointment of her fans. She converted to Islam and took on the name of Ayesha Sultana. She proved her detractors wrong who were sure that this marriage wont work if she were to continue acting in films. In fact her best performances were after she married and she did not keep away from the tinsel town for long.

She was back with a bang in the smash hit Aradhana with Rajesh Khanna released in 1969. In tow with director Shakthi Samantha , she went in for a complete change of image in this movie as a total deglamorised mother. Shakti Samanta’s Aradhana saw her with Rajesh Khanna. She played Vandhana whose lover dies and she gives birth to their baby which she is forced to give up for adoption. She won her first Filmfare Best Actress Award for Aradhana.

Rajesh Khanna and Sharmila were declared a hit pair and they went on to give many more super duper films like Safar, Amar Prem, Daag and the artistically acclaimed Aavishkar. There was much speculation about the rivalry between her and Raakhee while they were shooting the film Daag.

In Aavishkar, her character again mostly relied on her talent with minimum makeup, no wigs and she very ably matched Rajesh Khanna as she alternated between bouts of anger and remorse as the wife struggling to save her marriage.

In between these schedules she also gave birth to her first child Saif Ali Khan who is now a star in his own right.

The year 1975 saw Sharmila as the obscenity-spewing whore in the film Mausam, again a dual role, opposite Sanjeev Kumar directed by Gulzar. This movie also garnered her the coveted National Award. Her other movies with Sanjeev Kumar include Charitraheen, GrihaPravesh and Namkeen.

She moved to Delhi after Mausam and also had two daughters Soha and Saba.

Sharmila has also been paired with other stars like Shashi Kapoor (Aa Gale Lag Ja, Waqt, Aamne Saamne, Suhana Safar)

Dharmendra (Devar, Chupke Chupke, Satyakaam and ofcourse Anupama)

and the superstar Amitabh Bachchan (Faraar, Besharam and Desh Premee) but these pairs did not create as much an impact.

Gulzar’s Mausam (1975) was a love story which also starred Sanjeev Kumar. She played a dual role as the mother and daughter and went on to win the National Film Award for Best Actress.

Hrishikesh Mukherjee’s Chupke Chupke (1975) was a lighthearted comedy with Dharamendra and Amitabh Bachchan.

She had few releases in the 80s like Namkeen (1982), Desh Premee (1982) and Sunny (1984).

Settling down in Delhi, she would return to Bombay once in a while to do an occasional film like New Delhi Times and Namkeen which was directed by one of her favourite director Gulzar.

1990 to 2009 She got an opportunity to work with Mira Nair in Mississippi Masala (1991). She played Roshan Seth’s wife in the movie. The story was about them forced to leave their home in Uganda and dealing with their daughter’s relationship with an African American.

She was seen with her son Saif Ali Khan in Aashiq Awaara (1993). Her other movies were Mann (1999), Dhadkan (2000), Viruddh (2005), Eklavya: The Royal Guard (2006) and Fool & Final (2007).

In recent times she was seen in Mann, 1999 and Dhadkan, 2000, but was a huge disappointment to her fans in not-so-well etched characters.

In 2009, she has a part in Nagesh Kukunoor’s 8x10 Tasveer and Amol Palekar’s Samantar.

Nowadays, Sharmila is shooting with Raakhee, supposedly her one-time arch rival, for Shubha Muhurat, a Bengali film directed by Rituparno Ghosh.

It seems like nothing has changed for Sharmila and time has stood still on the beautiful Sharmila. She still is as stylish and elegant as ever and those dimples have deepened.

Once at the helm of stardom, Sharmila Tagore may have retreated into the solace of family life, but every now and then, she does return to recreate her aura on screen. This time around, it’s Nagesh Kukunoor’s 8X10 Tasveer that has brought her back.

Tagore, or Begum Pataudi, chooses her words carefully. “I’ve admired Nagesh’s work — I really liked his Dor and Iqbal. His stories are simple yet told interestingly and his efforts are sincere,� says the veteran actress, “And I can’t be expected to have a full-fledged career; I’ve had my innings and now I like to do things at my own pace.�

Tagore does accept that she’s doing more regional cinema than mainstream. Having recently concluded friend Amol Palekar’s Samantar and released Anirudhha Roy Choudhary’s Antaheen, she’s now taking a break. “Bengali films offer more scope in terms of characters and roles, which seems limited in the Hindi film industry for someone my age. But Tasveer is different.�

Sharmila also revealed that lawns of the Pataudis will soon be open to common people for philanthropic work. "We did something for the visually challenged sometime back and now we want to do something for people suffering from hearing related problems.

We want to follow the earlier module by tying up with organisations working for the cause of the deaf people and bring them to our place once or twice a week and give them free treatment.

Tagore is renowned as the apogee of elegance; but she’s also known for her candour — she is still remembered as much for her sensitive portrayal of a child bride in Satyajit Ray’s Apu Sansaar as is for being the first actress to have donned a swimsuit for a photo shoot — which was partly the reason for her having been chosen as the chairperson of the Censorship Board.

THE HINDU - Metro Plus Mangalore

The actor looks back contentedly at the years gone by even as she still wants to have fun. She augurs good portent when she says: "I would like to start by saying that I like The Hindu and that's the only paper I read. And that's the only crossword I do!"

So does life begin at 40 like they all say? "I've enjoyed every facet of life," says Sharmila, reviewing her life by the decade. "When I was 20, I did all that a 20-year-old wanted to do. I made mistakes. And I have evolved. The 30s was a wonderful time — it was children; 40s was coming to terms with my mother-in-law in a joint family and the children's education, and teenage times. The 50s was a liberating time when one had done everything for family and children and suddenly realised `I'm free and I can do what I say'. There's a different kind of coming to your own; and you consider yourself asexual as a person, not as a woman per se. You stop apologising for being a working person."

And coming back into the loop was a refreshing change. She recalls how she had to print a business card. "I didn't know... I'm Mrs. Khan in school and Begum of Pataudi in Pataudi, so I've all these various things. So I said Sharmila Tagore is my name. It's a phase of a realisation of the self," she smiles looking breezy in a peach-and-white sari and an elegant string of pearls.

"Even in your 60s you're quite capable of doing something foolish or uninformed. Just because you are at a ripe old age doesn't mean you're the end word in wisdom. You have experiences but unless you assimilate them and internalise them, make it knowledge and transcend that, they are just nothing."

Freedom but not free

Being CBFC chairperson is no mean task, where the scissor-wielding image of the members comes in for much flak from directors demanding unconditional freedom of creativity and expression. Sharmila however believes that problems come because of changing the status quo. "Nobody wants to take a decision. Ideally censorship must go. But I firmly believe the time hasn't come yet for India. We are talking about creative freedom; but nothing is free. Responsibility and freedom must go hand-in-hand. I'm free to do what I want. But are we totally free? We are not. I cannot hurt somebody's sentiment."

She admits emphatically: "We are only there to certify films, not to make socially relevant films. But we can make a dialogue possible between filmmakers and members of society."

Of course, there will always be a percentage of films made just for the sake of making money. "Manipulative films will always be there. These are more dangerous than just straightforwardly sexy or violent films. Films that endorse stereotypes and put in an insidious message are even more dangerous."

Though she hasn't seen son Saif Ali Khan's favourably received Being Cyrus she's very impressed with his acting — as a co-actor and not a mother! "With films like Hum Tum and Parineeta he has been proving his mettle and he's become a sensitive actor." With daughter Soha Ali Khan going big time with Rang De Basanti the question is inevitable. Were you apprehensive about the kids getting into cinema? "Not so much with Saif... but this is where the double standards come in," she admits rather frankly. "(With) Soha, I most certainly was apprehensive. I was like `Oh God! Is it all right?' When you give your children a certain education, and then when they choose something, you can't crib about it," says the democratic mom who's seen a lot of ups and downs in the family.

Soha joins an industry where heroines are obsessive about glamour. When Sharmila became the first Hindi actor to wear a two-piece bikini in An Evening in Paris, she set off a predictable uproar.

The rattled actor then chose to change tack. "You need a short-term vision as the way to a long-term vision. The glamorous image will work for the moment. But you won't remain young all your life. And if you want longevity in your profession, you have to be able to do all kinds of roles. Instead of exhibiting yourself, you have to express yourself," is how she succinctly puts it.

An actor discovered by none less than the great Satyajit Ray, Sharmila moved pretty fast to Bollywood. Any regrets? "With Ray, it was more his contribution (than) mine. If I hadn't broken away from him, all my life I would have been in his shadow. Now whatever I've achieved I've achieved on my own," says the doe-eyed Bengali, a kin of Rabindranath Tagore. "I think I came to my own with my exposure, away from that protected and `good' atmosphere. Because I had to fend for myself here. Every person wants to feel that their achievement is their own."

And no one can stake claim to that better than Sharmila Tagore.

Awards

* 1969 - Filmfare Best Actress Award - Aradhana
* 1976 - National Film Award for Best Actress - Mausam
* 1997 - Filmfare Lifetime Achievement Award
* 2002 - Star Screen Lifetime Achievement Award
* 2004 - National Film Award for Best Supporting Actress - Abar Aranye
* 2006 - Nominated, Filmfare Best Actress Award - Viruddh... Family Comes First
* 2007 - Lifetime Achievement National Award (Actress) - By [www.journalistassociationofindia.org Journalist Association of India]
[color][color=maroon]
filmography

Year Film Role Other notes
1959 Apur Sansar (The World of Apu) Aparna (dir. Satyajit Ray)
1960 Devi / The Goddess Doyamoyee (dir. Satyajit Ray)
1964 Kashmir Ki Kali
1965 Waqt Renu Khanna
1966 Devar
1966 Anupama Uma Sharma
1966 Nayak Aditi (dir. Satyajit Ray)
1967 An Evening in Paris Deepa Malik/Roopa Malik (Suzy)
1967 Aamne Saamne
1968 Mere Hamdam Mere Dost Anita
1969 Yakeen Rita
1969 Satyakam Ranjana
1969 Aradhana Vandhana Tripathi
1970 Aranyer Din Ratri (Days and Nights in the Forest) Aparna (dir. Satyajit Ray)
1971 Seemabaddha Tutul (dir. Satyajit Ray)
1972 Amar Prem Pushpa
1973 Daag
1973 Aa Gale Lag Jaa
1975 Mausam Chanda/Kajli (dir. Gulzar)
1975 Chupke Chupke Sulekha Chaturvedi
1975 Faraar Mala / Asha
1977 Amanush Rekha
1982 Namkeen Nimki (dir. Gulzar)
1982 Desh Premee Bharti
1984 Sunny Sunny's mother
1991 Mississippi Masala Kinnu (dir. Mira Nair)
1993 Aashiq Awara Mrs. Singh
1999 Mann Dev's grandmother
2000 Dhadkan Dev's mother
2005 Viruddh... Family Comes First Sumitra Patwardhan (dir. Mahesh Manjrekar)
2006 Eklavya: The Royal Guard Suhasinidevi (dir. Vidhu Vinod Chopra)
2007 Fool and Final
2008 Eight by Ten
2009 Samantar - Marathi (dir. Amol Palekar)

http://en.wikipedia.org/wiki/Sharmila_Tagore
http://www.chakpak.com/celebrity/sharmila-.../biography/9845
http://www.santabanta.com/cinema.asp?pid=3236actor
http://www.hinduonnet.com/thehindu/thscrip...amp;prd=mp&
http://www.expressindia.com/latest-news/Ak...-Tagore/442647/
http://www.dnaindia.com/report.asp?newsid=1243715
http://bollywood501.com/classic_f/sharmila_tagore/main.html

Aradhana" [1969]

Sharmila Tagore is one of the few true legendary actors of Indian cinema. Her career in movies spans the art films of Satyajit Ray, Bollywood extravaganzas, classic social dramas, and Indian parallel cinema. She is also considered of the most glamorous figures in the history of Indian Popular cinema.

Excerpt from IndiaInfo article, She was also a style setter. Her butterfly knot blouse, her style of making up, long eyelashes, her curvy dresses all became a fashion statement. In the mean time she also appeared on the cover of a magazine in two piece bikini which became the talk of the town. '"Looking back, I realize I was very different from the other actresses of my time. My behavior was grossly misinterpreted. I felt I was making mistakes all the time. I'd wear clothes that were not suitable. Everybody would be wearing a sari and I'd turn up in jeans. I was also accused of being snooty and arrogant, which I was not. I didn't know that one was expected to lead a certain lifestyle." IndiaInfo.com biography

"An Evening In Paris" [1967]

Sharmila's and other Bollywood actresses' style and dress had a huge influence on every young Indian woman of the 60s and 70s.

Sharmila was a sensation in 60s and 70s Bollywood. Much could and should be written (*I'm working of a paper right now) about the 'Bikini Photo' showing Sharmila in a two piece Western style bathing suit that was published in Indian magazines in 1966. For many Indian and Islamic conservatives the photo was scandalous. The Photo opened debates on many issues that dealt with sex, gender, and culture. Sharmila and other young Indian woman of her generation wondered what the big deal was? She just wanted to wear the latest vogue fashions.

In the 60s and 70s Sharmila could always be counted on to add 'sizzle' to a Bollywood movie. Her signature Bollywood film was Shakti Samanta's classic "An Evening In Paris" (1967). I've posted an image captures gallery from "An Evening In Paris" below to display the amazing bouffant and style of Sharmila Tagore.

"Amar Prem" [1971]

Sharmila Tagore is an actress who balanced her career between 'art films' and popular cinema. In the 1970s she had a screen association with Rajesh Khanna (who was the film heart throb of heart throbs) that produced some of the all time classics of Bollywood social drama with films like "Aradhana" [1969], "Amar Prem" [1971], and "Safar" [1970]. With her trademark dimpled cheek, amazing bone structure, and wonderful figure she also headed the glamorous A list of popularity in Bollywood masala entertainers.
On screen Tagore seemed as much at home in a 'sizzling' and 'revealing' item number in a film like "An Evening In Paris" as she was in a quiet nearly silent portrayal as an inhibited youth as in Hrishikesh Mukherjee's "Anupama" [1966].
In 1997 Sharmila Tagore won the award for Lifetime Achievement at the Filmfare Awards. She is truly one of the great actresses of Indian Cinema.

"Kashmir Ki Kali" (1964) Sharmila's first Hindi film staring role.

Sharmila Tagore from "Anupama" [1966]


photo captures from "An Evening In Paris" [1967]

Photo captures from "Waqt" (1965)


photo captures from "Amar Prem" (1971)

Indeevar

Indeevar: Indian lyricist, poet
Real Name: Shyamalal Bahu Rai
Date of Birth: 1924
Birthplace: Jhansi, Uttar Pradesh
Date of Death: February 27, 1999[/color]

Born as Shyamalal Bahu Rai, Indeevar was one of the lead lyricists of Indian Hindi film industry in 1960s. He worked as lyricist for over more than four decades. He has penned over thousand songs in over 300 films in his career. Indeevar was born and grown up in Barua Sagar in Jhansi District.

He came to the city of dreams, Mumbai to pursue career as lyricist, with the clear intention of being a lyricist.

He got his first assignment for the movie called ‘Double Face’ (1946). Unluckily enough, Indeevar didn’t get many opportunities like this to pen down these quality songs to showcase his talent.

The reason for what is considered as his compromise on quality on work just to be in the business. To be in the business, he took every assignments and grabbed every film that came his way and didn’t mind working for ‘B’ and ‘C’ grade projects.To keep himself busy, he accepted about every assignment which came to his way compromising to the quality of work and the kind of film for his survival in this Indian Music Industry.

A real big break came to his way with the film Malhaar in 1951. He gave a hit number 'Bade Armaano Se Rakkha Hai Baalam Teri Kasam' with this film. Music for it was composed by the late Roshan. The song was one of his hits, which still sounds fresh today. But even this didn't led him to instant success.

He finally shot into the big league with Babubhai Mistry's musical extravaganza, Parasmani (1963), which also launched the career of music duo Laxmikant-Pyarelal. In subsequent years, Indeevar forged a strong bond with a select set of filmmakers and music directors, that resulted in a repertoire of music that was eminently hummable, subtly evocative and definitely unforgettable.

One of his most creative and fruitful alliances was with Manoj Kumar, who first signed him on for Upkar (1967). Indeevar and Kalyanji-Anandji injected the film with a fine blend of soulful emotion and patriotic euphoria through songs like ‘Kasme Vaade Pyaar Wafa’. Equally powerful were compositions like ‘Dulhan Chali, O Pehen Chali’ and ‘Koi Jab Tumhara Hriday Tod De’ from Purab Aur Paschim (1970).

Earlier, in 1968, he had culled an awesome collection of soulful lyrics for Govind Saraiya's Saraswati Chandra. Together with his long-standing partners, Kalyanji-Anandji he produced unforgettable numbers such as ‘Chhod De Saari Duniya Kisi Ke Liye’, ‘Chandan Sa Badan’ and ‘Main To Bhool Chali Babul Ka Des’.

In direct contrast to this classic score, the trio set an upbeat mood for Vijay Anand's musical hit, Johny Mera Naam (1970) with zany songs like ‘Nafrat Karne Walon Ke’ and ‘Pal Bhar Ke Liye Koi Hame Pyaar Kar Le’ and ‘O, O Mere Raja’.

Two of Indeevar's best-remembered films were made the same year. While Manmohan Desai's Sachcha Jhootha produced ‘Meri Pyaari Beheniya Banegi Dulhaniya’, which has since become a permanent fixture in every wedding band, Asit Sen's Safar had Indeevar's poetic juices churning out wonders like ‘Jeevan Se Bhari Teri Aankhen’ and ‘Jo Tumko Ho Pasand’

Throughout the 1970s, his winning combination with Kalyanji-Anandji grew stronger and continued all the way up to Qurbani's' (1980) ‘Hum Tumhe Chaahte Hain Aise’.

With the arrival of the disco beat and the Bhappi Lahiri wave, Indeevar put poetry on the backburner and stood up to the task of delivering mindless lyrics. There was a preset combination for all these Southern-style 'pots-n-pans' hits: Jeetendra, Sridevi, Jaya Pradha, Bhappi Lahiri and Indeevar. All the way from Himmatwalas' (1983) ‘Nainon Mein Sapna’ to Tohfa's nonsensical title song, Indeevar willfully accepted and adapted to the changing trends in film music.

He was one of the talented lyricists who wrote songs like Zindagi Ka Safar Hai Yeh Kaisa Safar (Safar), Pal Bhar Ke Liye Koi Hame Pyaar Kar Le (Johny Mera Naam), Dushman Na Kare (Akhir Kyon), Chandan Sa Badan (Sarswati Chandra), Dil Aisa Kisine Mera Toda (Amanush) and many more like this.

All Time Hits of Indeevar

Song - Track Movie
Tum Mile Dil Khile Criminal
Yeh Teri Aankhen Jhuki Jhuki Fareb
Jab Koi Baat Bigad Jaye Jurm
Jati hoon mein Karan Arjun
Laila O Laila Qurbani
Kya Dekhte hoo Qurbani
Aap Jaisa Koi Qurbani
Kya Khoob Lagti Ho Dharmatma

Filmography by year for Indivar

1. Victoria No. 203: Diamonds Are Forever (2007) [Soundtrack] (lyrics: "Thoda Sa Thero")

2. Don (2006/I) [Soundtrack] (lyrics: "Yeh Mera Dil")

3. Outsourced (2006) [Soundtrack] (writer: "Hum Tumhen Chahte Hain")

4. "The Simpsons: Kiss Kiss, Bang Bangalore (#17.17)" (2006) TV Episode [Soundtrack] (lyrics: "Pal Bhar Ke Liye Koi Hamen Pyaar Kar Le")

5. Koyla (1997) [Soundtrack] (writer: "Bhang ke nashe", "Dekha tujhe to ho gayi deewani", "Ghunghte mein chanda", "Sanso ki mala", "Tanhai tanhai tanhai", "Badan judaa hote")

6. Namak (1996) [Soundtrack] (lyrics: "Mera pyar tere jeevan ke sang rahega")

7. Rock Dancer (1995) [Soundtrack] (lyrics: "You Are My Chicken Fry")

8. Veergati (1995) [lyricist] (as Indeevar)

9. Criminal (1995) [lyricist] (as Indeevar)

10. Jawab (1995) [Soundtrack] (lyrics: "Yeh Dil Mein Rahenewale")

11. Aaj Kie Aurat (1993) [Soundtrack] (lyrics: "Roshni Andhera Mitati Hai")

12. Isi Ka Naam Zindagi (1992) [Soundtrack] (lyrics: "Bom Bom Bhole") [lyricist: "Bom Bom Bhole"] (as Indeevar)

13. Lambu Dada (1992) [Soundtrack] (lyrics: "Lambu Dada, Lambu Dada")

14. Swarg Yahan Narak Yahan (1991) [Soundtrack] (lyrics: "Maine Tere Bahane Biji Ko Chhoo Liya Hai")

15. Dushman Devta (1991) [Soundtrack] (lyrics: "Ho Jaye Ho Ja") [lyricist] (as Indeevar)

16. Maalamaal (1988) [Soundtrack] (lyrics: "Maal Hai To Taal Hai, Varna Tu Kangal Hai", "Kal Na Aaya Hai Na Ayega", "Meri Raaton Mein, Meri Khwabon Mein", "Pehla Pehla Pyar Layi Hoon")

17. Hatya (1988) [Soundtrack] (lyrics: "Pyar Milega Yaar Milega Ghunghat Ke Pat Khol", "Main To Hoon Sabka", "Main Pyar Ka Pujaran", "Aap Ko Agar Juroorat Hai")

18. Dariya Dil (1988) [lyricist: songs]

19. Khoon Bhari Maang (1988) [lyricist]

Towards the end of his career, he notched up a few hits with actor-turned-filmmaker Rakesh Roshan such as Karan Arjun (1995) and Koyla (1997).

One of the industry’s prolific writers, Indeevar’s lyrics were criticized for oscillating between the sublime and the ridiculous.

Indeevar came to Mumbai with the clear intention of becoming a lyricist, even as he was trying to redeem himself as a poet, Indeevar passed away on February 27, 1999, and is credited with having written over a thousand songs in over three hundred films in a career spanning over four decades, leaving behind his words :

"Zindagi Ko Bahut Pyaar Hamne Kiya
Maut Se Bhi Mohabbat Nibhaaenge Ham
Rote Rote Zamaane Mein Aaye Magar
Hanste Hanste Zamaane Se Jaaenge Ham"

Awards

Award - Song - Movie

Filmfare Award - 1975 - Dil Aisa Kisine - Amanush sung by Kishore Kumar

A Great inspirational and motivational song with

a positive message for individual and collective

Track:Madhuban khushboo deta hai Album:SAAJAN BIN SUHAGAN Artist:Yesudas Lata Mangeshkar music: Usha khanna Lyrics: Indeevar

Madhuban khushboo deta hai, saagar saawan deta hai
Jeena uska jeena hai, jo auro ko jeewan deta hai ...

Suraj na ban paaye to, banke deepak jalta chal
Phool mile ya angaare, sach ki raaho pe chalta chal
Pyaar dilo ko deta hai, ashqo ko daaman deta hai...

Filmography by year for Indivar

1. Victoria No. 203: Diamonds Are Forever (2007) [Soundtrack] (lyrics: "Thoda Sa Thero")

2. Don (2006/I) [Soundtrack] (lyrics: "Yeh Mera Dil")

3. Outsourced (2006) [Soundtrack] (writer: "Hum Tumhen Chahte Hain")

4. "The Simpsons: Kiss Kiss, Bang Bangalore (#17.17)" (2006) TV Episode [Soundtrack] (lyrics: "Pal Bhar Ke Liye Koi Hamen Pyaar Kar Le")

5. Koyla (1997) [Soundtrack] (writer: "Bhang ke nashe", "Dekha tujhe to ho gayi deewani", "Ghunghte mein chanda", "Sanso ki mala", "Tanhai tanhai tanhai", "Badan judaa hote")

6. Namak (1996) [Soundtrack] (lyrics: "Mera pyar tere jeevan ke sang rahega")

7. Rock Dancer (1995) [Soundtrack] (lyrics: "You Are My Chicken Fry")

8. Veergati (1995) [lyricist] (as Indeevar)

9. Criminal (1995) [lyricist] (as Indeevar)

10. Jawab (1995) [Soundtrack] (lyrics: "Yeh Dil Mein Rahenewale")

11. Aaj Kie Aurat (1993) [Soundtrack] (lyrics: "Roshni Andhera Mitati Hai")

12. Isi Ka Naam Zindagi (1992) [Soundtrack] (lyrics: "Bom Bom Bhole") [lyricist: "Bom Bom Bhole"] (as Indeevar)

13. Lambu Dada (1992) [Soundtrack] (lyrics: "Lambu Dada, Lambu Dada")

14. Swarg Yahan Narak Yahan (1991) [Soundtrack] (lyrics: "Maine Tere Bahane Biji Ko Chhoo Liya Hai")

15. Dushman Devta (1991) [Soundtrack] (lyrics: "Ho Jaye Ho Ja") [lyricist] (as Indeevar)

16. Maalamaal (1988) [Soundtrack] (lyrics: "Maal Hai To Taal Hai, Varna Tu Kangal Hai", "Kal Na Aaya Hai Na Ayega", "Meri Raaton Mein, Meri Khwabon Mein", "Pehla Pehla Pyar Layi Hoon")

17. Hatya (1988) [Soundtrack] (lyrics: "Pyar Milega Yaar Milega Ghunghat Ke Pat Khol", "Main To Hoon Sabka", "Main Pyar Ka Pujaran", "Aap Ko Agar Juroorat Hai")

18. Dariya Dil (1988) [lyricist: songs]

19. Khoon Bhari Maang (1988) [lyricist]

20. Himmat Aur Mehanat (1987) [Soundtrack] (lyrics: "Amma, Himmat Jaye Na Haar", "Chui Mui Ho Gai", "Mumbai Rokey Toh Rokey", "Touch Me, Touch Me, I Want To Feel You", "Woh Ik Dost, Mujhey Khudasa Lage") [Writer] (lyrics) ... aka Will Power and Hard Work

21. Diljalaa (1987) [Soundtrack] (lyrics: "Jaan tan se, tan jaan se, hum aise jaane jaa tumese pyaar kartey hain") ... aka Heartburn

22. Majaal (1987) [Soundtrack] (lyrics: "Tum Into Main, Main Into Tum", "Meri Gaal Chuye Jo Tu", "Thodi Der Ke Liye, Khudai Mil Jaye", "Sharabon Se Kya Mujh Ko Kya Kam", "Itni Kisi Ki Majaal Kahan") ... aka Dare

23. Muddat (1986) [Soundtrack] (lyrics: "Mere dil me kya, pyar hee pyar, mujhey chahiye kya, pyar hee pyar, mujhey kahetey hain romeo", "Pyar hamara amar rahega, yaad karega jahan, tu mumtaz hai mere khwabon ki, main tera shahey jahan") [lyricist] ... aka Ages

24. Janbaaz (1986) [Soundtrack] (lyrics: "Pyar Do Pyar Lo", "Jab Jab Teri Surat Dekhun", "Har Kisi Ko Nahin Milta Pyar", "Allah Ho Akbar", "Tera Saath Hai Kitna Pyara", "Give Me Love", "Janbaaz Theme Song")... aka Jaanbaaz (India: Hindi title: video box title)

25. Dharm Adhikari (1986) [Soundtrack] (lyrics: "Maamla Ghadbad Hai", "Ankhe Do, Ankhe Do", "O Patthar Ke Insaan, O Neethi Waley Insaan") [Writer] (lyrics)... aka Authority (International: English title: informal literal title)

26. Dilwaala (1986) [Soundtrack] (lyrics: "Duniya Dushman Bane To Bane", "Saat Saat Mere Rehna Sare Zindagi", "Dilwaala", "Tonite, Pyar Karo", "Appai Appai, Ammai Ammai")

27. Ghar Sansar (1986) [lyricist: songs] ... aka Homelife

28. Aakhir Kyon? (1985) [Soundtrack] (lyrics: "Shyam Huwi Chad Aayi Re Badariya", "Saat Rangon Mein Khel Rahi Hai", "Komal Hai Kamzor Nahin Tu", "Dushman Na Kare Dost Ne Woh Kaam Kiya Hai", "Ek Andhera Lakh Sitare") [lyricist]

29. Pyari Behna (1985) [Soundtrack] (lyrics: "Ohoho Meri Behna", "Jal Gaye, Jal Gaye", "Bahon Me Jab Tak Hain Dum", "Raakhi Ke Din Vaada Karo", "Shaadi Ka Matlab Hota Hai Kya", "Chori Chori Akhiyan Milake") [Writer] (lyrics). .. aka Beloved Sister

30. Pighalta Aasman (1985) [Soundtrack] (lyrics: "Mujhey Aisa Mila Moti, Jo Sagar Me Na Hoga", "Humse Na Sahi, Gairon Se Sahi, Tumhey Pyar Nibhana Aah To Gaya")

31. Mera Saathi (1985) [Soundtrack] (lyrics: "Pyar Se Pyara.. Tu Tu", "Sapno Mein Kho Ja", "Saathi Saathi Saathi", "Daddy Se Tujh Ko Milaoongi", "Sare Sapne Tu Tod Gayee")

32. Kalaakaar (1983) [Soundtrack] (lyrics: "Neele Neele Ambar Par") [Actor .... Himself] (as Indeevar)

33. Film Hi Film (1983) [lyricist]

34. Star (1982) [Soundtrack] (lyrics: "Star", "Boom Boom", "Muskuraye Ja")

35. Roohi (1981) [Soundtrack] (lyrics: "Sajana Mujko Roohi Kaheke Bhulaye", "Badi Dher Ki Meherbaan Aahtey Aahtey")

36. Manokaamnaa (1980) [Soundtrack] (lyrics: "Tumhara Pyar Chahiye, Mujhey Jeene Ke Liye")

37. Saajan Bina Suhagan (1978) [Soundtrack] (lyrics: "Madhuban khusboo deta hai, sagar sawan deta hai, jeena uska jeena hai, jo auron ko jeevan deta hai", "O Mamma, dear Mamma, happy birthday to you", "Saata saata ke khush hotey ho, tum bhi ho kya insaanon jaise, tab maane Bhagwan tumhey, jab kaam karo Bhagwano jaise, Om Hari Om", "Kaise jeet lete hain log dil kisika, koi toh sikha de hamey pyar ka salika", "Jijaji jijaji honewaley jijaji, shaadi ke phere hain saat aur hamari shartey saath, tumko ho manjoor agar tabhi milega didi ka haath", "O jaani, jaani tum O jaane tum, roothey roothey aachey lagte ho, kitne pyare pyare lagtey ho") [lyricist: songs]

38. Trishna (1978) [Soundtrack] (lyrics: "Din Ba Din Woh Mere Dil Se")

39. Don (1978) [Soundtrack] (lyrics: "Yeh Mera Dil")

40. Bandie (1978) [Soundtrack] (lyrics: "Dil ushey dungi jo ho sarhey zamaney se nirala, pyar paah lena mera sabhi ke bus ka nahin, chahiye hanh chahiye tere jaisa koi dilwala. Dil ushey dungi jo ho sarhey zamaney se nirala", "Haath me jaam na lu, jaam ka naam na lu, roop amrit jo miley, zaher se kaam na lu. Haath me jaam na lu", "Jishey yaar ka sacha pyar miley ushey sarhey jahan ki daulat kya. Teri ankhon me chamke pyar agar, heeron ki mujhko jarurat kya. Duniya me jiska maul nahin, woh kya hai, pyaar....pyaar...pyaar. Jishey yaar ka sacha pyar miley ushey sarhey jahan ki daulat kya")

41. Khaan Dost (1976) [Soundtrack] (lyrics: "Meri zindagi mujh pe rohye, main kaam kisike na aa saka, main pyar kisika na paa saka", "Dher hai andher nahin pyaare, jaisa karega waisa bharega, waqt karega ek din sabka faisla re", "Kahey ki dosti, kahey ki yaari, duniya ye duniya hai matlabi ki maari, yaaron ki yaari numaish hai saari")

42. Amanush (1975/I) [Soundtrack] (lyrics: "Nadiyon Mein Lehre Nache", "Kal Ke Apne Na Jaane Kyon Ho Gaye Aaj Paraye", "Gham Ki Dawa To Pyar Hai", "Na Poocho Koi Humein, Zeher Kyon Pee Liya", "Dil Aisa Kisi Ne Mera Toda")

43. Anokha (1975) [Soundtrack] (lyrics: "Jaaneman aap humse mohabbat na kijiye, dekhiye do din me aap ka chehera utar gaya", "Apna desh videsh ke aagey haath na failaye, aaj jahan hai reth kal waha keth muskuraye", "Meri batonse tum bore ho gai ho to hum baat nahin karega, jis cheez ka tumko dar hai darling woh bhi nahin karega", "Jab aai hai gaonse hamar goribala, oh bina bijli ke ghar mah ho gai hai ujala")

44. Sanyasi (1975) [Soundtrack] (lyrics: "Kya Maar Sakegi Maut Use Auron Ke Liye Jo Jeeta Hai")

45. Resham Ki Dori (1974) [Soundtrack] (lyrics: "Sona Hai, Chandi Hai") [lyricist] (as Indiver) ... aka The Silk Thread

46. Victoria No. 203 (1972) [Soundtrack] (lyrics: "Victoria Two Zero Three, Do Sau Teen", "Do Bicharey, Bina Saharey, Dekho Puch Puch Kar Haarey", "Thodasa Thehero, Karti Hoon Tumse Vaada", "Rekha, Maine Dekha, Sapnon Ki Ik Rani Ko", "Tu Na Mili Toh Hum Yogi Ban Jayenge") [Writer] (lyrics)

47. Jaanwar Aur Insaan (1972) [Soundtrack] (lyrics: "Mujhey aisi mili haseena, dil jisne mera hai cheena, jisey dekke aa jaye haseenon ko paseena, haseeno ko paseena")

48. Chhoti Bahu (1971) [Soundtrack] (lyrics: "Kanhaiya, Kisko Kahega Tu Maiya")

49. Preet Ki Dori (1971) [Soundtrack] (lyrics: "Preet Ki Dori, Preet Ki Dori Saiyan, Tujh Sang Bandhi", "Mila Jo Hamey Tera Pyaar, Hum Pyaar Ke Kabil Ho Gaye, Ho Gaye", "Mila Jo Pyaar Toh Hum Pyaar Ke Kabil Na Rahey")

50. Johny Mera Naam (1970) [Soundtrack] (lyrics: "Pal Bhar Ke Liye Koi Hamen Pyaar Kar Le")

51. Sachaa Jhutha (1970) [lyricist: songs] ... aka Truth and Falsehood (India: English title)

52. Aansoo Aur Muskan (1970) [Soundtrack] (lyrics: "Moti Jaisa Rang Ang Mein", "Taare Toota Karte Hain, Sahare Chuta Karte Hain", "Taara Koi Bhi Aaj Gagan Toota Nahin", "Neki Tere Saath Chalegi Baba", "Na Dekho Badan Hi Badan")

53. Ilzam (1970) [Writer] (lyrics)

54. Purab Aur Pachhim (1970) [lyricist: songs]

55. Yaadgaar (1970) [Soundtrack] (lyrics: "Ek Tara Bole")

56. Bandhan (1969/I) [Soundtrack] (lyrics: "Aa Jaao Aa Bhi Jaao Hamko Na Yun Sataao")... aka The Bond

57. Suhaag Raat (1968) [Soundtrack] (lyrics: "Mohe Lagi Re Lagi Re Lagi Zulmi Umariyan")

58. Upkar (1967) [Soundtrack] (lyrics: "Kasmen Wade Pyar Wafa", "Gulabi Raat Gulabi") ... aka Good Deed (International: English title) ... aka Sangam Upkar (India: Hindi title)

59. Himalay Ki Godmein (1965) [Soundtrack] (lyrics: "Main To Ek Khwab Hoon") [lyricist] ... aka In the Lap of the Himalayas

60. Majboor (1964) [lyricist] (as Indiwar)

61. Dulha Dulhan (1964) [Soundtrack] (lyrics: "Mujhey kahetey hain kalu qawwal, ke tera mera saath rahega", "Hamne tujko pyar kiya hai jitna, kaun karega itna", "Jo pyar tune mujko diya tha, woh pyar tera main lauta raha hoon")
62. Dark Street (1961) [Soundtrack] (lyrics: "Itne Bade Jahaan Mein Apna")
63. Baadbaan (1954) [Soundtrack] (lyrics: "Kaise Koi Jiye")
64. Shisham (1952) [Soundtrack] (lyrics: "Satayega Kise Tu Aasmaan")
65. Malhar (1951) [Soundtrack] (lyrics: "Tara Toote Duniya Dekhe")

http://rajeshkhannalyricswriters.blogspot....01_archive.html
http://en.wikipedia.org/wiki/Indeevar
http://www.imdb.com/name/nm0408526/filmoyear

[color=red]Shakti Samanta

Shakti SamantaName: Shakti Samanta
Birthday: Wednesday, January 13, 1926
Star Sign : Capricorn
Father of Ashim S. Samanta

When he first arrived in Mumbai, Shakti Samanta was a lanky young man, who would follow filmmaker Phani Majumdar everywhere and do small roles in amateur Bengali plays at festival time. Low profile and shy, Shaktida as he later came to be known, also stood in when the prompter failed to turn up. He was simple in attitude, dress and style and this has remained with him till this day. He remains one of the most unassuming men in the Mumbai film industry today, one of the old guards who, never mind their fame and success, remain rooted to reality.

Born in Burdwan, now in West Bengal on January 13, 1925, Shakti Samanta grew up in Dehra Dun in his uncle’s place, thus gaining a command in Hindi and Urdu.

He graduated from Calcutta University in 1944 and went away to Maharashtra because becoming an actor was a childhood dream he never gave up. With little money and big dreams, he took up the job of a school teacher in Dapoli, about 200 kilometers from Mumbai.

He would make a weekly trip to Mumbai on Fridays, the weekly holiday in the Muslim-run institution he worked for. He made his rounds of the studios when Bombay Talkies was on top and as it turned out, Bombay Talkies at the time was overflowing with Bengalis.

“It was Ashok Kumar, then the top star at Bombay Talkies, who advised me to become an assistant director and not chase stardom,� he recalls.

There were three films on the floors at that time and he would visit the sets and watch the shooting every Friday. During summer vacations, he began to assist Gyan Mukherjee, Satish Nigam and Phani Majumdar not even dreaming that one day, he would reach far beyond the horizons his predecessors had earlier defined.

Shaktida had to wait for more than a decade to get his directorial break in 1955.

All this happened in neo-Independence ‘40s. But it was in 1955 that Shakti Samanta got his directorial break with Bahustarring Usha Kiron, Karan Dewan, Pran and Shashikala. But the film flopped.

But it was Inspector a thriller with Ashok Kumar in the title role co-starring Geeta Bali. It was a slickly made murder mystery, showing glimpses of Shakti-da’s flair for suspense thrillers and did fairly well at the box office as well. that was his first success.

Sheroo and Hill Station followed and then Shakti decided to launch his own banner - he set up his production house. “Two of my films had done well, so I wanted to make my own films,� says Samanta simply.

He made Howrah Bridge (1958) starring Madhubala, Ashok Kumar and Madan Puri. The film is remembered till date as one of the best crime thrillers on the Hindi screen. It also featured Helen in the famous cabaret number Mera Naam Chin Chin Choo sung by Geeta Dutt. The film established Shakti Samanta as a filmmaker with command over entertainment that packed in all the ingredients of success – good music, dynamic action, chilling suspense, and a tight-knit script. Howrah Bridge was an instant hit.

This was followed by Insan Jaag Utha, his first social as a producer, with Sunil Dutt and Madhubala was his first socially relevant film. It had a powerful storyline and beautiful songs such as MehenatKkar Insaan Jaag Utha and the cute Jaanu Naanu Ri. But the film was a flop.

While both films had Madan Puri - with whom Shakti was to have a long association, in important roles the second film was his first with S.D.Burman, with whom his association was to have momentous implications in the decades to come.

Shakti-da evolved his brand identity for wholesome, mainstream entertainment, churning out one hit after another.

If Shakti Samanta was ever criticised, it was for his penchant for shifting to the saleable hero of the season. And with Singapore (1958), the F.C.Mehra production, Samanta moved from Ashok Kumar to the hot-and-hit new hero, Shammi Kapoor.

But the association with Shammi Kapoor remained notable for various reasons: Singapore was the first film of the legendary Shammi Kapoor-Shankar Jaikishan association, China Town saw the first Indian song - Baar baar dekho - to be officially copied with permission by a West Indies pop group and Singapore and An Evening In Paris were both shot abroad, a rarity with Hindi films in the pre-’90s era.

China Town was also said to be the base for the script of the 1978 blockbuster Don.

Quips Shaktida, “Shammi Kapoor was a huge star and he whimsically told me, ‘I will work only in alternate films of yours!’� And so Samanta alternated China Town, Kashmir Ki Kali, An Evening In Paris and Jaane Anjaane with Naughty Boy (Kishore Kumar), Sawan Ki Ghata (Manoj Kumar) and Aradhana (Rajesh Khanna)!

If Sharmila Tagore was his favourite actress, as fas as actors go, Shaktida is best remembered for his association with Shammi Kapoor and Rajesh Khanna.

When asked about his experience of having worked with Shakti-da, Shammi Kapoor said, “he could be a very hard taskmaster but he was always ready to experiment with shots, with stories, with characters. Though he was strict, he did not instill fear in his team and we had a friendly relationship with him. I did some of the best films as hero in his films.

He was extremely versatile, offering something new with every film.

Singapore was a frothy comedy, China Town was a thriller while Kashmir Ki Kali was a soft musical romance.

An Evening in Paris was a travelling love story with suspense built into it. The music in all his films was just great and the songs would still top the charts if you put them there.

During his hey-days, Shakki was a complete filmmaker. An Evening in Paris was the first Hindi film with 90% of its footage shot widely abroad crossing Paris, Toronto, Beirut, everywhere complete with the technical team.�

here is song sequence in An Evening in Paris shot with Shammi Kapoor hanging out of a helicopter. It was unique in those days. The song was Aasman se Aaya Farishta.

It was unique in those days. The song was Aasman se Aaya Farishta.

Says Shammi Kapoor, “It was one of the scariest experiences of my life.

While the song was being recorded, I had a brainwave. I suggested to Shakki why don’t we shoot this song from a helicopter so that it would literally bring out the meaning of the song.

It was just a joke I forgot all about.

Then comes this telephone call from Shakki informing me that we were shooting that song with me hanging out from a helicopter! He had hired a helicopter and its pilot for shooting in Beirut.

I was so scared that my skin stood out in goose bumps. I had to down two glasses of brandy on the morning of the shoot to keep my spirits up.

But when I was high up on the air, hanging precariously off the helicopter, I could not hear the song I was supposed to lip sync to.

Shakki solved the problem. He looked up at me and sang out the lines. I followed his lip movements. The song is still a big hit among listeners but no one knows the inside story.

I jumped 200 feet from the helicopter right into the sea with no bones broken."

Kashmir Ki Kali introduced the svelte Sharmila Tagore. Few mentor-protege associations have proved as enduring, as variegated, as weighty and as successful as Shaktida’s professional relationship with La Tagore.

New mentor-protege associations have proved as enduring, as variegated, as weighty and as successful as Shaktida’s professional relationship with La Tagore Hindi film heroine.

“When I was casting for Kashmir Ki Kali, I wanted a new face and the requirement that she looked like a kali (bud). So I went to Kolkata and met Sharmila’s parents,� smiles the filmmaker.

The director – actress combination would go on to do films like Sawan ki Ghata, An Evening in Paris, Aradhana (1969), Amar Prem (1971), Charitraheen (1974), Amanush (1974) and Anand Ashram (1977).

The best phase in Shakti Samanta’s illustrious 50-year career began in 1969 with Aradhana.

Aradhana heralded the industry’s great superstar Rajesh Khanna playing a double role of a father and son.

It was the first pairing of Sahaktida and Rajesh Khanna marking the longest tenure between Shakti-da and his actor.

A long string of pairing between and among Rajesh Khanna, Shakti Samanta, Kishore Kumar, lyricist Anand Bakshi and the father-son music-composing duo SD Burman and Rahul Dev Burman followed.

Rajesh Khanna and Shaktida created magic with films like Aradhana (1969), Kati Patang (1970), possibly boasting of Asha Parekh’s greatest ever performance, Amar Prem (1971), Anuraag (1972), Ajnabee (1974) and Mehbooba (1976).

The team’s last film together was Rajesh Khanna’s home production Alag Alag (1985).

1969 was a year that changed the course of our films and film music, and Rajesh Khanna emerged as the first Superstar of Hindi films, slaloming to the top with 23 jubilees in less than 5 years. It was Aradhana, with Khanna in a dual role, that changed the course of romance in Hindi cinema, that also catapulted Kishore Kumar to the top as a playback singer just when he had reached his nadir as a saleable hero. “I knew Kishoreda since the time when Phani Majumdar made Andolan with him in 1951. We had become friends and would hang out together. I was very happy to be instrumental in his major breakthrough,� says Samanta.

Khanna of course became a hit team with Kishore Kumar and lyricist Anand Bakshi, and the team with Samanta was together till Khanna co-produced Alag Alag in 1985.

Most of their films together (Shakti’s own Kati Patang, Amar Prem, Anuraag and Awaaz and his brother Girija Samanta’s Ajnabee and Anurodh besides Mehbooba) had music by R.D.Burman, who completed the quintet. But S.D.Burman, who had scored Aradhana, composed Anuraag and one song in his son’s Amar Prem, and Laxmikant-Pyarelal came in for Anurodh.

Says Shakti, “Since I was good in Hindi and Urdu, I was very particular about my dialogues and lyrics. Anand Bakshi was more of a friend - we would spend so many nights together creating songs over food and drink, and he was very, very good at his work. We worked on so many films even when there were other heroes or composers, and after Amanush, I also liked to work sometimes with Indeewar.�

Shaktida’s professional liaison with other actors worked the best with Uttam Kumar who worked in two double-version hits under his direction, Amanush and Anand Ashram, both with Sharmila Tagore.

But his films with Amitabh Bachchan (The Great Gambler (1979), Barsaat ki Ek Raat (1981)) and Mithun Chakraborty did not jell.

The Bengali version of Barsaat Ki Ek Raat, namely Anusandhan did very well in West Bengal but the Hindi version could not strike the box office.

Geetanjali (1993) with Rekha doing a double role was Shaktida last directorial venture in Hindi but the film underscored the tragic fact that Shakti Samanta was really not able to flow with the changing ebb and tide in Hindi cinema.

He returned to filmmaking with the idea of shifting base to his home state.

He made Devdas (2002) with Prosenjeet, Arpital Pal and Indrani Haldar as the star-crossed lovers.

But “working in Tollygunge has taught me never ever to work in Bengal again because people are very lazy and unprofessional here. At my age, with my experience, I simply cannot cope,� he said. Devdas was a miserable flop.

Samanta Directed first feature film in 1954 and started his own production company, Shakti Films, in 1957.


In all, Samanta has directed 43 feature films: including 37 Hindi, and 6 Bengali films.

His best-nown films are: Howra Bridge, China Town, Kashmir Ki Kali, An Evening In Paris, Aradhana, Kati Patang, Amar Prem, Anuraag, Amanush, Barsaat Ki Ek Raat and Mehbooba.

Samanta is credited for starting the trend of making double version films in Hindi and Bengali with Amanush in 1974.

Samanta also made the first co-produced film between India and Bangladesh in 1984.

Some of his films have been shown at international festivals in Berlin, Tashkent, Moscow, Cairo and Beirut.

Samanta was President of the Indian Motion Pictures Producers Association for 5 years, Chairman of the Central Board Of Film Certification for 7 years and was Chairman of the Satyajit Ray Film & Television Institute, Kolkata for 2 years.

Music always played a big, big part in trhe success of Shaktida’s films.

“I was very particular about my dialogues and lyrics which was easy because I was very good both in Hindi and Urdu.

I chose Anand Bakshi to do the lyrics for most of my films and I had great faith in his work also because we were very good friends on a personal level.

After Amanush, I worked with Indeevar too,� says Shaktida.

Shaktida’s films will be forever remembered for their rich music and lyrics.

Over his 50 films in 50 years, Shakti-da worked with OP Nayyar, Shankar-Jaikishen, SD Burman, RD Burman, Laxmikant-Pyarelal to produce some of the best songs in the history of Hindi film music.

If Aradhana placed Kishore Kumar at the top among male playback voices, then the songs of Amar Prem remain archived in the music museum for lyrics, rendering and music. Kuch to Log Kahenge, Chingari Koi Bhadke or Yeh Kya Hua are hummable to this day.

SD sang Aradhana’s title song and it is an all-time hit. The Bade Achche Lagte Hain slow number in Balika Badhu beautifully brings out the romantic strains of first love.

Place this against Pyar Deewana Hota Hai in Kati Patang or Aayiye Mehrbaan in Howrah Bridge, Zara Haule Haule Chalo More Sajna from Sawan Ki Ghata and you get a collage of rich music in every musical genre in cinema.

He has also worked with a variety of composers - Hemant Kumar, Ravi, Madan Mohan, Mukul Roy (Geeta Dutt’s brother), Chitragupta, Ravindra Jain, Annu Malik and Bappi Lahiri.

If Rajendra Kumar was a jubilee star, Shakti Samanta was jubilee director.

Almost all his films were either golden or silver jubilee hits.

Samanta was also called the star maker having survived over two 'star phases' unscathed.

With this failure, Shakti Samanta gave up direction.

His son Ashim took over the reins but he failed to work his magic too.

Disasters like Palay Khan, Aakhri Baazi, Ahankaar, Ankhon Mein Tum Ho followed one after another till he had to finally move to producing televisions serials.

His distribution at Naaz and production office at Natraj Studios has been closed down.


Shakti Samanta brought out some of the best from his music composers from O.P.Nayyar and Shankar-Jaikishan to the Burmans, though he also worked with composers as varied as Hemant Kumar, Ravi, Madan Mohan, Mukul Roy, Chitragupta, Laxmikant-Pyarelal, Ravindra Jain, Anu Malik and Bappi Lahiri apart from Babul Bose in the Bengali Debdas. “Nayyar and Shankar-Jaikishan were both very good, but I tuned best with the two Burmans - while Dada’s music was sweet and soft, his son was a genius at orchestration,� says the filmmaker. “After they both passed away, I don’t miss just them but music itself!�

THE BENGALI PHASE

Shakti Samanta felt the need to go to his Bengali roots when he once met a group of Bengali journalists in Kolkata they wanted to know why he was not making Bengali films. “I then met the eminent writer Shaktipada Rajguru. I had already made the big change from crime dramas to love stories and socials with Aradhana, Kati Patang, Amar Prem and Anuraag and I started exploring subjects that could be made in both Hindi and Bengali as bilinguals. Amanush and Anand Ashram were my first two films in this capacity and both had Uttam Kumar and Sharmila Tagore with Bengali stalwart Shyamal Mitra giving the music,� says Samanta.

After this came many other bilinguals, not all of which had successful runs, like Barsaat Ki Ek Raat/Anusandhan, Aar Paar/ Anaya Abhichaarm, Aakhri Baazi/Mustan, Dushmun/Andho Bichar and Ankhon Mein Tum Ho/Achena Atithi.

The change necessitated a hero familiar with both languages and popular both with Hindi and Bengali audiences and in the ‘80s and early ‘90s that meant Mithun Chakraborty. However, most of their films together did not work, including the films that Shakti’s son Ashim, who turned director with the 1982 Amne Saamne, directed.

From the early ‘70s, Shakti Samanta’s Hindi cinema definitely showed much more Bengali influences. His Amar Prem was based in Kolkata and on a Bengali story, as was Anurodh, and Samanta even remade the Bengali classic Balika Badhu, introducing Kishore Kumar’s son Amit Kumar as a singer with the hit song Bade acche lagte hain. While Samanta directed more than 12 outside films, this film remains the only Shakti Films’ production to be directed by neither Shakti nor his son - it was directed by Tarun Majumdar.

Moushumi Chaterjee, another name who had become a success in Bengali films like Sharmila Tagore, was introduced in Hindi films with Anuraag, though it was Raj Khosla who had signed her first.

During this phase, Shakti Samanta also faced allegations that he ditched Rajesh Khanna when the latter’s popularity nosedived. Admits the filmmaker, “Rajesh lost a bit of his goodness with too much success. But I was making films where he did not fit in, like Charitraheen and Ayyash (both with Sanjeev Kumar) or The Great Gambler (Amitabh Bachchan). And though I believe stars are very important, the story and music are more important!�

MUSIC AND LOYALTY

Shakti Samanta brought out some of the best from his music composers from O.P.Nayyar and Shankar-Jaikishan to the Burmans, though he also worked with composers as varied as Hemant Kumar, Ravi, Madan Mohan, Mukul Roy, Chitragupta, Laxmikant-Pyarelal, Ravindra Jain, Anu Malik and Bappi Lahiri apart from Babul Bose in the Bengali Debdas. “Nayyar and Shankar-Jaikishan were both very good, but I tuned best with the two Burmans - while Dada’s music was sweet and soft, his son was a genius at orchestration,� says the filmmaker. “After they both passed away, I don’t miss just them but music itself!�

And for someone who was accused of changing loyalties to stars fast, the filmmaker was very loyal to his technicians - cameraman Alok Das Gupta, editor Govind Dalwadi, art director Shanti Das and writers like Vrajendra Gaur, Ramesh Pant, Sachin Bhaumick, Kamleshwar and others, besides his music team.

THE LATER YEARS

Shakti diplomatically calls all his films “equally beloved children�, but when asked which films were truly satisfying, he mentions Aradhana, Kati Patang, Amar Prem, Anuraag and Amanush. “But most of my films were liked and became hits!� he says humbly about his peak phase.

But it was in the ‘80s when trends changed that the filmmaker tried to flow with the tide and made flops galore as confusion and video piracy reigned. Geetanjali (1993), his last film in Hindi as a director, was about vendetta, and even his modern-day version of Sarat Chandra’s classic Debdas (2002), Samanta’s last film as a director, were non-starters. But enough work had been done by the filmmaker to earn a distinguished place in the Hindi film industry.

Besides his celluloid achievements, Samanta has been the President of the Indian Motion Pictures Producers’ Association for 5 years, the Chairman of the Central Board Of Film Certification for 7 years and Chairman of the Satyajit Ray Film & Television Institute, Kolkata for 2 years.

Today, his son Ashim Samanta runs the office, keeps making films (“I told him Don Muthuswami would not work, but he wanted to make it and he likes to keep working!�) and the veteran filmmaker still attends office regularly. The company also runs the famous Aradhana Sound Service, a complete post-production set-up and recording studio, and for a 50-year-old banner, is remarkably in tune with the times with an efficient and friendly staff, a good website and a meticulous preservation of their films’ original negatives in temperature-controlled premises “at a great but worthwhile cost�.

The Golden Banner flies high even today.

Shakti Samanta won three Filmfare awards for Aradhana, Anuraag and Amanush topped by the Lifetime Achievement Award. He headed the Indian Motion Pictures Producers’ Association for five years, was chairperson of the Central Board of Film Certification for seven years and chaired the board of the Satyajit Ray Film and Television Institute in Kolkata for two years. His films have been screened at international film festivals in Berlin, Tashkent, Moscow, Cairo and Beirut. He handed over the reins of his production house to son Ashim Samanta.

CELEBRATION | SHAKTI SAMANTA


Great Gambler


Shakti Samanta celebrated his 79th birthday on January 13 this year. In a career spanning almost 50 golden years, the prolific producer-director has to his credit several unforgettable milestone movies like Howrah Bridge, Insaan Jaag Utha, Kashmir Ki Kali, An Evening In Paris, Aradhana, Kati Patang, Amar Prem and Amanush to name a few. He never shied away from experimenting with difficult subjects and new stars be they Sharmila Tagore, Rajesh Khanna or Moushumi Chatterjee. Some of the risks paid off...some didn’t. But Shaktida, as he is fondly known amongst the film fraternity, was never disheartened. Cinema has been his passion for close to eight decades and one afternoon, an unusually chilly one for Mumbai, the veteran filmmaker, over cups of hot chai, took a trip down memory lane. Excerpts:

BAADBAAN (’54): This Ashok Kumar-Dev Anand-Meena Kumari-Usha Kiran starrer was made for the Bombay Talkies workers co-operative society. I used to work with director Phani Mazumdar those days. Phanida used to write the dialogue in Bengali himself but needed someone who could translate the lines in Hindi without losing the essence of the words. Since I had been educated in Uttar Pradesh and was familiar with the language, he suggested I do the job for him. This was a common practice those days and got you credit as a writer (Smiles). I worked with Phanida in another film this year, Dhobhi Doctor starring Usha Kiron and Kishore Kumar.This film was made by Ranjit Studios.

BAHU (’55): My directorial debut happened quite by chance. Vrajendra Gaur was making Kasturi starring Nimmi and Sajjan for Sargam Pictures. I was assisting him on a salary of Rs 300 a month and the condition that the day I got a chance to make my own film I would quit the job. One day, a couple of young men, nephews of a prominent eye-specialist in Punjab, came across to the office. With a generous settlement from their uncle they had landed in Mumbai, bought 30 cars and put them on the roads. Each car was fetching them Rs 30 a day which amounted to a handsome Rs 900 a month. They wanted to make a film and wondered how much it would cost them. Those days you could shoot 3-4 days for as little as Rs 1000. Delighted, they asked Vrajendraji to direct the film for them. Since he was already committed to Kasturi and couldn’t take on any other project till it was released, he passed the offer to me. His only condition was that he’d write the story and dialogue. That’s how I came to direct my first social for PR Films. Considering that it starred Usha Kiron and Karan Dewan, the film didn’t fare too badly. Bahu ran for six weeks at Mumbai’s Liberty cinema.

INSPECTOR (’56): Soon after Ashit Behari who had penned the songs of Bahu came to me with the news that a prominent construction company in Malad, a western suburb in Mumbai, where he was staying was all set to foray into show business. “I’ll set up a meeting and when questioned on the budget don’t go above Rs 80,000. Once the film starts it won’t be difficult getting more from these rich contractors,� Bihari advised. Accordingly, a meeting was arranged but when the anticipated question was raised I blurted out that a film, the kind they had in mind, would cost them at least Rs 2.50 lakh. I had directed only one film and it had done just average business but I had a fair idea of production expenses. I pointed out however that costs could be trimmed by taking a reputed director and selling the film on announcement. I saw Bihari shaking his head over my folly when they got up to leave with a cryptic, “We’ll get back.� Bihari went to drop them off at the station and to my surprise returned a while later beaming. The tycoons impressed by my candor, had decided they’d take a risk with me. “Tune to kamaal kar diya,� Bihari raved. And I quipped, “Okay, write some good songs for me will you.� Inspector made for Pushpa Pictures starred Ashok Kumar and Geeta Bali. When I mentioned the title of my film to Vrajendraji and my colleagues at Bombay Talkies they laughed saying, “So you’re taking badla on us for all the inspector roles we thrust on you.� Those days, I was the first choice for every bit role of an inspector in a Bombay Talkies production. As I gave a chase my patent dialogue would be, “Follow car number XYZ.�

HILL STATION (’57): Inspector did quite well and established the banner of Pushpa Pictures. I got another chance to work with the Nadiadwalas and chose to remake a Bengali film I’d seen years ago. I think it was made by PC Barua and adapted from a famous novel. Hill Station was a beautiful story but difficult for the artistes, Bina Rai, Pradeep Kumar and Shyama. Fortunately, it worked at the box-office.

SHEROO (’57): This Ashok Kumar-Nalini Jaywant social that I directed for SP Pictures was also released in ’57. I remember I had just purchased a car and was driving it myself. One day I met with a major accident. Three of my ribs were broken and I was in hospital for almost two weeks. During the time I wasn’t allowed to see too many visitors. In a bid to kill time I started toying with story ideas. One idea grabbed me and when Ranjan Bose, a writer-friend, dropped by to visit, I sketched it out for him. He liked it and I requested him to develop it for me. The film was Howrah Bridge, Shri Shakti Films’ first production.

HOWRAH BRIDGE (’58): I knew I wanted Ashok Kumar and Madhubala for this film. I called Dadamoni as soon as I got out of hospital. We’d already made a couple of films together and he was easily wooed. But I didn’t know Madubala at all and requested Dadamoni to intercede with her father on my behalf. Soon after, one day,I dropped by on her set and fixed up a meeting for a story narration. Fortunately, the kahaani appealed to her too. And Howrah Bridge was made. The film is remembered even today for that sensuous club number picturised on Madhubala, ‘Aaiye meherbaan...’. At the time she was dividing her time between my film. that was being shot here at Natraj then called Modern Studio and Mohan Studio where K Asif was filming Mughal-E-Azam. Even as she swayed to ’Aaye meherbaan…’ in a short dress she would be doing a ‘Pyar kiya to darna kya...’ at Badshah Akbar’s court later in the day.

DETECTIVE (’58): I was young then and used to work day and night. Someone only had to ask me to direct a film and I’d agree in a jiffy. Along with Howrah Bridge I also hit the theatres with Detective in ’58. The film was produced by Amiya Chakravorty. The music director was Mukul Roy, the brother of Guru Dutt’s wife Geeta and a good friend of mine. A suspense thriller, the film starred Pradeep Kumar and Mala Sinha. Groomed at Bombay Talkies I had a lot of success with this genre but I was also inclined towards emotional subjects that New Theatres excelled in. That’s how I came to make my next film, Insan Jaag Utha.

INSAN JAAG UTHA (’59): This was Shakti Films’ second production. A very different subject it had sparked writer Nabendu Ghosh’s interest immediately. Choprasahab (BR Chopra) was making Naya Daur at the time. There were constant comparisons with this film because while Dilip Kumar and Vyjayanthimala were building a road in Naya Daur, Sunil Dutt and Madhubala were erecting a dam in my film. Both the films had very good music but while Naya Daur was a runaway hit, my film wasn’t very successful.

SINGAPORE (’60): I returned to a lighter genre with Singapore, a musical starring Shammi Kapoor and Padmini that I directed for FC Mehra’s Eagle Films. It had very good music by Shankar-Jaikishan. ‘Jeevan mein ek baar aana Singapore...’ is still hummed. We went to Singapore to shoot the film. I’ve been there 3-4 times since, once on my way to Japan. In those days the audience quite liked the idea of watching their favourite matinee idols prancing around in a foreign land speaking shudh Hindi. The novelty wore off after a while as more and more filmmakers took them around the world.

JAALI NOTE (’60): I made the film in partnership with SP Pictures. I’d made Sheroo with them earlier. It was an interesting subject and with big stars like Dev Anand and Madhubala, Jaali Note did quite well too. However, when it came to sharing the profits, my partner moaned that he had made some huge losses in earlier films. Why didn’t I just forgo my share? Since we had no written agreement I lost out on the money. The title of the film lived up to its name (Laughs).

ISI KA NAAM DUNIYA HAI (’62): After a barren ’61 I had three releases in ’62. Isi Ka Naam Duniya Hai was for JP Productions and starred Ashok Kumar and Shyama. I don’t recall the film, I only know it didn’t work well. If the story had been memorable it would have done well.

NAUGHTY BOY (’62): After Insan Jaag Utha I had decided to make a film on a coal mine, Barood with Madhubala. Kishore Kumar who was in love with Madhubala then insisted he wanted to do the film with her. I pointed out that the subject wouldn’t suit him. “So make another film that I can fit into?� he retorted. “Madhu is not well, she’ll not be able to shoot in a coal mine anyway.� Kishore was very persuasive. I shelved Barood and launched Naughty Boy, a comedy, with the pair. I was still a loser because after about 10-11 reels had been shot, Madhubala took to bed. The doctors wouldn’t allow her to complete the film. She was too ill. I had to re-shoot the entire film with Kishore and Kalpana. In the process it got delayed.

CHINA TOWN (’62) : Another production of Shakti Films starring Shammi Kapor and Shakila. However, despite its title, China Town was not shot abroad but in Kolkata’s famous China Town. I was a frequent visitor to this part of the City Of Joy that boasted of some famous Chinese eating joints. I had made a lot of friends with the waiters at these restaurants and when I needed extras for my film, I called them. They were real Chinese guys and gave my film an authentic look.

EK RAAZ (’63): Gaffarbhai Nadiadwala launched his banner, AG Films with this Kishore Kumar-Jamuna starrer. Once again, it made money and further cemented my association with the Nadiadwalas.

KASHMIR KI KALI (’64): A Shakti Films production and one of my biggest hits. Most of the heroines of the time were real beauties but for Kashmir Ki Kali I needed a really young and delicate-looking girl. I had seen Sharmila (Tagore) in one of her Bengali films. She’d worked with Satyajit Ray in Apur Sansar and Devi but she had no ego about being a Ray discovery. Though she didn’t really look like a Kashmiri girl, I instinctively felt she would suit the subject and approached her.She was unsure. “Will I be able to do a Hindi film?� she wondered. “Why not?� I assured her. “So many girls from other regions have made it big here. I think you should consider my offer.� Sharmila was eventually persuaded and made a hit pair with Shammi Kapoor who though very fat had a way with songs. Shammi never worked with any dance director. He was an old friend and I let him choreograph his songs the way he wanted and the result is ‘Yeh jheel si neeli aankhen..’ and ‘Isharon mein...’.

SAAWAN KI GHATA: Two years later I repeated Sharmila in another home production. But this was a different Sharmila one saw. She was very good in Saawan Ki Ghata and so was Manoj Kumar. We shot the film in Ooty, in a real tea garden.

AN EVENING IN PARIS (’67): I brought back my Kashmir Ki Kali team but in the three years since my protege had become very glamorous. She was all set to wear a bikini for the film. But I didn’t want to get into trouble with the Censors and have to re-shoot. There was no way I was going to be able to match the colour of the Mediterranean in India or ferry the French extras over without going over-budget. So I suggested a more conservative, one-piece swim-suit. Sharmila wasn’t too happy but she eventually gave in. I’m glad I was prudent because even with this alteration, the song is still clipped out during a screening on Doordarshan. Once, when I questioned a DD official about the editing, I was told, “It’s vulgar!� The answer silenced me. Imagine a film that was passed in ’67 with a ‘U’ certificate being considered “vulgar� almost four decades later. Recently, a gentleman met me. He wants to shoot An Evening In Paris in French after all these years. He says that despite living in France all his life he has not been able to exploit it the way I have in the film. He wants Sharmila, Shammi and me to make a special appearances in his film. Can you believe that?

ARADHANA (’69): Rajesh Khanna was still relatively unknown then but I’d seen his work in Baharon Ke Sapne and thought he might be accepted by the audience when he calls the girl his lookalike father had once wooed ardently his “ma�. Sharmila also fit the double bill of lover and mother. It was an inspired bit of casting. I got both the subject and the title from my publicist. He wanted to make the film himself but I convinced him to entrust me with both. I was cheated. Fortunately, the matter came to light before it was too late. I was sitting with Gulshan Nanda and a well-known Marathi film writer at my office in Famous Studio one evening when Surinder Kapoor dropped by. He was going to view the last 3-4 reels of his new film in the projection theatre next door and invited us to accompany him. After the one-hour screening I was left holding my head in my hands. The story of my film whose sets were in the process of being erected, and Kapoor’s film was the same. What was I to do? Since Gulshanji was with me I requested him to help. On the drive back home he narrated a story. I loved it and told him immediately that I was buying it. He demurred saying he had already narrated it to Gaffarbhai and he was committed to him. “I’ll request Gaffarbhai to let me make this film under my banner. We go back a long way. He won’t say ‘no’ to me,� I told Gulshanji. That story was later made into Kati Patang. As for Aradhana, Gulshanji and I incorporated some significant changes in the original story. The man who was to rape Sharmila became her mentor. The film was a superhit and Rajesh Khanna was the ‘Phenomenon’ of the ’70s! If Kaka had chosen his films with more care as I had advised and not signed every project that came his way, he would have enjoyed a longer reign.

KATI PATANG (’70): It was a risky subjct but I was convinced that the audience would realise from the very beginning that Asha Parekh was not really a widow and would thereby accept Rajesh Khanna’s fumbling attempts to woo her. By the time we started the film the novel was out and Asha Parekh had read it. She was able to understand the subtle nuances in the character. I had been confident I’d be able to extract a convincing performance from her but she wasn’t my first choice for the role. I had offered it to Sharmila first. But she was married by then and carrying. So she had to refuse.

PAGLA KAHIN KA (’70): Ajit Chakraborty was a good friend. I had made a commitment that I’d direct a film for him. It starred my old friend Shammi Kapoor and Asha Parekh, my Kati Patang heroine.

JAANE ANJAANE (’71):I started the film with Shammi Kapoor and Geeta Bali. But after Geeta died suddenly I had to scrap the 7-8 reels that had been canned and re-shoot the film with Leena Chandavarkar. The Bengali actress Sandhya Roy also acted in it along with Vinod Khanna.I knew deep down that this film wouldn’t work. But there are times in life when you have this urge to experiment...

AMAR PREM (’71): Sharmila couldn’t do Kati Patang but she wouldn’t be cut out of Amar Prem. When I narrated the story to her, she immediately reacted thus, “It’s a difficult film but I’ll do it.� That was Rajesh’s (Khanna) response too. Amar Prem had been made in Bengali before which is why it was not in the reckoning for any awards even though I had made a lot of changes from the original starting with song in the beginning. The film had some great songs too and it’s interesting that most of them were lipped by Rajesh. The end was unconventional but appropriate. After all what Sharmila’s character had gone through it was only right that she get some happiness in the end. She had always yearned for a child I thought rather than unite her and Rajesh as miya-biwi, let me bring her and her adopted beta together. And it had to be Rajesh who cemented this union because he had only wanted her to be happy. You remember that famous line, “Pushpa, I hate tears...�

ANURAG (’72): When I narrated the story to Ashok Kumar his immediate reaction was, “You are looking for awards or what?� Did that mean he hadn’t liked the story, I wondered. “The story is good,� he admitted. “So we’ll make it. I have a feeling it’ll be liked,� I insisted. Dadamoni was game. I then signed Nutan who was extraordinary. Rajesh Khanna was memorable too in a special appearance. Master Satyajit, as the school boy stricken with Cancer, did a good job and Vinod Mehra, as always, was competent. Moushumi was the one who had me worried. “Come on time, absorb the story and make sure you have a slight smile playing on your lips and don’t burst into your usual giggles,� I told her sternly. “I understand,� she quipped back cheekily. “You want to tell me anything else.� She was wonderful! (Smiles fondly)

CHARITRAHEEN (’74): I directed this film for Debashish Ghosh. It was adapted from one of Saratchandra Chatterjee’s stories. It was a powerful story and Sharmila acted very well as the prostitute. Sanjeev Kumar was a fine artiste too.

AJNABI (’74): I made Ajnabi starring Rajesh Khanna and Zeenat Aman for my brother who produced it in partnership with my wife Girija Samanta. I was inspired by Bombay Talkies’ Kismet that ran at Kolkata’s Roxy cinema for three years. I was going to make the same film but then it struck me that there wasn’t possibly anyone left in the City of Joy who hadn’t seen Kismet. I decided then to change the story but I don’t think I worked too sincerely on the changes. As a result the film didn’t turn out too well. Had I worked more on the story, may be it would have been a different story at the box-office.

AMANUSH (’75): Amanush was a blockbuster in Bengal. I remember after the first show I was mobbed and when I pleaded to be allowed out of the theatre, I was lifted on the shoulders of cheering fans and carried down the stairs. Uttam Kumar was fondly called “Guru� by his fans in Bengal. After Amanush I became “Guru� too. And there were two “Gurus� in Kolkata. Uttam Kumar was a very fine person. He was around 42 when he did Amanush. I was certain that only he could do justice to this complex role and he far-surpassed my expectations. I was sure after Amanush he would have made a place for himself in Hindi cinema. (Sighs) If he had only picked and chosen his roles with more care.I had advised him to be very selective. He was the reigning superstar of Bengal and didn’t need to accept every Hindi film that came his way. He agreed with me but the actress with whom he was living believe differently. She thought he should make hay while the sun shone. The films he signed weren’t worthy of him.

BALIKA BADHU (’76): Tarun Mazumdar had made the film earlier in Bengali with Moushumi. It was a big hit. I persuaded him to direct it in Hindi for me with Sachin and Rajni Sharma in the lead. Rajni was a very innocent looking girl then but she was more interested in making money. Sachin was an experienced actor which is why he has outlasted her by almost two decades. I introduced Amit Kumar as a singer with ‘Bade achche lagte hain...’. I had known his father for a very long time. Kishore Kumar’s first film was with Phani Majumdar and I had written the Hindi dialogue. I liked Amit’s voice. I knew instantly the boy had inherited his father’s talent. ‘Bade achche lagte hain...’ aaj bhi logon ko achcha lagta hai.

MEHBOOBA (’76): My friend, Vrajendra Gaur had lost his first wife during the birth of their second child. Soon after, he was pressurized by his in-laws to marry his wife’s younger sister. I would often drop in on the Guars and after a while, on occasions, Vragendraji’s second wife would suddenly break into convulsions as her sister possessed her body. After that I’d find myself being drawn into a conversation over her husband, children and simple day-to-day happenings with a woman who was no longer alive. After a while I’d point out to the spirit gently that her sister was in a lot of pain. She’d withdraw reluctantly saying that she enjoyed being around people close to her and chatting with them. This other-worldly experience had made a deep impression on me so when Mushir-Riaz approached me with this story of reincarnation that they were keen to make, I was immediately interested. In fact I told Gulshan Nanda, the writer of the film, to incorporate the incident with Gaur’s first wife in the script believing it would make the plot that much more convincing. Since I’d seen it with my own eyes, I was convinced about the existence of ghosts but the subject didn’t find universal acceptance. Mehbooba was memorable for Hema Malini. She looked lovely and got an opportunity to showcase her talent as a trained classical dancer.

ANURODH (’77): This was another film I made for my brother and wife. After his death I gave both Ajnabiee and Anurodh to his son to exploit as he thought fit. Anurodh was an interesting story but may be people couldn’t accept the idea of a brother-in-law (Rajesh Khanna) wooing his own real-life saali (Simple Kapadia).

ANAND ASHRAM (’77): The Hindi version did just average business but the Bengali version was a blockbuster. Once again I got an opportunity to work with “Guru�, Uttam Kumar. Sharmila was opposite him. The film also starred Dadamoni (Ashok Kumar), Rakesh Roshan and Moushumi. By then Moushumi was doing quite well in Hindi films and she would always report late for work. One day, exasperated, I took her to task and warned her that if she didn’t come on time I was going to throw her out. (Smiles) After that Moushumi was always punctual.

THE GREAT GAMBLER (’79): CVK Shastry had lost a lot of money in a couple of films. He came to me hoping for a hit. I had read this story and felt it had the potential to do well at the box-office. He gave me a free hand. This was the first time I was working with Amitabh Bachchan. He was superb...very sincere. If I told him to report at 7 a.m. he would be there, never mind if no one else was. Amitabh played a double role. The Great Gambler had CVK Shastry laughing all the way to the bank. The film had a very successful music score too. The sensuous Asha Bhosle’s love song, ‘Do labzon ki hai dil ki kahani...’ became very popular. I shot the film in a gondola on a canal in Venice. I shot the song myself. My cameraman, Aloke Dasgupta was used to my request everytime we were shooting a song. I knew exactly what I wanted...Close-ups here, a long shot from this angle and a mid-shot next...

KHWAB (’80): I produced the film myself. It starred Mithun and Ranjeeta. They were a hit pair those days. But Khwab didn’t work. I don’t want to get into a post-mortem. Sometimes things just don’t gell. The film also starred Yogeeta Bali. I think her romance with Mithun was kindled on the sets of the film. They got married soon after.

ANUSANDHAN/BARSAAT KI EK RAAT (’81): Another Bengali-Hindi bi-lingual that I produced and directed. This time both versions did very well. It starred Amitabh Bachchan, Utpal Dutt and Raakhee. I’d known Raakhee for years but we had never got the opportunity to work together before. She was playing a blind girl and as with Moushumi, I wanted a slight smile playing on her lips all the time. I had observed that blind people were always smiling. There was a Durga pooja song in this film that became very popular. Even though the film had been shot in Darjeeling this song, ‘Kaliram ka baj gaya dhol...’ was picturised at Film City. It was around the time of Durga pooja and I had an idol sculpted for the community pooja I organise in Mumbai every year. The idol was transported to the studio for the song.

AYAASH (’82): I produced and directed this Sanjeev Kumar, Rati Agnihotri and Anil Govil starrer too but it didn’t run. It was a remake of a Bengali film that had been very successful. It was a zamindaron ki kahani. May be people here weren’t able to identify with the oppression of the rich landlords.

MAIN AWARA HOON (’83): Even though Ayaash didn’t work well I repeated Rati. She was cast opposite Sanjay Dutt. Raj Babbar and Jaya Prada made up the rest of the cast along with Shakti Kapor and Madan Puri. Main Awara Hoon was directed by my son Ashim. I produced it for him. All through my career I have never shied away from experimenting with unsual subjects. Sometimes the gamble paid off...sometimes it didn’t. I was never disheartened and nor were my distributors because they never lost money.

AWAAZ (’84): I reunited with my old favourite Rajesh Khanna repeating Jaya Prada opposite him. I was the chief of the Censor Board at the time and the film sparked off a not-needed controversy. Some of my detractors insisted it was too violent and I had used my powers as Chairman of the CBFC to get it passed. Nothing could be further away from the truth. During my seven year tenure with the CBFC I have never tried to pressurise members for my personal benefit. I never even watched the film with them. It was their decision entirely.

ANYAY ABICHAR (’85): It was an Indo-Bangladesh co-production. My films are very popular across the border. In fact, I’ve been told that my fans in Bangladesh would get hold of pirated VCDs from Dubai or the Emirates and see the film even before it was released in India. When the Bangladesh film industry proposed a collaboration I was game. Anyay Abichar was a tale of oppression and starred Mithun and some well-known Bangladeshi artistes. The film celebrated a golden jubilee in Kolkata.

AAR PAAR (’85): Another Mithun starrer produced under my banner and with me at the helm. It didn’t do too well. I’ve even forgotten the story.

ALAG ALAG (’85): 1985 was a prolific year for me with three releases. I made Alag Alag for Rajesh Khanna and Jimmy Nirula. I had warned Kaka that the film wouldn’t run and had sugested some changes in the script. Alag Alag was a remake of a Pakistani film and even the original had not worked. I wanted Kaka to play the role of the doctor that was eventually done by Shashi Kapoor. But he and Tina Munim were madly in love and he insisted on being cast opposite her.

PALAY KHAN (’86): Ashim directed the film. We shot it in a place around Afghanistan. We were far above the ground and since it was hard to breathe, shooting was very difficult. Even the horses got tired in the high altitude and had to be rested after every shot before they could run again. We completed the film with great difficulty.

AAKHRI BAAZI (’89): After three years I returned to the theatres with another home production directed by Ashim. Moushumi was cast opposite Shatrughan Sinha. Aakhri Baazi also starred Govinda, Kunal Goswami (Manoj Kumar’s son) and Mandakini. The baazi didn’t pay off.

GEETANJALI (’93): I had signed Rekha for a film a long time ago but the project was shelved. She came to me after all these years saying we should work together. I had this story of two sisters. Rekha was keen to play the double role but despite my urging, she wasn’t able to differentiate between the two sisters, one of whom was rich and the other poor. Both looked wealthy and glamorous.

AANKHO MEIN TUM HO (’97): Ashim failed again even though it was an interesting story. Maybe he doesn’t work as hard as I would like him too. Maybe he was let down by the lack of star value. The romantic team of Suman Ranganathan, Rohit Roy and Sharad Kapoor was not very saleable. Now Ashim is busy with a serial, Kaalchakra. It’s another difficult subject. Hopefully this venture will work.

DEVDAS (2002): Devdas was a mistake. Sanjay Leela Bhansali was also making a Devdas in Hindi at the time with big names—Shah Rukh Khan, Madhuri Dixit and Aishwarya Rai—, lavish sets and had taken a lot of creative liberties with the story. I stayed faithful to Sarat Chandra Chatterjee’s original novel and maintained the distinction between the rich and the poor in my film. Prasonjit was Bengali cinema’s biggest matinee idol. He was the inevitable choice for the title role. But even he couldn’t bring in an audience for my Bengali Devdas. The Hindi version released soon after was more successful. I am almost 80-years-old but my passion for cinema has not dimmed. It’s been three years and I want to be back on the sets. There’s a Sarat Chandra story that I’ve been reading. It was filmed earlier in Bengali and even in Hindi, years ago by Bombay Talkies. Will it work again? I don’t know. It’s difficult to predict what will appeal to the audience today. May be I’ll make it...May be I won’t... There was talk of a Indo-Chinese co-production too. But the deal fell through when I was told that I would not be able to shoot on the Great Wall of China. The argument was that even Chinese films weren’t picturised against this great wonder. Well, in that case I wasn’t interested in an Indo-Chinese collaboration!

A former president of Indian Motion Picture Association of India, Shaktida passed away in Mumbai on April 9, 2009. He had not been keeping well for some time.

Filmography

Director:

* 2000s
* 1990s
* 1980s
* 1970s
* 1960s
* 1950s

1. Devdas (2002/II)... aka Debdas (India: Bengali title: alternative transliteration)

2. Geetanjali (1993/I)

3. Dushman (1990)

4. Alag Alag (1985)

5. Aar Paar (1985) ... aka Anyay Abhchar (India: Bengali title: dubbed version)

6. Anyay Abichar (1985)

7. Awaaz (1984)

8. Ayaash (1982)

9. Barsaat Ki Ek Raat (1981) .. aka Anusandhan (India: Bengali title)

10. Khwab (1980)

11. The Great Gambler (1979)

12. Anand Ashram (1977/I)

13. Anand Ashram (1977/II)

14. Anurodh (1977)

15. Mehbooba (1976)

16. Amanush (1975/I)

17. Amanush (1975/II)

18. Ajanabee (1974)

19. Charitraheen (1974)

20. Anuraag (1972)

21. Jaane-Anjaane (1971)

22. Amar Prem (1971)... aka Immortal Love

23. Kati Patang (1970)

24. Pagla Kahin Ka (1970)

25. Aradhana (1969)

26. An Evening in Paris (1967)... aka Paris Ki Ek Shyam (India: Hindi title)

27. Sawan Ki Ghata (1966)

28. Kashmir Ki Kali (1964)

29. Ek Raaz (1963)

30. China Town (1962)

31. Isi Ka Naam Duniya Hai (1962)

32. Naughty Boy (1962)

33. Jaali Note (1960)

34. Singapore (1960)

35. Insan Jaag Utha (1959)

36. Detective (1958)

37. Howrah Bridge (1958)

38. Hill Station (1957)

39. Sheroo (1957)

40. Inspector (1956)

41. Bahu (1955)

Producer:

* 2000s
* 1990s
* 1980s
* 1970s
* 1960s
* 1950s

1. Devdas (2002/II) (producer) ... aka Debdas (India: Bengali title: alternative transliteration)

2. Ankhon Mein Tum Ho (1997) (producer)

3. Geetanjali (1993/I) (producer)

4. Aakhri Baazi (1989) (producer)

5. Palay Khan (1986) (producer)

6. Aar Paar (1985) (producer)... aka Anyay Abhchar (India: Bengali title: dubbed version)
7. Main Awara Hoon (1983) (producer)

8. Aamne Samne (1982) (producer)

9. Ayaash (1982) (producer)

10. Barsaat Ki Ek Raat (1981) (producer) ... aka Anusandhan (India: Bengali title)

11. Anand Ashram (1977/I) (producer)

12. Balika Badhu (1976) (producer)... aka The Young Wife (International: English title)

13. Amanush (1975/I) (producer)

14. Anuraag (1972) (producer)

15. Jaane-Anjaane (1971) (producer)

16. Amar Prem (1971) (producer)... aka Immortal Love

17. Kati Patang (1970) (producer)

18. Aradhana (1969) (producer)

19. An Evening in Paris (1967) (producer)... aka Paris Ki Ek Shyam (India: Hindi title)

20. Sawan Ki Ghata (1966) (producer)

21. Kashmir Ki Kali (1964) (producer)

22. China Town (1962) (producer)

23. Naughty Boy (1962) (producer)

Writer:

* 1980s
* 1970s
* 1950s

1. Barsaat Ki Ek Raat (1981) (screenplay)... aka Anusandhan (India: Bengali title)

2. The Great Gambler (1979) (scenario)

3. Amanush (1975/I) (screenplay)

4. Baadbaan (1954) (dialogue) (screenplay)

Miscellaneous Crew:

1. Ajanabee (1974) (presenter)

Thanks:

* 2000s
* 1990s
* 1980s

1. Le Chal Apne Sang (2000) (grateful thanks) (as Shri Shakti Samanta)

2. Andaz Apna Apna (1994) (acknowledgment) (as Shri Shakti Samanta)

3. Rudaali (1993) (acknowledgment: member N.F.D.C.) (as Shri Shakti Samanta) ... aka The Mourner (India: English title)

4. Lakhon Ki Baat (1984) (acknowledgment) (as Shri Shakti Samanta)... aka Rare Talk

Self:

1. Taccuino indiano (2006) (TV) .... Himself

*Shakti Samanta was among the directors who worked with Shammi Kapoor from the late 50s to mid 60s when he was a star. Kapoor was then ditched for Rajesh Khanna with whom he gave a number of hits. In fact they were so successful together that they hade launched a distribution office called Shakti Raj films.

http://www.imdb.com/name/nm0759662/
http://bollywoodzone.wetpaint.com/page/Shakti+Samanta?t=anon
http://www.imdb.com/name/nm0759662/bio
http://www.screenindia.com/news/Golden-banner/333458/
http://www.upperstall.com/people/shakti-samanta
http://www.screenindia.com/old/fullstory.php?content_id=9854
http://buzz18.in.com/features/movies/top-1...-of-job/80211/0

M E E N A K U M A R I

Puuchhate ho to suno kaise basar hotii hai
Raat Khairaat kii sadqe kii sahar hotii hai

Saa.Ns bharane ko to jiinaa nahii.n kahate yaa rab
Dil hii dukhataa hai na ab aasteen tar hotii hai

Jaise jaagii huii aa.Nkho.n me.n chubhe.n kaa.Nch ke Khvaab
Raat is tarah diivaano.n kii basar hotii hai

Gam hii dushman hai meraa Gam hii ko dil Dhuu.NDhataa hai
Ek lamhe kii judaaii bhii agar hotii hai

Ek markaz kii talaash ek bhaTakatii Khushbuu
Kabhii ma.nzil kabhii tamhiid-e-safar hotii hai

- Meena Kumari

FAMILY

BABY MEENA

The Poet - Meena Kumari 'Naaz'

Meena Kumari 'Naaz' - Urdu Poetry Translation

Meena Kumari is so many things to so many peole today and she appears to live in their hearts even today. She is still s omany incarnations.

* The first face of Meena Kumari is the tragedy queen. She was great when in tears.

* The second incarnation is the great actress who could perfect any role given. Perhaps one of the contributing factors is that she started very early in life but she was highly talented also.

* The third Meena Kumari is the great human being she was. She was soft spoken and encouraging person. She was liked by anyone who came across her.

* The other Meena Kumari is the strong one. She decided to go it alone. She went. She decided to do tragedy roles. She did them. She decided to marry against family's wish. She did it. She left Kamal. And she left him totally. She kept promises and she followed her own rules strictly.

* The fifth Meena Kumari is the sincere one. She did justice to all her rules. She was agreeable and agreed for the sake of the performance.

* The sixth Meena Kumari is the poet. The great poet who wrote melancholy and romance as well. And she was great at it.


* The seventh Meena Kumari is the singer. She recorded an album called I write I recite in her own voice. This is a really beautiful piece of poetry and you will love it.

* The eigth Meena Kumari is the dress designer. She designed lehengas for Pakeezah and she made great lehengas.

* The ninth Meena Kumari is the financer of her family. She supported her father's family always. And this started at the age of six. She was a great daughter.

* And she was a great sister for her kins.

* Also she was a good wife as far as her peoformance here is concerned.

* And who said she was not a good mother. Kamal Amrohi's son Taajdaar was highly attached to his chhoti ammi - the younger mother - Meena Kumari.


THE REAL PERFORMER AND THE PERSON

The first response of Meena Kumari to working in films was "I don't want to work in films. I want to go to school,". But life wanted that she worked for films. She never liked films. But films always liked her since 6 years of age.

Meena Kumari, once walked out of a dilip kumar film Amar just because she didn't have time. For a heroine to actually walk out on Dilip Kumar was a daring act at that time but she lived on code made by herself and she did walk out of this film.

She did similar fete when she did a bathing scene in footpath against her husband's will.

During the shooting of Baiju Bawra, for the shooting of the song Tu Ganga ki Mauj, Meena Kumari was alone in a boat and from the shore and the camera. She wasn't looking at the direction she was going in, suddenly unit hands started shouting, but she couldn't hear them. She was excitedly rowing the boat, unaware of the fact that she was at the edge of a waterfall. A couple of unit hands who could swim, jumped into the water and started swimming towards her, luckily her boat was stopped by some boulders from going over.

By then one of the unit hands had been able to reach her boat, and climb aboard. Only then she realized just how close to death she had come.

After receiving the Filmfare award for Kaajal from President Radhakrishnan, she had dined with him and conversed at length with him in her faltering English. Meena was very excited upon receiving a letter from the Pesident within a week of their meeting. She immediately wrote back to him, and didn't let anyone correct her language in the letter, as she had wanted him to know that she had written the letter on her own.

The actress was also awed when she was looking out for a bungalow and found that the one suited her requirements was inhabited by Mahatma Gandhi in 1930. She was so excited by this that she made it a point to find out from the old gardner, where Bapuji used to sit, where he kept his charkha, where he used to meet his visitors and hold evening prayers etc.

She was unwell even while the film was being shot. Meena Kumari rushed out of the sets and started crying when she couldn't dance on Thare rahiyo o banke yaar ve. "I can't do it... it is too late." Kamal Amrohi got Padma Khanna to do the song in place of Meena Kumari but of course in a ghunghat. Meena Kumari had a chat with Padma before the picturisation. The perfectionist that she was, she wanted Padma to walk like her in the music pieces. Padma had to practise for hours before she got the nod from Meena Kumari.

Her first role was as a child-artiste in Farzand-e-Watan (renamed Leather Face) by Vijay Bhatt of Prakash Studios. Her first ever scene didn't have lines. There was a scene in which a cat was supposed to lick her cheeks. She was terrified but the cat's tongue was less terrifying than the whip lashing words of her mother.

Meena Kumari, born Mahjabeen and the legendary tragedy queen of Indian cinema was one of the most beloved actresses of all times in Bollywood cinema and she continues to live deep into the hearts of people even today.

She is invariably called the "Tragedy Queen" and her work is considered immortal..

She was also one of the great urdu poets of the land and has written beautiful sad poems in her lonely days! She also recorded an album of her own poetry in her own voice which was her dream project of life. She has significant contributions as an actress as well as a child actress baby Meena.

Cameras and flashlights - that is where little Mahjabeen learned ABCs of life at the age of six in 1939 when she worked in the film called Leatherface as Baby Meena. Films, therefore, was not her choice career and she had to work for the family which had financial problems.

Hence film world was where she learnt her the ABCs of life - with Mahesh Bhatt's Leatherface in 1939. The fortune and future of this star was not known - not even to Meena Kumari herself.

Her roles included roles of many types which included light hearted to serious ones. And she could perform some outstanding roles which is admired even today.

She later on concentrated on serious roles and performaned excellent feats.

And, most important, her films reflected her personal life where tragedy had found a new home in Meena Kumari. So striking was this phenomenon that some of her films reflect her own life. She herself has stated that she felt like the chhoti bahu of Saheb , Biwi aur Ghulam in real life.

Though she has projected tragedy like no one else this does not mean that she was not good at light hearted roles and fact is that she was excellent in her lighter movies as well and there are several examples of it. She could smile equally well and her smiles, though rare in her later films, are a sunshine. She is really radiant even her smiles. And even one smile in a film was sufficient for the viewer. Perhaps we can classify roughly half her movies as sad and that is what gave her more fame and recognition and she slowly and steadily changed into the famous "tragedy queen".

So famous that today the name Meena Kumari and tragedy are synonymous in the Indian heart and mind.

The magic of Meena Kumari has been such that today every star wants to become Meena Kumari in her performances though she has been unique in her own style. Probably the synonym tragedy queen is not fully justified on her but one would rather say that she was excellent at tragedy roles and she was good at many many roles. That is what is Meena Kumari. That she did and chose tragedy roles gives us no right to give a new name to her and she would rather be the beautiful Meena Kumari who was a beautiful actress.

Though the relationship with films was a love hate one, it is very difficult to separate the real life of Meena Kumari due to the same fact as films have apparently "followed her" till her death and since she started to just speak properly. Her later life saw mixing the personal life with her tragic performances - a danerous feat and that is what makes Meena Kumari immortal and immortalized in films as she herself was her films.

The Happiness of Being Meena Kumari

aaGaaz to hotaa hai a.njaam nahii.n hotaa
jab merii kahaanii me.n vo naam nahii.n hotaa
jab zulf kii kaalik me.n ghul jaaye koii rahii
badanaam sahii lekin gumanaam nahii.n hotaa
ha.Ns ha.Ns ke javaa.N dil ke ham kyo.n na chune Tukare
har shaKhs kii qismat men inaam nahiin hotaa
din Duube hai yaa Duubii baaraat liye kishtii
saahil pe magar koii koharaam nahiin hotaa

-Meena Kumari

Indeed there was no anjaam. She continues to live on. She lived a long life although we may not see her today. But she does live and will live. In her performances and her poetry.

Talk about Meena Kumari and what reminds is a large mountain which can stand the test of time and still delivering performance, beautiful, stable and constant. Meena Kumari was highly respected due to her qualities of integrity, her agreeability and her sweetness.

She was a highly independent person with a rare quality of presentation. Being a good person, she was highly respected and loved by the people who came across and her encouragement is remembered by many.

Names given to her were Meena Kumari, Manju and many others. She was born Mahjabeen in 1933 in Mumbai (then Bombay). Her family then was made up of her father, her mother and her two elder sisters. She was born in a muslim family.

Meena Kumari, born Mahjabeen and the legendary tragedy queen of Indian cinema was one of the most beloved actresses of all times in Bollywood cinema and she continues to live deep into the hearts of people even today. She is invariably called the "Tragedy Queen" and her work is considered immortal.. Her classic contributions include Parineeta, Baiju Bawra, Saheb Biwi aur Ghulam and Pakeezah. She was also one of the great urdu poets of the land and has written beautiful sad poems in her lonely days! She also recorded an album of her own poetry in her own voice which was her dream project of life. She has significant contributions as an actress as well as a child actress baby Meena who started at the age of just six years

With Meena Kumari, came the grievance and pain into Hindi cinema. She was an epitome of these and a blend of talent and beauty. What she did not get in real life, she tried to achieve from her movies. She was a dreamer, a poet who found solace in loneliness and pain.

Visibly tender, she was a strong person and would not compromise on her own rules even if it meant death and her life is full of examples of it. Highly idealistic, she even compromised with what we call practical even today.

The deer eyed person with her own hairstyle was one of the finest actresses and performers the Indian land has produced. By deer eyed I mean the innocence reflected by her eyes. She always looked beautiful in any role. She preferred trdaitional dresses and had a difnified look. Her dignity would affect anyone who interacted.


In fact she was an encouragement in herself and just talking to her encourages you. Such was the personality of Meena Kumari. She was equally expresive in her happy roles, in pensive mood, in romantic and sad moods. She could carry out all her roles with ease. Expression never lost her and she did full justice to it.

Perhaps this was the effect of this uncompromising personality that her performances are unforgettable even today.

The film star was also a great poet and her works are published by Gulzar after her death who inherited them after she passed away. She also recorded an album in her own voice.

Fact is that she was far ahead of her time when it comes to the freedom of women. She could dare to live freely in the 1950s and 60s when so many of our Bollywood stars are conservative even today. She never doubted her drinking alcohol as she was driven by her own rules and she never harmed anybody albeit helping many come up. She decided to live her life alone when she was dumped by the nearest person whom she depended upon and she never tried to run away from the miseries given to her.

Meena Kumari tried to marry again in later stages of her life but failed to gain proper emotional support. Living alone and fighting the inconsistencies of the nearby people, she died at an early age of 39 when she got very sick due to alcohol abuse.

She will always be remembered. Not only as an actress, but also as a strong individual. And a good poet of course. She lives and she will live. In her performances and her poetry.

What is really great about Meena Kumari?

Meena Kumari has been an extraordinary phenomenon in herself and the analysis of her personality can be discussed on and on. But then if you so believe, she was as simple and everyday person as you and me. She has indeed been a phenomenon beyond compare.

A multi faceted personality capable of acting, writing as well as dress design, her contributions are made at a crucial turning point of cinema of this region of world.

The performances, which were are characterized more by perfection then drama were more importantly designed and borrowed from her personal life rather than just performed for the sake of fulfilment of direction.

The latter was indeed done always without fail. The former, ie, the perfection, was bonus for the team. That is what made her famous. That is what made her popular among the teams and that is what made her beloved so much.

A beautiful face with a tear ready to drop and a state of despair always ready to show up, Meena Kumari was the one of the most dedicated persons in the film industry at that time. However, the ever sensitive Meena Kumari of the childhood Baby Meena fame, remained sensitive till her last role. So much that she left herself to the hands of the tragedy of life. A tragedy which was perhaps designed by life for her.

Morover, her personality would so much dominate the film that it is difficult to find anyone else in the film. Meena Kumari's films were a lot of Meena Kumari and she would effortlessly be the central character of the film.

Meena Kumari was a person of integrity. She lived her code, kept her word and she kept her promises. Still a person who would not raise her voice and would be as agreeable as possible.

Also Meena Kumari is an example of a person who lived on the right terms, each moment of life being a battle as well as a dream and a deep feeling. She was a expression of nature and she knew it and lived it. She lived it positively and not tragically though her life was a silent battle of objectivism and the battle againt attitudes, not people.

Morover, her personality would so much dominate the film that it is difficult to find anyone else in the film.

In some ways Meena Kumari's life is a great example of "if life hands you a lemon, make a lemonade".In the end, in spite of this silent battle, the promise of Meena Kumari was kept at the cost her life and in the end she was a big Meena Kumari.

She remains an example of positiveness, confidence and fighting spirit and her constant battle is evidence to it.

On the left one can read a piece of poetry from Meena Kumari which has no sadness. She has written a number of such positive poetry from her heart.

But then she was a simple human being with normal human desires like all of us. She had her own positive and negative sides and she never hid them and was rather open about her feelings. She would tell you her problem, cry out to the heart's extent and would then offer her help to you. She was a simple, straight nice human being with her own problems and feelings.

If there is something to be seen in the life of Meena Kumari, it is the spirit positive energy. And we have our tributes to Meena Kumari.


LIFE OF MEENA KUMARI

It is very difficult to separate the real life of Meena Kumari from the reel life as films have been very close and apparently followed her since she started to just speak properly. Fact is that she was in films and that is where she learnt her the ABCs of it - at the age of six. And after that she never looked back - till the end. It is known that she did not want to work in films and she did not want to work even in her first film when she was just six but the question raised by father was simple - "what else?" Life was dictated by poverty. And she had to work. Talented as she was, she refined the art very much and after Baiju Bawra, was a super star and she was perhaps one of the topmost superstars. But the relation with films was a love hate one and she could not come out of films nor she could fully assimilate the idea though films liked her too much.

She is probably one of the dearest of all times to the film industry. Films saw every aspect of Meena Kumari. They saw her young, they saw her growing, they saw her marry, they saw her divorce, they saw her sorrows. They were her most faithful companions which gave her name, fame, money as well as company. And Meena Kumari could not do without them.

In 20s and 30s Prabhavati Devi, Sundari Devi's daughter had to struggle again in life to finally settle life with Ali Bux and earn a living by doing small drama and music in Mumbai. He was a Pathan and Sunni Muslim. He married Prabhavati Devi and gave her the name of Iqbal Begum. Ali Bux played harmonium and composed music for films like shaahi lutere. He also did bit roles in films like id ka chand.They were poor. They lived on small bits and pieces earned by him and Iqbal Begum. Bombay had seen many many such fortune seekers earlier and would witness much more in the future. Small timers who would do bit roles. Iqbal begum (Prabhavati Devi) was a dancer and stage actress with a screen name of Kaamni. The family could hardly earn the required bits and pieces for living.

The Ali Bux family used to live next to Rooptara studios in Mumbai (then Bombay). Ali Bux was very hopeful of getting a role in films in the Bombay film industry but it had never materialized.

In such conditions, this traveller of time who was destined to make a mark, was born on 1 Aug, 1933 in Mumbai (then Bombay) in a place called Dr Gadre's clinic. She was the third daughter in a row in the family and times were very difficult for her parents. So much was the problem that it is said that her father had to leave her in an orphanege as that was a better option in many ways. Hours later he went back to pick her up. In such conditions was this future star born and saw the light of day. She was christened Mahzabeen.

Ali Bux left her in an orphanage. He was frustated. But after a few hours passed, he went to pick her up. This was 1932, 1 Aug. The new baby became the youngest among Khursheed, Madhuri and Mahzabeen - the name given to her. Mahzabeen alias Meena Kumari had started seeing the world.

In such poor conditions was this family living that not much is known about their personal life in those times. The family could somehow managed to meet the ends. In such conditions Mahzabeen grew up and turned six when it was being discussed that she could earn for the family. Fact is that Ali Bux was not ready for Mahzabeen to work into films but Prabhavati Devi wanted it as a means of livelihood. Finally it was decided that she would work.

Vijay Bhatt understood her talent and liked her. She was selected for child actress role in the film Farzand-e-vatan. Little baby Meena was not interested in working in films. She was simply so little. She wanted to play and to go to school and learn like other kids. She did not want to act and work. But she was asked to work in a film. The film was renamed Leatherface later on.There was no escape. She had to work with the cat in the film in a scene. Although afraid, she had to do that role.

Mahzabeen had turned baby Meena. This was the beginning of a phenomenon called Meena Kumari. She was baby Meena in this Vijay Bhatt film. The same Vijay Bhatt would be her mentor once again when she gets her big break in Baiju Bawra in 1952.

At age of six, in 1939, it was decided that she would act in films, albeit againt her will and there was no other option. "What else" was the question of her parents when they insisted the six year old daughter to act in a film called Leatherface. Meena Kumari became the bread earner of the family since this age and had seen the ugly face of life early in life.

Till this time, she earned for the family and always lived for them. She had a love hate relationship with films which continued till her death.

Probably the seeds of making of a tragedy queen were sown at this time. Sensitive as she was, a lost childhood had started showing up. Childhood is the time when we learn and play. And not a time when we are into serious life. Childhood is the time when we take shape. We are definitely made up of our early years.

This phase of her life saw films like Veer Ghatokach, Shri Ganesh Mahima etc. She also made fantasies like Alladin and the Wonderful Lamp. This phase lasted until Baiju Bawra.

Although a good and dedicated performer, she was not exactly into limelight. She was just an average actress. For a period of 14 years since 1949. Her father was mainly her manager during this period. During this period Meena Kumari has grown into a fully grown young woman. She grew into a beautiful young lady. An unblemished beauty. She had grown into a hard working and soft spoken person capable of taking up great challenges.

Vijay bhatt, her mentor in Leatherface came into picture again when he gave her a chance in the film Baiju Bawra in 1950. Baiju Bawra was a musical love story where Gauri was the beloved. Meena Kumari Played the role of Gauri very well. She played the character of the woman dedicated to her lover. Meena Kumari Played the role very well. The movie was a superhit. Her performance as a dedicated woman was excellent and was loved by cinema goers. The role of Gauri was well played by Meena Kumari. The movie won the filmfare awards best actress award that year.

Sensitive and cheerful Meena Kumari fall in love after she met Kamal Amrohi on the sets of a film and she was head over heels for her as she herself has written about Kamal Amrohi-

Dil saa jab saathi paya
Bechaini bhi woh saath le aaya.

Although he was 15 years older than Meena Kumari, she liked him. Kamal Amrohi was married earlier too. Meena decided to commit her life to him. The marriage took place very soon and they went for a honeymoon.

Honeymoon plans were for a film that would be a love story reflecting the real life love story of Kamal Amrohi and Meena Kumari. A film that would be an epic of love. The story was conceived. Like a child was born.

And in such times she married Kamal Amrohi. A time when she was a top star and time was very good. They had a nice honeymoon, they planned and completed a film called daera which one of Kamal Amrohi's only 4 films and they planned Pakeezah.

Nobody knew that Pakeezah would complete in as long as 14 years.

By now, she became the woman representing the suffering Indian woman of that time and she would represent the same for years to come. Meena Kumari was a hallmark and a phenomenon of her own kind. She became the magic word to make a film hit. There was no doubt about the capability and dependability of the person who would put in high quality hard work and guarantee the success of the film. She became a magnate and a phenomenon in herself. Meena Kumari's performance was not dependent upon the co star of the film but she would rather be the central character. Any film with Meena Kumari in it makes her the central character. Such was the power of Meena Kumari.

Perhaps the greatest challenge was Sharda where she has done a highly unusual role successfully. A role that she had dared to take up after there was no heroine ready to do the role. An unconventional role, Sharda remains one of the best performances of Meena Kumari. She could do justice to a difficult role. She was Raj Kapur's lover turned step mother.

This role that nobody else dared, Meena Kumari almost got another filmfare award. Filmfare awars she did not get but the journalists best actress award she did get for this film.

The second challenge was Saheb Biwi aur Gulam which became perhaps the best performance ever by any actress in Hindi cinema. The performance of Meena Kumari in this film is simply unforgettable and uncomparable.

Although everybody else liked every body else, Meena Kumari and Kamal Amrohi started developing disparity and the differences grew much larger as both of them were highly accomplished and successful characters. She would not like any interference in her work as she was an authority in herself. However, Kamal Amrohi was very much upset at her habit of following her own rules and decisions. Relations grew sour and sour.

In the meantime, the marriage with Kamal Amrohi had turned sour that it resulted into separation and divorce in 1964. This event shaped her personal life also. The once very happy Meena Kumari turned into the epitome of tragedy in a short time when she took refuge in alcohol (and poetry). She herself has expressed her sorrows and miseries in many places and most importantly in her poetry which is the best reflection of her feelings. The same person who wrote beautiful poetry about Kamal Amrohi said-

Tum kya karoge sunkar mujhse meri kahani,
Beluft zindagi ke kisse hain pheeke pheeke!

And at the time of divorce she had said

Talaak to de rahe ho
Nazre Kahar ke saath
Jawani bhi meri lauta do
Mehar ke saath

Life would never the same again and she was probably the saddest person as she could not stabilize later on in her life. It is known that Meena Kumari liked tragedy and wanted to lose herself into it, which she did so often. She could cry at any moment without any aids. We never know but probably she enjoyed it and wanted to be just tragic, enjoying every moment of it and finally turned her own life into a tragic story!

Probably she reflected the irony of the conservative woman in the changing scenario. Perhaps she was not at the right time as today's woman has more freedom. However, she was an excellent person and an artist.

A woman who keeps her promise silently and keeps the traditional values in a moderm middle indian family - she represented the difficult part the modern indian woman .who takes care of the family And she also kept promise in real life and was reliable and she did maintain values and principles. It is known that she would keep her words and promises and would live according to her own rules.

Emotional that she was, she used to write all her feelings in her poetry which was published by Gulzar later on.

In 1972 March, Meena Kumari was extremely sick and on 30th March, she had to be admitted in hospital. She was on oxygen and after 4 hours she required no more of it. She left mere apne, Gulzar's directorial debut, half done, and she also left some poetry in bits and pieces for Gulzar. She had completed Pakeezah which went superhit at the same time. Alcohol was not required any more.

After 40 years, there was the same day when there was no money left to pay for her hospital bills. Just like when she was born in 1933, there was no money for the doctor.

films

MEENA KUMARI, TRADITIONALLY KNOWN FOR PERFECTING THE role of the tragedienne in films, is actually the embodiment of the woman as Essence rather than flesh. In a career spanning three decades, she chiselled the contours of two role models and created some kind of an ideal in the mind of the viewer. This was the image of the woman as wife and the woman as mother.

She was renamed Baby Meena and her first film as a child artist was Farzand-e-Watan or Leatherface (1939), directed by Vijay Bhatt for Prakash Studios. She was the sole bread-earner of the family as she was given roles in films all throughout the 1940s. Her early adult work consisted of mainly mythological films like Veer Ghatotkach (1949), Shri Ganesh Mahima (1950) and fantasies like Alladin and The Wonderful Lamp (1952). She hit the big time with her mentor Vijay Bhatt's Baiju Bawra (1952).


With Baiju Bawra, the suffering Indian woman found a new face in Meena Kumari (For the film she adopted the name Meena Kumari). The heroine in the film is ever ready to negate herself for the material and spiritual advancement of the man she loves and is even willing to annihilate herself to provide him the experience of pain so that his music would be enriched. It was a strong performance and fetched her the inaugural Filmfare Award for Best Actress in 1953.

The first role she almost perfected was in the Guru Dutt classic Sahib Bibi aur Ghulam (1962) as the protagonist, Chhoti Bahu. Fighting for her rights in the 19th century feudal milieu of Bengal, Chhoti Bahu was the epitome of the pativrata nan (devoted wife). She may have been viewed as an iconoclast by her family members, but her iconoclasm too was born out of a desire to be the perfect spouse. Nothing more and nothing less. Languishing in her boudoir, while her husband Chhote Babu (Rehman), an autocratic, purely hedonistic zamindar followed the dictates of his manhood in distant brothels, Chhoti Bahu plots and schemes to bring the prodigal back to her. She rebels against social and religious injunctions, resorts to alcohol, dances and desperately tries to seduce her husband, so that he might remain faithful. But all along her profligate ways - drinking and aggressively seducing - were condemned by her own conscience. Even as she let down her hair and lifted the cup of liqour to her lips, she bemoaned the fact that she was breaking the behavioural code prescribed for good Hindu wives. Yet the fact that these transgressions were perpetrated in order to preserve a dharma that must be paramount in any woman's life - a good wife's dharma - deified her further. Here was a neglected woman who, in the sober 1960s, was throwing herself at a man's feet in a drunken stupor, aggressively demanding satiation.

But the fact that this act was depicted as a glorious sacrifice (Chhoti Bahu was sacrificing her religious virtuosity), not only sanctified it, it also created a prototype for the sixties Savitri (a typically faithful wife). For if the mythological Savitri could confront the angel of death for her husband's well- being, this celluloid Savitri could even compromise her religious sanctimony for the observance of a greater duty. That of the woman as wife.
Earlier, in Bimal Roy's Parineeta (1953), too, Meena Kumari had essayed a similar, all-consuming, unswerving devotion to Ashok Kumar, the man who had secretly married her. A victim of the rich-poor divide, Lalita is separated from her lover and is on the brink of a marriage of convenience - one that might help her poor uncle to repay the debt he owes to her beloved's father. Lalita refuses to marry, yet she is unable to bridge the class divide. Nevertheless, these superficial barriers cannot sully her wifely devotions. For Lalita, despite separation and misunderstanding, chooses to remain faithful to her secret husband. She is willing to lead a life of solitary abandonment, even though her husband is willing to marry again. Simply because both she and society believe that a wife must remain faithful, irrespective of similar reciprocation on the part of her husband.

Though she cultivated the image of a tragedienne, she also performed commendably in a few light-hearted movies like Azaad (1955), Miss Mary (1957), Shararat (1959), and Kohinoor (1960).

Like her character, she began to drink heavily, though she carried on. In 1962, she made history by getting all the three nominations for Filmfare Best Actress Award, for her roles in Aarti, Main Chup Rahungi, and Sahib Bibi Aur Ghulam. She won the award for Sahib Bibi Aur Ghulam.

Upperstall.com wrote about her performance,


“ While each of the performances are spot on, if there is one person who is the heart and soul of the film, it is Meena Kumari. Her portrayal of Chhoti Bahu is perhaps the greatest performance ever seen on the Indian Screen. The sequence where Chhoti Bahu dresses for her husband singing Piya Aiso Jiya Main is a poignant exploration of a woman's expectations and sexual desire. And later on when she has become a desperate alcoholic, you cannot help but cry with her in the sequence where she pleads with her husband to stay with her and then angrily turns on him to tell him how she has prostituted her basic values and morals to please him. However the common factors between the actress's life and Chhoti Bahu are too dramatic to be merely coincidental - The estranged marital relationship, the taking of alcohol, turning towards younger male company, the craving to be understood and loved - all elements evident in Meena Kumari's own life.

It is a similar blend of devotion, pain and purity that weaves its way into her delineation of the beloved and the mother-figure too."

In S.J. Row Kavi's Bhabhi ki Chudiyan (1961), Geeta the foster-mother to her young brother-in-law, Mohan (Sudesh Kumar) is more than the mother the orphan could ever have had. As he sits and watches her paint the traditional rangoli pattern (graffiti made on festive occasions) in the courtyard of the modest family home, the clanging of her bangles fills his life completely. Mohan is never able to find happiness with another woman, for his sister-in-law's piety, domesticity and devotion have created an image of a nonpareil that cannot be matched by another earthly love. Here, the mother image born out of Meena Kumari's indefatigable nurturing of the family towers above all other relationships. So much so that Mohan is never able to form another satisfying bond with the opposite sex. Tireless and totally undemanding, Geeta spends her life and even relinquishes it in catering to the emotional and physical demands of her family.

This image is repeated in Dulal Guha's Dushman (1971) and Gulzar's Mere Apne (1971), albeit with a pronounced accent on righteousness. In both these films, Meena Kumari embodies the voice of conscience that surfaces amidst the moral blight of the men and brings back the prodigals to virtue. In Dushman, her propriety sets straight the man (Rajesh Khanna) who murdered her husband. Khanna, an alcoholic, a womaniser and a truck driver with tardy morals, is forced to stay with the widow and her family as punishment meted out by the courts. The sentence comes as a godsend. For the widow's virtuousness and unwavering propriety cures him, not only of his profligate ways, but it cleanses his soul too. The blackguard, under the benign influence of the maternal widow, metamorphoses into a shining white soul who works hard, doesn't drink, doggedly looks after the welfare of the victimised family and can never ever think of harming another living creature. In short, the ideal mother-figure metaphorically gives birth to an ideal, new man.

In Gulzar's Mere Apne, the mother-figure weaves her cleansing magic, not on an individual, but on groups of individuals. The old woman and her talisman of goodness makes her an oasis of peace in the midst of a city torn apart by gang warfare. When everything fails to cure the anarchic hoodlums of their overriding lust to kill, plunder and loot, it is the mother-figure who manages to purge the city and the humans of their evil. The warring gang leaders (Vinod Khanna and Shatrughan Sinha), prototypes for the nation's wayward youth, are brought back to order, ethics, family and country by Meena Kumari's motherly tutorials on the good life of glorious virtue.

Reverence then was the only virtue permissible to Meena Kumari's celluloid image. For Meena Kumari represented a rarefied concept of traditional womanhood that was divested of all its physical antecedents.

If beauty, not sensuality, was the defining characteristic of her physicality, then pain, not pleasure, was the predominant emotion which she opted for. Purity was the keynote of this metaphor for melancholia, where suffering and self-sacrifice became more pleasurable than satiation and self-appeasement.

It wasn't incidental that Meena Kumari perfected the role of the virginal nautch-girl in Kamal Amrohi's Pakeezah.

With Daera (1953), Ek Hi Raasta (1956), Sharda (1957) and Dil Apna Aur Preet Parayi (1960), Meena went from strength to strength playing the suffering woman, the martyr to prefection. It is a pity that Meena was known for her tragic roles and she too chose more such roles to cultivate her image of being the great tragidienne because in the few light-hearted films she did in-between like Azaad (1955), Miss Mary (1957), Shararat (1959), and Kohinoor (1960) she displayed an unhibitedness that was refreshing to say at least. In these films, her physical moments are free and unrestrained and her dialogue delivery absolutely normal, a stark contrast to the studied mannerisms and passive postures of her tragic roles.

However, it was tragedy that saw Meena Kumari's greatest performance and immortalized her. The film was Sahib Bibi Aur Ghulam (1962). Produced by Guru Dutt, it was perhaps the greatest performance ever on the Indian screen. The sequence where Choti Bahu dresses for her husband singing is a poignant exploration of a woman's expectations and sexual desire. But Meena was on the road to gradual ruin. She began drinking heavily (like her character Choti Bahu) to a point of no return, but carried on. That year, Meena Kumari made history as she garnered all three Best Actress nominations for the Filmfare Award-For Aarti (1962), Main Chup Rahoongi (1962), and of course Shaib Bibi Aur Ghulam (1962)-for which she won the award.

However, the common factors between the actress's life and Choti Bahu are too dramatic to be merely coincidental-the estranged marital relationship, the taking of alcohol, younger male company, the craving to be understood and loved-all elements in Meena Kumari's own life. Elements which were mythicized in the film world in the 1960s. While on the professional front, the emphatic success of Dil Ek Mandir (1963), Kajal (1965), and Phool Aur Pathar (1966) kept her a top star.

For four more years, Meena Kumari performed successfully in Dil Ek Mandir (1963), Kaajal (1965), and Phool Aur Patthar (1966). However, she relied more and more on intimate relationships with younger men like Dharmendra, and often dulled her senses with liquor. She spent the last years of her life playing the doomed woman. Because of heavy drinking, she increasingly lost her good looks, and began playing character roles in B-grade movies like Jawab (1970) and Dushmun (1972).

She developed an attachment to writer-lyricist Gulzar and acted in his directorial debut, Mere Apne (1971), Meena Kumari presented a strong portrayal of an elderly woman who got caught between two street gangs of frustrated, unemployed youth and got killed, her death making the youth realize the futility of violence. In 1972, she recognized that she had a limited time left on this earth, and so she went out of her way to complete at the earliest the cult classic, Pakeezah (1972). Initially, after its release in February 1972, Pakeezah opened to a lukewarm response from the public; however, after Meena Kumari's death less than two months later, people flocked to see it.

Throughout her life, Meena Kumari had a love-hate relationship with movies, and besides being a top-notch actress, she was a talented poetess, and recorded a disc of her Urdu poems, I write, I recite with music by Khayyam.

Three weeks after the release of Pakeezah, Meena Kumari became seriously ill, and passed away on March 31, 1972 of cirrhosis of the liver. At her death, she was in more or less the same financial circumstance as her parents at the time of her birth: It is said that when she died in a nursing home, there was no money to pay her hospital bills.

Relationship with Kamal Amrohi

In 1952, on the sets of one of her films, Meena Kumari fell in love with and married film director, Kamal Amrohi, who was fifteen years elder than her and was already married. She wrote about Amrohi:

Dil saa jab saathi paya
Bechaini bhi woh saath le aaya

When I found someone like my heart
He also brought sorrow with him

Soon after marriage, Kamal Amrohi and Meena Kumari produced a film called Daera (1953), which was based on their love story. They also planned another film, Pakeezah. However, it took sixteen years (1956 to 1972) before Pakeezah reached the silver screen. (The scenes in Pakeezah's popular song, Inhi logon ne, were originally filmed in black and white, and were later reshot in color.)

It is said that Amrohi did not want children with Meena Kumari because she was not a Syed. They raised Kamal Amrohi's son, Tajdaar, who was greatly attached to his chhoti ammi (younger mother).

Due to their strong personalities, however, Meena Kumari and Kamal Amrohi started to develop conflicts, both professionally and in their married life. Their conflicts, separation in 1960, and ultimate divorce in 1964 highly impacted Meena Kumari, who, once a happy woman, became depressed and found solace in heavy drinking.They remarried, but Meena Kumari had become an alcoholic by then.

She expressed her sorrows prominently in her poetry.

She was inclined towards Dharmendra and had a close intimate relationship with him.

For it was only Meena with her metaphorical sanctity and overriding penchant for tragedy who could infuse body and soul into cinema's biggest oxymorn. Naturally, a prostitute had to be pure, if she was played by Meena. The fact that she was the most popular dancing girl who caught the fancy of all the nawabs and the nouveau riche of the city hardly posed a threat to her intrinsic chastity. Despite being in a profession where display and artful seduction are inevitable, the hero (Raaj Kumar) was only allowed a fleeting glimpse of the dancing girl's foot in the first encounter. Even the sheer physical beauty of the screen diva was meant to be revered, not savoured in a more physical manner. At the most, the lover could dream of embarking on a sublime voyage to the moon with the moon-faced beloved 'Chalo dildar chalo, chand ke paar chalo', (Let us go beyond the moon, beloved) enthused Raaj Kumar on a love tryst, when he has the woman all to himself in sylvan surroundings. An overture that is fit and proper for a woman, whose femininity can only be serenaded from a distance. Through poetry and verse. Not passion.


For it was only Meena with her metaphorical sanctity and overriding penchant for tragedy who could infuse body and soul into cinema's biggest oxymorn. Naturally, a prostitute had to be pure, if she was played by Meena. The fact that she was the most popular dancing girl who caught the fancy of all the nawabs and the nouveau riche of the city hardly posed a threat to her intrinsic chastity. Despite being in a profession where display and artful seduction are inevitable, the hero (Raaj Kumar) was only allowed a fleeting glimpse of the dancing girl's foot in the first encounter. Even the sheer physical beauty of the screen diva was meant to be revered, not savoured in a more physical manner. At the most, the lover could dream of embarking on a sublime voyage to the moon with the moon-faced beloved 'Chalo dildar chalo, chand ke paar chalo', (Let us go beyond the moon, beloved) enthused Raaj Kumar on a love tryst, when he has the woman all to himself in sylvan surroundings. An overture that is fit and proper for a woman, whose femininity can only be serenaded from a distance. Through poetry and verse. Not passion.

Filmography

1) Gomti Ke Kinare (1972) .... Ganga

2) Pakeezah (1972) .... Nargis/Sahibjaan

3) Dushmun (1971) .... Malti R. Din

4) Mere Apne (1971) .... Anandi Devi/Auaji (Aunt)

5) Jawab (1970) .... Vidya

6) Saat Phere (1970)

7) Abhilasha (1968) .... Mrs. Meena Singh

8) Baharon Ki Manzil (1968) .... Nanda S. Roy/Radha Shukla

9) Bahu Begum (1967) .... Zeenat Jahan Begum

10) Chandan Ka Palna (1967) .... Shobha Rai

11) Majhli Didi (1967) .... Hemangini 'Hema'

12) Noorjehan (1967)

13) Phool Aur Patthar (1966) .... Shanti Devi

14) Pinjre Ke Panchhi (1966) .... Heena Sharma

15) Bheegi Raat (1965)

16) Jadui Angoothi (1965)

17) Kaajal (1965) .... Madhavi

18) Purnima (1965) .... Purnima V. Lal

19) Maain Bhi Ladki Hun (1964) .... Rajni

20) Benazir (1964) .... Benazir

21) Chitralekha (1964) .... Chitralekha

22) Gazal (1964) .... Naaz Ara Begum

23) Sanjh Aur Savera (1964) .... Gauri

24) Akeli Mat Jaiyo (1963) Seema

25) Dil Ek Mandir (1963) .... Sita

26) Kinare Kinare (1963)

27) Aarti (1962) .... Aarti Gupta

28) Main Chup Rahungi (1962) .... Gayetri

29) Sahib Bibi Aur Ghulam (1962) .... Chhoti Bahu

30) Bhabhi Ki Chudiyan (1961) .... Geeta, Shyam's wife

31) Pyaar Ka Saagar (1961) .... Radha/Rani B. Gupta

32) Zindagi Aur Khwab (1961) .... Shanti

33) Bahaana (1960)

34) Dil Apna Aur Preet Parai (1960) .... Karuna

35) Kohinoor (1960)

36) Ardhangini (1959) .... Chhaya

37) Chand (1959)

38) Char Dil Char Raahein (1959) .... Chavli

39) Chirag Kahan Roshni Kahan (1959) .... Ratna

40) Jagir (1959)

41) Madhu (1959)

42) Satta Bazaar (1959) .... Jamuna

43) Shararat (1959)

44) Farishta (1958)

45) Sahara (1958) .... Leela

46) Savera (1958)

47) Yahudi (1958) .... Hannah

48) Miss Mary (1957) .... Miss Mary/Laxmi

49) Sharada (1957) .... Sharada Ram Sharan

50) Bandhan (1956)

51) Ek-Hi-Rasta (1956) .... Malti

52) Halaku (1956) .... Niloufer Nadir

53) Mem Sahib (1956) .... Meena

54) Naya Andaz (1956)

55) Shatranj (1956)

56) Adil-E-Jahangir (1955)

57) Azaad (1955) .... Shobha

58) Bandish (1955) .... Usha Sen

59) Rukhsana (1955)

60) Baadbaan (1954)

61) Chandni Chowk (1954) .... Zarina

62) Ilzam (1954)

63) Daera (1953) .... Sheetal

64) Dana Paani (1953)

65) Do Bigha Zamin (1953) .... Thakurain

66) Foot Path (1953) .... Mala

67) Naulakha Haar (1953) .... Bijma

68) Parineeta (1953) .... Lalita

69) Aladdin Aur Jadui Chirag (1952)

70) Baiju Bawra (1952) .... Gauri

71) Tamasha (1952) .... Kiran

72) Hanumaan Pataal Vijay (1951)

73) Lakshmi Narayan (1951)

74) Madhosh (1951) .... Soni

75) Sanam (1951)

76) Anmol Ratan (1950)

77) Hamara Ghar (1950)

78) Magroor (1950)

79) Shri Ganesh Mahima (1950)

80) Veer Ghatotkach (1949) .... Surekha

81) Bichchade Balam (1948)

82) Piya Ghar Aaja (1947)

83) Bachchon Ka Khel (1946)

84) Duniya Ek Sarai (1946)

85) Lal Haveli (1944)

86) Pratiggya (1943)

87) Garib (1942)

88) Bahen (1941) (as Baby Meena) .... Bina

89) Kasauti (1941)

90) Nai Roshni (1941)

91) Ek Hi Bhool (1940)

92) Pooja (1940)

93) Leatherface (1939)

MEENA KUMARI'S IMPORTANT YEARS - AWARDS

1933 Birth Mahzabeen

1939 First Film

1952 Leatherface

1953 First Filmfare Best Actress Baiju Bawra

1954 Fimfare Best Actress Parineeta

1962 Marriage with Kamal Amrohi / Filmfare Best Actress Saheb, Biwi aur Gulam

1964 Divorce / Kaajal

1965 Recording- I write I recite

1972 Last breath / Pakeezah

1973 Dushman / Mere Apne

1978 A film on Meena Kumari by Sohrab Modi < AWARDS OF MEENA KUMARI

Meena Kumari won 4 filmfare awards and she created history in 1962 when she bagged all the filmfare awards nominations for the best actress. The awards are briefly described here.

1953
Filmare Award for Baiju Bawra
The first ever filmfare awards function saw Meena Kumari as the first ever best actress in Filmfare awards. Baiju Bawra also made her a star and a superhit actress.

1954
Filmfare Award for Parineeta
Parineeta was one of the only four movies made by her husband director Kamal Amrohi.

1957
Journalist's award for Sharda
For Sharda, she almost missed the filmfare awards as she just slipped it to Nargis for her performance in Mother India. But this was a difficult decision for the judges as Meena Kumari's performance in Sharda was excellent. It was discussed that both be given the prize but the prize was given only to Nargis. Meena Kumari later received the journalist's award this year for Sharda.

1962
Filmfare Award for Aarti
Aarti is one of the best performances from Meena Kumari.
1965
Filmfare Award for Kaajal
She grabbed all the nominations for best actresses title. Finally it had to be decided for which film should she be given the award.

Nominations

* 1955 Filmfare Nomination as Best Actress - Azaad

* 1958 Filmfare Nomination as Best Actress - Sahara (1958 film)

* 1959 Filmfare Nomination as Best Actress - Chirag Kahan Roshni Kahan

* 1962 Filmfare Nomination as Best Actress - Sahib Bibi Aur Ghulam

* 1962 Filmfare Nomination as Best Actress - Main Chup Rahungi

* 1963 Filmfare Nomination as Best Actress - Dil Ek Mandir

* 1966 Filmfare Nomination as Best Actress - Phool Aur Patthar

* 1972 Filmfare Nomination as Best Actress - Pakeezah

Meena Kumari will always be remembered as the tremendous actress as she was and the load of pain she had to undergo. Some of her leading actors were Dilip Kumar, Raj Kumar, Ashok Kumar, Dharmendra, Pradeep Kumar, Rehmaan and Guru Dutt. She still remains fresh in all her co-stars' memories. She still has some die-hard and loyal admirers left.

The droop of her kiss curl, the anguish-laden voice, the unblemished beauty made her the ultimate tragedy queen.

meenakumari


I Write I Recite : Meena Kumari gives invaluable gift via Khayaam

If you love music and especially hindi film and non filmi music and you don’t have music album, I Write I recite , then your collection, somewhere lacks something.

The Tragedy Queen, Meena Kumari , who was said to have owned the melancholy and extreme sadness, lonliness and pain in real life, was a poet also. In a way from her maternal side she belonged to clan of Great poet and Nobel Laureate Ravindra Nath Tagore.

Much has been written and discussed about her films but the poet residing inside her has got less attention. She and her sadness became mythological but her poetry truly reveals her creative side. So what if they are extreme expression of sadness. Her poetry has much substance.

She did “Mere Apne� with Gulzar in her last years and “Meena Didi� gave her diary, where she used to write her emotions in the form of poetry, to younger brother Gulzar. Gulzar later published those poems with the name of Naaz, pseudo name of Meena Kumari. The collection was Chand Tanha.

But her poetic skill had already come out with her collaboration with music composer Khayaam. Khayaam composed her poems and she sang her poetry in her own voice. She brings a sadness through her ghazals and through her singing in her surreal voice that not many songs and singers can do.

She hopes for an eternal lover and happiness and in the lack of that she disappears behind the clouds of dejection and then her only resort is to weave her emotions in the form of poetry. Her suffering is visible through her writings.

EMI/HMV had released the album, I write I recite. See some of her poems:

[Purists forgive for loose translation/meanings of the poems. Often they may not represent the exact meaning of the original but its just a try to give a clue to those who are not familiar with Hindi/Urdu].


(1)

Puchhate ho to suno kaise basar hotee hai
Raat Khairaat kee sadqe kee sahar hotii hai
Saans bharane ko to jeena nahin kahate yaa rab
Dil hee dukhataa hai na ab aasteen tar hotee hai
Jaise jaagii huii aankhon mein chubhen kaanch ke Khwaab
Raat is tarah deevaanon kee basar hotee hai
Gam hi dushman hai meraa Gam hi ko dil Dhundhata hai
Ek lamhe ki judaaii bhi agar hoti hai

[You ask me, How do I live ?
Night goes in begging and Prayers fill my morning
O lord! Living is not only breathing /
My heart senses no more pain and eyes hold no more tears
Breakable dreams pierce my sleepless eyes like thorns
I, mad lover, spend my nights in such a way
Sorrow is my enemy and yet my heart longs for sorrow
Whenever there is some happiness in my life]

2.

Aagaaz to hotaa hai anjaam nahiin hotaa.
Jab merii kahaanii mein vo naam nahiin hotaa.
Jab zulf kii kaalik mein ghul jaaye koii rahii.
Badanaam sahii lekin gumanaam nahiin hotaa.
Hans hans ke javaan dil ke ham kyon na chune tukare.
Har shakhs kii qismat men inaam nahiin hotaa.

[It begins but I see no avail, no end
Often I don’t see his presence in my life
When someone is deeply in love with someone
one may get bad name but does not go in oblivion
Why should not I collect with laugh, the pieces of my broken heart?
Afterall not everyone gets the reward]

3.

Chaand tanhaa hai aasmaan tanhaa.
Dil milaa hai kahaan kahaan tanhaa.
Bujh gaii aas chhup gayaa taaraa.
Tharatharaataa rahaa dhuaan tanhaa.
Zindagii kyaa isii ko kahate hain.
Jism tanhaa hai aur jaan tanhaa.
Hamasafar koii gar mile bhii kahiin.
Dono chalate rahe tanhaa tanhaa.
Jalatii bujhatii sii raushanii ke pare
Simataa simataa saa ek makaan tanhaa.
Raah dekhaa karegaa sadiyon tak.
Chhod jaayenge ye jahaan tanhaa.

[Moon is alone and sky is alone
My heart goes alone on the journey
Day has brought the light but the hope is lost
My existence trembles alone
Is this the life ,
Where body and soul walk separately?
Though I found companion during my journey
But we kept walking separately
Far away on other side of that dim light
I see a small, closed and confined heart
It will wait for me for ages
After I walk alone from this world]

Album has many such songs.
Khayaam has provided wonderful music, which not only matches up with the mood of the poems but enhances their impact. Album explores the sorrow and often may end up extracting out sadness hidden inside the listener and may help in cathartic way.
Whenever come across this music album, � I write I recite � buy it at once. It belongs to the category of rare collection!

http://passionforcinema.com/i-write-i-reci...ft-via-khayaam/

Songs of Meena Kumari -
http://pages.cs.wisc.edu/~navin/india/song...ena_kumari.html

for her biography

http://www.angelfire.com/film/meenakumari/
http://www.angelfire.com/film/meenakumari/
http://www.idlebrain.com/mumbai/legends/meenakumari/
http://in.movies.yahoo.com/artists/Meena-K...raphy-8427.html
http://www.sscnet.ucla.edu/southasia/Cultu...ema/MeenaK.html
http://listing-index.ebay.com/actors/Meena_Kumari.html
http://www.angelfire.com/film/meenakumari/personality.html
http://en.wikipedia.org/wiki/Meena_Kumari

S A N J E E V K U M A R

Biography for Sanjeev Kumar

Date of Birth : 9 July 1938, Bombay, India

Date of Death : 6 November 1985 (aged 47), Bombay, Maharashtra, India (heart attack)

Birth Name : Harihar Zariwala

Nickname : Godfather of Indian cinema, Doctor Kumar, Haribhai

Height : 5' 8" (1.73 m)

Occupation : Actor

Years active : 1960 - 1984 (His Death)

Spouse(s) : None

Sanjeev Kumar or Harihar Jariwala

(July 9, 1938 – November 6, 1985) was one of the most prominent Indian actor in Bollywood movies.

Sanjeev Kumar was one of those few actor-stars to whom the role meant more than anything in the world.

He was willing to play any character of any age in a film, even if it wasn't the lead role, provided the role challenged his acting abilities which of course were considerable.

In that sense he chose to tread the path set down by other actor-stars such as Motilal and Balraj Sahni and rewrote many of the conventions of Bollywood rather than follow the conventional star system.

If one actor can shower rage from his eyes and yet at same time may deliver ice cold words from his mouth then this actor’s name should be Sanjeev Kumar and he had performed above mentioned skill in the role of Thakur Baldev Singh in Sholay.

But this was not his first ever brilliant performance. Years before in 1968 he had shown this charisma in Anokhi Raat also. He was changed in the film, so easily, from a simple caretaker to a callous bandit that audience did not believe it was same man.

He had this quality to opt different body language, different dialogue delivery to perform different characters in same film. It wont be exaggeration to say that he was one of those actors who could perform all the 9 rasas on screen.

Dilip Saab did triple role in Bairag, Amitabh Bachchan did triple role in Mahan, Mehmood did triple role in Humjoli(?) but Sanjeev Kumar defeated everyone when he accepted the challenge to portray 9 different characters in a single film. He created history in this film, “Naya Din Nayee Raat�. It was his ace shot, never seen before in hindi cinema. If he did only this one film even then he was going to be included in the list of great actors India has ever produced.

He did a silent revolution in the hindi cinema because he did not opt the popular box office path to do what he wished to do.

Leave alone exceptions like Love and God, he brought class in whatever he did. We cant find any other actor who would have played lover/husband, father in law, father and again lover of same actress within a span of decade. Sanjeev Kumar did this rare act with his different roles with Actress Jaya Bhaduri/Bachchan. Dilip saab had this reservation as he did not accept the role of Birju in Mehboob’s Mother India. He said,� I cant shout ma ma to an actress who has been my actress in many films�. But as an actor Sanjeev Kumar knew no boundaries. He defied every conventional approach in hindi cinema and he tried or his ways were like this only that he produced contradictions. Thus its very difficult to bind him under a single definitions. He gave so much variety that he can be said a truly versatile actor hindi cinema has ever produced.

If he is in a film and Director is willing to give importance to his character then he has always brought class in to that film by his performance and examples are scattered all over. Sanghursh, Trishul, Sholay, Vidhata, Sachchai, Satyakam, Swarg Narak, Ashirvad, Khilona, Silsila etc are the films where he had produced healthy competition before his co stars and thus we the audience got beautiful films. And this list is so long. We may have a look over his filmography and will find many great films there.

If late 60s saw advent of Rajesh Khanna, the first Super star of hindi cinema then at the same time Sanjeev Kumar was adding a new chapter in the history of hindi cinema by his performances in unconvetional roles in Khilona and Koshish. He was bringing balance in the hindi films. He was not super star in the league of Rajesh Khanna and Amitabh Bachchan as far as box office success is concerned but he was super class actor who never was defeated by these actors whenever they appeared together on screen. The man who can confront comfortably Dilip Kumar on screen in his 3rd 4th film only then it says much and rather all about the calibre of that actor.

Personal life and background

Sanjeev Kumar was born in Surat,Gujarat to a Gujarati traditional family living in tenement in Mumbai. A stint in film school took him to Bollywood, where he eventually became a star.

He remained bachelor all his life. He loved Actress Hema Malini and even put a marriage proposal to her but she refused, marrying Dharmendra instead. He later died in 1985.

Bollywood was not a bed of roses, and for Haribhai, it meant persistent struggle to get through. Acting was not a came-saw-conquered phase. Beginning his career with theatre, he moved ahead, slowly but surely.

After dabbling in theatre, School After dabbling in theatre, and sanjeev kumar did his first role [ made his debut ], a bit role in the film Filmalaya's Hum Hindustani (1960).

The Rajshris auditioned him for Aarti (1962) opposite Meena Kumari but he flopped in the audition and was rejected. Sanjeev's first film as a hero was the 1965 Nishan was a B-grade swashbuckler and many of his earlier films were of the same ilk opposite starlets like Kum Kum. But they were popular nevertheless and Sanjeev more than made his mark in them.

Sanjeev's first film as a hero was the 1965 Nishan was a B-grade swashbuckler and many of his earlier films were of the same ilk opposite starlets like Kum Kum. But they were popular nevertheless and Sanjeev more than made his mark in them.

He was first noticed in a big way in Sanghash (1968) where he was pitted against Dilip Kumar and more than held his own in the scenes they did together. (In fact many thought he scored over Dilip Kumar in the scenes they did together). When he had played the role of cousin of Dilip Kumar in HS Rawail’s Sanghursh then his performance had declared clearly that here comes an actor who would be establishing new milestones in coming future and when Dilip Saab showered bounty of praises on him in this film then this was not just a fluke for Sanjeev Kumar because he knew he was going to establish new definitions in the history of hindi cinema.

Slowly he began getting leading roles opposite top actresses like Nutan, Waheeda Rehman and Mala Sinha..

In 1970, Khilona made him a star. But again what stood out in the film was was his outstanding acting. He was absolutely spot-on as a mentally imbalanced man who is helped back to sanity by a prostitute hired to nurse him.

The same year also saw him deliver a fine performance in Dastak, matching Rehana Sultan's National Award winning performance scene for scene and winning his first National Award as Best Actor.

In spite of being a star, Sanjeev Kumar still opted for roles that were off the beaten track in films like Anubhav (1971) though it must be mentioned here that good as he was in the film, it was Tanuja who walked off with the film.

He also consolidated his position meanwhile in the mainstream with hits - he went on to star in the hits like Seeta Aur Geeta (1972) and Manchali (1973).

Parichay (1972) and Koshish (1972), which won him a second National Award, brought him into contact with their director, Gulzar.

Thus started a mutually beneficial partnership that saw some of Sanjeev Kumar's finest work as an actor.

He played a deaf and dumb man in the latter and it is amazing to watch him emote having internalized his feelings without the help of dialogue and his performance is screen acting at its very best. The scene where he thinks his child is also deaf since he is not responding to a faulty rattle or the scene where he castigates his son for refusing to marry a handicapped girl show a supreme actor at the peak of his histionic talent.

The Gulzar - Sanjeev Kumar partnership resulted in such fine films as Aandhi (1975), Mausam (1975), Angoor (1981) and Namkeen (1982) with strong Sanjeev Kumar performances in each of them.

Sanjeev Kumar was one actor who improved his performance tremendously at the dubbing stage with his marvelous voice control.

The quiver in his emotionally saturated voice was as important an element of his acting as small casual getsures like running his hand down his neck.

He never minded dyeing his hair if the role required it and even played much older men in films like Aandhi, Mausam, Sholay (1975) and Trishul (1978).

In fact in Sholay he played Jaya Bhaduri's father-in-law. This after playing her lover in Koshish and Anamika (1973) and her father in Parichay!

And despite making his reputation as a serious actor, he showed a great flair for the light-hearted in films like Manchali, Manoranjan (1974), Pati Patni Aur Woh (1978) and Angoor.

Films like Naya Din Nayi Raat (1974) wherein he played multiple roles further showcased his acting talent and versatility.

He started working with the well-known director Gulzar in the early 1970s.

He did nine films with Gulzar, including Aandhi (1975), Mausam (1975), Angoor (1981) and Namkeen (1982). Many of his fans believe that these are some of the best films that he did.

He was always ready to take unconventional roles that challenged him as an actor.

He played Mirza, a chess-obsessed Lucknowi (citizen of Lucknow), in Satyajit Ray's classic Shatranj Ke Khiladi (1977).

In 1977 Sanjeev Kumar had an opportunity to work with the great Satyajit Ray when the latter made his first film outside Bengal, Shatranj ke Khiladi (1977).

The film features delightful performances by Saeed Jaffrrey and Sanjeev Kumar as Mir and Mirza respectively, so utterly absorbed in their game of chess that Mirza neglects his wife while Mir's wife has an affair right under his unsuspecting nose! When Lucknow falls to the British, they leave for an abandoned mosque on the outskirts of the city to play in peace! It is a delightfully nuanced performance under a great director.

Perhaps his best-remembered roles were in the blockbuster films Sholay (1975) and Trishul (1978).

During the early 1980s Sanjeev Kumar did more supporting roles than playing the lead.

Unfortunately by the 1980s, Sanjeev Kumar had grown extremely careless with his looks and had let himself bloat up.

Among his later lot of films the only two that really stand out are Vidhaata (1982), which again brought him face to face with Dilip Kumar (Again he scored over the thespian in the one major confrontation scene they had in the film) and Hero(1983), both directed by Subhash Ghai.

on Jul 09 2007 - 69th birth anniversary of amazingly versatile actor Sanjeev Kumar - many people always feel his absence in the hindi films.

Sanjeev Kumar defied traditions & conventional paths !

“Satisfaction of watching a superb acting� has been the outcome from watching Sanjeev Kumar’s films.


Whenever an unbiased history of Hindi cinema will be written then film historian will be compelled to mention the coupling of Sanjeev Kumar and Gulzar.

This pair started its journey from Koshish and they gave us 6 films and except Parichay where Sanjeev Kumar had small role, rest 5 films (Koshish, Aandhi, Mausam, Angoor and Namkeen) are collector’s items.

Through Sanjeev Kumar, Gulzar could bring that rare touch in visual story telling which is possible to get only through reading the good literature.

Sanjeev Kumar was able to perform at that level at which Gulzar was able to think.

What a director needs ? Actors who can support his visions and Gulzar saab got such actor in Sanjeev Kumar.

If not Koshish, where Sanjeev Kumar plays deaf and mute character, and certain histrionics are associated with the character and we have to see the film with those associations then Aandhi, Mausam and Namkeen, three films shout aloud to make the point clear.

All three films have simple character and Sanjeev Kumar’s performances not only raise the quality of these films but spoil the audience also because after watching Sanjeev Kumar in these films, one cant accept mediocre performances by other actors.

Don’t we feel elated if we imagine Ijaazat in mid 70s, with Sanjeev Kumar playing Shashi Kapoor’s role and either of Shashi Kapoor/Vinod Khanna/Amitabh Bachchan playing Naseeruddin Shah’s role. Ijaazat could have got different flavour and different heights then.

When many were busy in doing usual love story or lost and found drama based films, Sanjeev Kumar was busy in bringing maturity in hindi films. He did Dastak and Anubhav in 1970.

He made lead hero a matured contemporary man through these films. Inspite of commercially successful films like Manchali, Anamika and Sita aur Gita, Sanjeev Kumar did not fall for the alluring aspect of box office success by repeating his roles and thus creating an image for himself.

If any image he cared for was of an actor who was able to play different characters on screen with equal élan.

If Amitabh Bachchan was writing history through box office success in the 70s then at same time Sanjeev Kumar was creating history by brining a variety of characters on screen.

Except Dilip Kumar such actors are hard to be seen in hindi film industry who care for breaking his own image otherwise most of the actors fall for their most popular images.

Sanjeev Kumar may look careless about growth of his career but perhaps he was very sincere towards this aspect of acting career that he would not play same characters again and again. It seems he thoroughly enjoyed his acting career and that’s why his characters are so lively on screen.

He seems equal at ease while saying those revengefull dialogues in Sholay as he grins in Manoranjan when he says to Zeenat Aman,� I need a car and not a taxi� or when he repeats his Takia kalam with apt timing in Swarg Narak, “Adjust kar lenge� or when he said in Angoor,� Dikhne mein to main avani dikhta hun par agar ek ulte haath ka laga dun to…� or when he shouts in Vidhata,� Maliiiiiiiiiiiiiiiiiiiik� or when he, as a hunter in NDNR teases dancer character and says with wide eyes,�Bhaand� and laughs heavily. Examples are plenty.

There is a tough character of Hiraman in Teesri Kasam, which Raj Kapoor had played with a class and except Dilip Kumar and Sanjeev Kumar, it seems very difficult for others to bring that rustic simplicity on their face.

Often Sanjeev Kumar could replace all the other characters in the film. In Satyakam he and Dharam ji could easily have replaced each other’s characters. In Sachchai, SK could have exchanged his role with Shammi Kapoor’s role. It can be iconoclastic to say but Sanjeev Kumar could have played role of Gabbar Singh with different touches. He had shown his skill in such roles way back in Anokhi Raat in 1968 and later in Naya Din Nayi Raat also.


If he was able to portray romance with Suchitra Sen in Aandhi then he was equally at ease with Rina Roy in Ladies Tailor.

He excells in comedy as well and gave us Swaarg Narak, Yahi hai Jindagi, Ladies Tailor, Angoor, Swayamvar, Biwi O Biwi, Pati Patni aur Woh, Shriman Shrimati etc.

He did not bother about his appearances on screen.

Its said that B.R. Chopra had asked him to reduce his weight for his adult comedy film, Pati Patni aur woh, and Sanjeev Kumar always showed dilly dally attitude and said that he would do it when they would film song �Thande Thande pani se nahana chahiye� but as Sanjeev Kumar was not able to resist good food so film’s shooting was almost finished and he was same fatty.

In last he said bluntly that he would appear in the song in long underwear. Did his belly make any problem for audience? His appearance is as comical and nice in that song as it should have been with his less fat body!

When Satyajit Ray entered in to making films in Hindi he casted Sanjeev Kumar as one of the main character in Shatranj ke Khiladi.

Some 2 months ago, there was discussion on Method acting or “The Method� acting and how few actors like Robert De Nero, Dustin Hoffman etc belong to same school of acting. Darn such method acting, Sanjeev Kumar was able to play Don Veto Corleone, if not better than equal to Marlon Brando’s performance. He could have brought new heights in each of Nero’s or Hoffman’s roles in films like Wag the Dog and Sanjeev Kumar did not take training of acting through any such “method acting “or “The Method� propagated by Strasberg or Stanislavski.

Though he said repeatedly in Swarg Narak, “Adjust kar lenge� but he did not do any adjustment in real life. Its said that he wanted to marry Hema Malini and he had proposed her which she refused because she was in love with Dharmendra. It’s also said that beautiful actress Sulakshna Pandit loved Sanjeev Kumar and she had proposed to him but he did not do any adjustment here.

What he wished he did not get and what he was getting he did not accept. His love life remained unfulfilled and was this factor able to push him to bring that character Gerulal in Namkeen?

I always become sad and disturbed whenever realise that till now I have not been able to see completely Hrishikesh Mukherjee’s less popular film “Arjun Pandit� where he has given one of his finest performances.

Indian actors need to recognise the work of this actor. New actors can learn just by watching his films.

His charming smile, his efforts to make his eyes still so that tears comes automatically in his eyes and he does not have to use Glycerin, His voice modulation, and his ability and flexibility to opt proper get ups, his willingness to go deep in to the psychology of the character which may require mannerisms which are not helpful in creating a popular image and his desire to explore new and different horizons in acting area will always put him in the category of great actors.

A bachelor, Sanjeev Kumar when he was only forty-seven years old, died of an acute heart ailment in 1985. It is ironic that someone who had played so many elderly roles, himself didn't even live to be fifty...

He had never married. He was involved with actress Sulakshana Pandit who wanted to marry him, but he rejected her marriage proposal, because he never got over his heartbreak after actress Hema Malini rejected his marriage proposal to marry her frequent co-star Dharmendra. Ironically for an actor who played many elderly roles, he did not live to the age of 50.

Ten of his already completed films were released after his death with his final film Professor Ki Padosan being released in 1993.

At the time of his death this film was only 75% complete and it was decided to alter the story in the second half of the film to explain the absence of Sanjeev Kumar's character. One of his other notable releases after his death was K. Asif's much delayed Love and God which was over 20 years in the making.

After director K. Asif died in 1971, production came to a halt and the film was finally released in incomplete form in 1986, one year after its actor Sanjeev Kumar had also died.

In Naya Din Nayi Raat (1974) Sanjeev Kumar reprised the nine-role epic performance by Sivaji Ganesan in Navarathiri (1964), which was also previously reprised by Akkineni Nageswara Rao in Navarathri (Telugu; 1966). This film has enhanced his status and reputation as an actor in Hindi cinema.He was the man behind the 'nau avtaars', the man who made people roll with laughter. He was Haribhai Jariwala, 'Sanjeev Kumar' Sanjeev Kumarto the movie hungry finicky audiences. 'NAYA DIN NAYI RAAT', one masterpiece given brilliance by Sanjeev Kumar. He played nine different characters in the film. He suited the roles every bit. Anybody else could have hardly done justice to the roles. The make-up, the costume, everything was so true to the characters, it was a marvel to have him perform.

Unhappy and dejected in love, in his private life, Sanjeev tried drowning his loneliness in alcohol. Coupled with his weakness for good food, it resulted in a weight problem and a heart ailment. The man who had played husband, father and grand-father ironically died a bachelor in 1985. It is ironic that someone who had played so many elderly roles, himself didn`t even live to be fifty.


Sanjeev Kumar was one of those few actor-stars to whom the role meant more than anything in the world. He was willing to play any character of any age in a film, even if it wasn't the lead role, provided the role challenged his acting abilities, which of course were considerable.

Sanjeev's on screen life was full of jubilant surprises but off-screen, he had drenched himself in alcohol. A bachelor, Sanjeev Kumar died of an acute heart ailment in 1985. It is ironic that someone who had played so many elderly roles, himself didn't even live to be fifty.

But the genius remains embedded in the hearts of the audiences forever.

AWARDS

National Film Awards

* 1971 - Winner National Film Awards for Best Actor for Dastak

* 1973 - Winner National Film Awards for Best Actor for Koshish

Filmfare Awards

Sanjeev Kumar had been nominated for 14 Filmfare Awards.

* 1968 - Winner Best Actor in a supporting role for Shikar

* 1970 - Nominated Best Actor for Khilona

* 1973 - Nominated Best Actor for Koshish

* 1975 - Winner Best Actor for Aandhi

* 1975 - Nominated Best Actor for Sholay

* 1976 - Nominated Best Actor for RAJEEV

* 1976 - Winner Best Actor for Arjun Pandit

* 1977 - Nominated Best Actor for Yehi Hai Zindagi

* 1977 - Nominated Best Actor for Zindagi

* 1978 - Nominated Best Actor for Pati Patni Aur Woh

* 1978 - Nominated Best Actor for Devta

* 1978 - Nominated Best Actor in a supporting role for Trishul

* 1982 - Nominated Best Actor for Angoor

* 1982 - Nominated Best Actor in a supporting role for Vidhaata

Other Awards

* 1974 - BFJA Best Actor for Koshish - link is - http://www.bfjaawards.com/archives/pictures/index26.htm

FILMOGRAPHY

movie - title - year - actor

biwi-o-biwi 1981 sanjeev kumar, rajendra nath, yogita bali, randhir kapoor, poonam, simi


beraham 1980 sanjeev kumar, kader khan, mala sinha, reena roy, shatrughan sinha, i. s. johar, dev kumar



khilona 1970 sanjeev kumar, aruna irani, jagdeep, jeetendra, mumtaz, janki das, shatrughan sinha, alka, mridula


sachchai 1969 sanjeev kumar, helen, pran, sulochna, johnny walker, shammi kapoor, dhumal, anwar hussain, rajan kapoor, raj mehra, sadhana, shivraj, ratnamala, prem kumar, jagdev


waqt ki deewar 1981 sanjeev kumar, pran, kader khan, jeetendra, sunder, amjad khan, rajendra nath, paintal, deven verma, satyen kappu, shatrughan sinha, birbal, neetu singh, rajan haksar, sulakshana pandit, naazneen, preeti ganguly


biwi-o-biwi 1981 sanjeev kumar, rajendra nath, yogita bali, randhir kapoor, poonam, simi
beraham 1980 sanjeev kumar, kader khan, mala sinha, reena roy, shatrughan sinha, i. s. johar, dev kumar


khilona 1970 sanjeev kumar, aruna irani, jagdeep, jeetendra, mumtaz, janki das, shatrughan sinha, alka, mridula


sachchai 1969 sanjeev kumar, helen, pran, sulochna, johnny walker, shammi kapoor, dhumal, anwar hussain, rajan kapoor, raj mehra, sadhana, shivraj, ratnamala, prem kumar, jagdev


waqt ki deewar 1981 sanjeev kumar, pran, kader khan, jeetendra, sunder, amjad khan, rajendra nath, paintal, deven verma, satyen kappu, shatrughan sinha, birbal, neetu singh, rajan haksar, sulakshana pandit, naazneen, preeti ganguly

chowkidaar 1974 sanjeev kumar, jeevan, om prakash, asit sen, sulochna, vinod khanna, jayshree t., yogita bali, joginder, ram mohan, lalita kumari, amrit patel


biwi o biwi 1981 sanjeev kumar, rajendra nath, shashikala, yogita bali, randhir kapoor, poonam dhillon, simi grewal


aap ki kasam 1974 sanjeev kumar, pran, aruna irani, amjad khan, mumtaz, iftekar, rajesh khanna, vinod khanna, shabana azmi, jayshree t., a. k. hangal, rita bhaduri, dina pathak, keshto mukherjee, rehman, junior mehmood, lolita chatterjee


badkaar 1987 sanjeev kumar, asrani, satyen kappu, sadhana singh, apeksha


imaan 1974 sanjeev kumar, bhagwan, satyen kappu, anwar hussain, leena chandravarkar, keshto mukherjee


sangharsh 1968 sanjeev kumar, balraj sahani, dilip kumar, vaijayanti mala


aashirwad 1968 sanjeev kumar, ashok kumar


badal 1966 sanjeev kumar, helen, hiralal, shammi, sheikh mukhtar, kamal, mehra, k. vijayalaxmi


devata 1978 sanjeev kumar, asit sen, shabana azmi, dhumal, rakesh roshan, sarika, shobha khote, viju khote, keshto mukherjee, danny denzongpa, benjamin gilani, shriram lagu


anhonee 1973 sanjeev kumar, leena chandravarkar



anubhav 1971 sanjeev kumar, tanuja


trishul 1978 sanjeev kumar, prem chopra, shashi kapoor, hema malini, iftekar, amitabh bachchan, waheeda rahman, sachin, yunus parvez, jagdish raj, poonam dhillon, manmohan krishan, rakhee, sudha chopra, geeta siddharth, mohan sherry, b. k. dubey


bad aur badnaam 1985 sanjeev kumar, jagdeep, shatrughan sinha, shriram lagu, parveen babi, anita raj


bachpan 1970 sanjeev kumar, aruna irani, mukri, tanuja, anwar hussain, joginder, sachin, jr. mehmood


zindagi 1976 sanjeev kumar, helen, iftekar, vinod mehra, mala sinha, anil dhawan, moushami, alka


yehi hai zindagi 1977 sanjeev kumar, utpal dutt, neeta mehta, romesh sharma, tamanna, adil, seema devi


yaadgaar 1984 sanjeev kumar, raza murad, rajendra nath, tanuja, sujit kumar, kamal hassan, poonam


vishwasghaat 1976 sanjeev kumar, madan puri, shabana azmi, satyen kappu, kabir bedi, mac mohan


baat banjaye 1986 sanjeev kumar, shakti kapoor, jagdeep, raj babbar, mithun, amol palekar, zeenat


uljhan 1975 sanjeev kumar, agha, ashok kumar, asrani, farida jalal, urmila bhat, sulakshana pandit


tumhare liye 1978 sanjeev kumar, ashok kumar, anita guha, vidya sinha, neelam mehra, indrani


trishna 1978 sanjeev kumar, shashi kapoor, bindu, sujit kumar, rakhee, dinesh hingoo, preeti ganguly


ayyaash 1982 sanjeev kumar, rati agnihotri, arun govil


takkar 1980 sanjeev kumar, ashok kumar, asrani, jeetendra, vinod mehra, jayaprada, zeenat, bindya goswami

swayamvar 1980 sanjeev kumar, madan puri, shashi kapoor, ranjit, shashikala, moushami, vidya sinha


swarg narak 1978 sanjeev kumar, helen, jeetendra, vinod mehra, shabana azmi, kamini kaushal, moushami chatterjee


suraj aur chanda 1973 sanjeev kumar, jagdeep, bindu, mukri, jairaj, shyama, sujit kumar, laxmi chhaya, meeta


suraag 1982 sanjeev kumar, hema malini, rajesh khanna, shabana azmi, tina munim, parikshat


sungharsh 1968 sanjeev kumar, sunder, durga khote, balraj sahani, jayant, dilip kumar, vaijayanti mala


subah-o-sham 1972 sanjeev kumar, waheeda rahman, fardeen, lauri


smuggler 1966 sanjeev kumar, helen, mukri, hiralal, kumkum, sheikh mukhtar, poornima


sindoor bane jwala 1982 sanjeev kumar, sharda, rajshree, urvashi


silsila 1981 sanjeev kumar, rekha, shashi kapoor, amitabh bachchan, kulbhushn, jaya bhaduri, sudha chopra


shriman shrimati 1982 sanjeev kumar, rakesh roshan, rakhee, sarika, deepti naval, amol palekar


sholay 1975 sanjeev kumar, helen, dharmendra singh deol, amjad khan, hema malini, amitabh bachchan, a. k. hangal, jaya bhaduri


shikar 1968 sanjeev kumar, helen, dharmendra singh deol, johnny walker, rahman, asha parekh, bela bose


shatranj ke khiladi 1977 sanjeev kumar, amjad khan, shabana azmi, farida jalal, saeed jaffrey, veena, richard


shandaar 1974 sanjeev kumar, aruna irani, jagdeep, david, vinod mehra, sharmila tagore, leena das


ashirwad 1969 sanjeev kumar, ashok kumar, sajjan, bipin gupta, veena, sumitra sanyal, leela gandhi


seeta aur geeta 1972 sanjeev kumar, asrani, dharmendra singh deol, asit sen, hema malini, satyen kappu, manorma, roopesh kumar


sawan ke geet 1978 sanjeev kumar, jagdeep, mehmood, rekha, amjad khan, satyen kappu, joginder, indrani


sawaal 1982 sanjeev kumar, prem chopra, shashi kapoor, waheeda rahman, poonam


satyakam 1969 sanjeev kumar, ashok kumar, dharmendra singh deol, david, manmohan, manju, sharmila tagore


arjun pandit 1976 sanjeev kumar, ashok kumar, bindu, vinod mehra, deven verma, keshto, sachin, srividya


archana 1973 sanjeev kumar, jagdeep, om prakash, mala sinha, manmohan, joginder, krishan


sachaai 1969 sanjeev kumar, helen, pran, johnny walker, shammi kapoor, sadhana



saathi 1968 sanjeev kumar, david, rajendra kumar, vaijayanti mala, veena, pahari sanyal, simi


apne rang hazar 1975 sanjeev kumar, helen, asrani, bindu, janki das, danny, paintal, leena chandravarkar


rocky mera naam 1973 sanjeev kumar, david, tanuja, bela bose, rajan haksar, ram mohan, mumtaz begum


rivaaj 1977 sanjeev kumar, mala sinha, shatrughan sinha


apnapan 1977 sanjeev kumar, aruna irani, jeetendra, iftekar, reena roy, sulakshana pandit


apna dushman 1975 sanjeev kumar, dharmendra singh deol, reena roy, dev kumar, rakesh pandey, imtiyaz


ram tere kitne naam 1985 sanjeev kumar, prem chopra, rekha, lalita pawar, shammi kapoor, sudhir


raja aur rank 1968 sanjeev kumar, nirupa roy, ajit, kumkum, mohan choti, nazima, mahesh kumar


raahi 1987 sanjeev kumar, om prakash, ranjit, shatrughan, smita patil, dina pathak, sudha chopra


qatl 1986 sanjeev kumar, ashok kumar, shatrughan sinha, sarika, saeed jaffrey, marc zuber, ranjita


anokhi raat 1968 sanjeev kumar, keshto mukherjee, tarun bose, zahida, ajay sahni


purani pehchan 1971 sanjeev kumar, madan puri, tanuja, shammi, bela bose



professar ki padosan 1994 sanjeev kumar, aruna irani, deven verma, dilip tahil, asha parekh, padmini kolhapuri


priya 1970 sanjeev kumar, tanuja, dulari, jalal agha


patthar se takkar 1980 sanjeev kumar, pran, jeevan, neeta mehta


pati patni aur woh 1978 sanjeev kumar, asrani, ranjeeta, vidya sinha


pati patni 1966 sanjeev kumar, mehmood, mumtaz, nanda


parichay 1972 sanjeev kumar, pran, asrani, jeetendra, jaya bhaduri, master raju, geeta siddharth


paras 1971 sanjeev kumar, mehmood, farida jalal, shatrughan, rakhee


pakhandee 1983 sanjeev kumar, helen, jagdeep, shashi kapoor, ranjit, asha parekh, zeenat


paapi 1977 sanjeev kumar, madan puri, prem chopra, danny, sunil dutt, reena roy, zeenat aman


anhoni 1973 sanjeev kumar, asrani, bindu, paintal, satyen kappu, manmohan, leena chandravarkar


oonch neech beech 1989 sanjeev kumar, shashi kapoor, smita patil, kulbhushn, shabana, nilu phule


nishan 1965 sanjeev kumar, helen, prem chopra, mukri, shammi, sheikh mukhtar, samson, nazima


angoor 1982 sanjeev kumar, aruna irani, deven verma, utpal dutt, deepti naval, moushami


night in calcutta 1970 sanjeev kumar, bhagwan, samson, simi



angaarey 1975 sanjeev kumar, madan puri, jagdeep, jeevan, janki das, mohan choti, rakhee


naya din nai raat 1974 sanjeev kumar, sunder, tuntun, david, mukri, farida jalal, jaya bhaduri, v. gopal, pinky


naunihaal 1967 sanjeev kumar, jagdeep, asit sen, balraj sahani, madhvi, indrani mukherjee


naukar 1979 sanjeev kumar, mehmood, yogita bali, jalal agha, jaya bhaduri, madhu malini


namumkin 1988 sanjeev kumar, raj babbar, om shivpuri, zeenat aman


namkeen 1982 sanjeev kumar, shabana azmi, waheeda rahman, sharmila tagore, kiran vairale


muqaddar 1978 sanjeev kumar, aruna irani, rekha, shashi kapoor, amjad khan, paintal, parikshit sahni


mukti 1977 sanjeev kumar, kader khan, bhagwan, shashi kapoor, murad, mithun, deven verma, vidya sinha, bindiya


anamika 1973 sanjeev kumar, rajendra nath, achla sachdev, jaya bhaduri, narendranath, ramesh behl


mausam 1975 sanjeev kumar, agha, om shivpuri, satyen kappu, sharmila tagore, dina pathak


manoranjan 1974 sanjeev kumar, madan puri, agha, asit sen, shammi kapoor, paintal, zeenat aman, faryal


manchali 1973 sanjeev kumar, nirupa roy, manmohan, nazima, leena chandravarkar, krishan kant


man mandir 1971 sanjeev kumar, aruna irani, mehmood, david, rakesh roshan, waheeda rahman, sudesh


maan apmaan 1979 sanjeev kumar, mohan choti, dhumal, jayshree t., jagirdar, kanan kaushal, ratnamala


maa ka anchal 1970 sanjeev kumar, leela mishra, abhi bhattacharya, m. rajan, anajana


love and god 1986 sanjeev kumar, pran, amjad khan, murad, nazir husain, jayant, achla sachdev, nimmi


log kya kahenge 1983 sanjeev kumar, aruna irani, shabana azmi, shatrughan sinha, navin nischol


lakhon ki baat 1984 sanjeev kumar, anita raj, javed khan, farooq shiekh, anjali sen, raj bharti


ladies tailor 1981 sanjeev kumar, amjad khan, bindu, deven verma, reena roy, manju, urmila bhat, pram


koshish 1972 sanjeev kumar, asrani, om shivpuri, dina pathak, jaya bhaduri, urmila bhat, sethi


alaap 1977 sanjeev kumar, asrani, om prakash, rekha, amitabh bachchan, farida, devi, jalal, chhaya


khuddar 1982 sanjeev kumar, prem chopra, mehmood, amitabh bachchan, vinod mehra, tanuja, parveen babi, bindiya


khilona 1970 sanjeev kumar, jagdeep, jeetendra, mumtaz, janki das, shatrughan, alka, mridula, aruna


kangan 1971 sanjeev kumar, ashok kumar, aruna irani, jeevan, mehmood, asit sen, mala sinha


kaanch ki deewar 1986 sanjeev kumar, amrish puri, smita patil, purnima, prakash, om, shakti, rajan sippy


jyoti 1969 sanjeev kumar, aruna irani, jagdeep, abhi bhattacharya, nivedita, purohit


agni rekha 1974 sanjeev kumar, helen, asrani, bindu, janki das, durga khote, sajjan, sharda


jaani dushman 1979 sanjeev kumar, jeetendra, amrish puri, rekha, vinod mehra, premnath, sunil dutt, reena roy, shatrughan sinha


husn aur ishq 1966 sanjeev kumar, jeevan, sunder, randhir, sabina, madhu apte, l. vijayalaxmi


hum paanch 1981 sanjeev kumar, aruna irani, raj babbar, mithun, nasiruddin, amrish, shabana, deepti


hero 1983 sanjeev kumar, ranjit, shammi kapoor, suresh oberoi, jackie shroff, meenakshi


hathon ki lakeer 1986 sanjeev kumar, jackie shroff, bharat bhushan, kamal kapoor, zeenat aman, priya, rajvansh


hathkadi 1982 sanjeev kumar, prem chopra, ranjit, reena roy, shatrughan, rakesh roshan, mazhar


gustakhi maaf 1969 sanjeev kumar, tanuja, sujit kumar, padma, johnny whiskey, ravikant, v. panchotia


gunehgar 1967 sanjeev kumar, madan puri, bhagwan, sulochna, kumkum, sheikh mukhtar, nandini


gunah aur kanoon 1970 sanjeev kumar, asit sen, jairaj, kumkum, prithviraj kapoor, sailesh kumar, johnny whiskey


grah pravesh 1980 sanjeev kumar, danny, sarika, sharmila tagore, gulzar, sudha chopra


abdullah 1980 sanjeev kumar, mehmood, danny, raj kapoor, sanjay khan, zeenat, parveen, aman


ghar ki laaj 1979 sanjeev kumar, aruna irani, deven verma, moushami chatterjee, sohrab modi, k. c. dey


gauri 1968 sanjeev kumar, om prakash, mumtaz, rajendra nath, sunil dutt, nutan, shivraj


aaye gaa anewala 1967 sanjeev kumar, agha, kumkum, rajan haksar, kundan, mohan, ram, sabita


faraar 1975 sanjeev kumar, agha, sulochna, murad, amitabh bachchan, sajjan, sharmila, master raju


ek paheli 1971 sanjeev kumar, madan puri, aruna irani, rajendra nath, b. m. vyas, tanuja, firoz khan


door nahin manzil 1973 sanjeev kumar, maruti, durga khote, pradeep kumar, faryal, reshma, hina


do ladkiyan 1976 sanjeev kumar, jagdeep, mehmood, mala sinha


dil aur patthar 1977 sanjeev kumar, agha, jagdeep, mukri, jairaj, jayshree t., yogita, meena sharma


dhoop chhaon 1977 sanjeev kumar, hema malini, janki das, om shivpuri, nazir husain, badri prasad, yogita


dharti kahe pukar ke 1969 sanjeev kumar, jeetendra, asit sen, durga khote, kanhaiya lal, nanda, tarun bose, nivedita


devta 1978 sanjeev kumar, danny, shabana azmi, rakesh roshan, sarika, keshto, benjamin gilani


devi 1970 sanjeev kumar, madan puri, aruna irani, mehmood, mukri, farida jalal, nutan, jagirdar


dastak 1970 sanjeev kumar, kamal kapoor, anwar hussain, rehana sultan, anju mahendra

daasi 1981 sanjeev kumar, rekha, leela mishra, paintal, moushami, vikram, radhika, rakesh, roshan


chowkidaar 1975 sanjeev kumar, om prakash, vinod khanna, yogita bali


aandhi 1975 sanjeev kumar, om prakash, manmohan, shivpuri, c. s. dubey, suchitra sen


chehre pe chehra 1980 sanjeev kumar, rekha, iftekar, shatrughan, amol palekar, sulakshana pandit, mehra, vinoi


charit raheen 1974 sanjeev kumar, asrani, asit sen, murad, yogita bali, parveen babi, sharmila tagore


chanda aur bijli 1969 sanjeev kumar, jeevan, ulhas, padmini, jr. mehmood, akash deep, master sachin


aakraman 1975 sanjeev kumar, asrani, rekha, rajesh khanna, farida jalal, rakesh roshan, keshto


bombay by night 1979 sanjeev kumar, asit sen, kumkum, mohan choti, bela bose, prithviraj kapoor, ramesh deo


http://en.wikipedia.org/wiki/Sanjeev_Kumar_(actor)
http://www.upperstall.com/people/sanjeev-kumar
http://movies.indiainfo.com/tales/sanjeevkumar.html
http://www.santabanta.com/cinema.asp?pid=1738
http://www.chakpak.com/celebrity/sanjeev-k.../biography/9937
http://passionforcinema.com/sanjeev-kumar-...entional-paths/
http://www.bollywoodgate.com/indian-actors...jeev-kumar.html
http://www.bollango.com/cgi-bin/akf_search...r=sanjeev+kumar
http://www.bollywoodhungama.com/celebritie...1035/index.html

j: o chaaNdani, tu meri chaaNdani
sh: ouch!
j: (rang bhare baadal pe tere nainoN ke kaajal pe
maine is dil pe likh diyaa teraa naam
chaaNdani, o meri chaaNdani) -2
sh: la la la la la..
j: chaaNdani, o meri chaaNdani

sh: hunh! naam likh diyaa
bin poochhe ye kaam kiyaa tumne mujhe badnaam kiyaa, aa aa aa

bin poochhe ye kaam kiyaa tumne mujhe badnaam kiyaa
khair chhoDo Darpok kahin ke

pyaar mujhe tum karte ho, (phir kis baat se Darte ho) -2
bolo bolo bolo na
j: dil pe likhi baatoN ko poNchh na de tu aaNchal se
maine is dil pe likh diyaa teraa naam
chaaNdani, o meri chaaNdani

sh: you fool j: kaun? main!
sh: yes.. yes yes yes j: kyuN?

sh: koi phool koi tohfaa tum kuchh bhi saath nahin laate
baDe vo ho, samjhaaooN tumhen, pyaar sikhaaooN tumhen

apni mahboobaa se milne, (khaali haath nahin aate) -2
tumhen nahin pataa?
j: arrey-rey-rey-rey-rey-rey, aaj main bhool gayaa yaad rakhooNgaa ye kal se
maine is dil pe likh diyaa teraa naam
chaaNdani, o meri chaaNdani

sh: aley-ley-ley-ley-ley-ley, baDi masti kartaa hai re tu
mere shonaa, shonaa shonaa shonaa.., *Laughs*,
pakDo pakDo pakdo pakDo pakDo pakDo pakDo pakDo
aa.. aa hunh

j: chaaNdani, o meri chaaNdani

sh: arrey jaa jaa, chaaNdani chaaNdani kartaa hai

naam meraa dil par likhkar bas tumne baat banaa lee hai
haay tumhen kyaa pataa
maine to dil ke andar, (teri tasveer lagaa lee hai) -2
dikhaaooN? dekhoge?
j: arrey pyaar mein tu jeet gayee apne premi paagal se
maine is dil pe likh diyaa teraa naam
chaaNdani, o meri chaaNdani

j: rang bhare baadal pe tere nainoN ke kaajal pe
maine is dil pe likh diyaa teraa naam
chaaNdani, o meri chaaNdani
sh: la la la la..

(sh: chaaNdani, o main teri chaaNdani
j: chaaNdani, o meri chaaNdani) -2
sh: chaaNdani, o main teri chaaNdani

d song sung by ............. SRIDEVI as a female singer

Sridevi is the greatest actress India has ever produced.

She is the only true "living legend."

No other actress has explored her acting capabilities as much as Sridevi has. Proof is her successful movies and awards.

Though Sridevi may have lost her title as the number one Indian actress, she still remains one actress to be reckoned with.

Like Yash Chopra (a very famous and successful director) says, Sridevi can only move up. She has gone beyond the number game. She has acheived what only a few can.

As a faery's child, an unravished beauty and darling Daughter of Indian cellulloid she left an Indelible impression on the minds of cinegoers with gentle action and made them adorned by her arresting beauty.

Sri - The Queen Of The Indian Film Industry - was born on 13 Aug '63. A Leo-gal is a Leo. So is Sri.

The One and The Only. Sri is incomparable, an angelic appearence on and off the screen and unreachable at any point of the given time the she lived on the screen as well as in the millions of hearts of the class and mass audience of India.

"She embibed the reality in acting".

Sri is undoubtedly fit to be in the place next to "Savitri", Queen on Indian Screen. Most of spectators are mostly captured by an excellent out-come in acting which is undoubtedly matchless.

The action, the beauty that ardently please to watch her films again and again. We can daringly name her, 'Lady Kamal Hassan'. Sri strove to invest, her "acting" to influence and her "beauty" to attract for which people were bound up and turned as fan to her.

Most of success adds to her credit while low rate of failures could not seperate the fan from her. You can easily and clearly get or taste the accurate proof, how she was efficient in her proffessional art of acting, by watching the hallmarks of her movies she acted.

Date of Birth : 13 August 1963, Sivakasi, Tamilnadu, India

Birth Name : Shree Amma Yanger

Nickname : Puppy

Height : 5'6"

Spouse : Boney Kapoor (2 June 1996 - present) 2 children

Mithun Chakraborty (1986 - 1987) (annulled)

Trivia : Tamil/Telugu/Hindi megastar

Sister-in-law of megastar Anil Kapoor.

Daughter-in-law of Surinder Kapoor and sister-in-law of Sanjay Kapoor.

She is on the Board of Director at the Asian Academy of film and television.

Has two daughters named Jhanvi and Khushi, both named after the heroines in husband Boney Kapoor's films Judaai (1997) and Hamara Dil Aapke Paas Hai (2000).

Alternate Names : Sridevi Ayyapan | Sri Devi | Sreedevi Kapoor | Sridevi Boney Kapoor | Sridevi Kapoor | Shreedevi | Shridevi | Sreedevi | Baby Sridevi

Sridevi was born in Sivakasi, Tamil Nadu. Her mother tongue is Tamil.

Her father Ayyapan, was a lawyer, and her mother's name was Rajeswari.

Sridevi has a sister, Srilatha. She has two step brothers Satish and Anand from her father's previous marriage.

Sridevi's parents were Ayyapan and Rajeswari. Her dad passed away during the year 1991, while her mom died during 1997.

She married Bollywood director Boney Kapoor (brother of actor Anil Kapoor) in June 1996. They have two daughters, Jhanvi and Khushi.


She started acting at the age of four, and made her debut as an adult in the late 70s. She went on to establish herself as one of the leading actresses of her time. Although she left the industry in 1997, she is regarded by the industry members as one of the most talented and prominent actresses of India.


She played the role of Lord Murugan in her first film which was in Telugu.She started her career at a very early age in 1967 as a child artiste in a Tamil movie Kandhan Karunai. She also starred as a child actress in a Telugu movie Bangarakka in 1967, and in a Malayalam movie Kumara Sambhavan in 1969.

During her early adult career, she acted in a number of Tamil, Telugu and Malayalam movies. Many of her Malayalam movies were directed by I. V. Sasi.

Some examples of her notable Malayalam movies are: Aadhyapaadam, Aalinganam, Kuttavum Sikshaiyum, Aa Nimisham.

In 1976, she got her first big break as a heroine in K. Balachander's Moondru Mudichu, where she starred opposite Kamal Haasan and Rajnikanth. In many ways, this movie was a landmark in Tamil filmdom. It was also one of Rajnikanth's first major movies.

After Moondru Mudhchu, Sridevi had a succession of hits with both these Tamil superstars.

With Kamal Haasan, she acted in movies such as Guru, Sankarlal, Sigappu Rojakkal, Thaayillamal Naanillai, Meendum Kokila, Vaazhve Maayam, Varumaiyin Niram Sigappu, Neela Malargal, Moondram Pirai, 16 Vayathinile.Making it around nearly 16 films with Kamal Haasan.

With Rajnikanth, she acted in movies such as Dharmayuddham, Priya, Pokkiri Raja, Thanikattu Raja, 'Adutha Varisu, Nan Adimai Illai, etc. She was the most successful actress in Tamil cinema during the period 1979-83.

During the same time, Sridevi made inroads into Telugu language movies. She acted opposite major actors in that industry. A number of her Telugu movies were made by K. Raghavendra Rao. With N. T. Rama Rao, she acted in movies such as Konda Veeti Simham, Vetagadu, Sardar Paparayudu and Bobbili Puli.

With A. Nageswara Rao, she acted in movies such as Mudulla Koduku, Premabhishekham, Bangaru Kanku, Premakanuka etc.

With Krishna she acted in movies such as Kanchu Kagada, Kalavari Samsaram, Krishnavatharam, Borripellum Bolludu, Khaidi Rudrayya etc.

After Kamal Haasan, Sridevi has acted the most number of movies with Krishna.

Towards the tail end of her Telugu career, she started acting in Hindi movies. Many of her initial Hindi movies starred Jeetendra and were remakes of her Telugu movies, mostly directed by K. Raghavendra Rao, and K. Bappaiah.

A long journey and a couple of significant movies, and Sridevi became the diva of Southern movies.

In 1975, she made her Hindi film debut with the with the smash-hit film Julie, where she played the lead actress - the heroine's teenage sister.

She went on to act in adult roles in over 200 movies in Hindi, Telugu, Tamil and Malayalam.

As an adult actress , Sridevi's first Hindi film was Solva Saawan, which was released in 1978. This movie failed at the box office. Solwa Savan turned out to be a complete flop and almost ended her career.

Lady luck eventually shined on Sridevi when Himmatwala was released in 1983. Himmatwala turned out to be a super duper hit and established Sridevi as a super star.

Her gyrating dances in scanty clothes earned her the nickname of Miss Thunder Thighs. The film made Jeetendra and Sridevi a popular pair with the audiences and the duo went on to star in several hits like Tohfa, Mawaali and Justice Chaudhry.

In early part of her career she gave many hits with Jitendra. Some of her films with Jeetendra were Himmatwala, Thofa, Mawali. She quickly rose to the top spot toppling Rekha and Hema Malini. Sridevi raced against Rekha and Hema Malini for the top spot and captured the number one position within a short span of time.

She maintained her stay as number one for pretty long years. She gave many hits from year 1984 to 1993, and these were the best years of her acting career.

But come 'Sadma', and Sridevi's luck changed. Her expressive eye unimpeachable gestures and impeccable acting abilities, and Sridevi got the break she was looking for.In 1983, Sridevi starred opposite Kamal Hasan in the critically acclaimed drama Sadma, which is often cited by critics as the most definitive child-woman performance of Sridevi's career.
The film earned Sridevi her first Filmfare nomination for Best Actress.

In 1984 Sridevi ventured into art film Jaag Utha Insan starring opposite Mithun Chakraborty; the film did not succeed at the box office but received some critical recognition.

Throughout the decade, Sridevi starred in a series of box office hits which established her as the leading Indian actress of the eighties.

Nagina released in 1986 was one of her biggest hits. It established her as an actress who can carry a film as a solo protagonist. The film is remembered for her iconic snake-dance sequence in the climax.

In that same year, she starred in the hit films Karma, Aakhree Raasta and Ghar Sansar.
Her offbeat film Suhagan won critical acclaim and the film did average business at the box office.

Shekhar Kapur's blockbuster hit Mr. India in 1987 won rave reviews and her comic-timing was praised. Prominent sequences in the film are Sridevi's imitation of Charlie Chaplin and her rain-dance. The film also won her nicknames like "Hawa Hawai", the name of a popular song in the film, and "Miss India".

She also achieved another acclaimed performance in Aulad. Her performance as a street dancer who becomes a tormented mother had a moderate box office success.

She also had another successful film to her credit Jawab Hum Denge.

In 1988, she had a hit film with Mithun Chakraborty, Waqt Ki Awaaz, and a fine performance in Sherni which failed at the box office.

Sridevi had 4 hits in 1989 as a leading lady. One of these films, Ghair Khanooni, is where she plays opposite of Govinda, another Indian actor.

Her next film, Nigahen, was not as successful, but made good money at the box office.

Then came a low-budget superhit film, Chaalbaaz, in which her double-role as twin sisters won her the first Hindi Filmfare Best Actress Award.

The same year brought Yash Chopra's poetic fairy-tale blockbuster, Chandni, which earned her another nomination at the Filmfare Awards.

Sridevi's dances in the film became a favorite as did her white costumes. Yash Chopra again directed her in the path-breaking modern day classic, Lamhe (1991), where Sridevi's sensitive, intense double-role act as mother and daughter immortalized her in Hindi Cinema. It also won her a second Hindi Filmfare Best Actress Award. The film was also a huge success with the overseas audiences, winning Sridevi international acclaim.

In the 1980s, Jaya Prada and Sridevi were fierce rivals. They were of a similar age, from the south and considered contenders for the coveted number one slot in Hindi cinema.

In public, each would give the other the cold shoulder. Once, during the shooting of a K. Bappaiah film called Maqsad, Rajesh Khanna and Jeetendra locked the two warring queens in the same makeup room hoping they'd make up. No such thing happened.

Two hours later, when they opened the door, they found the actresses sitting at opposite ends of the room in silence.

Sridevi was offered a role in Jurassic Park by Steven Spielberg. She refused because it wasn't a starring role and it would have meant taking a hiatus from Bollywood, at a time, when she was at the peak of her career.

She was cast in a dual role in 1993's Baazigar. However, the director felt that the audience would never be able to sympathize with Shah Rukh Khan's character if he 'killed' Sridevi on Screen. The role was re-written and two different actresses (Shilpa Shetty and Kajol) were hired to play the roles originally meant for La Devi.

She Was the original choice for the role in 'Beta' that made Madhuri Dixit a superstar. She turned the role down, because she felt she was already doing too many films with Anil Kapoor.

At the height of her career, Sridevi received countless marriage proposals from wealthy American and British born Indians who saw her as the perfect trophy wife. One of her rumored suitors was Hollywood movie producer Ashok Amritraj.

She was the sole income earner in her family. She financially supported her mother, stepfather, sister and stepbrother.

Big budget film Roop Ki Rani Choron Ka Raja turned out a big flop and her career started to took southwards turn. Many more flopped followed Mr Bechara, Guru, Gurudev, Baanjaran, Farishtey and many more.

At the twilight of her career, some films like 'Roop Ki Rani Choron Ka Raja' with Anil Kapoor, 'Army' with Shahrukh Khan and 'Gumrah' with Sanjay Dutt, flopped on the box-office but her "supposedly' last movie 'Judaai' with Anil Kapoor and Urmila Matondkar left the audiences waiting for more.

A woman who ruled the screen for more than two decades, Sridevi remains an inimitable talented actor.

After a six-year hiatus, Sridevi returned to the small screen, briefly, in the popular Sahara sitcom Malini Iyer (2004-2005).

She also appeared on Jeena Isi Ka Naam Hai for Karishma Kapoor (2004) and as a judge in the TV show Kaboom (2005).

She is a member of the Board of Directors at the Asian Academy of Film and Television.

She performed a medley of some of her most popular music at the 52nd Filmfare Awards 2007.

Sridevi married film producer Boney Kapoor on June 2, 1996.

Boney and his first wife Mona Shourie Kapoor had accommodated Sridevi in their home during Sridevi's stay in Mumbai. At that time Boney and Mona had been married for several years and had two children Arjun and Anshula. Mona Kapoor stayed in Boney Kapoor's parents home for 10 years after the divorce to give her children a sense of family.

Boney Kapoor and Sridevi have two daughters: Jhanvi and Khushi. Through her husband she is related to the large Surinder Kapoor film clan (see List of Bollywood film clans). Actor Anil Kapoor, her co-star in a number films, is her brother-in-law.

Sridevi is now a housewife and a mother in real life.

Her father died while she was filming Lamhe, her mother while she was making Judaai. Although it is the Hindu custom that the son lights the funeral pyre, Sridevi lit the pyre for her mother's last rites.

Personal Quotes

To be very honest, the characters I have played in the south has been much, much more challenging and exciting then what I have done in Hindi cinema

The character I was supposed to play in "Yugpurush" is a very good character. There was only one thorn in the flesh, I was supposed to be playing a prostitute. Somewhere I think I have developed a mental block against playing a prostitute. I get uncomfortable and so I guess I won't be able to do full justice to the character.

Believe it or not, I don't have an ego. That is one of the first lessons I learnt when I entered this line. Every thing here is so uncertain. One moment you are a goddess and the next moment you are out of work. And under the circumstances the ego is hardly any help. I don't believe in it and I think every actor or actress should learnt to crush their ego even before they learn to act. But here the equation is very strange, so many people who don't know to act also have an ego.

Sridevi is perhaps the only Bollywood star that had attained and retained the position of number one actress for over a decade.

One of her most popular song is 'Hawa Hawaaii...' from 'Mr. India'.

Awards and honours

Filmfare Awards

Won

* 1982 - Filmfare Best Actress Award (Tamil) for Meendum Kokila

* 1990 - Filmfare Best Actress Award for Chaalbaaz

* 1992 - Filmfare Best Actress Award for Lamhe

* 1993 - Filmfare Best Actress Award (Telugu) for Kshana Kshanam


Nominated

* 1976 - Filmfare Best Actress Award (Tamil) for Moondru Mudichu

* 1977 - Filmfare Best Actress Award (Tamil) for 16 Vayathinile

* 1983 - Filmfare Best Actress Award (Tamil) for Moondram pirai

* 1980 - Filmfare Best Actress Award (Tamil) for Johnny

* 1983 - Filmfare Best Actress Award for Sadma

* 1990 - Filmfare Best Actress Award for Chandni

* 1992 - Filmfare Best Actress Award for Khuda Gawah

* 1993 - Filmfare Best Actress Award for Gumrah

* 1994 - Filmfare Best Actress Award for Laadla

* 1997 - Filmfare Best Actress Award for Judaai

Nandi Awards

Won

* 1991 - Nandi Award for Best Actress for Kshana Kshanam

Honours

* 1997 - "Kalasaraswathi" award by the Government of Andhra Pradesh

* 2003 - "Lachchu Maharaj Award"

* 2008 - FICCI "Living Legend in Entertainment" award


Filmography

Hindi movies

* Agni Pareeksha (1970 film) (1970 in (child actor)

* Julie (1975 film) (1975) (child actor)

* Solva Sawan (1978)

* Himmatwala (1983)

* Justice Chowdhary (1983)

* Jaani Dost (1983)

* Mawaali (1983)

* Kalakaar (1983)

* Sadma (1983)

* Akalmand (1984)

* Inquilaab (1984)

* Jaag Utha Insaan (1984)

* Naya Kadam (1984)

* Maqsad (1984)

* Tohfa (1984)

* Balidaan (1985)

* Masterji (1985)

* Aakhree Raasta (1986)

* Aag Aur Shola (1986)

* Bhagwan Dada (1986)

* Dharam Adhikari (1986)

* Ghar Sansar (1986)

* Nagina (1986)

* Jaanbaaz (1986)(cameo)

* Karma (1986)

* Suhaagan (1986)

* Sultanat (1986)

* Aulaad (1987)

* Himmat Aur Mehnat (1987)

* Nazrana (1987)

* Majaal (1987)

* Joshilay (1987)

* Jawab Hum Denge (1987)

* Mr India (1987)

* Sherni (1988)

* Ram Avtaar (1988)

* Waqt Ki Awaaz (1988)

* Sone Pe Suhagaa (1988)

* Chaalbaaz (1989)

* Chandni (1989)

* Guru (1989)

* Gair Kanooni (1989)

* Nigahein (1989)

* Nigahein (1989)

* Nakaa Bandi (1989)(cameo)

* Banjaran (1991)

* Farishtay (1991)

* Pathar Ke Insaan (1991)

* Lamhe (1991)

* Khuda Gawah (1992)

* Heer Ranjha (1992)

* Aasman Se Gira (1992)(cameo)

* Gumrah (1993)

* Gurudev (1993)

* Roop Ki Rani Choron Ka Raja (1993)

* Chaand Ka Tukdaa (1994)

* Laadla (1994)

* Army (1996)

* Mr Bechara (1996)

* Kaun Sacha Kaun Jhootha (1997)

* Judaai (1997)

* Meri Biwi Ka Jawab Nahin (2004) (Delayed Release)

* Halla Bol- herself (Special appearance)

Malayalam

* Kumara Sambhavam (1969)

* Swapnangal (1970)

* Poombatta (1971)

* Theertha Yathra (1972)

* Abhinandhanam (1976)

* Aasirvadham (1976)

* Kuttavum Sikshaiyum (1976)

* Aadhyapaadam (1976)

* Aa Nimisham (1977)

* Amme Anupame (1977)

* Angikaram (1977)

* Anthardhanam (1977)

* Nalumani Pookkal (1977)

* Nirakudam (1977)

* Oonjal (1977)

* Sathyavan Savithri (1977)

* Vezhambal (1977)

* Avalude Ravukal (1978)

* Amme Narayana (1984)

* Devaragam (1996)

Tamil

* Nam Naadu (1969)

* Kumagthbhavam (1969)

* Moondru Mudichu (1976) (First movie as heroine.)

* Gayathri (1977)

* Kavikkuyil (1977)

* 16 Vayadhinile (1977) (Ran 175 days in Tamil centers.) (Source: Popular Tamil films)

* Sayndhadamma Sayndhadu (1977)

* Ayiram Jenmangal (1978)

* Vanakkaththukkuriya Kaadhaliye (1978)

* Ilaya Rani Rajalakshmi (1978)

* Ganga Yamuna Kaveri (1978)

* Ithu Eppadi Irukku (1978)

* Manitharil Iththanai Nirangala (1978)

* Mudisooda Mannan (1978)

* Pilot Premnath (1978)

* Sigappu Rojakkal (1978) (Ran 175 days in Tamil centers.)

* Taxi Driver (1978)

* Priya (1978) (Ran 175 days in Tamil centers.)

* Radhaikketra Kannan (1978)

* Rajavuukeththa Rani (1978)

* Sakka Podu Podu Raja (1978)

* Arumbugal (1979)

* Dharmayuddham (1979)

* Kalyanaraman (1979) (Ran 140 days in Tamil centers.)

* Pagalil Or Iravu (1979)

* Kavariman (1979)

* Neela Malargal (1979)

* Sigappukkal Mookkuthi (1979)

* Thaayillaamal Naanillai (1979)

* Guru (1980)

* Johnny

* Varumaiyin Niram Sigappu (1980)

* Viswaroopam (1980)

* Sankarlal (1981)

* Dheiyva Thirumanangal (1981)

* Meendum Kokila (1981) (Ran 175 days in Tamil centers.)

* Raanuva Veeran (1981)

* Moondram Pirai (1982) (Ran 329 days in Tamil centers.)

* Deviyin Thirivilaiyadal (1982)

* Thanikkattu Raja (1982)

* Pokkiri Raja (1982) (Ran 148 days in Tamil centers.)

* Vaazhve Maayam (1982) (Ran 200 days in Tamil centers.)

* Adutha Vaarisu (1983)

Telugu

* Badi Panthulu (1967)

* Bangarakka (1977) (First Telugu movie as heroine.)

* Padaharella Vayasu (1978)

* Burripalem Bolludu (1979)

* Kartheeka Deepam (1979)

* Vetagadu (1979)

* Mudulla Koduku (1979)

* Aatagadu (1980)

* Chuttalunnaru Jagratha (1980)

* Devudu Ichchina Koduku (1980)

* Gharana Donga (1980)

* Mama Allulla Saval (1980)

* Premakanuka (1980)

* Rowdy Ramudu Konte Krishnudu (1980)

* Sardar Paparayudu (1980)

* Gaja Donga (1980)

* CID (1980)

* Mosagadu (1980)

* Patagadu (1980)

* Akali Rajyam (1981)

* Balanagamma (1981)

* Bhoga Bhagyalu (1981)

* Gharana Gangulu (1981)

* Gadasari Atta Sugasari Kodalu (1981)

* Kondaveeti Simham (1981)

* Premabhishekham (1981) (Ran for 1 year in Vijayawada)

* Ranikasula Rangamma (1981)

* Illalu (1981)

* Satyam Sivam (1981)

* Aadi Vishnulu (1982)

* Anuraga Devata (1982)

* Bangaru Bhoomi (1982)

* Bangaru Koduku (1982)

* Bobbili Puli (1982)

* Devata (1982)

* Justice Chowdary (1984)

* Kalavari Samsaram (1982)

* Krisharjunulu (1982)

* Krishnavatharam (1982)

* Samsher Shankar (1982)

* Vayyari Bhamalu Vagalamari Bharthalu (1982)

* Adavi Simhalu (1983)

* Kirayi Kotigadu (1983)

* Mundadugu (1983)

* Ramarajyamlo Bheemaraju (1983)

* Ramudu Kadu Krishnudu (1983)

* Simham Navindi (1983)

* Sri Ranganeetalu (1983)

* Urantha Sankranthi (1983)

* Kanchu Kagada (1984)

* Kodethrachu (1984)

* Vajrayudham (1985)

* Oka Radha Iddaru Krishnulu (1985)

* Pachani Kapuram (1985)

* Jayam Manade (1986)


* Khaidi Rudrayya (1986)

* Makutamleni Maharaju (1987)

* Mavoori Magaadu (1987)

* Aakhari Poratam (1988)

* Jagadeka Veerudu Athiloka Sundari (1990)

* Kshana Kshanam (1991)

* Govinda Govinda(1995)

* S.P.Parshuram (1996)


Sridevi entered hindi cinema when Rekha and Hema were at the top. She gave fabulous dance performances in Himmatwala, Thofa, and mawali with Jitendra. The song sequences and movies turned out to be major successes and Sridevi soon became number one indian actress. She retained that position for a long time until Madhuri Dixit snatched it from her.


http://buzz18.in.com/celebrity-profile/sridevi/1061

http://www.bollygals.com/sridevi/

http://www.bollygals.com/sridevi/biography.html

http://celebs.ceeby.com/actresses/sriDevi.cfm

http://in.movies.yahoo.com/artists/Sridevi...aphy-34704.html

GEETA BALI

Geeta Bali was a special actress. She had beauty like Madhubala as well as a unique vivaciousness never seen on screen again. Her death at a young age was loss to industry. She had many firsts to her name.

FILMOGRAPHY

1. No Entry (2005) [dedicated to the memory of] (as Late Smt. Geeta Bali)

2. Run (2004) [dedicated to the memory of] (as Late Smt. Geeta Bali)

3. Pukar (2000) [dedicated to the memory of] (as Late Smt. Geeta Bali)

4. Sirf Tum (1999) [dedicated to the memory of] (as Late Smt. Geeta Bali)

5. Judaai (1997) [dedicatee] (as late Geeta Bali)

6. Loafer (1996) [dedicated to the memory of] (as Late Smt. Geeta Bali)

7. Prem (1995) [film dedicated to the memory of] (as Late Smt. Geeta Bali)

8. Roop Ki Rani Choron Ka Raja (1993) [dedicated to the memory of] (as Late Smt. Geeta Bali)

9. Mr India (1987) [dedicatee] (as late Geeta Bali)

10. Woh 7 Din (1983) [film dedicated to] (as Late Geeta Bali) ... aka Those Seven Days

11. Hum Paanch (1980) [dedicated to the memory of] ... aka We Five

12. Ponga Pandit (1975) [dedicated to the memory of]

13. Ek Shriman Ek Shrimati (1969) [dedicatee] (as Smti Geeta Bali)


14. Jab Se Tumhe Dekha Hai (1963) [Actress .... Mohini]

15. Mr. India (1961) [Actress]

16. Sapne Suhane (1961) [Actress]

17. Bade Ghar Ki Bahu (1960) [Actress .... Lata]

18. C.I.D. Girl (1959) [Actress]

19. Mohar (1959) [Actress]

20. Nai Raahen (1959) [Actress] ... aka New Roads

21. Aji Bas Shukriya (1958) [Actress .... Geeta Kumar]

22. Jailor (1958) [Actress .... Chhaya]

23. Mujrim (1958) [Actress .... Hotel Dancer in "Chanda Chandni Mein jab Chamke"] ... aka Criminal (International: English title)

24. Ten O'Clock (1958) [Actress]

25. Coffee House (1957) [Actress]

26. Inspector (1956) [Actress]

27. Lalten (1956) [Actress]

28. Pocket Maar (1956) [Actress .... Shukal]

29. Rangin Raaten (1956) [Actress]

30. Sailaab (1956) [Actress]

31. Zindagi (1956) [Actress]

32. Albeli (1955) [Actress]

33. Baradari (1955) [Actress .... Gauri] ... aka Community

34. Dev Anand in Goa (Alias Farar) (1955) [Actress]

35. Jalti Nishani (1955) [Actress]

36. Milap (1955) [Actress]

37. Miss Coca Cola (1955) [Actress]

38. Sau Ka Note (1955) [Actress]

39. Vachan (1955) [Actress .... Kamla - Dinanath's daughter]

40. Ameer (1954) [Actress]

41. Chora-Chori (1954) [Actress]

42. Daku Ki Ladki (1954) [Actress]

43. 'Ferry' (1954) [Actress .... Juhi] ... aka Kashti (India: Hindi title)

44. Kavi (1954) [Actress .... Basanti]

45. Suhagan (1954) [Actress] ... aka The Married Woman

46. Baaz (1953) [Actress .... Nisha N. Das] [producer] (as Miss Haridarshan) ... aka The Hawk

47. Bahu Beti (1953) [Actress]

48. Firdaus (1953) [Actress]

49. Gunah (1953) [Actress]

50. Jhamela (1953) [Actress] ... aka Problem

51. Naina (1953) [Actress]

52. Naya Ghar (1953) [Actress]

53. Anand Math (1952) [Actress .... Shanti alias navinanand]

54. Betaab (1952) [Actress]

55. Jaal (1952) [Actress .... Maria] ... aka The Net

56. Jalpari (1952) [Actress]
57. Neelam Pari (1952) [Actress]

58. Raag Rang (1952) [Actress]

59. Zalzala (1952) [Actress]

60. Albela (1951) [Actress .... Asha] ... aka Happy-Go-Lucky

61. Baazi (1951) [Actress .... Leena] ... aka A Game of Chance

62. Bedardi (1951) [Actress]

63. Ghayal (1951) [Actress]

64. Johari (1951) [Actress]

65. Badi Bahen (1950) [Actress] ... aka Elder Sister

66. Bawre Nain (1950) [Actress .... Tara]

67. Bhai Bahen (1950) [Actress] ... aka Brother and Sister (International: English title)

68. Nishana (1950) [Actress]

69. Shadi Ki Raat (1950) [Actress]

70. Badi Bahen (1949) [Actress]

71. Bansaria (1949) [Actress]

72. Bholi (1949) [Actress] ... aka Innocent Girl

73. Dil Ki Duniya (1949) [Actress]

74. Dulari (1949) [Actress .... Kasturi]

75. Garibi (1949) [Actress]

76. Girls' School (1949) [Actress .... Meena]

77. Neki Aur Badi (1949) [Actress] ... aka Morals Sugar-coated (India: English title)

78. Jalsa (1948) [Actress]

79. Nai Reet (1948) [Actress .... Heroine]

80. Sohag Raat (1948) [Actress .... Kamini (Kammo) (Jaggu's daughter)]

Awards Won:

* 1948 Suhaag Raat

* 1949 Badi Bahen

* 1950 Bawre Nain

* 1951 Baazi

* 1951 Albela

* 1952 Jaal

* 1955 Vachan

* 1958 Jailor


BIOGRAPHY:

Date of Birth : 1930, Amritsar, Punjab, India

Date of Death : 21 January 1965, (smallpox)

Birth Name : Harikirtan Kaur

Spouse : Shammi Kapoor (24 August 1955 - 21 January 1965) (her death) 2 children -

Trivia :

Sister of Digvijay whose film "Raag Rang" (1952) she produced and starred in.

Aunt of Yogeeta Bali

Alternate Names : Late Geeta Bali | Late Smt. Geeta Bali | Smti Geeta Bali | late Geeta Bali | Miss Haridarshan


Geeta Bali's dancing eyes and her animated, expressive face which mirrored her soul were her most outstanding features. Yet life was snatched away from this vibrant personality at an achingly young age of 35.

It is some consolation that Geeta crammed a lot into her short life: 70 odd films in a ten-year career.

True, Geeta's reputation as an actress rests more on her performances than her roles. Natural, spontaneous and gifted with a spot-on sense of comic timing, she never really found a vehicle worthy of her talent. Largely a shade better than the movies she starred in, she frittered away her talents in B-grade films.

Geeta, who was born Harikirtan Kaur, had done a few small-time dancing roles in pre-Partition Punjab in films like Badnami, before moving to Mumbai.

Impressed by her off-screen vivacity, Sharma cast Geeta in his Suhaag Raat (1948). Audiences related to her instantly and watched wide-eyed as she nonchalantly tossed her unconscious hero, Bharat Bhushan over her shoulder in a scene.

Soon, Geeta was inundated with contracts (that's what they called film offers then). She accepted most. She won raves even in supporting roles like in the 1949 Suraiya starrer Badi Behan and the Madhubala starrer Dulari.

In 1951, she became a major star with Guru Dutt's first hit, Baazi (she went on to do three other films under his direction). Geeta played gangster's moll with a golden heart to Kalpana Kartik's conventional heroine. But Geeta played her role with such gay abandon that hero Dev Anand divulges, "People came repeatedly to theatres to see Geeta's spirited dancing to Tadbeer se bigdi hui taqdeer bana de.

Geeta Bali in the Guru Dutt-directed Jaal (1952). Dev Anand, a cigarette-smoking smuggler on the run from the police, tries to entice morally upstanding heroine Geeta into his web. Geeta evocatively communicates her struggle against, and her eventual surrender to, handsome Dev's seduction call Yeh raat, yeh chaandni phir kahan. 35 years after her death, her secretary Surinder Kapoor's (Boney Kapoor's father) productions begin with a shraddhanjali to Geeta Bali.

Geeta proved she could do tragedy (Sharma's Raj Kapoor starrer Bawre Nain) or and play the lighthearted heroine to comedian Bhagwan in the super successful AlbelaAlbela's swinging C Ramchandra composed songs like Shola jo bhadke and Sham dhale mere khidki tale made front-benchers dance with the stars and even fling coins on screen.

Pug-nosed Geeta was no conventional beauty, but that transparent face and that smile constantly flirting on her lips made sure you couldn't tear your eyes away from her.

Watch Geeta Bali in the Guru Dutt-directed Jaal (1952). Dev Anand, a cigarette-smoking smuggler on the run from the police, tries to entice morally upstanding heroine Geeta into his web. Geeta evocatively communicates her struggle against, and her eventual surrender to, handsome Dev's seduction call Yeh raat, yeh chaandni phir kahan.

Famously down-to-earth despite her star status, Geeta was the antithesis of the coy 1950s' heroine. She often drove herself to her premieres in an open jeep. Those who knew her claim she was a Samaritan who touched the lives of whoever she met. She is said to have personally groomed Mala Sinha, then a newcomer.

To date, 35 years after her death, her secretary Surinder Kapoor's (Boney Kapoor's father) productions begin with a shraddhanjali to Geeta Bali.

Shammi Kapoor entered her life when they worked in the quaintly named Miss Coca Cola and Coffee House together. On an impulse, Geeta played a small role of a man in Sharma's Shammi Kapoor starrer Rangeen Raatein. On the film's Ranikhet outdoor, Shammi and Geeta fell in love.

Kapoor was a year younger to her and was not yet a star, but the twosome were hell bent on marrying each other. Geeta had worked with Shammi's eldest brother, Raj Kapoor in Bawre Nain, and with his father, Prithviraj Kapoor in Anand Math, Shammi was unsure about their reaction to this match.

But on August 23, 1955, with producer-director Hari Walia as witness, the couple were married at the Banganga Temple at 4 am at 4 am in what for Bollywood has become the most romantic of storybook elopements and weddings, one that could be placed with ease into a Bollywood film.

GEETA BALI - marriage

She was 24. I was 23. We were working together in a couple of movies at that time. She was past her prime, career wise. I was nowhere near it, likewise career wise.

I was doing a film called "Rangeen Raaten" for Kedar Sharmaji. She was his protege.

As we were going to be doing the outdoor stints of the movie at Ranikhet, an ancient Army based hill-station in the Kumaon region, she asked to be included in the Unit and hence got to do a cameo role in the film.

We left on the 2nd April, 1955 for the location. It was destined.

We fell in love with the climate, the scenery, the hills and dales, the rustic hill folks and their music, the mornings, the evenings; and each other.

We returned to Bombay on the 21st of April and could'nt live without each other. She had worked as the heroine opposite my brother, Raj Kapoor in "Bawren Nain", and had co-starred in a film "Anand Math" with my father, Prithviraj Kapoor.

How would they react.

She was hesitant. I was adamant. It was four months of agony, tears, cajoling, pleading, non-togetherness, desperation and---

On the night of 23 August, we were together in my room at the Juhu Hotel, where I was staying because there was no one at home, my parents being out of Bombay on tour with Prithvi Theatres, and she said O.K. its now or never.

Can we get married now. I asked her did she mean like right this moment and she said yes, tonight.

I said we shall go and ask a common friend, Johnny Walker, who had only the previous week eloped with his girlfriend and got married.

He was happy for us but could be of no help. "I am a Muslim you are Hindus, go to a temple and get married". That made sense.

I went to my friend, Hari Walia, producer and director of "Coffee House" a film in which both Geeta and I were working. He had had a similiar experience. He took us to the Banganga Temples, a famous site near Napean Sea Road, Bombay, which houses some 92 ancient Temples.

We went to a big temple where the Priest informed us that the Gods have now retired for the night and if we wished to get married we should come back early morning at 4 o'clock.

So we went back to my parents house at Matunga, made my personal valet Hari cook a meal which we indulged in and then waited.

It was raining heavily as we arrived at the temple at 4.30 in the morning and with Hari Walia as the sole witness, the Pujari (priest) performed the ceremonial rites of Hindu marriage as we took the seven rounds around the holy fire and were declared husband and wife, at which Geeta took out a tube of lipstick from her purse and asked me to apply it on her maang (a hindu ritual which is performed by the wife applying a red powder on the parting of hair on her head as a mark of her marital status).

We went home to my place at Matunga, took my Grandfather's blessings, rang up my parents who were out of town and informed them that I was a married man now and then went to her parents place to tell them of the best thing that had ever happened in the lives of two people in love.

Geeta continued to work after marriage in a few films like Sohrab Modi's Jailor (1958), where she won raves as a blind girl. With Shammi Kapoor turning into a huge star and the birth of her two children Aditya (nicknamed Mickey) and Kanchan, she eased her workload.

The desire to do that one fulfilling role she would be remembered for prompted Geeta to attempt the production of a classic for herself. She started Rano, based on Rajinder Singh Bedi's famous novel, Ek Chaddar Maili Si, based on a widow's remarriage to her brother-in-law.

Upcoming star Dharmendra played her hero.

Geeta, who had not been vaccinated for small pox, contacted the dreaded disease while shooting the film.

The best care was rushed to her, but her fever apparently reached 107 degrees.

Her doctor saw a picture by his patient's bedside and asked who the pretty lady was.

The disease had so wracked Geeta's frail frame that he didn't recognise her as the same person!

Geeta Bali passed away on January 21, 1965, leaving behind eight-year-old Aditya and three-year-old Kanchan in the care of a devastated Shammi Kapoor.

Ironically, she was cremated in Banganga, not far from where she was married.

Geeta Bali, Indian Movie Actress Geeta Bali had worked earlier with her future brother-in-law Raj Kapoor in Bawre Nain and with her future father-in-law Prithviraj Kapoor in Anand Math.

In contrast to other actresses who gave up films after marrying into the Kapoor family, Geeta Bali kept acting until her death. Her secretary was Surinder Kapoor, father of producer Boney Kapoor and actor Anil Kapoor.

Yogeeta Bali, her niece also made her career into films and married actor Mithun Chakraborty.

http://www.rediff.com/movies/2002/apr/09dinesh.htm
http://www.bollywood501.com/classic_f/geeta_bali/main.html
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majruh sultanpuri (c. 1919 - May 24, 2000),

Majrooh Sultanpuri's reputation as a poet was ironically overshadowed by his being a lyricist for popular Bollywood films.

It has happened very frequently that the real merit of a person is pushed into the background by some lesser work that is done for a medium with a bigger outreach or for some popular event.

Though Majrooh was a very successful lyricist and his "geets" were hummed by millions of people in continents where Indian cinema is the rage, yet it would be unfair to judge him based solely on this lesser work.

Little was know that this young man was destined to create not just ripples but storm in the Urdu Literary world with his phenomenal versatility in poetry and film song writing as Majrooh Sultanpuri.



Majrooh Sultanpuri is like a vintage coin with two exquisite sides - toss it either way and you win.

One face is that of the passionate shaayar - the man who ranks among the finest avant-garde Urdu poets of 20th century literature.

This is the man who writes unforgettable poetry like Main akela hi chala tha jaanib-e-manzil magar, Log saath aate gaye aur kaaravaan bantaa gayaa. (I set out alone towards my goal, but others kept joining me on the way and my journey became a procession).

The flip side finds the longest-lasting lyricist of Hindi filmdom, a man who began with Naushad, went on to write scores which established music directors like O.P.Nayyar, Usha Khanna, Laxmikant Pyarelal, R.D.Burman, Rajesh Roshan, Anand-Milind and Jatin-Lalit as frontrunners, and worked with youngsters like Leslie Lezz Lewis and AR Rahman.

It is here that we find a harfan moula (all-rounder) whose all-pervading versatility encompasses a spectrum of verse from Paanch rupaiya barah aana (Chalti Ka Naam Gaadi) to Hum hain mataa-e-kuchaa-o-bazaar ki tarah (Dastak), with Waadiyan mera daaman, raaste meri baahen (Abhilasha), Chalo sajana jahan tak ghata chale, lagaakar mujhe gale (Mere Humdum Mere Dost) and Ruk jaana nahin tu kahin haar ke (Imtihan) in between.

Majrooh Sultanpuri’s unique genius has enabled him to sail in two theoretically divergent boats - poetry and film writing - with equal mastery.

The ’90s have seen Majrooh complete an elegant 80 in age and enter his 55th year as a songwriter with five generations of composers, singers, filmmakers and stars.

The decade has been replete with success and distinctions for the prime poet as well as the great geetkaar of Hindi movies, and his latest triumph comes in the form of a book penned by two fans - a US-based Indian called Baidar Bakht and his American associate Marie-Anne Erki.

Both these Majrooh-admirers have compiled an exquisite compilation of his ghazal couplets as a book called Never Mind Your Chains.

The title comes from Majrooh’s classic work, Dekh zindaan ke pare, rang-e-chaman josh-e-bahaar, Raks karnaa hai to phir paon ki zanjeer na dekh. (The garden blooms bright, just beyond the cage, Dance if you must, never mind your chains.)

In a way, this beautiful ghazal epitomises Majrooh’s career too - the poet’s indomitable never-say-die spirit survived amidst the many chains which always were around to shackle the genius of Asrar-ul-Hasan Khan, the name given to Majrooh by his parents when he was born in 1919 in Sultanpur, UP.




Majrooh Sultanpuri was an Urdu poet, lyricist and songwriter.

He was one of the dominating musical forces in Indian Cinema in the 1950s and early 1960s and was an important figure in the Progressive Writers' Movement.

Majrooh Sultanpuri had written more than 8000 songs for over 330 films (including 3 in Bhojpuri).

In the 50 years span of his career as a lyricist, Majrooh was at ease with his songs and never did once his poetry ever tripped the thin line of decency. He was at ease with an emotional song like Utha e ja unke sitam aur jiye ja, or a light masti number like Panch Rupaiya Baraa Aanaa, romantic song like Ai phoolon ki rani baharon ki malika tera muskurana gazab ho gaya or a cabaret number like piya tu ab to aa ja.

Credit should go to Majrooh for introducing the dialogue styled lyrics in Hindi films of the 60's like Haal kaisa hai janab ka? Kya khayal hai aap ka? , from the film Chalti Ka Naam Gadi. Songs of the kind have stood the test of time and are still popular even today. Poets and film lyricists take refuge to this style of songs even today to get the situation lively, but the line of decency that was drawn by Majrooh has somehow disappeared.

He had the distinction of working at equal ease with two generations of producers, directors music directors like Raj Kapoor - Randhir Kapoor, S.D. Burman in Chalti Ka Naam Gaadi - R.D. Burman in Caravan. It was only because of Majrooh that Ghazal found a place in film songs. His poetry encouraged one to do his duty with a dream in mind and never bother about its outcome. His association had given recognition and popularity to music directors, he proved to be lucky mascot for new comers like O.P. Nayyar-Aar Paar, Khayyam-Footpath, LaxmikantPyarelal-, R.D.Burman-Teesri Manzil, S.Madan-Batwara, Rajesh Roshan-Kunwara Baap, Basu Chaakraborty-Sabse Bada Rupaiya, Anand Milind-Qayamat Se Qayamat Tak, Jatin Lalit-Yaara Dildara and Tushar Bhatia-Andaz Apna Apna. Singer Talat Mahmood also got a boost for his career after rendering a song in Sujata which was worded, Jalte Hai Jiske Liye Teri Aankhon Ke Diye.

A number of other films for which Majrooh Sultanpuri had written memorable and popular songs are : C.I.D., Paying Guest, Tumsa Nahi Dekha, Kali Topi Lal Roomal, Kala Pani, Aarzoo, Mere Sanam, Mohabbat Isko Kahte Hai, Mere Hamdam Mere Dost, Budha Mil Gaya, Aar Paar, Miss Coca Cola, Ek Kunwara Ek Kunwari, Bikhre Moti, Baat Ek Raat Ki, Aanchal, Salaam Mem Saheb, Kali Raat, Jinny Aur Johnney, Kehte Hain Mujhko Raja, Phir Kab Milogi, Jo Jeeta Wohi Sikandar, Abhiman, Pakeezah, Nau Do Gyara, Mamta, Bhigi Raat, Yadon Ki Baraat, Mr. & Mrs. 55, Ganga Ki Lehren, Phir Wohi Dil Laya Hoon, Aarti, Dilli Ka Thug, Solvan Saal, Kabhi Haan Kabhi Naa.



Majrooh Sultanpuri was born as Asrar ul Hassan Khan in Sultanpur, Uttar Pradesh on 1st October, 1919 in either 1919 or 1920.

Since his father was a police sub-inspector, he couldn't afford the expensive English education for his son.

Majrooh instead completed the seven year course of Dars-e-Nizami in Arabic and Persian, and went on to take the degree of becoming an Alim.

He then joined Lucknow's Takmeel-ut-Tib College of the Unani System of Medicine and graduated in 1938 as a 'hakim'.

He practised medicine for a year before he started his career as a full-time poet .

He was an established Hakim when he happened to recite one of his ghazals at a mushaira in Sultanpur.

The ghazal became famous with the audience and Majrooh decided to drop his prosperous medical practice and begin writing poetry seriously.

Young Hakim Asrar's interest in Urdu poetry rose and he started to pursue it leaving behind the lucrative and much settled profession of being a medicine man.

It was this quest for poetry that brought him into the limelight.

In association with progressive poets like Jigar Moradabadi, Moin Hasan Jazbi and Faiz Ahmed, he polished his pen and furnished it with biting edge of protest and national flavour.

It was during this period, when he had joined the band of nationalist poets that he was arrested and imprisoned.

Soon he became a fixture at mushairas and became great friends with the renowned Urdu poet, Jigar Moradabadi.

In 1945, Majrooh visited Bombay to attend a mushaira at the Saboo Siddique Institute.

Here his ghazals and poetry were highly appreciated by the audience.

He was a serious poet who made significant contributions to the development of a sensibility and an idiom, that was truly inspired by the Progressive Writers Movement.

In the early years after partition the poets felt hugely hemmed in by the their lack of reaching out to the people they were supposed to be addressing.

Though they had a steady audience, it was very tiny compared to that enjoyed by popular media including that of the cinema.

It was decided by a few poets and literary organisations to ride on the back of a popular medium to exploit the greater outreach of the cinema, and as it were, to spread the message.

Pardeep, Sahir Ludhianvi, Qamar Jalalabadi, Raja Mehdi Ali Khan, Shakeel Badayuni, Saghar Nizami, Rajinder Krishen and Majrooh Sultanpuri, were all sucked into the insatiable vortex of the film world with Sahir having remained the most outstanding but Majrooh Sultanpuri being a close second.

It may be said that when these poets agreed to write for the films the quality of poetry in the context of the film lyrics showed a vast improvement.

If it was a loss to urdu poetry it was surely a gain for the "filmi" song text and the vast divide of serious writing and popular writing was narrowed a little by the Bombay films.

Majrooh had earlier fought the hardest battle of his life as a ghazalgo.

It was an article of faith with the early progressive poets that the stylised form of ghazal with its well wrought and associated inferences was not suitable for the new sensibility which needed a new form.

Literature and the arts were seen in the framework of a one to one relationship and the entire effort seemed to be based on exclusion rather than incorporation.

But Majrooh did not tow the line and held the position that ghazal could retain its glory through its ability to say new things for the new age.

He was himself an outstanding ghazal poet and introduced new imagery and new diction into the heavily stylised format.

He was able to maintain the lyrical quality of the ghazal which is its real spirit and test without losing on the vigour that was supposed to be an integral part of this new poetic idiom.

The awareness of where the exploitation has taken the ordinary man and a whipping up of emotions for greater activism was the twin aim of these poets.

Majrooh was not alone in this struggle.

He had support from a contemporary, Faiz Ahmed Faiz, who too was not keen on losing the rich referential and allusive matrix of the traditional ghazal while talking about the main contradiction of the class divide that cut across board.

It was the awareness that the rejection of the ghazal would be a turning away from our tradition that made its acceptance and currency possible again by the fifties.

When Majrooh appeared on the scene Faiz's Naqsh e Faryadi, Majaz's Aahang, Ali Sardar Jaffery's Parwaz, Jazbi's Ferozaan and Makhdoom's Surkh Sawera had already been published with leading critics like Ehtesham Hussain and Doctor Alim, being the real opponents of the ghazal, wanting to do away with this archaic form as a critical canon.

Faiz and Majrooh gradually introduced the themes generally associated with the Progressive Movement, and transformed the ghazal without losing on its strength.

During the fifties ghazal was gradually and grudgingly accepted as a legitimate form of poetry even by Ehtesham Hussain who wrote about it then.

Poetry thus disengaged itself from being a mere slogan, and moved towards the lyrical and melodic richness generally associated with ghazal.

It abandoned the harsh declamatory style meant to exhort the listener to take up arms against the sea of troubles for a more introspective mood where awareness became part of a larger collective consciousness.

The Urdu poets found themselves being edged out in the new socio-cultural environment of India and saw their language shrink and the literate audience dwindle.

Amidst the growing demand of Hinduising Urdu Majrooh stood his ground and fought for the rightful place of his language with a rich heritage.

Perhaps history will judge Majrooh as a poet who partially frittered away his talent by writing for the films.

The limited opportunity and the constraints of the situation do not let the poet grow and prosper in the same manner when he is just writing poetry as a an autonomous form. But Majrooh's contribution in giving a new meaning to the ghazal will keep the torch of his name burning for quite some time.

The same rationale was also behind the movement known as the naturi shairi of the mid nineteenth century but it was sponsored from the top by the establishment.

Like all movements the Progressive Writers too took an extreme position and denounced much in the name of being a product of feudalism.

The government wasn't amused by his anti-establishment poems and he was jailed in 1949 along with other leftists like Balraj Sahni.

Majrooh was asked to apologise, but he refused and was sentenced to two years in prison.

In jail for his Leftist anti-Nehru writings in 1950-1, Majrooh wrote searing poetry like Shab-e-zulm nargah-e-raahjan se pukarta hai koi mujhe, Main faraaz-e-daar se dekh loon, kahin kaaravan-e-sahr na ho (Someone calls me in the night of tyranny from beyond the siege of the enemy, Let me see from the heights of the gallows, it may be the caravan of dawn and my sacrifice may not have been in vain.)

While he was in prison, his eldest daughter was born.

During this time his family experienced considerable financial difficulties.

It was after his released that he took to the pen name of Majrooh and his pen poured love and the bitter sweet pain of love.

Majrooh during this period was also lured by the advent of cinema as a media and thus he perceived his struggle towards cinema.

One of the impressed listeners was film producer A.R. Kardar.

It was A.R. Kardar who gave an opportunity to Majhrooh for his Shahjehan in 1949, and Majrooh never looked behind after that.

He contacted Jigar Muradabadi who helped him to meet Majrooh.

However, Majrooh refused to write for films because he didn't think very highly of them.

But Jigar Muradabadi persuaded him, saying that films would pay well and would help Majrooh to support his family.

Kardar then took him to music composer Naushad who put the young writer to test.

He gave Majrooh a tune and asked him to write something in the same metre, and Majrooh wrote Jab Usne Gesu Bikhraye, Badal Aaye Jhoom Ke....

Naushad liked what he wrote and Majrooh was signed on as the lyricist of the film Shah Jehan .

He made his film debut with Shahjehan, starring K.L. Saigal, The songs of the film became so immensely popular that K.L. Saigal wanted Jab Dil Hi Toot Gaya to be played at his funeral.

Shah Jehan was followed by S. Fazil's Mehndi, Mehboob's Andaaz (1949), and Shahid Latif's Aarzoo but his breakthrough film was Mehboob Khan's Andaaz and from then on there was no stopping him.

Majrooh Sultanpuri had written more than 8000 songs for over 330 films (including 3 in Bhojpuri).

In the 50 years span of his career as a lyricist, Majrooh was at ease with his songs and never did once his poetry ever tripped the thin line of decency.

He was at ease with an emotional song like Utha e ja unke sitam aur jiye ja, or a light masti number like Panch Rupaiya Baraa Aanaa, romantic song like Ai phoolon ki rani baharon ki malika tera muskurana gazab ho gaya or a cabaret number like piya tu ab to aa ja.

Credit should go to Majrooh for introducing the dialogue styled lyrics in Hindi films of the 60's like Haal kaisa hai janab ka? Kya khayal hai aap ka? , from the film Chalti Ka Naam Gadi.

Songs of the kind have stood the test of time and are still popular even today.

Poets and film lyricists take refuge to this style of songs even today to get the situation lively, but the line of decency that was drawn by Majrooh has somehow disappeared.

He had the distinction of working at equal ease with two generations of producers, directors music directors like Raj Kapoor - Randhir Kapoor, S.D. Burman in Chalti Ka Naam Gaadi - R.D. Burman in Caravan.

It was only because of Majrooh that Ghazal found a place in film songs.

His poetry encouraged one to do his duty with a dream in mind and never bother about its outcome.

His association had given recognition and popularity to music directors, he proved to be lucky mascot for new comers like O.P. Nayyar-Aar Paar, Khayyam-Footpath, LaxmikantPyarelal-, R.D.Burman-Teesri Manzil, S.Madan-Batwara, Rajesh Roshan-Kunwara Baap, Basu Chaakraborty-Sabse Bada Rupaiya, Anand Milind-Qayamat Se Qayamat Tak, Jatin Lalit-Yaara Dildara and Tushar Bhatia-Andaz Apna Apna.

Singer Talat Mahmood also got a boost for his career after rendering a song in Sujata which was worded, Jalte Hai Jiske Liye Teri Aankhon Ke Diye.

A number of other films for which Majrooh Sultanpuri had written memorable and popular songs are : C.I.D., Paying Guest, Tumsa Nahi Dekha, Kali Topi Lal Roomal, Kala Pani, Aarzoo, Mere Sanam, Mohabbat Isko Kahte Hai, Mere Hamdam Mere Dost, Budha Mil Gaya, Aar Paar, Miss Coca Cola, Ek Kunwara Ek Kunwari, Bikhre Moti, Baat Ek Raat Ki, Aanchal, Salaam Mem Saheb, Kali Raat, Jinny Aur Johnney, Kehte Hain Mujhko Raja, Phir Kab Milogi, Jo Jeeta Wohi Sikandar, Abhiman, Pakeezah, Nau Do Gyara, Mamta, Bhigi Raat, Yadon Ki Baraat, Mr. & Mrs. 55, Ganga Ki Lehren, Phir Wohi Dil Laya Hoon, Aarti, Dilli Ka Thug, Solvan Saal, Kabhi Haan Kabhi Naa.

But somewhere his subconscious was keenly aware that he had sacrificed some of his art for self, at least attention-wise, and so in Dastak he seized the chance to write - for Rehana Sultan’s character of a fallen woman - the lines, Hum hain mataa-e-kuchaa-o-bazaar ki tarah, Uthti hai har nigaah kharidaar ki tarah (I am like goods for sale, they all look at me with appraising eyes of a prospective buyer.)

And yet few lyricists in Hindi films have offered the sort of goods Majrooh has.

Like the other greats of Hindi cinema, and probably to a surpassingly greater extent, he has incorporated poetry even in the most mundane situations, the results exceptional whenever his commercial chains gave him creative leeway, as in Deewana mujhsa nahin is ambar ke neeche, Aage hai qaatil mera aur main peeche peeche or Waadiyan mera daaman, raaste meri baahen, Jao mere siwa tum kahan jaaoge or even Mujhe dard-e-dil ka pataa na tha, Mujhe aap kis liye mil gaye, Main akele yoon hi maze mein tha, Mujhe aap kis liye mil gaye.


Raj Kapoor commissioned a song ("Ek din bike jayega maati ke mol") from Majrooh for which he paid him Rs. 1000.

Majrooh's political beliefs were further manifested when his second daughter married the son of the Urdu writer and socialist Zoe Ansari.

Toward the end both Majrooh and Zoe Ansari were disenchanted with the direction socialism had taken in the Soviet Union and China.

Their desire to better the lives of the masses found an outlet in their writings.

Majrooh Sultanpuri was the last of the group of lyricists that ruled Hindi cinema in the early 1950s and 1960s.

Out of Sahir Ludhianvi, Shailendra and Shakeel Badayuni, he alone outlived them all and worked right up to his death.


Majrooh Sultanpuri was among the foremost poets of modern progressive poetry.

He believed that no great art was possible without social content.

Ali Sardar Jafri in his foreword for Majrooh's book "Never Mind Your Chains" calls him "younger brother in poetry and struggle".

Majrooh was not always pleased with the association of his poetry with his film work.

However, this was more a reaction to society's hypocritical attitude of looking down on anything connected with the film world, than with any basis in fact.


His career spanned over 50 years and 350 films, many of them successful blockbusters.

Majrooh went on to write lyrics for popular films throughout the 1950s.

Along with Faiz Ahmed Faiz, Majrooh was considered the most notable ghazal writer.

Sultanpuri's work touched the soul.

Although Urdu poetry was his favourite, he wrote in simple Hindi, and could be understood by all classes.

Although Sultanpuri worked with top music directors - Anil Biswas, Naushad, Madan Mohan, O.P. Nayyar, Roshan and Laxmikant-Pyarelal - his best work was with S.D. Burman and R.D. Burman.

In fact his most outstanding work was in Nasir Hussain's frothy musicals like Teesri Manzil, Yaadon Ki Baraat and Hum Kisi Se Kum Nahin.

He continued to write youthful songs even in Hussain's son Mansoor Khan's films like the evergreen Qayamat Se Qayamat Tak.



The professional rift was to last for almost two decades - Naushad’s prime phase, which was dominated by the formidable Shakeel Badayuni. This is also the reason why Majrooh’s work in poetry did not get the endorsement it deserved on its literary merit. Majrooh always considered Mir Taqi Mir as the greatest master of the ghazal, but as Ali Sardar Jafri reveals, “As far as craft is concerned, Majrooh followed Ghalib�.

Majrooh’s first and only published work, Ghazal was published as late as in 1956 - 17 years after he began writing verse, though it has since run into several editions, one of which was named Mashaal-e-Jaan.

As always forthright even in his self-appraisal, Majrooh decided to exclude from it all the topical poetry he had written in the 1948-51 period (which saw him participate very vigorously in the Communist movement) as well as any work he considered below his dignity as an outstanding literary poet. “It was only after four decades when my body of work just could not be ignored that I was given the prestigious Ghalib award in 1980,� says the poet wryly.

As always prone to call a spade a spade, Majrooh was thus fully aware of his own strength and potential even while being a keen self-critic. Even as he did admit that he wrote in films because it meant “good money�, he never undervalued his tremendous work in that field and could not tolerate the condescending attitude many poets had towards lyricists without understanding the specialised art and skills needed to write in films.

When a noted poet-cum-public figure introduced Majrooh at a Delhi mushaira as the “famous lyricist from the film world of Bombay�, Majrooh drove his point home by addressing the man without his title, and requested him to listen to one of his filmi lyrics, unleashing the aforementioned work which has almost achieved the status of a proverb: “Main akela hi chala tha!�

The man apologised for his gaffe and Majrooh graciously accepted the apology! In fact, Majrooh is all too well aware that few lyricists have inculcated sheer poetry in so many typically filmi songs with such consistent commitment and excellence as he did. “It was only in rare cases,� reveals the bard, “that I was actually told to write as poetically as possible. Writer Krishan Chander and director Asit Sen wanted me to do so in Mamta, and so did V.Shantaram in the only film I worked with him on Jal Bin Machhli Nritya Bin Bijli.

Majrooh went on to pen songs like Rahe na rahe hum mehka karenge, Banke kali, banke sabaa, baagh-e-wafaa mein and Chhupa lo dil mein yoon pyar mera, Ke jaise mandir mein lau diye ki (Mamta) and Man ki baat mere man se nikli, Aise tadpoon ke jaise jal bin macchli and Baat hai ek boond si dil ke pyaale mein, Aate aate honthon tak toofan na ban jaaye for the latter film.

But Majrooh’s skills at vivid imagery were unrivalled in their sheer genius - his poetry needed no spur to transcend the various chains put on a popular lyric writer. In a 1975 Chennai potboiler, even while writing to an unusual RD metre, Majrooh was to create one of his finest ever mukhdas, whose true beauty and depth strikes home only after giving the lines focussed time and thought, O hansini, o hansini, kahan ud chali, mere armaano ke pankh lagaake, kahan ud chali (O my beautiful swan, whither have you flown far away from me, using my very desire as your wings?).

One of the prime reasons why Majrooh could afford to take a principled stand and resist succumbing to the sleazy wave in the early ’90s was his superb ability to weave the most vivid images of physicality and passion within the fabric of his poetry. “I have said it all in so many songs, without resorting to cheapness or blatant verse,� said the poet. And he is not exaggerating either, if you consider songs like Baahon mein chale aao (Anamika), or that classic Doosara Aadmi antara from the song Aao manaaye jashn-e-muhabbat which goes, Yeh aalam hai aisa, uda jaa rahaa hoon, tumhein leke baahon mein, Hamare labon se tumhare labon tak, nahin koi raahon mein, Kaise koi ab dil ko sambhaale, itne haseen paigham ke baad, Shaam se pehle kaun yeh soche kya hona hai shaam ke baad.

Majrooh, as the most enduring songwriter in the annals of Indian - and probably world - cinema, has written them all to perfection - ghazals, qawwalis, mujras, bhajans, folk-based ditties, sad and comic songs, children’s songs, cabarets and discos, romantic songs and every conceivable genre of film song. “That is why I felt that I deserved my Dadasaheb Phalke award more than anyone else,� he told me without the slightest trace of arrogance. “When I won it, there were dissident voices in my fraternity who felt that Pradeep deserved it more. Similarly Sahir got more recognition all along as a poet among us lyricists. But I sincerely feel that there is not only greater variety in my work but also more innovation.�

Comparing his body of work with any other lyricist, one has to admit that the Phalke award had no writer in Hindi films better qualified to receive it. In fact, in the ’50s, Majrooh’s association with films like Aar Paar, Dilli Ka Thug, Chalti Ka Naam Gaadi, Nau Do Gyarah, C.I.D., Paying Guest and Tumsa Nahin Dekha earned him the reputation of a crassly commercial lightweight lyricist amidst names like Sahir, Pradeep, Kaifi Azmi, Bharat Vyas and even Shailendra from those who did not understand that such versatility was the primary quality of a brilliant lyricist.

His enduring and fruitful association with Nasir Husain began because Sahir criticised Nasir’s commercial slant, causing an indignant Husain to drop the man saying, “Sahir wants every director to be another Guru Dutt!� And Majrooh’s comic lyrics were never tinged with the bitter satire and cynicism so typical of other Left-oriented writers.

He rose above his own opinions and views and thought solely of the character and the situations. Like all truly great creators in Hindi films, Majrooh approached every assignment honestly and impersonally - his job was to do the best for the character in the given situation.

His commercial work was neither a channel to air his own socio-political views, nor was it an avenue to show his expertise as a poet at the cost of credibility and the needs of the song. But it was decidedly his job to bring in as much of poetry and depth as possible if the film, its makers, the situation and the intellectual level of the characters permitted.

This, Majrooh did with exceptional brilliance in hundreds of his songs, like Ab kya misaal doon main tumhare shabab ki, Insaan ban gayi hai kiran mahtaab ki (Aarti) or Hui shaam unka khayal aa gayaa, Wohi zindagi ka sawaal aa gaya (Mere Humdum Mere Dost), even employing lesser-known words like pairhan, aib, hunar, rang-o-jamaal, sabaa and being responsible for bringing several Urdu words like jaanam, dilbar and mashallah into common usage.

Among Hindi words, he seemed to have a particular affinity for a few words like pyaare and the word diya (lamp or light) seemed to come in in its optimistic meaning in several lyrics of his, like Diye jalaaye pyar ke chalo issi khushi mein, Baras beeta ke aayi hai yeh shaam zindagi mein (Dharti Kahe Pukar Ke), Kya jaanoo sajan hoti hai kya gham ki shaam, Jal uthe sau diye jab liya tera naam (Baharon Ke Sapne) and Dil ka diya jalaake gayaa, yeh kaun meri tanhai mein (Akashdeep).

It’s Urdu counterpart, chirag also found its way into way into many of his songs and poetry. Majrooh’s film hits and creative triumphs are legion, as they cover a voluminous cavalcade of films from Shah Jehan in 1946 to Jaanam Samjha Karo, the album in 1998 and the film in 1999.

The range is awesome, the standards exacting even in the light verse, and the mission obvious - to grow beyond the chains and to write poetry that is like a perennial beacon for writers to come - Mere peeche yeh to mohaal hai ke zamana garm-e-safar na ho, Ke nahin mera koi naqsh-e-paon, jo chiraagh-e-raah-guzar na ho (It is unlikely that after me there will be no journeys: for I have not left a single footprint that isn’t a beacon for those who will travel after me on this path).

Majrooh won his only Filmfare Award for the song "Chahunga mein tujhe sham savere" in Dosti.

He was also awarded the Dadasaheb Phalke Award in 1993.

He was the first lyricist to win the prestigious award named after Dadasaheb Phalke.

Association with Nasir Hussain

Majrooh and Nasir Hussain first collaborated on the film Paying Guest, which Nasir wrote.

After Nasir turned director and later producer they went on to collaborate in several films, all of which had huge hits and are some of Majrooh's best remembered works:

Phir Wohi Dil Laya Hoon

Teesri Manzil

Baharon Ke Sapne

Pyar Ka Mausam

Caravan

Yaadon Ki Baraat

Hum Kisi Se Kum Nahin

Zamane Ko Dikhana Hai

Qayamat Se Qayamat Tak

Jo Jeeta Wohi Sikander

Akele Hum Akele Tum

Majrooh also was instrumental in introducing R.D. Burman to Nasir for Teesri Manzil.

The trio worked in 7 of the above mentioned films.

Burman went on to work in 2 more films subsequent to Zamane Ko Dikhana Hai.

He published an anthology of Urdu poetry, appropriately titled "Ghazal," for which he received an award from the Maharashtra State Urdu Academy.

He was also a recipient of the Iqbal Samman from the Madhya Pradesh government and the Sant Gyaneshwar Puraskar of the Maharashtra government.

Majrooh Sultanpuri had a severe attack of pneumonia and died in Bombay on May 24, 2000.

Majrooh Saab's songs touched the core of human experience.

And although a product of the hoary adabi tradition of classical Urdu poetry, his film songs adhered to simple Hindustani, which struck a chord in both the commoner and the connoisseurs alike.

To quote another well noted lyricist Prem Dhawan...

"Majrooh blended popularity with purity of thought and expression"


Thursday, 25 May, 2000, 07:35 GMT 08:35 UK

Hindi film songwriter dies

The well-known Hindi film lyricist and Urdu poet, Majrooh Sultanpuri, has died in the western Indian city of Bombay.

He was 78.

Mr Sultanpuri had been suffering from a lung disease.

He won acclaim with his very first film "Shahjehan" and went on to write song lyrics for nearly three hundred and fifty films.

He was especially known for his romantic numbers.

Mr Sultanpuri was one of the founders of the progressive writers' movement.

In 1993 he was honoured with Indian cinema's highest accolade, the Dada Saheb Phalke award.

From the newsroom of the BBC World Service


Soundtrack:

2000s

1990s

1980s

1970s

1960s

1950s

1940s


Arranged: The Musical (2009) (lyrics: "Na Tum Hamen Jano")

Yaar Meri Zindagi (2008) (writer: "naache meraa pyaar dekho naa", "Piyaa tore nainavaa", "Raja ke anganaa aaee")

Monsoon Wedding (2001) (writer: "Chura Liya") ... aka Le mariage des moussons (France) ... aka Monsoon wedding - Matrimonio indiano (Italy)

Pukar (2000) (lyrics: "Kay Sera... Sera", "Sunta Hai Mera Khuda", "Humrahi Jab Ho Mastana", "Hai Jaana... Hai Jaana", "Kismat Se Tum Hum Ko Mile", "Ek Tu Hi Bharosa")

Cotton Mary (1999) (writer: "Aar Paar") ... aka Cotton Mary (France)

Aarzoo (1999) (lyrics: "Saj Rahi Gali Meri Maa (Kunwara (1974))"

Shikaar (1996) ("Mana Hai", "Yun To Ankhon", "Pyaar Hai", "Parde Me", "Pyaar Hai, Reprise")

Ek Ladka Ek Ladki (1992) (lyrics: "Kitna Pyar Tumhein Karte Hain, Aaj Humein Maloom Hua", "Dil Ki Baat.. Dil Jaane", "Chhoti Si Duniya", "Aao Jhoomein", "Pyar Yeh Nahin.. Armaan Hai Tera", "Ande Aayee Murgi Se.. Ya Murgi Se Aayee Ande")

Baaghi: A Rebel for Love (1990) (lyrics: "Inhi Logon Ne [Pakeezah (1971)]")

Dil (1990) (lyrics: "Papa Kehte Hain [movie: Qayamat Se Qayamat Tak (1988)]")


Janam Janam (1988) (lyrics: "Janam Janam Ki Pyasi Aankhiyan")

Jhutha Sach (1984) (lyrics: "Kya Karoon Main Nikhli Chupake", "Loot Gayi Main To Aaj O Rama", "Kaisi Lag Rahi Hoon Main", "Jahan Bin Hawa Ke Parda Hiley, Aaja Main Wohi Hoon Lag Ja Gale", "Kisi Ko Kho Na Kisi Ko Pana")

Khuda Kasam (1981) (lyrics: "Yun Mera Haath")

Khoon Aur Paani (1981) (lyrics: "Kanagana pahena maine ghunghroo wala, diya kisine liya hai maine, chori nahin to kee, daaka toh nahin dhalla, dhalla, kangana pahena maine ghunghroo wala")

Kudrat (1981) (lyrics: "Humen Tumse Pyar Kitna") ... aka Nature

Ladies Tailor (1981) (lyrics: "Jo Kabhi Na Huwa, Aaj Hoga", "Ab Yeh Jana Ke Ise Kehte Hain Aana Dil Ka", "Mere Mehboob.. Tum Ho Tumhi Ho", "Do Chahanewalon Ki Mulaqat Hai", "Ja Meri Behna, Tujhko Mubarak")

Noorie (1979) (lyrics: "Uske Khel Nirale") ... aka A Girl Called Noorie (India: English title)

Phaansi (1978) (lyrics: "Jab Aati Hogi Yaad Meri, Tera Dil To Machalta Hoga")

Jay-Vejay: Part - II (1977) (lyrics: "Mata Bhavani", "Sab Jaanu Re Tori Batiyan", "Teri Palkon Mein Kajal, Ae Haseena", "Jhamak Jham Jham Jham", "Sone Jaisi Tumhari Jawani", "Maine To Lakh Jatan Kar Dala", "Badi Door Se Chalkar Aaye Hain")

Dharam Karam (1975) (lyrics: "Ek din bik jaayega", "Mukh pe jo chhidka paani diya re", "No ho bas mein tere kuchh bhi maana", "Naachna nahin aawat keht angna tedha", "Tere ham safar geet hain", "Tu kahan gayi thi tera mar jaaye saanwariya", "Yeh baat thi yaar ek ber ki")

Kala Sona (1975) (lyrics: "Sun Sun Kasam Se")

Sagina (1974) (lyrics: "Chote Chote Sapne Hamar", "Aag Lagi Hamri", "Ghazab Chamkai", "Tumre Sang To Rain Bitayi", "Sala Main To Saab Ban Gaya")

Do Phool (1974) (lyrics: "Maaf Karo, Jane Do", "Oh Latloosh", "Muthukodi Kawadi Hada")

Zehreela Insaan (1974) (lyrics: "Saap Se Bad Ke Mera Zeher Hai", "Mere Dil Se Yeh Nain Mile Rehne Do", "O Hansini, Meri Hansini", "Yeh Silsila Pyar Se Chala", "Kali Masal Gayi Paon Tale")

Abhimaan (1973) (lyrics: "Meet Na Mila Re Man Ka", "Nadiya Kinaare", "Teri Bindiya Re", "Loote Koi Man Ka Nagar", "Ab To Hai Tumse Har Khushi Apni", "Piya Bina Piya Bina", "Tere Mere Milan Ki Yeh Raina")

Anamika (1973) (lyrics: "Jaoon toh kahaan jaaoon") ... aka Girl Without a Name (India: English title)

Anokhi Ada (1973) (lyrics: "Tere Dil Mein", "Ghoom Gai", "Jawan Jawan", "Sundari Hai Hai", "Hal Kya Hai")

Phagun (1973) (lyrics: "Piya sangh khelo Holi, Phagun aiyo re", "Kab maane ho dil ke mastane, samjane ko aaye chahey Allah miya bhi", "Sanhya jo aai, mann ud jaye")

Yaadon Ki Baaraat (1973) (lyrics: "meri soni meri tamanna jhooth nahin hai mera pyaar")

Pakeezah (1972) (lyrics: "Inhi Logon Ne", "Thare Rahiyo") ... aka Pure Heart ... aka Pure One (India: English title) ... aka The Pure

Do Chor (1972) (lyrics: "Mora Chota Sa Balamwa Bhi Pyar Na Jane", "Meri Jaan, Meri Jaan, Kehna Mano", "Chahe Raho Door, Chahe Raho Paas", "Yaari Ho Gayi Yaar Se", "Kali Palak Teri Gauri")

Buddha Mil Gaya (1971) (lyrics: "Aayo Kahan Se Ghanshyam", "Raat Kali Ek Khwab Mein Aayee", "Bhali Bhali Si Ek Soorat")

Caravan (1971) (lyrics: "Piya Tu Ab To Aaja", "Goriya Kahaan Tera Des Re", "Daiya Yeh Main Kahaan Aa Phasi", "Dilbar Dil Se Pyaare", "Chadti Jawaani Meri Chaal Mastaani", "Kitna Pyaara Waada Hai In Matwaali Aankhon Ka", "Ab Jo Mile Hain To", "Hum To Hain Raahi Dil Ke")

Dastak (1970) (lyrics: "O Balma, Baiyan Na Dharo O Balma", "Mai Ri, Maah Kahse Kahoon Peed, Apne Jiya Ki, Mai Ri", "Tumse Kahoon Ek Baat Paronse Halki, Halki, Halki, Halki", "Hum Hain Matay-E-Kuchao Baazar Ki Tarah, Uthti Hai Har Nigaha Karidhar Ki Tarah")

Raaton Ka Raja (1970) (lyrics: "Mere Liye Aati Hai Shaam", "Jhanak Jhan Ghungroo", "Door Say Tera Diwana", "Mohabbat Say Tujhe Dekha", "Aye Dekho Toh Yehaan")

Pyasi Sham (1969) (lyrics: "Awaara Maaji, Jayega Kahan, Uska Toh Saahil Tum Ho Jaahan", "Duniya Me Dilwale Honge Hazaron, Lekin Hamari Wafa, Dilruba Yaad Karoge", "Yaaron Mera Saath Nibhao, Roz Aisi Mehfil Kahan", "Yeh Kaisa Ghum Sajana, Pyasa Din Pyasi Sham")

Talash (1969) (lyrics: "Tere Naina Talash Karen")

Abhilasha (1968) (lyrics: "Yaaron Hamara Kya", "Munne Mere Aa", "Ek Janib Sham-E-Mehfil", "Wadiyan Mera Daman (male)", "Wadiyan Mera Daman (female)") ... aka Desire (International: English title: informal literal title)

Patthar Ke Sanam (1967) (lyrics: "Koi nahin hai phir bhi hai mujko na jaane kiska intezar, yeh bhi na jaanu laherake aanchal kisko bhulaye baar baar, na jaane kiska intezar", "Eh dushman jaan, chal diya kahan", "Tauba yeh matwali chaal, juk jaaye phoolon ki daal", "Mehboob mere, tu hai toh duniya kitni haseen hai, jo tu nahin toh kuch bhi nahin hai", "Bata du kya laana, tum laut ke aa jaana, yeh chotasa nazarana piya yaad rakhoge ke bhool jaoge", "Patthar ke sanam tujhey hamne mohabbat ka khuda jaana")

Daadi Maa (1966) (lyrics: "Chaley aaye re hum to chaley aaye re", "Usko nahin dekha hamne kabhi, par uski jaroorat kya hogi, eh Maa, eh Maa teri surat se alag, Bhagwan ki surat kya hogi, kya hogi")

Teesri Manzil (1966) (lyrics: "Deewaana mujhsa nahin is ambar ke neeche") ... aka The Third Floor

Oonche Log (1965) (lyrics: "Jaag Dil E Diwana", "Aaja Re, Mere Pyar Ke Rahi", "Teri Chanchal Nainva", "Ajab Teri Duniya, Ajab Insaan")

Mere Sanam (1965) (lyrics: "Haji haji haji arey haji baba") ... aka My Beloved (International: English title)

Teen Devian (1965) (lyrics: "Khwab Ho Tum Ya Koi Haqeeqat")

Dosti (1964) (lyrics: "Meri Dosti Mera Pyar", "Chahoonga Main Tujhe", "Rahi Manwa", "Mera To Jo Bhi Qadam", "Gudiya Kab Tak Na Hasogi", "Jaanewalo Zara") ... aka Friendship

Ishaara (1964) (lyrics: "Chori Ho Gayi Raat, Nain Ki Neendiyan", "Chal Meri Dil", "Dil Bekarar Sa Hai", "Hey Abdullah Naginwala Aa Gaya", "Dil Bekarar Sa Hai (female)") ... aka Sign

Akeli Mat Jaiyo (1963) (lyrics: "Thodi Der Ke Liye Mere Ho Jao", "Akeli Mat Jaiyo", "Raaste Mein Do Anjaane", "Yeh To Kaho, Kaun Ho Tum", "Woh Jo Milte The Kabhi", "Yeh Cycle Ka Chakkar", "Chal Chal Chal Mere Dil", "Yeh Hawa, Yeh Mastana Mausam")

Phir Wohi Dil Laya Hoon (1963) (lyrics: "Dekho Bijli Dole Bin Badal Ke", "Laakhon Hain Nigahon Mein", "Aji Kibla Mohtarma", "Aanchal Mein Saja Lena Kaliyan", "Aankhon Se Jo Utri Hai Dil Mein", "Phir Wohi Dil Laya Hoon", "Humdum Mere Khel Na Jaano", "Meri Berukhi Tumne Dekhin Hain Lekin")

Baat Ek Raat Ki (1962) (lyrics: "Na Tum Hamen Jano")

Burmah Road (1962) (lyrics: "Looton Maze Bahar Ke", "Zulfein Uljhi Hai Mere", "Humne To Diya, Yeh Dil Tumhe Diya", "Mausam Yeh Pukare", "Aankh Jhuki Si, Chaal Rukhi Si", "Banke Piya Kaho Ha Dagabaaz Ho")

China Town (1962) (lyrics: "China Town (Laakhon Haseenon Se Hai Gulzar China Town)", "Baar Baar Dekho Hazaar Baar Dekho", "Dekhoji Ek Baala Jogi Matwaala Jogi", "Hamse Na Poocho Ham Kahaan Chale", "Yamma Yamma (Sau Parwane Ek Shamma Bahaka Hai Har Dilwaala)", "Yeh Rang Na Chhootega Ulfat Ki Nishani", "Bada Qatil Hai")

King Kong (1962) (lyrics: "Jaata Hai Toh Jaa, Oh Jaanewaley Jaa", "Arey, Arey, Arey, Kya Ho Gaya", "Oh Oh Devata, Pyar Ke Devata")

Opera House (1961) (lyrics: "Dekho mausam, kya bahar hai, sarha alaam bekaraar hai, aise me kyon hum diwane ho jayen na", "Balma manne na, bheri chhup na rahey")

Bombai Ka Babu (1960) (lyrics: "Dekhne Mein Bhola Hai Dil Ka Salona", "Deewaana Mastaana Hua Dil", "Saathi Na Koyi Manzil", "Chal Ri Sajni Ab Kya Soche", "Pavan Chale Toh Uthe Man Mein Lehar Si", "Aise Mein Kachu Kaha Nahin Jaaye", "Takdoom Takdoom Baaje") ... aka Bambai Ka Babu (India: Hindi title: alternative transliteration)

Ardhangini (1959) (lyrics: "Tera khat leke sanam paon kahi raktey hai hum, Oh oh oh, kahin padtey hai kadam, kahin padtey hai kadam")

Sujata (1959) (lyrics: "Jalte Hain Jiske Liye Teri Aankhon Ke Diye", "Kaali Ghata Chhaye Mora Jiya Tarsaaye", "Bachpan Ke Din Bhi Kya Din The", "Tum Jiyo Hazaaron Saal, Saal Ke Din Ho Pachaas Hazaar", "Suno Mere Bandhu Re, Suno Mere Mitwa", "Nanhi Kali Sone Chali Hawa Dheere Aana", "Andhe Ne Bhi Sapne Dekha Kya Hai Zamaana... Waah Bhai Waah") ... aka Untouchable Girl

12 O'Clock (1958) (lyrics: "Tum Jo Hue Mere Humsafar", "Kaisa Jaadoo Balam Tune", "Main Kho Gaya Yaheen", "Saiyan Teri Ankhiyon", "Aji O Suno Toh", "Dekh Idhar Aei Haseena", "Arey tauba arey tauba")

Aakhri Dao (1958/I) (lyrics: "Tujhe Kya Sunao Main Dilruba", "Tuhi Aake Sambhal Ise", "Hai Unki Woh Nigahen", "Na Darr Sanam, Laga Bhi Le", "Humsafar Saath Apna Chod Chale", "Idhar To Haath La Pyare")

Chalti Ka Naam Gaadi (1958) (lyrics: "Hum The Woh Thi") ... aka That Which Runs Is a Car

Dilli Ka Thug (1958) (lyrics: "Hum To Mohabbat Karega")

Kabhi Andhera Kabhi Ujala (1958) (lyrics: "Surma Mera Nirala")

Kalapani (1958) (lyrics: "Nazar Laagi Raja Tore Bangley Par") ... aka Kala Pani (India: Hindi title: alternative transliteration)

Lajwanti (1958) (lyrics: "Koi Aaya, Dhadkan Kehti Hai", "Aaja Chhaye Kare Badra", "Chanda Re Chanda Re Chupe Rehna Soye Meri Maina (Happy)", "Chanda Re Chanda Re Chupe Rehna Soye Meri Maina (Sad)", "Ek Hans Ka Joda", "Gaa Mere Mann Gaa", "Chanda Mama Mere Dware Aana")

Solva Saal (1958) (lyrics: "Yeh Bhi Koi Rooth Ne Ka Mausam Hai Diwane", "Hai Apna Dil To Awara", "Yehi To Hai Woh", "Dekhoji Mera Haal, Badal Gayi Chaal", "Hazar Ki Katari Yeh Kaisi Chali")

Sone Ki Chidiya (1958) (writer: "Bekas ki tabaahi ke saamaan hazaaron hain")

Zimbo (1958) (lyrics: "Yeh Raatein, Yet Baatein", "Lo Chale Hum, Behke Kadam Aaj Khushi Se", "Yeh Mana, Dil Jise Dhoonde", "O Zalima.. Challa Kahan", "Yeh Kiya Tune Kaisa Jadu", "Yeh Raat Hai Mehtabi", "Soja Re Soja")

Apradhi Kaun? (1957) (lyrics: "Mera Dil Dil Dil Dil Na Dil Lekar Kidar Chala", "Hai Pyar Ke Do Matwale", "Baat Koi Matlab Ki Hai Juroor", "Koi Dekhen To Kahe Tujhko Kahin Diwana Na", "Phir Wohi Dard Hai")

Nau Do Gyarah (1957) (lyrics: "Kya ho phir jo din rangeela ho") ... aka Nine Plus Two Makes Eleven

Paying Guest (1957) (lyrics: "Maana Janaab Ne Pukaara Nahin", "O Nigaahen Mastaana", "Chaand Phir Nikla", "Chhod Do Aanchal Zamaana Kya Kahega", "Haye Haye Haye Yeh Nigaahen", "Chupke Chupke Rukte Rukte")

Tumsa Nahin Dekha (1957) (lyrics: "Tumsa Nahin Dekha (male)", "Dekho Kasam Se Dekho Kasam Se", "Jawaniyaan Yeh Mast Mast Bin Peeye", "Sar Pe Topi Laal Haath Mein Resham Ka Rumaal", "Aaye Hain Door Se Milne Huzoor Se", "Tumsa Nahin Dekha (female)", "Chupnewale Saamne Aa")

Bhagambhag (1956) (lyrics: "He Babu Yeh Hai Zamana Tera", "Chhod Chale Sare Duniya Ko") ... aka The Chase

C.I.D. (1956) (lyrics: "Jaata Kahaan Hai Deewaane")

Ek-Hi-Rasta (1956) (lyrics: "Chali Gori Pi Se Milan Ko Chali", "Sanware Saloni Aayi Din Bahar Ke", "Chamka Ban Kar Aman Ka Tara", "Bade Bhaiya Laya Hai London Se Chori", "Soja Nanhe Mere", "Kaisi Lagi", "Bekas Ke Aabroo Neelam Kar Ke Choda") ... aka The Only Way

Mr. & Mrs. '55 (1955) (lyrics: "Thandi Hawa Kaali Ghata", "Aei Ji Dil Par Hua Aisa Jaadoo", "Neele Aasmane", "Udhar Tum Haseen Ho", "Chal Diye Banda Nawaaz", "Jaane kahan mera jigar gaya ji", "Meri Duniya Lut Rahi Thi Aur Main Khamosh Tha")

Aar-Paar (1954) (lyrics: "Sun Sun Sun Sun Zaalima", "Ja ja ja ja bewafa", "Babuji Dheere Chalna", "Ye Lo Main Haari Piya", "Hoon Abhi Main Jawaan Aye Dil", "Mohabbat Kar Lo Jee Bhar Lo Aji Kisne Roka Hai", "Arey Na Na Na Na Na Na Tauba Tauba", "Kabhi Aar Kabhi Paar Laaga Teer-e-nazar") ... aka Across the Heart (International: English title: informal title) ... aka From One Side to the Other

Shama Parwana (1954) (lyrics: "Tune Mera Yaar Na Milaya, Me Kya Janu Teri Yeh Khudai", "Mera Dildar Na Milaya, Me Kya Janu Teri Yeh Khudai", "Woh Marnese Dartey Nahin")

Foot Path (1953) (lyrics: "So Jaa Mere Pyaare So Jaa", "Suhaana Hai Yeh Mausam Salona Hai Mera Balam", "Shaam-e Gham Ki Qasam Aaj Ghamgin Hai", "Piya Aaja Re Dil Mera Pukaare")

Andaz (1949) (lyrics: "Jhoom Jhoom Ke Nacho Aaj", "Koi Mere Dil Mein", "Hum Aaj Kahin Dil Kho Baithe", "Meri Ladli Re", "Tu Kahe Agar", "Uthaye Ja ke Sitam", "Toote Na Dil Toote Na", "Tod Diya Dil Mera", "YUn To Aapas Mein Bigadte Hain", "Dar Na Mohabbat Karle") ... aka A Matter of Style ... aka Beau monde

Music Department:

1980s

1970s

1960s

1950s

Ram Tere Kitne Nam (1985) (lyricist)

Shriman Shrimati (1982) (lyrics) (as Majrooh)

Khud-Daar (1982) (lyricist: songs) ... aka Khuddar (India: Hindi title: alternative transliteration)

Ladies Tailor (1981) (lyricist) (as Majrooh)

Jay-Vejay: Part - II (1977) (lyricist)

Inkaar (1977) (lyricist: songs)

Udhar Ka Sindur (1976) (lyricist: songs)

Benaam (1974) (lyricist: songs) ... aka The Nameless

Sagina (1974) (lyricist) (as Majrooh)

Abhimaan (1973) (lyricist: songs)

Anamika (1973) (lyricist) ... aka Girl Without a Name (India: English title)

Do Chor (1972) (lyricist)

Samadhi (1972) (lyrics)

Dastak (1970) (lyricist)

Shagird (1967) (lyricist: songs)

Oonche Log (1965) (lyricist)

Ganga Ki Lahren (1964) (playback singer)

Burmah Road (1962) (lyricist)

Bombai Ka Babu (1960) (lyricist) ... aka Bambai Ka Babu (India: Hindi title: alternative transliteration)

Aakhri Dao (1958/I) (lyricist) (as Majrooh)

Solva Saal (1958) (lyricist)

Zimbo (1958) (lyricist)

Mr. & Mrs. '55 (1955) (lyricist) (as Majrooh)

Foot Path (1953) (lyricist)

Writer:

Pyasi Sham (1969) (lyrics)

King Kong (1962) (lyrics)

सारांश:
प�रस�त�त है प�स�तक के क�छ अंश

उर�दू के लोकप�रिय शायर

वर�षों पहले नागरी लिपि में उर�दू की च�नी ह�ई शायरी के संकलन प�रकाशित कर राजपाल �ण�ड सन�ज ने प�स�तक प�रकाशन की द�निया में �क नया कदम उठाया था। उर�दू लिपि न जानने वाले लेकिन शायरी को पसंद करने वाले अनगिनत लोगों के लि� यह �क बड़ी नियामत साबित ह�आ और सभी ने इससे बह�त लाभ उठाया।
ज�यादातर संकलन उर�दू के स�प�रसिद�ध सम�पादक प�रकाश पंडित ने किये हैं। उन�होंने शायर के सम�पूर�ण लेखन से चयन किया है और कठिन शब�दों के अर�थ साथ ही दे दिये हैं। इसी के साथ, शायर के जीवन और कार�य पर-जिनमें से समकालीन उनके परिचित ही थे-बह�त रोचक और च�टीली भूमिका�ं लिखी हैं। ये बोलती तस�वीरें हैं जो सोने में स�हागे का काम करती हैं।

मजरूह स�लतानप�री


मजरूह न केवल हमें ग़ज़ल की प�राचीन परम�पराओं का उत�तराधिकारी नज़र आता है बल�कि उसके यहां हमें �तिहासिक सच�चाइयों की भी स�न�दर �लक मिलती है। ख़िज़ा, बहार, साक़ी, महफ़िल, शराब, पैमाना, ग�ल, ग�लिस�तां, सय�याद इत�यादि परम�परागत शब�दों द�वारा मजरूह ने बड़ी कलाकौशलता से अपना काम निकाला है। मजरूह ने आवश�यकतान�सार इन शब�दों के लिबास में क�छ नये शब�दों द�वारा और भी रंगीनी और ख़ूबसूरती पैदा करने की कोशिश की है।
अब ख�लके कहूंगा हर ग़मे-दिल मज़रूह नहीं वो वक़�त कि जब
अश�कों में स�नाता था म��को आहों में ग़ज़ल-ख़�वां होना था
वही मजरूह सम�े सब जिसे आवारा-�-ज़�ल�मत1
वही है �क शम�-स�र�ख़ का2 परवाना बरसों से

बम�बई में यह 25 दिसम�बर, 1958 कि रात है। और यह उर�दू के प�रसिद�ध प�रगतिशील शायर सरदार जाफ़री का घर है। क�रिस�मस की रात मनाने शायर और अदीब आ रहे हैं। क�षण-भर के लि� अफ़सोस होता है कि मां के आपरेशन के कारण कृश�नचन�दर यहां आने के बजाय आज ही दिल�ली चले गये। �क क�षण के लि� अफ़सोस होता है कि किसी अत�यन�त आवश�यक कार�य के कारण राजेन�द�रसिंह बेदी और ख़�वाजा अहमद अब�बास भी नहीं आ रहे। लेकिन क�छ क�षण के बाद यह अफ़सोस ख�शी में बदल जाता है जब डाक�टर म�ल�कराज आनन�द आ जाते हैं। इस�मत च�ग़ताई और उनके पति शाहिद लतीफ़ आ जाते हैं। नख़शब जार�जवी और जांनिसार अख़�तर आ जाते हैं। साहिर ल�धियानवी और प�रकाश पण�डित आ जाते हैं। गप�पे हो रही हैं। मज़ाक़ हो रहे हैं। डाक�टर आनन�द इस�मत और शाहिद लतीफ़ में �गड़ा कराने की विफल कोशिश कर रहे हैं। इस�मत साहिर और मजरूह में �गड़ा कराने की विफल कोशिश कर रही हैं। यहां तक की हर कोई हर किसी के साथ �गड़ा करने की विफल कोशिश कर रहा है। हर कोशिश चूंकि विफल जा रही है इसलि� बला का शोर मच रहा है और टेप-रिकार�डर पर इस �तिहासिक बैठक की हर आवाज़ रिकार�ड हो रही है। �का�क मजरूह की आवाज़



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1.अंधेरों में भटकने वाला 2.(स�र�ख) समाजवादी दीपक का
सब आवाज़ों पर छा जाती है। फिर धीरे-धीरे सब आवाज़ें उसकी आवाज़ में विलीन हो जाती हैं और सब-के-सब उसकी ग़ज़ल पर सिर ध�नने लगते हैं।
मजरूह ग़ज़ल का शायर है और उसका कहना है कि वह अपनी ग़ज़लों में इस बात को साबित कर देता है कि मौजूदा ज़माने के मसाइल (समस�याओं) को शायराना रूप देने के लि� ग़ज़ल नामौजूं (अन�पय�क�त) नहीं है, बल�कि क�छ �सी मंज़िलें भी हैं जहां सिर�फ़ ग़ज़ल ही शायर का साथ दे सकती है। हालांकि उर�दू के �क समालोचक कलीम-उल�ला की नज़र में ग़ज़ल �क नीम-वहशी (अर�धसभ�य) काव�य-रूप है और क�छ वर�ष पूर�व क�छ प�रगतिशील साहित�यकारों ने भी इसे मरते ह�� सामन�ती समाज का अंग और केवल आत�मभाव (Subjectiveness) का चमत�कार कहकर इसके उन�मूलन की मा�ग की थी।

लगभग इसी प�रकार की �क मांग रूस की क�रांति से पहले क�छ क�रांतिकारी य�वकों ने भी की थी। वे अतीत की समस�त अच�छी-ब�री परम�पराओं को रूढ़ि और सामन�त-काल की जूठन कहकर उन�हें समाप�त कर डालने पर त�ल गये थे और इस सम�बन�ध में कोई सैद�धान�तिक य�क�ति भी स�नने को तैयार न थे। अत�व जब वहां के महान लेखक त�र�गनेव ने अपने उपन�यासों में �से संकीर�णतावादी पात�रों के प�रस�त�त करना और उनका खेदजनक परिणाम दिखाना श�रू किया तो उन य�वकों ने उसे रूढ़िवादी, प�रतिक�रियावादी, बल�कि क�रांति-विरोधी तक कह डाला और म�तालबा किया कि उसकी समस�त प�स�तकों को जलाकर राख कर दिया जाय क�योंकि उनके अध�ययन से क�रान�तिकारी य�वकों के भटकने की सम�भावना है।

क�रान�ति से छिछला लगाव रखनेवाले भारतीय लेखक भी ग़ज़ल के प�रति अपना रोष प�रकट करते ह�� इस तात�विक सिद�धांत को भूल गये कि हर नई चीज़ प�रानी कोख से जन�म लेती है। भाषा तथा साहित�य और संस�कृति तथा सभ�यता से लेकर शारीरिक वस�त�रों तक कोई चीज़ शून�य में आगे नहीं बढ़ती बल�कि इसे अपने पिछले फ़ैशन का सहारा लेना पड़ता है। और जहां तक आत�मभाव का संबंध है, आत�मभाव किसी चिकने घड़े का नाम नहीं है बल�कि आत�मभाव भी पदार�थ-विषयता का प�रतिबिम�ब होती है। अपने मन की द�निया में रहना किसी पागल के लि� तो सम�भव है लेकिन कोई चेतन व�यक�ति बाह�य परिस�थितियों से प�रभावित ह�� बिना नहीं रह सकता। इन जोशीले लेकिन विमूढ़ साहित�यकारों के बारे में, जो प�रानेपन के इतने विरोधी थे, उर�दू के �क समालोचक ने बिल�क�ल ठीक लिखा है कि उन�होंने टब के गंदले पानी के साथ-साथ और बच�चो को भी फेंक देने की ठान ली थी।

सौभाग�यवश उर�दू के उन संकीर�णतावादी साहित�यकारों ने बह�त शीघ�र अपनी भूल स�वीकार कर ली और साहित�य, इतिहास और सामाजिक परिस�थितियों के गहरे अध�ययन और निरीक�षण के बाद अब वे बच�चे और टब को नहीं, केवल टब के गंदले पानी को फेंकने और उसकी जगह निर�मल और स�वच�छ पानी भरने के लि� प�रयत�नशील हैं।
यह ठीक है कि उर�दू शायरी का �क विशेष रूप होने के कारण ग़ज़ल की क�छ अपनी विशेष परम�परा�ं हैं और वह सामन�त-काल की उपज है, लेकिन इसका यह मतलब नहीं है कि ग़ज़ल की परम�पराओं में कोई परिवर�तन नहीं ह�आ या नहीं हो सकता। विश�व, समाज और मानव-जीवन की प�रत�येक वस�त� की तरह ग़ज़ल की परम�पराओं में भी बराबर परिवर�तन होता रहा है और मीर, सौदा, दर�द, मोमिन, ग़ालिब, दाग़ के कलाम के क�रमशः अध�ययन से हम इस परिवर�तन या विकास की रूप-रेखा देख सकते जागीरदारी के पतन और इस कारण ग़ज़ल की अधोगति के बाद बीसवीं सदी में जिन शायरों ने ग़ज़ल की रूढ़िगत परम�पराओं में परिवर�तन लाने के सफल प�रयत�न किये, उनमें हसरत मोहानी, इक़बाल, जिगर, फ़िराक़, मजाज़, फ़ैज़, और जज़�बी के नाम सबसे ऊपर हैं। इस प�रसंग में मजरूह स�लतानप�री ग़ज़ल के क�षेत�र में नवागन�त�क है।

मजरूह स�लतानप�री ग़ज़ल के क�षेत�र में नवागन�त�क अवश�य है लेकिन अनाड़ी नहीं। उर�दू ग़ज़ल के शयनागार में वह �क सिमटी-सिमटाई लजीली द�ल�हन की तरह नहीं बल�कि �क निडर और बेबाक दूल�हे की तरह दाख़िल ह�आ है और क�छ �से स�वाभिमान के साथ दाख़िल ह�आ है कि शयनागार का मदमाता वातावरण चकाचौंध प�रकाश में परिवर�तित हो गया।
इस सम�बन�ध में मजरूह के कविता-संग�रह ग़ज़ल में मजरूह का परिचय कराते ह�� सरदार जाफ़री ने बिल�क�ल ठीक ही लिखा है कि :
�क और ख़�सूसियत (विशेषता) जो मजरूह को आ़म ग़ज़ल-गो शायरों से म�म�ताज़ (विशिष�ट) करती है, यह है कि उसने समाजी और सियासी मौज़ूआत (विषयों) को बड़ी कामियाबी के साथ ग़ज़ल के पैराया (शैली) में ढाल लिया है। आ़म तौर पर ग़ज़लगो शायरी समाजी और सियासी मौज़ूआत के बयान में फीके-सीठे हो जाते हैं या उनका अन�दाज़े-बयां (वर�णन-शैली) �सा हो जाता है कि नज़�म और ग़ज़ल का फ़र�क बाक़ी नहीं रहता। मजरूह के यहां यह बात नहीं है।
और इस कविता-संग�रह की प�रस�तावना में स�वर�गीय क़ाज़ी अब�द�ल ग़फ़�फ़ार लिखते हैं :

हिन�दोस�तान की नौजवान नस�ल के आतिशख़ाने (अग�निक�ंड) से जो चिंगारियां निकल रही हैं, उनमें �क बह�त रौशन चिंगारी मजरूह स�लतानप�री है, जिसने तग़ज़�ज़�ल के वजदान (अंतःप�रेरणा) में अपनी बेताब रूह को उरियां (नग�न) किया है। उसका श�मार (गणना) उन तरक़�क़ी पसंद (प�रगतिशील शायरों में होता है जो कम कहते हैं और (शायद इसीलि�) बह�त अच�छा कहते हैं। ग़ज़ल के मैदान में उसने वह सब क�छ कहा है जिसके लि� बाज़ तरक़�क़ीपसंद शायर सिर�फ़ नज़�म का ही पैराया ज़रूरी और नाग�ज़ीर (अनिवार�य) सम�ते हैं। सही तौर पर उसने ग़ज़ल के कदीम (प�राने) शीशे में (बोतल में) �क नई शराब भर दी है।

ग़ज़ल के कदीम शीशे में नई शराब यों ही नहीं भर गई। इसके लि� मजरूह को बड़ी तपस�या करनी पड़ी है। शिक�षा के अभाव के बावजूद उसने राजनीतिक बोध की प�राप�ति और सामाजिक विकास और गति के नियमों को सम�ने के लि� घोर परिश�रम किया है, तब जाके उसकी शायरी में उस यथार�थवादी की �लक आ पाई है जिसके बिना कोई शायर बड़ा शायर नहीं कहला सकता। अत�व जब वह कहता है कि :
बचा लिया म��े तूफ़ां की मौज ने वर�ना
किनारे बाले सफ़ीना1 मेरा ड�बो देते
मेरे काम आ गईं आख़िरश2 यही काविशें3 यही गर�दिशें
बढ़ीं इस कद़र मेरी मंज़िलें कि क़दम के ख़ार4 निकल गये

तो केवल इतना ही नहीं कि मजरूह हमें ग़ज़ल की प�राचीन परम�पराओं का उत�तराधिकारी नज़र आता है बल�कि उसके यहां हमें �तिहासिक सच�चाइयों की भी बड़ी स�न�दर �लक मिलती है। ख़िज़ां,
1. नाव 2. आख़िर 3. प�रयत�न 4. कांटे
बहार, साक़ी, महफ़िल, शराब, पैमाना, ग�ल, ग�लिस�तां, सय�याद इत�यादि शब�दों से, जो प�राचीन ग़ज़ल के पात�र हैं, मजरूह ने बड़ी कला-कौशलता से अपना काम निकाला है। इन शब�दों को पहनाया ह�आ उसका नया अर�थ इस बात का अकाट�य प�रमाण है कि शायरी के अन�य रूपों की तरह ग़ज़ल भी �क लिबास है जो विचारों के शरीर को ढांपता है और अपनी तराश-ख़राश और रंग-रूप के आधार पर किसी भी दूसरे लिबास के कम स�न�दर नहीं। मजरूह ने आवश�यकतान�सार इस लिबास में क�छ नये शब�दों द�वारा अपनी और भी रंगीनी खूबसूरती पैदा करने की कोशिश की है। अपनी इस कोशिश में कहीं-कहीं तो वह बह�त सफल रहा है। उदाहरणस�वरूप, पूंजीवाद के प�रति अपनी घृणा प�रकट करते ह�� उसके सबसे बड़े लक�षण बैंक को वह इस प�रकार अपने शेर में बांधता है :
जबीं पर1 ताजे-ज़र2, पहलू में ज़िंदां3, बैंक छाती पर
उठेगा बेकफ़न कब ये जनाज़ा हम भी देखेंगे

और क�रान�ति का स�वागत करते ह�� वह ज़मीन, हल, जौ के दाने, और कारख़ाने �से शब�दों को, जो, नज़�मों में तो किसी तरह खप सकते हैं लेकिन, ग़ज़ल की नाज़�क कमर इनका बो� म�श�किल ही से उठा सकती है, बड़ी शान से यों प�रयोग में लाता है :

अब ज़मीन गायेगी हल के साज पर नग़�में
वादियों में नाचेंगे हर तरफ़ तराने-से
अहले-दिल उगायेंगे ख़ाक से महो-अंज�म4
अब ग�हर5 स�बक6 होगा जौ के �क दाने से
मनचले ब�नेंगे अब रंगो-बू के पैराहन7
अब संवर के निकलेगा ह�स�न कारख़ाने से

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1. माथे पर 2. पूंजी-रूपी ताज 3. जेलख़ाना 4. चा�द-सितारे 5. मोती 6. हल�का (कम क़ीमत का) 7. लिबास।
लेकिन कभी-कभी नये शब�दों के प�रयोग की ध�न में और राजनीति-सम�बन�धी सामयिक आन�दोलनों की धारा में बहकर वह कला की दृष�टि से असफल भी रहता है और उस कोमल सम�बन�ध को भ�ला देता है जो राजनीतिक बोध और उसके कलात�मक वर�णन के बीच होना चाहि�। उसके �से शेर देखिये :
अम�न का �ंडा इस धरती पर, किसने कहा लहराने न पाये
ये भी कोई हिटलर का है चेला, मार के साथी जाने न पाये

इस श�रेणी के शेर यद�यपि उसके यहां आटे में नमक के बराबर हैं फिर भी मेरे त�च�छ विचार में मजरूह को इस प�रकार के वर�णन से पहलू बचाना चाहिये, क�योंकि यह भी क�छ उसी प�रकार की संकीर�णता है, जिसने रूस के महान कलाकार त�र�गनेव को क�रान�तिविरोधी ठहराया था और क�रान�ति आन�दोलन में योग देने की बजाय क�रान�ति को हानि पह�ंचाई थी।
आध�निक उर�दू ग़ज़ल का यह क�रान�तिवादी शायर, जो अपने साधारण जीवन में बड़ा सौन�दर�य-प�रेमी है, कभी भद�दे वस�त�र नहीं पहनता, कभी भद�दा खाना नहीं खाता, भद�दे मकान में नहीं रहता, भद�दी प�स�तकें नहीं रखता, भद�दी बातें नहीं करता और इसीलि� बह�त कम भद�दे शेर कहता है, ज़िला आज़मगढ़ के �क क़स�बे निज़ामाबाद में पैदा ह�आ और हकीम बनते-बनते संयोग से शायर बन गया। उसकी जीवनी उसकी अपनी ज़बान से स�निये :

मैं �क प�लिस कांस�टेबल का बेटा हूं, जो म�लाज़मत के दौरान आज़मगढ़ (यू.पी.) में रहे और वहीं निज़ामाबाद में 1919 में मेरी पैदाइश ह�ई और मैंने अपनी इब�तिदाई तालीम (उर�दू, फ़ारसी, अरबी) वहीं हासिल की। 1930 में मैं आज़मगढ़ से क़स�बा टांडा ज़िला फ़ैजाबाद आया और वहां अरबी दर�स निज़ामिया की तकमील (पूर�ति) करनी चाही लेकिन कर नहीं सका और इलाहाबाद यूनीवर�सिटी के अरबी इन�तिहानों मौलवी, आलिम, फ़ाज़िल की फ़िक�र की कि इस ज़रिये से किसी स�कूल में टीचरी मिल सकेगी। लेकिन आलिम तक पढ़कर उसे भी छोड़ दिया और तिब�ब (चिकित�सा-शास�त�र) की तकमील के लि� लखनऊ आया और यहां अरबी ज़बान में तिब�ब की तकमील की। यह ज़माना 1938 का है। चन�द महीनों तक मतब (औषधालय) किया लेकिन चूंकि स�लतानप�र में क�छ शेर-ओ-अदब की भी चर�चा थी इसलि� म�� में भी शेर कहने का शौक़ पैदा ह�आ। 1941 में जिगर म�रादाबादी ने म��े शायर में स�ना और अपने साथ लेकर कई �क म�शायरों में गये। इस दौरान उन�होंने म��े दो बातें बताईं। उनमें से �क यह थी कि अगर किसी का कोई अच�छा शेर स�नो तो कभी नक़ल न करो बल�कि जो ग�ज़रे (आत�मान�भव हो) वही कहो। बाक़ायदा इस�लाह (संशोधन) मैंने किसी से नहीं ली। बिल�क�ल श�रू की दो ग़जलों पर आ़सी साहब महरूम से इस�लाह ली थी। लेकिन वे ग़ज़लें मेरे हाफ़िजे (मस�तिष�क) में बिल�क�ल नहीं हैं। 1945 में �क म�शायरे से सिलसिले में बम�बई आया और यहीं फ़िल�मों के गीत वग़ैरा लिखने लगा और अब तक यहीं हूं। 1947 में अंज�मने-तरक़�क़ीपसंद-म�सन�नफ़ीन (प�रगतिशील लेखक संघ) से वाबस�ता हूं1

1. इससे पूर�व मजरूह प�रगतिशील धारणा से सहमत नहीं था। अर�थात� वह साहित�य और कला के सामाजिक उद�देश�य का पक�षपाती न था। लेकिन सरदार जाफ़री के कथनान�सार �क बार जब मजरूह अजन�ता और �लोरा देखने गया तो अजन�ता में गौतम ब�द�ध की शिक�षा, जीवन और उस काल के वातावरण के चित�रण ने मजरूह को स�तब�ध कर दिया और उसी समय से उसे विश�वास हो गया कि सामाजिक उद�देश�य के बिना महान कला जन�म नहीं ले सकती। उसने कहा, अजन�ता फ़न (कला) का आलातरीन (महानतम�) नमूना है। फिर भी प�रौपेगंडा है। वह जाविदां (अमर) इसलि� है कि उसने रूहे-अस�त�र (य�ग की आत�मा) को असीर (बन�दी) कर लिया है। यही ख़याल बाद को इस शेर में इस तरह ढल गया :

नवा है जाविदां मजरूह जिसमें रूहे-साअ़त हो
कहा किसने मेरा नग़�मा ज़माने के चलन तक है

बाद में अपनी प�रगतिशील शायरी का उसे दंड भी मिलापूरे �क वर�ष का कारावास ! लेकिन �क बार जो क�लाह कज ह�ई1 फिर :
सर पर हवा-�-ज�ल�म2 चले सौ जतन के साथ
अपनी क�लाह कज है उसी बांकपन के साथ

2. टोपी टेढ़ी ह�ई 2. अत�याचार की हवा

और रोज़-ब-रोज़ (अगरचे फ़�र�सत कम मिलती है) इसी कोशिश में हूं कि ग़ज़ल के पस मंज़र (पृष�ठ-भूमि) में मार�कसिज़�म को रखकर, समाजी, सियासी और इश�क़िया शायरी कर सकूं। च�नांचे क�छ लोग कहते हैं कि मैं अच�छा शायर हूं और क�छ लोग कहते हैं कि अच�छा आदमी हूं। त�म म��े दोनों �तिबार से जानते हो, जो चाहो फ़ैसला कर लो।
इस सम�बोधन का त�म चूंकि मैं हूं इसलि� मेरा फैसला यह है कि मजरूह आदमी भी बह�त अच�छा है और शायर भी बह�त प�रतिभाशाली।
1.

मजरूह स�लतानप�री ने पचास से ज�यादा सालों तक हिंदी फिल�मों के लि� गीत लिखे। यह काम इतने लंबे समय तक शायद किसी और ने कभी नहीं किया। आजादी मिलने से दो साल पहले वे �क म�शायरे में हिस�सा लेने बम�बई ग� थे और तब उस समय के मशहूर फिल�म-निर�माता कारदार ने उन�हें अपनी नई फिल�म शाहजहां के लि� गीत लिखने का अवसर दिया था। दरअस�ल उनका च�नाव �क प�रतियोगिता के द�वारा लिखा गया था। इस फिल�म के गीत प�रसिद�ध गायक सहगल ने गा� थे और बात की बात में गीतों के साथ गीतकार भी मशहूर हो गया। ये गीत थे-गम दि� म�स�तकिल और जब दिल ही टूट गया जो आज भी बह�त लोकप�रिय हैं। इनके संगीतकार नौशाद साहब थे। मजरूह के साथ उनकी दोस�ती खूब जमी।

जिन फिल�मों के लि� आपने गीत लिखे उनमें से क�छ के नाम हैं-सी.आई.डी., चलती का नाम गाड़ी, नौ-दो ग�यारह, पेइंग गेस�ट, काला पानी, त�म सा नहिं देखा, दिल देके देखो, दिल�ली का ठग, इत�यादि।
पंडित नेहरू की नीतियों के खिलाफ �क जोशीली कविता लिखने के कारण आपको सवा साल जेल में रहना पड़ा। इस अवधि में राजकपूर ने उनकी बड़ी मदद की। 1994 में उन�हें फिल�म जगत के सर�वोच�च सम�मान दादा साहब फालके प�रस�कार से सम�मानित किया गया। इससे पूर�व 1980 में उन�हें ग़ालिब �वार�ड और 1992 में इकबाल �वार�ड प�राप�त ह�� थे। वे जीवन के अंत तक फिल�मों से ज�ड़े रहे। जून 2000 में उनका देहांत हो गया।

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KAIFI AZMI

Birthplace: Azamgarh, U.P.

Profession: Poet, Bollywood Film song Lyricists

Family: Wife - Shaukat Azmi, stage artist, writer;

Daughter - Shabana Azmi, Bollywood actress, Social worker, Member of Parliament, Rajya Sabha.

Born to a family of landlords in Majwan in the district of Azamgarh, in the small town of UP, as Syed Athar Hussain Rizvi Kaifi Azmi was fortunate in having a liberal and modern father.

His father Syed Fateh Hussain Rizvi, though a landlord, took up employment first in a small native state called Balharah as a tahsildar and later, he worked in other areas of Uttar Pradesh.

He decided to send his sons to schools imparting modern education, including English, against the stiff opposition of his relatives.

Although his father wanted Kaifi to have a modern "English" education, pressure from relatives who wanted him to be a theologian saw him admitted to the Sultan-ul-Madris seminary in Lucknow.

However, Azmi could not get this opportunity because his elders wanted him to become a theologian.

He was admitted to Sultan-ul-Madaris, a reputed seminary in Lucknow.

However, his nonconformist nature created many problems for the authorities of the seminary.

He formed a students' union and asked all the students to go on strike to get their demands fulfilled.

The strike continued for a year and a half.

Once the strike was called off, Kaifi Azmi was expelled and there ended his relatives' ambitions.

This was the end of his elder's dream of training him to become a theologian.

Azmi could not seek modern education but he passed various examinations in Lucknow and of Allahabad universities that helped him acquire command over Arabic, Persian and Urdu.

Once the strike was called off, Kaifi Azmi was expelled and there ended his relatives' ambitions.

Denied the kind of education he and his father wanted, Kaifi Azmi took courses at Lucknow and Allahabad universities that helped him acquire a command over Urdu, Arabic and Persian.

At age eleven, Kaifi Azmi wrote his first ghazal Itna To Zindagi Mein Kisi Ki Khalal Pade and somehow managed to get himself invited to a mushaira and over there, he recited a ghazal, rather a couplet of the ghazal which was very much appreciated by the president of the mushaira, Mani Jaisi, but most of the people, including his father, thought he recited his elder brother's ghazal.

When his elder brother denied it, his father and his clerk decided to test his poetic talent.

They gave him one of the lines of a couplet and asked him to write a ghazal in the same meter and rhyme.

Azmi accepted the challenge and completed a ghazal.

This particular ghazal was to become a rage in undivided India and it was immortalized as it was sung by legendary ghazal singer, Begum Akhtar.

Kaifi abandoned his studies of Persian and Urdu during the Quit India agitations in 1942 and shortly thereafter became a full time Marxist when he accepted membership of the Communist Party of India in 1943.

He had expressed his view towards social system of our country at that time.

In the Flim called "Payasa" he wrote a song which also made Mr. Jawahar Lal Nehru,Prime Minister Of India that time, to feel a pain.

Some of the lines of this poetry were very significant in the consequence of our social system.

During this period, the leading progressive writers of Lucknow noticed him.

They were very impressed by his leadership qualities. They also saw in him a budding poet and extended all possible encouragement towards him.

Consequently, Azmi started to win great acclaim as a poet and became a member of Progressive Writers' Movement of India.

At the age of twenty-four, he started activities in the textile mill areas of Kanpur.

As a full time worker, he left his life of comfort, though he was the son of a zamindar.

He was asked to shift his base to Bombay, work amongst the workers and start party work with a lot of zeal and enthusiasm and at the same time would attend mushairas in different parts of India.

In Bombay, he joined Ali Sardar Jafri in writing for the party’s paper, Qaumi Jung.

In 1947, he visited Hyderabad to participate in a mushaira.

There he met, fell in love with and married a beautiful woman named Shaukat.

Shaukat Kaifi later became a renowned actress in theatre and films. They had two children together, Shabana Azmi (b. 1950), a renowned actress of Indian cinema and Baba Azmi, a noted cameraman.

Kaifi Azmi - The revolt within

Kaifi, like most of the Urdu poets, began as a ghazal writer cramming his poetry with the oft-repeated themes of love and romance in a style that was replete with cliched similes and metaphors.

However, his association with the Progressive Writers' Movement and Communist Party made him embark on the path of socially conscious poetry.

In his poems he highlights the exploitation of the subaltern masses and through them he conveys a message of the creation of a just social order by dismantling the existing one.


Such poetry serves a social purpose and in this respect Kaifi can be called a successful Progressive poet.

The choice of his themes does not leave much scope for him to make rich his poetic creations aesthetically.

In many of his poems his phonation is a bit louder, the style is direct and closer to rhetoric.

Yet, his poetry cannot be called plain propaganda.

It has its own merits; intensity of emotions, in particular, and the spirit of sympathy and compassion towards the disadvantaged section of society, are the hallmark of his poetry.

His poems are also notable for their rich imagery and in this respect, his contribution to Urdu poetry can hardly be overstated.

Kaifi’s first collection of poems, Jhankar was published in 1943.

His important works including anthologies of poetry, were Aakhir-e-Shab, Sarmaya, Awaara Sajde, Kaifiyaat, Nai Gulistan, an anthology of articles he wrote for Urdu Blitz, Meri Awaaz Suno, a selection of his film lyrics, and the script of Heer Ranjha in Devanagari.

His best known poems are Aurat, Makaan,Daaera,Saanp, and Bahuroopni.

Azmi Saab's stint in film includes working as lyricist, writer and almost an actor!

Kaifi wrote his first lyrics for the film Buzdil, directed by Shaheed Latif, in 1952.

His early work as storywriter was mainly for Nanubhai Vakil's films like 'Yahudi ki Beti' (1956), 'Parvin' (1957), 'Miss Punjab Mail' (1958) and 'Id ka Chand' (1958). But perhaps his greatest feat as a writer was Chetan Anand's 'Heer Ranjha' (1970) wherein the entire dialogue of the film was in verse. It was a tremendous achievement and one of the great feats in Hindi Film writing. Kaifi Azmi Saab also won great critical accolades for the script, dialogues and lyrics of M.S. Sathyu's 'Garam Hawa' (1973), based on a story by Ismat Chughtai. The film, chronicles the plight of the minority Muslims in North India and is set in Agra after the first major partition exodus. Balraj Sahni played to perfection the central role of an elderly Muslim shoe manufacturer who must decide whether to continue living in India or to migrate to the newly formed state of Pakistan. 'Garam Hawa' remains today one of the most poignant films ever to be made on India's partition. Azmi also wrote the dialogues for Shyam Benegal's 'Manthan' (1976) and Sathyu's 'Kanneshwara Rama' (1977).

While directors like Khwaja Ahmad Abbas and Bimal Roy strove to create the “New Cinema�, writers like Sahir Ludhianvi, Jan Nisar Akhtar, Majrooh Sultanpuri, and Kaifi changed the tenor and vocabulary of the Hindi film song, creating a fresh new wave in Hindi film lyrics that lasted many years.

His greatest feat as a writer was Chetan Anand's Heer Raanjha (1970) wherein the entire dialogue of the film was in verse.

It was a tremendous achievement and one of the greatest feats of Hindi film writing.

Azmi also won great critical accolades for the script, dialogues and lyrics of M.S. Sathyu's Garam Hawa (1973), based on a story by Ismat Chughtai.

Azmi also wrote the dialogues for Shyam Benegal's Manthan (1976) and Sathyu's Kanneshwara Rama (1977).

As a lyricist and songwriter, though he wrote for numerous films, he will always be remembered for Guru Dutt's Kaagaz Ke Phool (1959) and Chetan Anand's Haqeeqat (1964), India's greatest war film.

Some other notables films for which he wrote lyrics include Kohra (1964), Anupama (1966), Uski Kahani (1966), Saat Hindustani (1969), Shola Aur Shabnam, Parwana (1971), Bawarchi (1972), Pakeezah (1972), Hanste Zakhm (1973), Arth (1982) and Razia Sultan (1983).

He also played a memorable role of Naseem's grandfather in Naseem (1995),a touching film centered around the destruction of the Babri Masjid at Ayodhya.

The film is set in June-December 1992, the days preceding the demolition of the Masjid on December 6, 1992 by Hindutva fanatics.

Naseem (Mayuri Kango) is a schoolgirl belonging to a middle class Mumbai based Muslim family.

She enjoys a warm relationship with her aged ailing grandfather (Azmi Saab). With increasing horror the family watches on their TV the news of the build up at Ayodhya while the grandfather regales her with stories of life in pre-independence Agra.

The grandfather dies on December 6 coinciding with the news of the destruction of the mosque.

Azmi Saab's brilliant performance provides not just a reminder but a literal embodiment of the cultural traditions at stake those tragic days.

It was a performance his daughter, multiple National Award winning actress Shabana Azmi, was proud of.

As a lyrics writer though he wrote for numerous films, he would always be remembered for Guru Dutt's 'Kaagaz ke Phool' (1959) and Chetan Anand's 'Haqeeqat' (1964), India's greatest ever war film.

In the former who can forget 'Bichde Sabi Baari Baari' or 'Waqt ne Kiya Kya Haseen Situm' and 'Hoke Majboor Mujhe Usne Bhulaya Hoga' or 'Kar Chale Hum Fida Jaan-o-Tan Saathiyon' in the latter.

The last mentioned patriotic song causes goose pimples even when heard today.

Kaifi Azmi passed away in Mumbai on May 10, 2002 at around the age of eighty-three, following cardiac and respiratory infection.

Time waits for none. This time it was Kaifi Azmi, the poet extraordinaire, who had to move on.

Death came after a prolonged illness of 45 days.

He was survived by his wife, daughter and son.

His autobiography is included in a collection of his works, Aaj Ke Prashid Shayar: Kaifi Azmi.

Kaifi Azmi was the subject of a documentary film called Kaifi Azmi (1979), directed by Raman Kumar.

In 1997, he recited his own poems for Kaifiyaat, an audio book on his collected works.

Kaifi Aur Mein, a play based on his life, his works and the memoir of his wife, Shaukat Azmi - Yadon Ki Rahguzar (Down Memory Lane), was written and performed by Javed Akhtar and Shabana Azmi, and performed in India as well as abroad in 2006. Another play, directed by Rani Balbir, Waqt Ne Kiya Kya Hasin Sitam, based Kaifi Azmi’s life and writings was staged in 2005, and received rave reviews.


LIBRARY OF CONGRESS NEW DELHI OFFICE

He died in Mumbai on May 10, 2002, fifteen months after recording for the Library of Congress in New Delhi.

At the time of his death he was one of the last remaining representatives of the Progressive Writers Association, a writers' association that wielded unparalleled influence during India's freedom struggle.

His poetry remains solidly rooted in the tradition of Urdu poetry with its ardent longing for intense emotions and passionate espousal of radical causes.

His poems celebrate love, compassion and human equality. The lyrical beauty and powerful expression of his film songs have captivated millions.

Despite the political and economic shifts in India, he retained his idealism and remained to the end optimistic of a socialist future for India.

This optimism was reflected in poetry replete with dreams of a socialist egalitarian society in which the voice of another fellow human being will be felt like melodious music.

"I was born in enslaved India, have lived in independent secular India, and God willing, I will die in socialist India."

(The Indian Express, September 9, 1998)

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The Best of Kaifi Azmi

Song Movie

Baharon Mera Jiwan Sanwaaro Aakhri Khat

Ye Nayan Dare Dare Kohraa

Waqt Ne Kiya Kya Haseen Sitam Kaagaz ke Phool

Chalte Chalte Yun Hi Koi Mil Gaya Tha Pakeezah

Tum Itna Jo Muskura Rahe Ho Arth

Dhire Dhire Machal Ai Dil Beqarar Anupama

Chalo Dildaar Chalo Pakeezah

Aane Waala Kal Ek Sapna Phir Teri Kahani Yaad Aayi

Ye Duniya Ye Mehfil Heer Ranjha

Dekhi Zamane Ki Yaari Kaagaz ke Phool

Mana Ho Tum Toote Khilone

Awards

He was the recipient of Padma Shri one of the Indian Government's highest civilian awards.

Besides he was awarded the Uttar Pradesh Urdu Academy Award and the Sahitya Akademi Award for his collection Awaara Sajde, Special Award of Maharashtra Urdu Academy, Soviet Land Nehru Award, Lotus Award from the Afro-Asian Writers' Association, and President’s Award for national integration.

In 1998, Government of Maharashtra conferred the Jyaneshwara Award on him.

He was also honoured with the prestigious Sahitya Academ Fellowship for lifetime achievement.

In 2000, he was conferred the first Millennium Award by the Government of Delhi and the Delhi Urdu Academy.

He has also been honoured with a doctorate from Vishva Bharati University, Santiniketan.


1975: Sahitya Akademi Award: Awara Sajde

2002: Sahitya Akademi Fellowship (Immortals of Literature)

1970: National Film Award for Best Lyrics: Saat Hindustani

1975:Filmfare Best Dialogue Award: Garam Hawa

1975:Filmfare Best Screenplay Award: Garam Hawa (with Shama Zaidi)

1975:Filmfare Best Story Award: Garam Hawa (with Ismat Chughtai)


Aaj ki raat bahut garam hawa chalti hai
Aaj ki raat na neend aayegi
Hum sub uthen, main bhi uthun, tum bhi utho
Koi khidki isi deewar mein khul jayegi
- Makaan

Tu jo bejaan khilonon se behel jaati hai
Tapti saanson ki haraarat se pighal jaati hai
Paaon jis raah mein rakhti hai fisal jaati hai
Banke seemaab har ik zarf mein dhal jaati hai
Zist ke aahni saanche main dhalna hai tujhe
uth meri jaan mere saath hi chalna hai tujhe…
- Aurat (Woman)

* Waqt Ni Kiya Kya Haseen Sitam
Hum Rahe na Hum, tum rahe na tum.
- Film Kaagaz Ke Phool 1959

Tum Itna Kyun Muskuraa Rahe Ho
Kya gum hai jisko Chupa rahe Ho.
- Film Arth (1982)

zindeji bhar mujhe nafrat si rahi asko se
Meri khwabo ko tum asko me dubote keu ho?
Jo meri tarha jia karte hai kab marte hai
Thak gaya hu mujhe solene do rote keu ho?
Soke bhi jagte rahte hai janbaz suno.
.......keu sazai ho chandan ke chita mere liey
mai koi jism nahi jalao ge mujhe
rakh ke saath bikhar jaunga dunia me


thokar jahan khaogey waha paogey mujhey



Kaifi Azmi: The End of an Era

Meera Kabir

It was 1998. A time when Mr. Bal Thackeray and his Shiv Sainiks decided the fate of every individual who lived in Mumbai. Photographs of respectable people touching Bala Sahib’s feet adorned every publication, journalists who wrote against him could suddenly find their offices vandalized, artistes could have their art destroyed, and even sports clubs were not exempt.

It was, as I said, 1998 and we were marching to protest against another one of those unreasonable acts. Several speakers spoke but one in particular stood out. An old, frail man, wrapped in a shawl, who had to be carried to the dais, who should have been in bed resting after a long, weary struggle but who chose instead to join our protest. He looked wan and weak but when he spoke, his voice rose strong and clear and fearless. A lifetime of living by his convictions giving him the strength to challenge the might of Mr. Thackeray and his gang. That was the last time I saw Kaifi.

It was not, however, the first. I had seen him countless times earlier, at ‘mushairas’, sharing the dais with my grandfather. He would beam with childlike glee when his ‘nazms’ were appreciated, throw a twinkling repartee at a heckler, accept criticism with grace and poise – but never, ever change his stance.

Born Akhtar Hussain Rizvi, in an obscure hamlet near Azamgarh, U.P., his family had intended him to become a shia theologian. But Kaifi had other plans and soon proved to be too much of a handful for the seminary he had been sent.

It was a period of intense political turmoil in the history of this country. On one hand was the Mahatma with his philosophy of non-violence, on the other was the rising spectre of communal hatred and violence. And caught in the midst of all this were several brave and idealistic young men and women.

Kaifi, coming from a family of some literary traditions, was naturally drawn to the Progressive Writers’ Movement pioneered by Sajjad Zaheer. Romance and the beauty of a hard-hearted beloved were no longer the only subjects that interested the young poet. He wanted to talk about social justice, about oppression and about the beautiful dream of freedom. He joined the Communist Party and was sent to Bombay to take care of the ‘Qaumi Jung’, an Urdu newspaper taken out by the party. Then came the partition – the breaking of a nation that Kaifi and his contemporaries had fought for, made sacrifices for, and tried to build with their blood and sweat. It was a happening so unprecedented, so momentous, so soul-destroying that no one who was caught in the tumult of that moment could escape unscathed. Everyone who could write – wrote – about human beings turned animals, about the vitriolic hatred which surrounded them and most of all, to lament the breaking of the dream they had all cherished.

The destruction of an ideal is a difficult fact to live with and several of the Progressive Writers gave in to cynicism and despair. But there were still the stalwarts – Kaifi, Sardar, Faiz and my own grandfather Ghulam Rabbani Taban, who refused lay down their banner of protest. These people, the hopelessly hopeful, the doggedly determined, turned away from the lure of a soft life and continued in the path they had chosen. It was clear that their fight was still not over and all that they had to guide them was their hope and the burning beacon of their faith. Kaifi wrote :

Ek diya naam ka yakjehti ke,
Roshni is ki jahan tak pahunchi,
Qaum ko ladte-jhigadte dekha,
Maan ke aanchal mein hain jitne paiwand,
Sab ko ek saath ujhadte dekha.

(The lamp which I lit in the name of unity, Wherever its light did fall, it saw people fighting, as if all the mending in a mother’s breast-cloth had come undone at once).

Bujh gaye saare diye,
Haan magar ek diya,
Naam hai jiska ummeed,
Jhilmilaata hi chala jaata hai.

(All the lamps died out, but there was just one lamp, which I had named Hope, which keeps burning on).

But their courage and hope were to be tested again and again. Wars, scandals, the break-up of the Communist Party, affected them deeply but still they carried on. Kaifi, especially was extremely active. As a poet, in Indian Peoples’ Theatre Association and as a whole-timer of the Communist Party, he played many roles with finesse and never faltered once – not in his definition of an ideal India and not in the vigorous style of his poetry. He continued writing, for publication as well as for films. He went so far as to write the entire script of ‘Heer Ranjha’ in verse. He even acted in ‘Naseem’, another film. He wrote beautiful lyrics and he continued to be heard, in every possible forum.

In 1993, when Mumbai was torn by riots in the aftermath of the demolition of the Babri Masjid, Kaifi refused to vacate his home in Janki Kutir, Juhu. Even when he received threats. Even when a concerned daughter tried to persuade him to do so. He only said that he had full faith in the people of this country – nothing would happen to him. And nothing did.

When Gujarat burned while its protectors stood by and watched, Kaifi was ailing and hospitalised. From his deathbed, the old soldier issued a last, anguished battlecry: Suno Jaanbaaz Suno, Meri Awaaz Suno, Pyaar ka Raag Suno.

(Listen O brave-hearted, listen to my voice, listen to the song of Love)

Now, Kaifi is no more. He closed his eyes on the 10th of May, still dreaming of a better India. But his legacy lives on - through his daughter and through anyone who has ever read or been inspired by his words. In his own words :

Kar chale hum fida jaano-tan saathiyon; Ab tumhaare hawaale watan saathiyon.

(We bid adieu having sacrified our lives for this country comrades, This nation we leave in your safekeeping).

poems

अंदेशे / कैफ़ी आज़मी

अज़ा में बहते थे आ�सू यहा� / कैफ़ी आज़मी

अब त�म आग़ोश-�-तसव�व�र / कैफ़ी आज़मी

आवारा सजदे / कैफ़ी आज़मी

इतना तो ज़िन�दगी में किसी की ख़लल पड़े / कैफ़ी आज़मी

इब�ने-मरियम / कैफ़ी आज़मी

�क द�आ / कैफ़ी आज़मी

� सबा! लौट के किस शहर से तू आती है? / कैफ़ी आज़मी

कभी जमूद कभी सिर�फ़ इंतिशार सा है / कैफ़ी आज़मी

कल चले हम फ़िदा / कैफ़ी आज़मी

कोई ये कैसे बता� / कैफ़ी आज़मी

कोई ये कैसे बता ये कि वो तन�हा क�यों हैं / कैफ़ी आज़मी

खार-ओ-खस तो उठें, रास�ता तो चले / कैफ़ी आज़मी

��की ��की सी नज़र बेक़रार है कि नहीं / कैफ़ी आज़मी

त�म इतना जो म�स�क�रा रहे हो / कैफ़ी आज़मी

त�म परेशां न हो / कैफ़ी आज़मी

दायरा / कैफ़ी आज़मी

दूसरा वनवास / कैफ़ी आज़मी

दो-पहर / कैफ़ी आज़मी

नज़राना / कैफ़ी आज़मी

पत�थर के ख़�दा वहा� भी पाये / कैफ़ी आज़मी

पशेमानी / कैफ़ी आज़मी

पहला सलाम / कैफ़ी आज़मी

बस इक �ि�क है यही / कैफ़ी आज़मी

मकान / कैफ़ी आज़मी

मशवरे / कैफ़ी आज़मी

मेरे दिल में तू ही तू है / कैफ़ी आज़मी

मैं ढू�ढता हू� जिसे वो जहा� नहीं मिलता / कैफ़ी आज़मी

वक�त ने किया क�या हंसी सितम / कैफ़ी आज़मी

वतन के लिये / कैफ़ी आज़मी

वो कभी धूप कभी छा�व लगे / कैफ़ी आज़मी

सदिया� ग�जर गयीं / कैफ़ी आज़मी

स�ना करो मेरी जा� / कैफ़ी आज़मी

हाथ आकर लगा गया कोई / कैफ़ी आज़मी


Soundtrack:

1990s

1980s

1970s

1960s

1950s

Such a Long Journey (1998) (writer: "Thare rahiyo") ... aka Un si long voyage (Canada: French title)

Arth (1982) (lyrics: "Tum Itna Jo Muskura Rahe Ho...") ... aka The Meaning

Dhoop Chhaon (1977) (lyrics: "Ek Shehri Chora Teer Kaleje Maar Gayo Re")

Faslah (1974) (lyrics: "Zindagi, Cigarette Ka Dhuan") ... aka Faasla (India: Hindi title: alternative transliteration) ... aka The Distance

Pakeezah (1972) (lyrics: "Chalte Chalte") .. aka Pure Heart ... aka Pure One (India: English title) ... aka The Pure

Chhoti Bahu (1971) (lyrics: "Kanhaiya, Kisko Kahega Tu Maiya")

Parwana (1971) (lyrics: "Chale Ladkhada Ke", "Jis Din Se Maine Tumko Dekha Hai", "Piya Ki Gali", "Simti Si Sharmai Si", "Yun Na Sharma Phailade")

Saat Hindustani (1969) (lyrics: "Aandhi Aaye Ki Toofan Koyee Gam Nahin") ... aka Seven Indians

Satyakam (1969) (lyrics: "Do Din ki Zindagi, Kaisi Hai Zindagi", "Zindagi Hai Kya Bolo, Zindagi Hai Kya", "Abhi Kya Sunoge, Suna Toh Hasoge, Ke Hai Geet Adhura, Tarana Adhura")

Naunihal (1967) (lyrics: "Tumhari zulf ke saaye me shyam kar lunga, safar ik umra ka pal me tamam kar lunga", "Patthar ke Bhagwan pigalja, aaj pigalna hoga", "Meri awaaz suno, pyar ka raaz suno, meri awaaz suno")

Anupama (1966) (lyrics: "Ya Dil Ki Suno Duniyawalo", "Bheegi Bheegi Faza", "Dheere Dheere Machal", "Kyon Mujhe Itni Khushi", "Kuchh Dil Ne Kaha")

Haqeeqat (1964) (lyrics: "Zara Si Aahat Hoti Hai", "Mast Mein Chhed Ke Tarana", "Mein Yeh Sochkar", "Aayi Ab Ke Saal Diwali", "Hoke Majboor Mujhe", "Ab Tumhare Hawale Watan Saathiyo")
... aka Reality (India: English title: literal title)

Kohraa (1964) (lyrics: "Jhoom Jhoom Dhalti Raat", "Beqaraar Dil Ho Chuka Hai Mujhko Aansuon Se Pyaar", "Yeh nayan Dare Dare", "Raah Bani Khud Manzil")

Shama (1961) (lyrics: "Insaaf Tera Dekha", "Sach Kehte Ho Tum", "Woh Sadgi Kahe Isse, Deewangee Kahe", "Meri Mehmoob Tujhe Pyar Karoon, Ya Na Karoon", "Aap Se Pyar Hua Jata Hai", "Dil Gaya To Gaya, Dilruba Mil Gaya", "Mast Aankhon Mein", "Dharakte Dil Ki Tamanna", "Yaas Ke Dhar Pe Jhuka Jata Hai Sar Aaj Ki Raat", "Is Jurm Karke Humne", "Dil Gham Se Jal Raha Hai")

Kaagaz Ke Phool (1959) (lyrics: "Dekhi Zamaane Ki Yaari, Bichhde Sabhi Baari Baari", "San San San Jo Chali Hawa", "Hum Tum Jise Kehta Hai Shaadi", "Ek Do Teen Chaar Aur Paanch", "Waqt Ne Kiya Kya Haseen Sitam")
... aka Paper Flowers

Lala Rukh (1958) (lyrics: "Aana hi padega, sar ishq ke qadmon pe", "Alvida jaane vafa", "Hai kali kali ki lab par tere husn ka fasaana", "Le jaa meri duaayen daaman chhudaanewaale", "Pyaas kuchh aur bhi bhadka di jhalak dikhlaake tujhko parda rukh-e-roshan", "Thi ek shaahzaadi", "tujhko parda rukh-e-roshan se hataana hoga")

Writer:

1970s

1960s

1950s

Kanneshwara Rama (1977) (dialogue)

Manthan (1976) (dialogue) ... aka The Churning (UK)

Garam Hawa (1973) (dialogue) (screenplay) (story adaptation) ... aka Hot Winds

Naina (1973) (writer)

Heer Raanjha (1970/I) (dialogue)

Shama (1961) (dialogue)

Heer (1956) (dialogue)

Music Department:

Satyakam (1969) (lyricist: songs)

Haqeeqat (1964) (lyricist) ... aka Reality (India: English title: literal title)

Shama (1961) (lyricist)

Actor:

Naseem (1995) .... Naseem's Grandfather ... aka The Morning Breeze (International: English title)



B B C NEWS

Urdu poet Kaifi Azmi dead

The renowned Indian poet and lyricist, Kaifi Azmi, has died in a Bombay hospital at the age of 82.

A Communist Party member and committed social activist, Azmi felt the poet's role was to inspire people to bring about changes in society, and wrote many poems about the plight of the exploited.

His work reflected the social and political realities of the time, and was rooted in the tradition of Urdu poetry with its longing for intense emotions.

As a child, Azmi's family despaired when he showed no interest in taking over the family estate.

Instead he sympathised with the rural poor, even refusing to wear new clothes at festivals so as not to embarrass them.

He wrote his first poem when he was eleven, and it became a hit across the sub-continent for the singer Begum Akhtar.

Kaifi Azmi said he didn't remember his date of birth, and that all he could say with confidence about himself was that he had been born in the enslaved India, became old in the Independent secular India and hoped to die in the Socialist India.

The president, K.R. Narayanan, was among those who paid tribute, saying Azmi's commitment to secular values should be a source of inspiration at a time when sectarian violence was still going on.

From the newsroom of the BBC World Service

http://en.wikipedia.org/wiki/Kaifi_Azmi
http://www.kavitakosh.org/kk/index.php?tit...़मी
http://www.imdb.com/name/nm0044340/
http://www.loc.gov/acq/ovop/delhi/salrp/kaifiazmi.html

raja mahendi ali khan

http://www.bollywoodblitz.com/forum/archiv...php?t-1385.html

http://en.wikipedia.org/wiki/Raja_Mehdi_Ali_Khan

Raja (king) of a poet who was a misfit in films.

The poet, writer and lyricist Raja Mehdi Ali Khan was born in Karmabad in undivided India.

This township got its name from his zamindar grandfather.

Raja Mehdi's early tutoring was under his mother Hebay Saheba soon after he had lost his father.

Dr. Allana Iqbal has acknowledged Hebay Saheba as a leading Urdu poet.

In the early forties while serving at all India Radio, Delhi, Raja Mehdi Ali Khan got a call from his friend Sadat Hsan Monto the noted Urdu writer who had joined Hindi films.

Raja started as a dialogue writer and did a role in Ashok Kumar's 8 Day's but writing dialogues and acting was not for him.

S. Mukherji the partner in Filmistan Studios gave Raja Mehdi the poet a chance to write lyrics in his film 'Do Bhai' (1946).

Songs like 'Mera Sunder Sapna' and 'Yaad Karoge' from this film became instant hits.

In 1947, in spite of communal riots, Raja Mehdi and his wife Tahira took the decision of staying in India rather than migrating to the newly formed Pakistan.

In 1948 his patriotism manifested in his songs 'Watan ki raah mein' and 'Todi todi bachay' from the Dilip Kumar and Kamini Kaushal starrer 'Shaheed'

Raja Mehdi never discriminated when it came to working with established or new music composers.

'Madhosh' (1950) was music composer, Madam Mohan's debut film with Raja Mehdi. He had been associated with music composers like Iqbal Qureshi, Babul, S. Mohinder, Chic Chocolate and Rono Mukerjhi to name some.

He has given some wonderful songs with C. Ramchandra (Mere piya gaye Rangoon) and O.P. Nayyar (Main Pyar Ka Rahi Hoon).

However, he formed an immortal team with Madan Mohan.

'Anpadh', 'Mera Saaya', 'Who Kaun Thi', Neela Akash', Dulhan Ek Raat Ki' and 'Nawab Siraj-ud-Daulah' were some outstanding films where this duo worked together.

Raja Mehdi Ali Khan was the first lyricist to introduce 'Aap' in film songs. 'Aap ki nazron….' (Anpadh), 'Aap kyon roye' (Woh Kaun Thi), 'Aap ne apna banaya' (Dulhan Ek Raat Ki) are some examples.

Incidentally, his song 'Lag ja gale' from the film 'Woh Kaun Thi' was one amongst the top ten all time favorites in film history to be 'retired' from Antakshri on Zee TV.

In the mid sixties Raja Mehdi Ali Khan paired with the next generation sensation.

Laxmikant Pyarelal in films like 'Anita' and 'Jaal'.

This was as far as Raja Mehdi's career was destined. He breathed his last on July 29 1996 leaving behind a treasure of songs that are still cherished by all lovers of poetry in film songs.

His surviving peers remember him for his great poetry, his criticism and love for food.

In a TV interview, the late actor Mehmood recalled how he worked as Raja Mehdi's chauffeur during his youth.

Raja Mehdi's poems and short stories regularly appear in Urdu magazines like 'Biswin Sadi', 'Shama Bano' and 'Khilona'.

He is survived by a wealth of songs and Urdu 'Diwans' like 'Andaaz-E-Bayaan Aur' and 'Mizraab'

He lived like the Raja of good poetry till the end. He brought good poetry to Hindi songs when they were facing times when they were just considered as a pastime.

He refused to compromise when it came to poetry.

He could have been known as one of the greatest lyricist of Hindi films but preferred to live as a Raja of his own world, his own kingdom which no 'enemy' could even try to plunder or take away from him. A Raja like this Raja rules once in many decades and his rule is remembered for all time.


He died on July 29, 1996.


Wrote Lyrics for:

Aankhen

Aap Ki Parchhaiyaan

Actress

Adaa

Anita

Ankhen

Anpadh

Daaman

Do Bhai

Do Dilon Ki Daastaan

Dulhan Ek Raat Ki

Ek Musafir Ek Hasina

Inaam

Jaagir

Jaal

Jab Yaad Kisi Ki Aati Hai

Jali Note

Madhosh

Manchalaa

Masoom


Filmography



Music Department:

1960s

1950s

Jaal (1967) (composer: additional music: lyrics) (as Raja Mehdi Khan) ... aka The Net (International: English title)

Raaz (1967) (lyricist)

Do Dilon Ki Dastaan (1966) (composer: songs)

Mera Saaya (1966) (lyricist: songs)

Woh Kaun Thi? (1964) (lyricist) (as Raja Mehndi Ali Khan) ... aka Who Was She? (International: English title)

Kalpana (1960) (lyricist) (as Raja Mehndi Ali Khan) ... aka Inheritance (International: English title)

Papi (1953) (lyricist: songs)

Soundtrack:

1960s

1950s

1940s

Mera Saaya (1966) (lyrics: "Mera Saaya Saath Hoga", "Nainonwaali ne haye mera dil looTa")

Aap Ki Parchhaiyan (1964) (lyrics: "Main Nighahen Tere Chehre Se Hataon Kaise", "Kabhi Itlake Chalte Ho, Kabhi Valkake Chalte Ho", "Yehi Hai Tamanna, Tere Dhar Ke Samne", "Jab Takte Hai Akash Pe Chand Aur Sitare, Bhagwan Salamat Rakhe Maa Baap Hamare", "Ek Matwale Aa Chala Apni Manzil Ko")

Woh Kaun Thi? (1964) (lyrics: "Naina Barse", "Tiki Riki Tiki Riki Thakori, Kal Jo Mila Tha Khaba Mein", "Chhod Kar Tere Pyar Ka Daman", "Lag Ja Gale Ke Phir", "Jo Humne Dastaan Apni Sunayi", "Shokh Nazar Ki Bijliyan") ... aka Who Was She? (International: English title)

Anpadh (1962) (lyrics: "Sikandar Ne Porus Se", "Rang Birangi Rakhi Lekar", "Dulhan Hai Narwad Ki", "Hai Isi Mein Pyar Ki Abroo", "Aap Ki Nazaron Ne Samjha", "Woh Dekho Jala Ghar Kisika", "Jiya Le Gayo Ji Mora")

Ek Musafir Ek Hasina (1962) (lyrics: "Phir tere shehar mein")

Aankhen (1950) (lyrics: "Preet Laga Ke") ... aka The Eyes (International: English title)

Do Bhai (1947) (lyrics: "Mera Sundar Sapna Beet Gaya") ... aka Two Brothers (International: English title)

raja mahendi ali khan

http://www.bollywoodblitz.com/forum/archiv...php?t-1385.html

http://en.wikipedia.org/wiki/Raja_Mehdi_Ali_Khan

Raja (king) of a poet who was a misfit in films.

The poet, writer and lyricist Raja Mehdi Ali Khan was born in Karmabad in undivided India.

This township got its name from his zamindar grandfather.

Raja Mehdi's early tutoring was under his mother Hebay Saheba soon after he had lost his father.

Dr. Allana Iqbal has acknowledged Hebay Saheba as a leading Urdu poet.

In the early forties while serving at all India Radio, Delhi, Raja Mehdi Ali Khan got a call from his friend Sadat Hsan Monto the noted Urdu writer who had joined Hindi films.

Raja started as a dialogue writer and did a role in Ashok Kumar's 8 Day's but writing dialogues and acting was not for him.

S. Mukherji the partner in Filmistan Studios gave Raja Mehdi the poet a chance to write lyrics in his film 'Do Bhai' (1946).

Songs like 'Mera Sunder Sapna' and 'Yaad Karoge' from this film became instant hits.

In 1947, in spite of communal riots, Raja Mehdi and his wife Tahira took the decision of staying in India rather than migrating to the newly formed Pakistan.

In 1948 his patriotism manifested in his songs 'Watan ki raah mein' and 'Todi todi bachay' from the Dilip Kumar and Kamini Kaushal starrer 'Shaheed'

Raja Mehdi never discriminated when it came to working with established or new music composers.

'Madhosh' (1950) was music composer, Madam Mohan's debut film with Raja Mehdi. He had been associated with music composers like Iqbal Qureshi, Babul, S. Mohinder, Chic Chocolate and Rono Mukerjhi to name some.

He has given some wonderful songs with C. Ramchandra (Mere piya gaye Rangoon) and O.P. Nayyar (Main Pyar Ka Rahi Hoon).

However, he formed an immortal team with Madan Mohan.

'Anpadh', 'Mera Saaya', 'Who Kaun Thi', Neela Akash', Dulhan Ek Raat Ki' and 'Nawab Siraj-ud-Daulah' were some outstanding films where this duo worked together.

Raja Mehdi Ali Khan was the first lyricist to introduce 'Aap' in film songs. 'Aap ki nazron….' (Anpadh), 'Aap kyon roye' (Woh Kaun Thi), 'Aap ne apna banaya' (Dulhan Ek Raat Ki) are some examples.

Incidentally, his song 'Lag ja gale' from the film 'Woh Kaun Thi' was one amongst the top ten all time favorites in film history to be 'retired' from Antakshri on Zee TV.

In the mid sixties Raja Mehdi Ali Khan paired with the next generation sensation.

Laxmikant Pyarelal in films like 'Anita' and 'Jaal'.

This was as far as Raja Mehdi's career was destined. He breathed his last on July 29 1996 leaving behind a treasure of songs that are still cherished by all lovers of poetry in film songs.

His surviving peers remember him for his great poetry, his criticism and love for food.

In a TV interview, the late actor Mehmood recalled how he worked as Raja Mehdi's chauffeur during his youth.

Raja Mehdi's poems and short stories regularly appear in Urdu magazines like 'Biswin Sadi', 'Shama Bano' and 'Khilona'.

He is survived by a wealth of songs and Urdu 'Diwans' like 'Andaaz-E-Bayaan Aur' and 'Mizraab'

He lived like the Raja of good poetry till the end. He brought good poetry to Hindi songs when they were facing times when they were just considered as a pastime.

He refused to compromise when it came to poetry.

He could have been known as one of the greatest lyricist of Hindi films but preferred to live as a Raja of his own world, his own kingdom which no 'enemy' could even try to plunder or take away from him. A Raja like this Raja rules once in many decades and his rule is remembered for all time.


He died on July 29, 1996.


Wrote Lyrics for:

Aankhen

Aap Ki Parchhaiyaan

Actress

Adaa

Anita

Ankhen

Anpadh

Daaman

Do Bhai

Do Dilon Ki Daastaan

Dulhan Ek Raat Ki

Ek Musafir Ek Hasina

Inaam

Jaagir

Jaal

Jab Yaad Kisi Ki Aati Hai

Jali Note

Madhosh

Manchalaa

Masoom


Filmography



Music Department:

1960s

1950s

Jaal (1967) (composer: additional music: lyrics) (as Raja Mehdi Khan) ... aka The Net (International: English title)

Raaz (1967) (lyricist)

Do Dilon Ki Dastaan (1966) (composer: songs)

Mera Saaya (1966) (lyricist: songs)

Woh Kaun Thi? (1964) (lyricist) (as Raja Mehndi Ali Khan) ... aka Who Was She? (International: English title)

Kalpana (1960) (lyricist) (as Raja Mehndi Ali Khan) ... aka Inheritance (International: English title)

Papi (1953) (lyricist: songs)

Soundtrack:

1960s

1950s

1940s

Mera Saaya (1966) (lyrics: "Mera Saaya Saath Hoga", "Nainonwaali ne haye mera dil looTa")

Aap Ki Parchhaiyan (1964) (lyrics: "Main Nighahen Tere Chehre Se Hataon Kaise", "Kabhi Itlake Chalte Ho, Kabhi Valkake Chalte Ho", "Yehi Hai Tamanna, Tere Dhar Ke Samne", "Jab Takte Hai Akash Pe Chand Aur Sitare, Bhagwan Salamat Rakhe Maa Baap Hamare", "Ek Matwale Aa Chala Apni Manzil Ko")

Woh Kaun Thi? (1964) (lyrics: "Naina Barse", "Tiki Riki Tiki Riki Thakori, Kal Jo Mila Tha Khaba Mein", "Chhod Kar Tere Pyar Ka Daman", "Lag Ja Gale Ke Phir", "Jo Humne Dastaan Apni Sunayi", "Shokh Nazar Ki Bijliyan") ... aka Who Was She? (International: English title)

Anpadh (1962) (lyrics: "Sikandar Ne Porus Se", "Rang Birangi Rakhi Lekar", "Dulhan Hai Narwad Ki", "Hai Isi Mein Pyar Ki Abroo", "Aap Ki Nazaron Ne Samjha", "Woh Dekho Jala Ghar Kisika", "Jiya Le Gayo Ji Mora")

Ek Musafir Ek Hasina (1962) (lyrics: "Phir tere shehar mein")

Aankhen (1950) (lyrics: "Preet Laga Ke") ... aka The Eyes (International: English title)

Do Bhai (1947) (lyrics: "Mera Sundar Sapna Beet Gaya") ... aka Two Brothers (International: English title)

http://www.screenindia.com/old/jan14/music1.htm

http://en.wikipedia.org/wiki/Rajendra_Krishan


Rajendar Krishan

He was considered as the richest writer in Hindi cinema.

The reason was that he had won the jackpot worth Rs.46,00,000 in horse racing.

The sum was considered as a huge amount during the late seventies.

Rajendra Krishan Duggal (June 6, 1919 Lahore then moved to Shimla and finally Mumbai -1988), also credited as Rajinder Krishan/Kishan Duggal, was an Indian poet, lyricist and screenwriter.

Rajendra Krishan was born in Jalapur Jattan,district Gujarat (in present day Pakistan).

He moved to Shimla only in search of employment and because his eldest brother Madholal Duggal was already employed there.

He was attracted toward poetry during his school days. After completing his education, he worked as a clerk in the municipal office till 1942.

He used to participate in the poetry contests organized by newspapers.

In the mid-1940s, Krishan shifted to Mumbai to become a screenwriter.

His first screenplay was Janta (1947). His first film as a lyricist was Zanjeer (1947).

He was first noted for the script and lyrics of the Motilal-Suraiya starrer Aaj Ki Rat (1948)

After the assassination of Mahatma Gandhi, Krishan wrote a song Suno Suno Aye Duniyawalon, Bapu Ki Yeh Amar Kahani. The song was sung by Mohammed Rafi and composed by Husnlal Bhagatram, and was a great hit. He also tasted success as a lyricist with the films Badi Bahen (1949) and Lahore (1949).

RAJENDRA KRISHAN

The invisible giant

when he was writing about what was happening around him likeMahatma’s assassination or the horrors of Partition, he lay bare his feelings in no uncertain terms.

The Rafi song, Suno suno ai duniawalo Bapu ki ye amar kahani ends with the terse line, Apne hi hathonse hamne apna Bapu khoya (We killed Bapu with our own hands).

A thin young man dressed in a white suit and a black bow-tie is sitting before a harmonium.

He is about to begin a song with a small audience sitting around him.

As the notes roll out, he poses a bemused look on his face and begins thanking love “for the exquisite misery it has given him, for those tears which are no less precious than pearls, for so much sorrow that nothing more seems to be left — shukria ai pyar, tera shukria!.

And we instantly recognise the velvety voice and the well-known face — it is Talat!

And with some effort we recall the composer, the great Anil Biswas, and the film Aaram (49) as well.

But how many of us can remember the name of the poet who wrote this lovely song? Even today, when people talk about lyricists, the first name which comes up is likely to be Sahir, then perhaps Majrooh and so on.

But who remembers that unassuming man who wrote classic lyrics like Gore gore (Samadhi 50) Ai bad-e-saba aahista chal (Anarkali 53) and Chal ud ja re panchi (Bhabhi 57)? This is in fact the irony regarding Rajendra Krishan, whom one could call the ‘Invisible Giant’.

His creations spanned three decades and hundreds of classics bore his signature, but very few are able to recall his authorship today.

Rajendra Krishan was born in Shimla, on June 6, 1919. Even when he was studying in the eighth class he was attracted towards poetry.

However, fate led him to a clerk’s job in the municipal office, where he toiled upto 1942. During that period, he read eastern and western authors extensively and wrote poetry. He expresses his indebtedness to the Urdu poetry of Firaq Gorakhpuri and Ahsan Danish, as well as to the Hindi poems of Pant and Nirala.

In those days the newspapers in the Delhi-Punjab brought out special supplements and held poetry contests to mark Krishna Janmashtami, in which he participated regularly. Which may explain the large number of Krishna-Radha classics he wrote for films later on, Brindavan ka (Miss Mary 57), Kaise avun Jamuna ke teer (Devta 56), Mat maro Shyam (Durgesh Nandini 56), Radha na bole (Azad 55) to name a few.

In the mid-40s he moved to Mumbai to try his luck in films as a script-writer, as well as lyricist.

His first lyrics were for Zanjeer, his first script for Janta, both in ’47.

However, he had no luck with these.

Then his script and lyrics for the Motilal-Suraiya starrer Aaj Ki Rat in ’48 brought him recognition.

Then the miracle happened: a private song he wrote and Rafi sang, brought both into the classic class — it was Bapu ki ye amar kahani whose 78 rpm record in those days could be seen in every house which boasted of a hand-cranking gramophone.

Then in ’49 he tasted immortality, his lyrics for Shyam Sunder’s Lahore (Baharen phir bhi ayengi) and Hunslal-Bhagatram’s Badi Behan (Chup chup khadi ho) which celebrated silver jubilee, became immensely popular.

The pleased producer of the latter presented Rajendra Krishan with Rs 1000 per month and an Austin car as well!

A new phase began in his life.

His knowledge of Tamil made him the ideal choice for AVM, and others to use his services for their films like Bahar, Ladki, Bhai Bhai. He wrote in all 18 scripts for AVM itself. The music directors for whom he regularly wrote songs — C Ramchandra, Madan Mohan and Hemant Kumar were also composing for the South Indian Hindi movies.

The combination chalked up a series of hits right into the Sixties.

Rajendra Krishan also participated in the struggle to get a status for lyricists.

As a person he was amiable, easy-going and full of humour. These characteristics expressed themselves in his lyrics also.

His songs are simple, inventive and full of meaning. He could write a swinging song like Mr John, o Baba Khan and in the same film Barish (’57) a philosophical song, Dane dane pe likha hai khanewale ka nam, lenewale karod, denewale ek Ram. The songs he wrote for Anarkali (’53), Yeh zindagi usiki hai and Jaag dard-e-ishq jaag have attained legendary status.

His Nagin (’54) songs Man dole mera tan dole and Mera dil ye pukare aja are reverberating in our hearts even today.

Apart from the three music directors mentioned above, he also wrote for other great composers like Sajjid Hussain (Saiyan ’51, Sangdil ’52), SD Burman (Bahar ’51, Sazaa ’51, Ek Nazar ’51), S Mohinder (Papi ’53), Chitragupt (Bhabhi ’57, Kangan ’59), Salil Choudhry (Chaya ’61), Laxmikant-Pyarelal (Intaqam ’69).

He could pen love-ballads and comedy songs with equal ease and effect.

In the first category come the standards like Ye hawa ye raat ye Chandni (Sandgil), Koun aya mere man ke dware payal ki jhankar liye (Dekh Kabira Roya ’57), Mera Qarar leja mujhe beqarar kar ja (Ashiana ’52) and Ai dil mujhe bata de (Bhai Bhai ’56).

As the whole world knows C Ramchandra and Madan Mohan put a special ingredient into the songs they gave to Lata.

Who can remain unmoved when listening to the following songs Rajendra Krishan wrote for her: Ham pyar me jalnewalon ko chain kahan aram kahan (Jailor ’58), Sapne me sajan se do bate ik yad rahi ik bhool gayen (Gateway Of India ’57), Dil se bhulado tum hamen (Patanga ’49)), Balma bada nadan re (Albela ’50), Ai chand pyar mera (Khazana ’51) and Wo bhuli dastan lo phir yad agayi (Sanjog ’61)?

On the other hand, the comedy songs he wrote for the same composers are a totally different kettle of fish.

Here Rajendra Krishan’s comic music soared to delightful heights.

He would take a central idea and keep on adding layer after layer of fancies to create a bright new world.

In Patanga, Lata and Shamshad take turns to describe a world of love where all the known institutions operate under strange rules — Pyar ke jahan ki nirali sarkar hai the post-office is actually the human eye and telegrams are glances; there is a school but it has only one class in it, lakhs of students enrol there but very few pass; the lessons are tough but oh so enjoyable! In fact if you fall in love you’ll join the unemployed masses.

Every day will be holiday for you — har din itwar hai!

In the film Chandan (’58) we see Johnny Walker as a traffic constable singing the praises of the Super Cop in the Skies, who has a key for every lock and a lock for every key. Bada hi CID hai vo neeli chhatriwala, no one sees him receiving reports, but the moment a crime occurs he gets an “automatic telephone� and he has with him a pocket book in which has been noted sabka maal masaala, his thana stretches in all directions and it is always open.

Everyone has to go there sometime or other.

You can’t influence him, for all are equal so far as he is concerned — kya saali kya saala! (This is obviously a reference to Raj Kapoor’s story in Shree 420 (’55) of his being hauled up before the boodha daroga of a police station, and of being released the moment he was discovered to be the thanedar ka saala.

Again the same Johnny Walker in the ’65 film Bombay Racecourse (Madan Mohan) narrates the tale of a zalim snatching away his throbbing heart mistaking it for a ticking watch — Le gaya zalim ghadi samajkar and trying to pawn it. However when she learnt its market price, it being after all the heart of an ardent lover, she was struck by remorse and brought it back to him undamaged.

The imagery of Parwana (moth) and Shama (flame) for lover and beloved is a standard one in Urdu poetry.

There was even a film called Shama Parwana (’54) where the moth (Shammi Kapoor) literally got burnt in the flame in the end. Rajendra Krishan wrote a straight lyric for Raj Kapoor in Paapi (S Mohinder, ’53) Tera kam hai jalna parwane chahe shama jale ya na jale whose climatic line states — jeene me hai teri ruswayi, marte nahijalkar parwane — the parwana gets a bad name only when it lives!�

Years later, in Khazanchi (Madan Mohan, ’58) he wrote about the modern parwana who is afraid of going near the fire naye zamane ka parwana jalne se dare! So this ingenious moth tries to solve the problem by sending his petition by post to the flame. She replies, “You’re there and I’m here, so what’s this talk of love between us?� The moth replies, “Everyone knows your penchant for burning.

And this happens to be my new suit, and I bought this tie only this morning. Do you want me to risk all these? so, goodbye! Kon mufi me mare?

When the new decimal coinage was introduced, the first and most famous song about it, which was also a hit in the Binaca Parade that year, was written by him for Miss India (SD Burman, ’57) Badla zamana — where he lovingly describes how you can obtain for a mere rupee no less than 100 tiny round pretty coins, gol mol nanhe munne akhionke tare with which you can fill up your treasury.

In an interview, Hemant Kumar had this to say about Rajendra Krishan’s style of working, “Let’s suppose the recording of a song is fixed 15 days hence; he will come to the studio alright, but won’t work. He’ll say, ‘Come I know a place where this item is great! Let’s go eat.’ So we go there. Next day it’s something else. Then he’ll be away at the races. Thus we come to the 12th day. Now we put pressure on him. Then he’ll sit somewhere quietly and come back after 15-20 minutes with the complete song!� When one considers that both Ramchandra and Madan Mohan, for whom he did most of his work, believed in having the full lyric in their hands before composing, it is obvious that most of the great songs of that era owed their original inspiration to Rajendra Krishan’s lyric alone.

Rajendra Krishan could be satiric as well as playful. In Minister (Madan Mohan, ’59), he gave Asha a song where she taunts a gallivanting husband with apt imagery — Jab ghar men chulha jalta hai, phir hotel me kyun khate ho?

But when he was writing about what was happening around him like Mahatma’s assassination or the horrors of Partition, he lay bare his feelings in no uncertain terms. The Rafi song, Suno suno ai duniawalo Bapu ki ye amar kahani ends with the terse line, Apne hi hathonse hamne apna Bapu khoya (We killed Bapu with our own hands).

Again in the film about Partition, Lahore (Shyam Sunder, ’49) he gave a song to Manna Dey which begins,

Dunia to kehti hai insaan kahan hai?
Insaan ye kehta hai Bhagwan kahan hai?
Insaan ne insaan par kya zulm kiya hai
Ana hi lahu tha jise haske piya hai

He wrote a whole series of lovely songs for Hemant Kumar.

The biggest hit was Nagin (’54), then there was Miss Mary (’57), Champakali (’57), Lagan (’55), Payal (’57), Durgesh Nandini (’56) and so on.

We have heard Hemant Kumar mention Rajendra Krishan’s fondness for the races; strangely enough he actually won a jackpot for an estimated 46 lakhs! This obviously took the edge off his struggle for existence! He won the Filmfare award for 1965 for the film Khandan (Ravi).

At the time of his death in 1988, he had written songs for 300 films, of which 100 carried his screenplay as well.

HMV gave him the honour of being a major lyricist and brought out an LP containing 12 of his songs.

He deserved all the honours he received, but none of them can do justice to the legacy of sheer listening pleasure he has bequeathed us.

A BharatMillenium

Subhash K Jha

Filmography

Writer:

1980s

1970s

1960s

1950s

1940s

Khel Mohabbat Ka (1986) (dialogue) (as Rajinder Krishan) (story) (as Rajinder Krishan)

Dharm Adhikari (1986) (dialogue) (as Rajendra Kishen) ... aka Authority (International: English title: informal literal title)

Ponga Pandit (1975) (dialogue) (as Rajinder Krishan)

Naya Din Nai Raat (1974) (dialogue) (as Rajinder Krishan) ... aka New Day, New Night

Jwar Bhata (1973) (dialogue) (as Rajinder Krishan)

Bombay to Goa (1972) (dialogue) (as Rajinder Krishan)

Maalik (1972) (dialogue) (as Rajinder Krishan) ... aka The Boss

Shehzada (1972) (dialogue) (as Rajinder Krishan) ... aka Shahzada (India: Hindi title: alternative transliteration)

Man Mandir (1971) (dialogue) (as Rajinder Krishan) (screenplay) (as Rajinder Krishan)

Gopi (1970) (dialogue) (as Rajinder Krishan)

Jawab (1970) (dialogue) (as Rajinder Krishen)

Doli (1969) (dialogue) (as Rajinder Krishan)

Ek Shriman Ek Shrimati (1969) (dialogue) (as Rajinder Krishan)

Pyar Ka Sapna (1969) (dialogue) (as Rajinder Krishan)

Sachaai (1969) (dialogue) (as Rajinder Krishan)

Waris (1969) (dialogue) (as Rajinder Krishan)

Gauri (1968) (dialogue)

Padosan (1968) (dialogue) (as Rajinder Krishan) (screenplay) (as Rajinder Krishan)

Sadhu Aur Shaitaan (1968) (dialogue) (as Rajinder Krishan) ... aka The Sage and the Devil

Nai Roshni (1967) (dialogue) (as Rajinder Krishan) ... aka New Light (India: English title)

Pyar Kiye Jaa (1966) (dialogue) (as Rajinder Krishan) ... aka Carry on Loving (India: English title)

Khandan (1965) (dialogue) (as Rajinder Krishan) ... aka Aristocratic Family

Maain Bhi Ladki Hun (1964) (dialogue) (as Rajinder Krishan)

Pooja Ke Phool (1964) (dialogue) (as Rajinder Krishan) ... aka Flowers for Worship

Bharosa (1963) (dialogue) (as Rajinder Krishan)

Bluff Master (1963) (dialogue) (as Rajinder Krishan)

Man-Mauji (1962) (dialogue) (as Rajinder Krishan)

Prem Patra (1962) (dialogue) (as Rajinder Kishan) ... aka Love Letter (International: English title)

Rakhi (1962) (dialogue) (as Rajinder Krishan) ... aka Filial Bond

Shaadi (1962) (dialogue) (as Rajinder Krishan) ... aka Wedding (International: English title)

Chhaya (1961) (dialogue) (as Rajinder Krishan)

Nazrana (1961) (dialogue) (as Rajinder Krishan) ... aka The Gift (India: English title)

Bindya (1960) (dialogue) (as Rajinder Krishan) ... aka Bindiya (India: Hindi title: alternative transliteration)

Maa Baap (1960) (dialogue) (as Rajinder Krishan)

Patang (1960) (dialogue) (as Rajindra Krishan)

Barkha (1959) (dialogue) (as Rajinder Krishan)

Bhai-Bhai (1956) (dialogue) (as Rajinder Krishan)

Pehli Jhalak (1955) (dialogue) (as Rajinder Krishan)

Nagin (1954) (dialogue) (as Rajinder Krishan)

Ladki (1953) (dialogue) (as Rajindra Krishan)

Bari Behen (1949) (dialogue) (as Rajinder Krishna)

Soundtrack:

1970s

1960s

1950s

Jwar Bhata (1973) (lyrics: "Roota Hai To Mana Lenge", "Tu Ru Ru Tu Ru Ru, Tera Mera Pyar Shuru", "Dal Roti Khao, Prabhu Ke Goon Gao", "Honthon Pe Tera Naam, Aankhon Mein Tera Pyar", "Peene Ki Der Na Peelane Ki Der Hai")

Banarasi Babu (1973) (lyrics: "Mere Peeche Ek Ladki", "Bure Bhi Hum Bhale Bhi Hum", "Kamar Meri Lattu", "Koi Koi Raat Aisi Hoti Hai", "Diwane Se Pyar Karo To", "Aap Yahan Se Jane Ka Kya Loge", "Yeh Jo Peene Ki Aadat Aam Ho Gayi")

Black Mail (1973) (lyrics: "Main Doob Doob Jata Hoon", "Pal Pal Dil Ke Paas", "Asha O Asha", "Mile Mile Do Badan") ... aka Kala Dhandha (India: Hindi title)

Kahani Kismat Ki (1973) (lyrics: "Kahani Kismat Ki", "Tab Tak Na Doongi Dil")

Rakhwala (1971) (lyrics: "Tere Nain Mere Nain", "Mere Dil Ne Jo Manga", "Rehne Do Rehne Do", "Tere Umar Ki Phoolwari Mein, Khila Naya Ek Phool", "Yeh Kaisi Maine")

Man Mandir (1971) (lyrics: "Jaadugar Tera Naina", "Ae Mere Aankhon Ke Pehle Sapne (duet)", "Ae Mere Aankhon Ke Pehle Sapne (sad)", "Aa Aaja Aaja", "Dulha Chota Chota Sa")

Reshma Aur Shera (1971) (lyrics: "Tauba tauba meri tauba", "Zaalim meri sharaab mein") ... aka Reshma and Shera (International: English title)

Gopi (1970) (lyrics: "Ramchandra Keh Gaye", "Akele Hi Akele Chala Hai Kahan", "Gentleman Gentleman Gentleman", "Sukh Ke Sab Saathi, Dukh Mein Na Koi", "Ek Padosan Peeche Pad Gayee")

Jawab (1970) (lyrics: "Chali Kahan Hasti Gati Chanchal Nadiayon Shor Machati", "Kis Karon Jogan Jog Liya", "Arrey Amma Wohi Mua Dekho Mujhe Chuwa", "Zindagi Woh Kya, Na Pyar Jis Mein Ho", "Tanhai Mein Dil Khabraye", "Aaja Meri Jaan Yeh Hai June Ka Mahina")

Tumse Achha Kaun Hai (1969) (lyrics: "Ganga Meri Maa Ka Naam, Baap Ka Naam Himalaya", "Kisko Pyar Karoon, Kaise Pyar Karoon", "Pyar Ka Lekar Udan Khatola Chala Yeh Prem Pujari") ... aka Tumse Achcha Kaun Hai (India: Hindi title: alternative transliteration)

Brahmachari (1968/I) (lyrics: "Mohabbat Ke Khuda")

Padosan (1968) (lyrics: "Mai chali main chali dekho pyaar ki gali", "Bhai battoor bhai battoor, ab jainge kitni door", "Meri pyaari bindu", "Mere saamne waali khidki mein ek chaand ka tukda", "Ek chatur naar karke singaar", "kehna hai aaj tum se yeh pehli baar", "Savariya Savariya", "Aai aaiyo ham galti kiya", "Mere bhole balam mere pyaare", "Sharm aarti hai magar")

Nai Roshni (1967) (lyrics: "Kis Tara Jeete Hai Yeh Log Bata Do Yaaron", "Yeh Tohfa Tumhare Pyar Ka", "Garibon Ka Jeena Bhi Hai Koi Jeena", "Teri Aankh Ka Jo Ishara Na Hota", "Jitni Likhi Thi Muqaddar Mein Hum Utni Pee Chuke", "Main Gunehghar Hoon", "Sapne Hai Sapne, Kab Hue Apne") ... aka New Light (India: English title)

Khandan (1965) (lyrics: "Badi Der Bhayi Nandlaala", "Kal Chaman Tha", "Neel Gagan Par Udte Baadal", "Meri Mitti Mein Mil Gayi", "Tumhi Mere Mandir", "O Ballo Sochke", "Aa Dance Karen", "Main Sunaata Hoon") ... aka Aristocratic Family

Maain Bhi Ladki Hun (1964) (lyrics: "Yehi To Din Hai Baharon Ke", "Aaye The Huzoor Bade Tan Ke", "Krishna, O Kale Krishna", "Chanda Se Hoga Woh Pyara", "Ab Tak Chupa Hai Woh Aise")

Jahan Ara (1964) (lyrics: "phir vohii shaam vahii Gam vahii tanahaaii hai")

Sharabi (1964) (lyrics: "Sawan Ke Mahine Mein", "Kabhi na kabhi, kahin na kahin, koi na koi toh ayega")

Bharosa (1963) (lyrics: "Kahe Itna Gumaan", "Aaj Ki Mulaqat Bas Itni", "Yeh Jhuke Jhuke Naina", "Woh Dil Kahan Se Laoon", "Kabhi Dushmani Kabhi Dosti", "Dhadka O Dil Dhadka")

Yeh Rastey Hain Pyar Ke (1963) (lyrics: "Rooh Khatam Ho Gayi", "Tum Jis Pe Nazar Dalo", "Hawa Ko Dekho", "Yeh Raaste Hain Pyar Ke, Chalna Sambhal Sambhal Ke", "Aaj Yeh Meri Zindagi, Dekho Khushi Mein Jhoomti", "Koi Mujhse Pooche, Ke Tum Mere Kya Ho", "Yeh Khamoshiyan Yeh Tanhaiyan")

Man-Mauji (1962) (lyrics: "Zaroorat Hai Zaroorat Hai", "Main To Tum Sang", "Murgi Ne Jhoot Bola", "Chanda Ja, Chanda Jare Ja", "Ek Tha Abdul Rehman", "Aaya Hai Kahan Se Pee Ke")

Rakhi (1962) (lyrics: "Bandha Huwa Hai Ek Ek Dhaage Mein Bhai Bahen Ka Pyar, Rakhi Dhaagon Ka Tyohar", "Dekho Mehnat Se Daulat Ki Yaari", "Saiyan Chod De Baiyan Mori", "Sitaron, Aaj To Hum Bhi, Tumhare Saath Jaagenge", "Babul, Choot Chala Tera Angna", "Aye Ishq Teri Jai Ho", "Kab Tak Bol Gauri, Aise Sharmayegi", "Ya Meri Manzil Bata, Ya Zindagi Ko Cheen Le") ... aka Filial Bond

Shaadi (1962) (lyrics: "Chod De Bedardi", "Tere Poojan Ko Bhagwan Banaoon", "Yahan Bhi Tu Nahin", "Aaj Ki Raat Naya Chand Leke Aayee Hai", "Jao Aur Kahin Ro Sehnai", "Log To Baat Ka Afsana Bana Dete Hain", "Jaisa Kia Hai Tune") ... aka Wedding (International: English title)

Nazrana (1961) (lyrics: "Bhikrake Jhulfein Chaman Me Na Jaana, Kyon?", "Ek Yeh Bhi Diwali Hai, Ek Woh Bhi Diwali Thee") .. aka The Gift (India: English title)

Patang (1960) (lyrics: "Yeh Duniya Patang, Nit Badley Yeh Rang, Koi Jaane Na Udanewala Kaun Hai", "Rang Dil Ki Dhadkan Bhi Laati Toh Hogi, Yaad Meri Unko Bhi Aahti Toh Hogi", "Dilli Hai Dil Hindustan Ka, Yeh Hai Tirath Sarhey Jahan Ka", "Yeh Duniya Badi Looteri", "Dene Wale Kisi Ko Garibi Na De, Maut De De Magar Badnasibi Na De", "Teri Shokh Nazar Ka Ishara, Meri Viraan Raaton Ka Tara", "Tu Aap Hai Apna Chor")

Adalat (1958) (lyrics: "Jab din haseen dil ho jawaan") ... aka The Court of Law (International: English title: informal literal title)

Aasha (1957) (lyrics: "Ina Mina Dika")

Dekh Kabira Roya (1957) (lyrics: "Laga Tose Lagi Balma", "Kaun Aaya, Mere Man Ke Dwaare", "Hum Bolate Hi Rahe, Tum Jalate Hi Rahe", "Hum Panchhi Mastaane", "Tum Meri Raakho Laaj Hari", "Humse Aaya Na Gaya, Tumse Bulaya Na Gaya", "Sajna Sajna Sajna.. Mere Veena Tum Bin Roye")

Bhai-Bhai (1956) (lyrics: "Mera Chota Sa Dekho Yeh Sansar Hai", "Is Duniya Mein Sab Chor Chor", "Ae Dil Mujhe Bata De, Tu Kis Pe Aa Gaya Hai", "Thandi Thandi Hawa Khane, Raja Gaya Gaon Mein", "Mera Naam Abdul Rehman, Pistawala Main Hoon Pathan", "Apna Hai Phir Bhi Apna", "Dil Teri Nazar Mein Atka Re Atka Re Atka", "Kadar Jaane Na", "Bhagwan Jo Tu Hai Mera Insaaf Karega, Khud Aa Ke Meri Maang Mein Sindoor Bharega", "Sharaabi Ja Ja Ja")

Taj (1956) (lyrics: "Mori Vinti Suno Bhagwan", "Tum Sang Lage", "Bansi Ki Dhoon Sun", "Ek Baat Bata De Jogi", "Bansuria Phir Se Bajao", "Gori Bulaye Tera Sanwariya", "Reham Kar Aasmaan")

Azaad (1955) (lyrics: "Radha Na Bole Na Bole Re, Ghunghat Ke Phat Na Kholey Re", "Kitna Haseen Hai Mausam Kitna Haseen Safar Hai, Saathi Hai Khubsoorat, Yeh Mausam Ko Bhi Khabar Hai", "Ja Ri Ja Ri O Kari Badariya", "Aplam Chaplam Chap Laiteri Duniya Ko Chod, Teri Gali Aai Re Aai Re Aai Re", "Kitni Jawan Hai Raat", "O Balliye Balliye", "Dekho Ji Bahar Aayi Baghon Me Khili Kaliyan, Aana Hai To Aa Jao, Suni Hai Meri Galiyan", "Kabhi Khamosh", "Marna Bhi Mohabbat Mein" (Qawwali)) ... aka Free (International: English title)

Pehli Jhalak (1955) (lyrics: "Mohabbat Ne Mujhe Mara, Meri Tauba Meri Tauba", "Zameen Chal Rahi, Aasman Chal Raha Hai", "Dekhi Dekhi Aamiron Tumhari Yeh Shaan, Oonchi Oonchi Dukan, Phika Phika Pakwan", "Kaise Bhahe Re Sakhi Rut", "Na Maron Nazariya Ka Baan", "Charandas Ko Peene Ki Jo Aadat Na Hoti", "Chodon Ji Chodo Kalayi", "Achchi Surat Huwi Ya Musibat, Gali Mein Aana Jana Bandh", "Zamane Se Nirala Hai")

Nagin (1954) (lyrics: "Man Dole Mera Tan Dole", "Jaadugar Saiyan", "Tere Dwar Khada Ek Jogi", "Sun Rasiya Man Basiya", "Mera DIl Yeh Pukare Aaja", "O ZIndagi Ke Dene Wale", "Sun Ri Sakhi", "Are Chhod De Patang", "Mera Badli Mein Chhup Gaya Chand", "Teri Yaad Mein Jalkar Dekh Liya", "Ari chhod de sajaniya chhod de patang meri", "Oonchi Oonchi Duniya Ki Diwaren")

Anarkali (1953) (lyrics: "Yeh Zindagi Usiki Hai", "Mujhse Mat Poochh", "Jaag Dard-E-Ishq Jaag", "Zindagi Pyar Ki Do Char Ghadi")

Ladki (1953) (lyrics: "Main Hoon Bharat Ki", "Aurat", "Mann More Machave Shor", "Insaan Jo Rota Hai", "Sajna Aa Ja", "Mere Watan Se Achcha Koi Watan Nahin Hai", "Shaadi, Shaadi, Shaadi, Kismat Ki Baat Hai", "Baat Chalat Nai Chuanri", "Gopal Krishna", "Tod Ke Duniya Ki Deewaar", "Cheen Le Khushiyan Meri")

Aaram (1951) (lyrics: "Ae Jaan-E-Jigar")

Albela (1951) (lyrics: "Mehfil Mein Meri Kaun Yeh Diwana Aa Gaya", "Dheere Se Aaja Ri Ankhiyan Mein", "Mere Dil Ki Ghadi Kare Tik Tik Tik", "Haseenon Se Mohabbat Ka Bura Anjaam Hota Hai", "Kismat Ki Hawa Kabhi Naram", "Diwana Parwana", "Dil Dhadke Nazar Sharmae", "Sham Dhale Khidki Tale", "Balma Bada Nadan Re", "Bholi Soorat Dil Ke Khote", "Shola Jo Bhadke") ... aka Happy-Go-Lucky

Music Department:

1980s

1970s

1960s

1950s

1940s

Allah-Rakha (1986) (lyricist) (as Rajinder Krishan)

Ponga Pandit (1975) (lyricist) (as Rajinder Krishan)

Naya Din Nai Raat (1974) (lyricist) (as Rajinder Krishan) ... aka New Day, New Night

Banarasi Babu (1973) (lyricist)

Jawan Muhabat (1971) (lyricist) (as Rajinder Krishan)

Pyar Hi Pyar (1969) (lyricist)

Maain Bhi Ladki Hun (1964) (lyricist) (as Rajinder Krishan)

Bharosa (1963) (lyricist) (as Rajinder Krishan)

Yeh Rastey Hain Pyar Ke (1963) (lyricist) (as Rajender Krishan)

Rakhi (1962) (lyricist) (as Rajinder Krishan) ... aka Filial Bond

Nazrana (1961) (lyricist: songs) ... aka The Gift (India: English title)

Patang (1960) (lyricist) (as Rajindra Krishan)

Jailor (1958) (lyricist: songs)

Miss Mary (1957) (lyrics) (lyrics) (as Rajinder Krishan)

Taj (1956) (lyricist) (as Rajender Krishan)

Pehli Jhalak (1955) (lyricist) (as Rajinder Krishan)

Bari Behen (1949) (lyricist) (as Rajinder Krishna)