Did Sonu Nigam reach the level of excellence of Rafi?

Did Sonu Nigam reach the level of excellence of Rafi?

Sonu Nigam is considered the most powerful playback singer in bollywood films at the moment. The greatest debate that haunts most of the music lovers of the country is that whether Sonu Nigam had reached the level of excellence that Rafi had reached in the 50s and 60s.

The greatest achievement of a singer lies in his acceptability before diverse range of composers and lyricists. As Rafi was classically trained and could adapt any type of song ranging from qawallies to ghazals to soft romantic numbers to westernized rock and roll compositions his demand before the musical community was immense. He is probably the only singer in the 50s and 60s who had sung with compositions of all the leading composers including Naushad, Shankar Jaikishan, Roshan, Madan Mohan, OP Nayyar, Salil Choudhury, Ghulam Mohammad, Vasant Desai, C. Ramchandran, S D Burman, LP, KA, RD Burman, and others and lyricists including Shailendra, Shakeel Badayani, Hasrat Jaipuri, Majrooh Sultanpuri, Kaifi Azmi, Raja Mehendi Ali Khan, Rajender Krishnan, etc. Excepting Manna Dey and Lata Mangeshkar, no other singer were in close diameter of Rafi in the 50s and 60s, as due to lack of classical orientation some of the singers of specifically composer’s singers.

Sonu Nigam had sung songs composed by AR Rehman, Anu Malik, Shankar Ehsaan Loy, Vishal Shekar, Pritam, Shantonu Maitra and many other composers of the present age. In singing difficult and dynamic songs his name had appeared before Udit Narayan, Sukhwinder Singh, or others, including “sathiya sathiya” composed by AR Rehman, “sandese ate hai” composed by Anu Malik, “piyu bole” composed by Shantonu Moitra, “tumko bhula na payega” composed by Sajid Wajid, “ek din kahin” composed by Nusat Fateh Ali Khan, to name a few. But there is strong competition in bollywood music at the moment and Sonu Nigam is not the uncrowned king considering the challenge posed forward by Javed Ali, Atif Aslam and many new singers.

If compared with Rafi, probably the factor where Rafi remains unparallel, were the remote compositions that he had sung with. If Naushad’s “woh duniya ke rakhwale” was pure classically oriented, then SJ’s “aasman se aya farishta” had French background embedded in them, if Roshan’s “jo wada kiya ho” had royal andaz, Madan Mohan’s “tumhari zulfon ki” had ghazal andaz. Besides Rafi had given expression to Salil Choudhury’ s tunes based on east-west blend of music, Jaidev’s urbanized folk songs, SD Burman’s rural folk songs. There is no similarity of “madhuban me radhika nache re” with “aaj kal tere mere pyar ke charche” or “dil jo na keh saka”. The list can go on. The other factor where Rafi had an edge includes the standard of Indian film music reached its zenith in the 50s and 60s which is difficult to attain.

Sonu Nigam is big asset for bollywood music at the moment and has a long way to go. But those who understand music will invariably agree Rafi’s empty space had remained absolutely unfilled. Rafi-lovers only try to fulfill their thirst by hearing the singing style of Sonu Nigam which is to a big extent modeled in Rafi’s style. Sonu Nigam himself also agrees that Rafi was unparallel and will always remained the uncrowned king of bollywood music.

Viewers expect the singers of the present age to listen to Rafi’s song and improve their own level of singing to whatever extent they can.

Review of Hamara Dil Aapke Pass Hai.

Review of Hamara Dil Aapke Paas Hai.

Anil Kapoor had acted in different types of films in his illustrious career. In Hamara Dil Aapke Pass Hai, he did majestic work opposite Aishwarya Rai. It was Boney Kapoor’s venture which was given shape and direction by Anil Kapoor.

Anil Kapoor was a wealthy industrialist in the film. He nurtured a daughter and a son who were given birth by Anil Kapoor’s father but the paternity of the children were denied.

Aishwarya Rai saw a murder being committed by Mukesh Rishi in the open street. After the murder Ash went to the police station and lodged an FIR. After that Mukesh Rishi was arrested and kept in custody. His relative Puru Raj Kumar raped Ash after the incident and she was thrown out of her house for those reasons.

Anil Kapoor gave shelter to Ash in his house. He also gave job to her. She fulfilled the vacuum of the mother to the children he considered Ash as her mother. The song “its my family” showed the unity in the house.

But again Anil Kapoor’s father lodged a complaint against Ash in terms of dong illegal business. Anil Kapoor blasted his father that and brought Ash back.

At the end of the film when he came to know that Puru Raj Kumar raped Ash, he assaulted him and took him to the PS once more. There was a social message in the film which said that when a girl is raped in Indian society instead of pointing the finger at the rapist the society points the finger at the victim.

Many victims even fail to express what happened due to the mockery being made by the members of the society. The performance of Anil Kapoor and Ash were excellent. Even the character artists like Anupam Kher, Johnny Lever, Satish Kaushik, etc., complimented the hero and heroin in the film. The songs in the film were decent with Udit Narayan doing a great job.

In totality it was a very decent film made by Boney Kapoor having a social message.

Prospect of Kareena Kapoor in 2009.

Prospect of Kareena Kapoor in 2009.

2009 is definitely going to be a testing year for Kareena Kapoor. As it has been said a number of times that the task of retaining the number one position in bollywood industry is more difficult than reaching the number one position.

Kareena Kapoor has generally four competitors namely Katrina Kaif, Priyanka Chopra, Aishwarya Rai and Lara Dutta. She has an edge over the other actresses in terms of her acting potentiality which she had proved a number of times.

But these days whenever any actress crosses 30 years, or gets married the producers and directors discard them. So the period of success of the leading actresses are getting reduced day by day. Madhuri Dixit ruled bollywood films for more than ten years. But after her retirement, every year Indian celluloid saw a new reigning queen.

In 2009, Kareena’s film Kambakht Ishq did fantastic business. Kareena’s combination with Akhay Kumar entertained the viewers to a great extent. In the same year she is appearing opposite Amir Khan in film The Three Idiots and Salman Khan in the film Mr and Mrs. Khanna.

Kareena also has to face the fact that she is a bit older than Katrina Kaif or Priyanka Chopra, so obviously her demand will gradually go down. So she is inclined to sign meaningful films at the moment and try to maintain her steady market.

It is fact that Kareena Kapoor had pulled on the legacy of Raj Kapoor after Rishi Kapoor, as none of the sons of Shammi Kapoor or Shashi Kapoor could be successful in bollywood films. Wherever Kareena Kapoor even did dance numbers, her performance was appreciated. For example her performance in Don in the dance number “yeh mera dil pyar ka diwana” amazed the viewers.
The viewers are looking forward to even better performance from Kareena Kapoor in 2009 itself

Suman Kalyanpur and Rafi's duets did not get publicity.

Suman Kalyanpur and Rafi’s duets did not get publicity.

The media during the last 60s years had been too kind towards some of the celebrities while remained silent about the others. For example during the golden age 50s, 60s and 70s, other than Lata and Rafi there were other combinations who had given everlasting hits.

Lata Mangeshkar always got the focus of attention and as such her duets with Rafi which covers more than 440 in number always stole the attention. Yet Suman Kalyanpur during the same age of competition had sung almost 170 duets with Rafi most of which became super hit, yet could not get the lime light which they deserved.

The song “ajahu na aye balma” from Saanjh Aur Sawera, picturised on Mehmood and Subha Khote and composed by Shankar Jaikishan showed the compatibility of Rafi with Suman Kalyanpur in classical songs. Rafi could adapt his style of singing with any singer. But Suman Kalyanpur also did a great job with the giant. The song “dil-e-betaab ko seene se lagana hoga” from the film Palki, picturised on Rajender Kumar and Wahida Rehman and composed by Naushad had the ghazal andaz embedded in them and Suman Kalyanpur was unblemmish aside Rafi.

SJ used the same Suman Kalyanpur aside Rafi in fast numbers like “aaj kal tere mere pyar ke charche” from Brahmchari picturised on Shammi Kapoor and Mumtaz, “dil use do jo jaan de de” picturised on Shammi Kapoor and Hema Malini in the film Andaz. The biggest tragedy is that the songs did great business and the films became super hit, yet the message relating to Rafi’s combination with Suman Kalyanpur did not reach most of the viewers and the media too did not play a neutral role in that aspect. Half of the people thought the duets were sung by Rafi and Lata as Suman Kalyanpur’s singing style matched with that of Lata.

Khayyam’s composition “thereiye hosh me aaloon to chale jayiega” from the film Mohabbat is ko kehte hai” picturised on Shashi Kapoor and Nanda had another romantic number of Rafi and Suman. Madan Mohan’s tune “baad muddat se yeh ghari aye” sung by Rafi and Suman stunned many listeners of ghazals, as the urdu words were pronounced in style in the film Jahan –ara. Bharat Bhushan and Mala Sinha were sublime in the film. Rafi as usual was unblemish in respect of ghazals. But Suman too had adapted her style of singing which suited the songs of the Mughal period.

Even the fast numbers composed by LP like “tumse o haseena” sung by Rafi and Suman did not get the hype of media which it deserved inspite of Farz ending up as a run away hit of Jeetender. Roshan’s meritorious composition like “maine aye jaane wafa” from the film Bedaag, “chand takda hai idhar” from the film Doojh Ka Chaand remained unnoticed.

Besides there were other hits like “parbaton ke paron par sham ka basera hai” from the film Shagun composed by Khayyam, “tumne pukara aur hum chale aye” from the film Raj Kumar composed by Shankar Jaikishan, “dil ek mandir hai” from the film Dil Ek Mandir composed by Shankar Jaikishan, “tujhe dekha tujhe chaha” from the film Choti Si Mulakat composed by Shankar Jaikishan, “tujhe pyar karte karte” from the film April Fool composed by Shankar Jaikishan, “mujhe yeh phool na den” from the film Ghazal composed by Madan Mohan.

The factor of Suman Kalyanpur being chosen to sing duets with legendary Rafi Sahab by giant composers like Shankar Jaikishan, Naushad, Madan Mohan, Khayyam, Laxmikant Pyarellal, Kalyanji Anandji, proved another fact that she was not any particular composer’s singer. She did a great job with Rafi, but due to passive attitude of the media the songs got recognition with no information relating to the singer. Even in many films when the names of the singers were written Suman Kalyanpur’s name was mentioned at the end without any particular reason for it.

Rafi had proved in his entire life that he was a greater human being than a singer. That was the reason why he could match his singing style with any fellow female artist including Lata, Geeta Dutt, Sumna Kalyanpur, Sharda, Mubarak Begum, Asha Bhosle, Shamshad Begum, and others.

His combination with Suman Kalyanpur should be preserved and restored.

Happy birthday to Manoj Kumar.

Happy birthday to Manoj Kumar.

The viewers of bollywood films wish happy birthday to Manoj Kumar on 24th July, 2009. He started his career as a romantic hero, then showed his skills in the field of direction and created a separate identity as a patriotic hero. He later on earned the name of Bharat Kumar.

Harikishan Giri Goswami, better known as Manoj Kumar, was a big admirer of Tragedy King Dilip Kumar. He was obsessed with Dilip Kumar’s performance in the film Shabnam, in 1949, and kept the name of the character of the film, which was Manoj Kumar.

Although he started his career in the film Fashion in 1957, he got recognition with a lead role in the film Kaanch Ki Gudiya in 1960. Vijay Bhatt directed Hariyali Aur Raasta in 1962 changed the destiny of Manoj Kumar as a romantic hero. The songs of the film were composed by genius of genius Shankar Jaikishan, and with Mala Sinha’s assistance Manoj Kumar reached the hearts of millions of music lovers in the country. The songs in the film including “ifteda-e-ishq”, “yeh hariyali aur yeh raasta”, sung by Mukesh and Lata astonished the viewers. The film became super hit.

In the mid-60s, Manoj Kumar landmark roles in suspense thrillers like Woh Kaun Thi, 1964, and Gumnaam, 1965, created a separate recognition for the actor. Woh Kaun Thi was a horror film of Raj Khosla where Manoj Kumar played the role of the doctor who got scared with the ghostly appearance of Sadhna, who played a double role in the film. He solved the mystery in the film and got Prem Chopra arrested at the end after realizing that his wife had a twin sister who was used as a ghost. The music of Madan Mohan was brilliant and Lata’s songs “naina barse rimjhim”, “lagja gale”, etc., created sensation.

Gumnaam was a murder thriller which stormed bollywood in the mid-60s. More than seven friends were given offer of going for holidays, but the flight was hijacked and the friends had to land at an island. Each of them were killed one after the other and no one knew who killed them. Manoj Kumar solved the mystery and unearthed the truth that Tarun Bose was the actual murderer. The music composed by SJ was extraordinary with songs like “jane chaman shola badan” sung by Rafi and Sharda, “gumnaam hai koi” sung by Lata, “is duniya me jeena ho to”, “hum kale hai to kya hua dilwale hai”, etc.

Manoj Kumar's second innings with patriotic films like Shaheed, Upkaar, Purab Aur Paschim, Roti Kapra Aur Makaan, Kranti, moved the viewers and earned him respect. He directed most of those films and got filmfare award for best director for excellent work in films like Upkaar and Roti Kapda and Makaan. His film Upkaar also received the national award for best film in 1967, and he gave life to the slogan of PM Lal Bahadur Shastri titled “jai jawan jai kisan” with Upkaar.

His other successful films as hero also include Patthar Ke Sanam, Anita, Aadmi, etc. He acted with childhood idol Dilip Kumar in Aadmi and Kranti. The songs of most of his films were of excellent class.

The viewers expect him to continue the excellent work as a director in the years to come.

Mukesh is remembered on his birthday.

Mukesh is remembered on his birthday.

The viewers of bollywood films wish happy birthday to legendary singer Mukesh on 22nd July, 2009 and remember his great works. Mukesh was probably the most popular singer of the 50s, 60s an 70s after Mohammad Rafi.

His nazal tune had huge amount of sensitiveness and he gave expression to brilliant composers of the golden age with the romantic voice. His combination with Showman Raj Kapoor was considered one of the golden combinations of the 40s, 50s, 60s.

His notable songs for Raj Kapoor included “awara hoon” from film Awara, composed by Shankar Jaikishan, “aaja re” from film Aah, composed by Shankar Jaikishan, “ramaiya vasta maiya” from film Shree 420 composed by Shankar Jaikishan, “sab kuch sikha humne” from film Anari, composed by SJ, etc. The list can go on. Shankar Jaikishan stormed bollywood films with their everlasting tunes for more than 25 years, and wherever they were associated with Raj Kapoor, Mukesh sang the songs of his lifetime. The combination gave everlasting hits in films like Barsaat, Jis Desh Me Ganga Behti Hai, Sangam, Ek Dil Sau Afsana, Around the World, Diwana, Teesri Kasam, Mera Naam Joker, to name a few.

In non-Raj Kapoor films also Mukesh did a superlative job. His performance in Dilip Kumar’s Madhumati, composed by Salil Choudhury, Manoj Kumar’s Hariyali Aur Raasta composed by Shankar Jaikishan, Rajender Kumar’s Saathi composed by Naushad, Manoj Kumar’s Pathar Ke Sanam composed by LP, require special mention.

He died in 1976, and ended the era relating to soft romantic songs. His journay from the film Nirdosh in 1941 to Amar Akbar Anthony in 1977, remained unblemish. In 1974, he received national award for best singer for the song “kai baar yun hi dekha hai” from the film Rajnigandha, composed by Salil Choudhury. Besides he received filmfare awards for his best performance in films like Anari, Pehchan, Beimaan, Kabhi Kabhi.

Articles after articles can be devoted on the successful combination of Mukesh with Shankar Jaikishan, Salil Choudhury, Naushad, Roshan, and others. His films and songs should be preserved.

Music lovers lament Alpona Banerjee's death.

Music lovers lament Alpona Banerjee’s death.

The music lovers all across India lament Alpona Banerjee’s death on 24th July 2009. Children and elders had huge affection towards the romantic singer. She had sung many romantic songs both in Bengali films and also had basic discs during the golden age of Bengali music.

Her notable Bengali modern songs included “mon bolche aaj sondhay kichu bolte tumi ashbe ki” composed by Manobendra Mukherjee, “tumi shundar bole taito bondhu besecho halo amay” composed by Manobendra Mukherjee, “bolechhile tumi gaan shonabe” composed by Abhijit Banerjee, etc. She sang very significant songs in hit films in the 50s. Her song “hridoy amar shundaro tobo pay” in Uttam Kumar and Suchitra Sen’s film Sagarika became landmark hit. Robin Chatterji, the composer of the song used Alpona’s silky voice for expressing the affection of the actress Jamuna Singha in the film.

Alpona Banerjee sang many significant songs in other films like Bikash Roy’s Chele Kar, Pahari Sanyal’s Bidhyasagar, etc. In the mid-50s Alpona became matchless in her children’s songs which were termed as “charar gaan”.

Children all across the country are obsessed towards the songs of Alpona Banerjee. Her notable songs included “chotto pakhi chondona”, “hattimatim tim”, etc. Those songs did great business in the regional market of West Bengal.

Alpona Banerjee discontinued music after marriage and faded away from the Bengali music arena in the late 60s. The listeners felt sad about it as Alpona Banerjee’s romantic voice had appeal along with Sandhya Mukherjee, Geeta Dutt, Nirmala Mishra, Pratima Banerjee, Bani Ghoshal and many other leading singers og Bengali modern songs.

Alpona Banerjee appeared in TV channels like Doordarshan a number of times in the 80s and 90s and sang her popular songs. Her songs and films should be preserved and restored.

Can Blue bring back the stardom of Lara Dutta?

Can Blue bring back the stardom of Lara Dutta?

Lara Dutta is perhaps one of the most underrated actress of bollywood films in recent years. She possessed same amount of talent like that of Priyanka Chopra, yet could not attain the level that Priyanka attained within the short time.

She started her career with Priyanka and Akshay Kumar in Andaz and showed a lot of promise. But after doing great job in films like Bardasht opposite Bobby Deol, Zinda opposite Sanjay Dutt, Bombai Se Aya Mera Dost with Abhishek Bacchan, some way or the other lost focus.

She was also not as lucky in respect of bagging important roles like Priyanka Chopra. She showed her standard of smartness and comedy instincts in films like No Entry and Partner.

No Entry is probably one of the greatest hits of Lara Dutta till now. She balanced the comedy instincts of Anil Kapoor and did outcast Bipasha Basu, Celina Jaitley and Esha Deol in the film. Her lips in the main songs in the film were also appreciated.

She was sublime in Partner opposite Salman Khan. Her lips in the songs “maria maria” and others did attract the viewers. Her acting was equally realistic. In 2009, she even showed her daring nature in accepting a role of village girl opposite Irfan Khan in the film Billu Barber. She acted hardly without any make up and brought out the innocence of a village girl in the film.

The big question lies in the minds of people whether Lara Dutta can get her stardom back with her performance in the film Blue. She had learned scuva diving and showed acrobatic stunts which hardly any actress had done in Indian celluloid till now. Besides she had acted with Katrina Kaif, the reigning queen of bollywood in the film. So her performance opposite her can also prove her capability before the viewers.

Let us hope that Lara Dutta retains her popularity with Blue and provide stiff competition to Priyanka Chopra and Katrina Kaif in future.

Blue is going to be the costliest film ever.

Blue is going to be the costliest film ever.

The film Blue which is going to be released later this year is going to be the costliest film made ever in the history of bollywood. It has a budget over 100 crores and the standard of underwater shooting being done in the film can envy Hollywood directors.

Director Anthony DeSouza got inspired by Jaws and The Deep and made a thriller titled Blue which is going to be released in the later part of the year 2009. There was treasure that was hidden underneath the sea, which three friends including Sanjay Dutt, Akshay Kumar and Zayed Khan had tried to find.

Lara Dutta had worked with Sanjay Dutt in the film. Lara Dutta had been sublime with him previously in the film Zinda. She had proved her metal once again. She even trained herself with Scuva diving before doing the stunts relating to diving in the film.

Lorenze Gonzalves, a big builder of US had trained Sanjay Dutt for his stunts in the film. Hollywood mae up artist Nikoletta Skarlattos did the make up for Lara Dutta who looked a bit different in the film. Katrina Kaif also had gave a cameo performance in the film.

She had shown her beauty in other films in the past. In Blue the viewers will see her fitness and acrobatic ability. Sunil Shetty did a great a job in the film. Akshay Kumar was brilliant as usual.

While doing his stunts, once he even collided with the body of a ship and started bleeding. The entire crew helped him during the injury to recover. Australian pop singer Kylie Minogue will also be seen in the film who had exciting scenes with Akshay Kumar.

AR Rehman’s music in the film had been sensational and he also make Kylie Minogue sing for him in the film.

In a nutshell it is cracker entertainment that is awaiting release within next two months. Ashtavinayak Cinevision again had worked out for entertaining the audience. The big budget project can land up being the greatest hit of the years.

Chabi Biswas is remembered on his birth anniversary.

Chabi Biswas is remembered on his birth anniversary.

The viewers of Indian cinema remembered Chabi Biswas, the towering actor on his birth anniversary on 12th July, 2009. The legend had been considered the greatest actor ever to grace Indian celluloid by Oscar Winning director Satyajit Ray. Had he not met with a fatal accident in 1962 and died, Ray could have experimented much more with the dignified actor.

Firstly Chabi Biswas was the pivot around whom the entire Bengali film industry revolved. Tapan Sinha relied on the majestic actor in playing the role of Kabuliwala in Tagore’s classic Kabuliwala. Ajoy Kar asked Chabi Biswas to present his dignity in the film Saptapadi where he played the role of the father of Uttam Kumar who could not accept his change of religion from being Hindu to Christian. At the end of the film Chabi Biswas acknowledged the greatness of Suchitra Sen who loved Uttam Kumar, yet sacrificed her affair as she gave word to Chabi Biswas about not meeting him in her entire life.

Chabi Biswas was equally majestic in Ajoy Kar’s classic Suno Boro Nari. His character of Udashin had the right combination of dignity, aristocracy and discipline. He was barrister of reputation who did not allow his daughter Supriya Choudhury to marry Uttam Kumar who was assumed to be a poor homeopathy doctor. But he was left speechless when the actual identity of Uttam Kumar was revealed as a renouned Professor of Literature.

Satyajit Ray’s Jalsaghar tested the range of performance of Chabi Biswas and delivered blood and flesh in the character of Biswambar Roy who was a feudal lord of West Bengal. In fact Chabi Biswas was an unparallel figure in the roles of zamindars during colonial regime. His performance in Karthik Chatterji’s Saheb Bibi Ghulam, Rajen Tarafdar’s Antarikha was equally brilliant, where critics argued that Chabi Biswas even did more than the expectation of the directors in portraying the aristocracy of the zamindars.

Chabi Biswas had acted in more than 250 films during a span of 25 years and articles after articles can be devoted on his different andaz that was displayed in celluloid. His performance in Shambhu Mitra’s film Manik could have brought him Oscar, had the film being send by India abroad. He played the role of a paralytic patient with such diction that the viewers and the directors thought the character from Charles Dicken’s Oliver Twist had come out the pages of the book and appeared onscreen.

Raj Kapoor was astonished to see Chabi Biswas’s performance in his film Ekdin Ratre. The lips given by Chabi Biswas in Manna Dey’s song “ei duniyay bhai sabi hoi” compelled Raj Kapoor to agree that he was the greatest actor Raj Kapoor had seen in Indian films. He in fact regretted the absence of Chabi Biswas in bollywood films which could raised the standard of those films to another dimension.

Viewers still search Chabi Biswas in his unforgettable performances in films like Shashibabur Sangsar, Dada Thakur, Sabar Opore, Head Master, to name a few and never consider his death as a reality. His films should be preserved for the next generation to mark the level of excellence created by the greatest actor of Indian films ever.

The nation remembers Rafi on his death anniversary.

The nation remembers Rafi on his death anniversary.

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

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

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

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

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

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

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

The nation remembers Uttam Kumar on his death anniversary.

The nation remembers Uttam Kumar on his death anniversary.

The nation remembers Uttam Kumar, one of the greatest superstars of Indian celluloid on his death anniversary on 24th July, 2009. He has died almost 29 years ago, yet the viewers had not forgotten his films and still his presence is felt in the life bengalies in different parts of the world.

Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films.

When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc.

He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak, Chiriakhana, Tapan Sinha’s Jhinder Bandi, Upahaar and Jotugriha, Ajoy Kar’s Harano Sur, Saptapadi, Suno Bara Nari, etc., Agradoot’s Bipasha, Surjo Toron, etc., Agragami’s Sagarika, Shonkhobela, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen.

Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc.

Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures.

Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs.

Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future.

Happy birthday to Nasiruddin Shah.

Happy birthday to Nasiruddin Shah.

The viewers of bollywood films wish happy birthday to Nasiruddin Shah on 20th July, 2009. Along with Om Puri, Smita Patil and Shabana Azmi, Nasir was the leading actor who had shaped parallel cinema in India. He became the leading actor of art films directed by Shyam Benegal, Govind Nihalini, Sudhir Mishra, Mrinal Sen and others. He was sublime in films like Aakrosh, Sparsh, Khandahaar, etc.

Viewers cannot forget his realistic acting in Goutam Ghosh’s film Paar. He was unparallel in the scene where he along with Shabana Azmi, took the herd of animals across river Ganges for their livelihood. Their standard of acting was extraordinary. He was equally brilliant in a sensitive role in Shekhar Kapoor’ s film Masoom. His son Jugal Hansraj was not accepted by Shabana Azmi, as he was her step son, but at the end of the film Nasir convinced Shabana about accepting the child. The songs in the film like “huzoor is kadar bhi na itra ke chaliye” sung by Bhupinder Singh and Suresh Watkar and composed by RD Burman became extremely popular in the early 80s.

In the late 80s, Nasir got influenced by veteran actor Amrish Puri and joined mainstream cinema. There also he became a grand winner. He gave fabulous performance in the film Tridev along with Sunny Deol, Jackie Shroff, and also Vishwaatma wit Sunny Deol and Chunkey Pandey. His action skills, comedy skills all were utilized by the commercial directors and became an indispensable figure in the early 90s.

Even as villain he astonished the viewers in films like Mohra. He did outcast the heroes in the film like Sunil Shetty and Akshay Kumar and ended up being the main actor in the feeling. Nasir could play any type of role and in the long run no other actor other than Om Puri could match Nasiruddin Shah’s versatility. In China Gate, both of them faced each other and the viewers enjoyed the dynamic performances of the two legends. Even in films like Monsoon Wedding, Nasir showed that his skill in realistic acting just had got enhanced day after day.

In 2008, he performed perhaps the best film of the year, A Wednesday. He killed the terrorists as an ordinary citizen, to end the threat they had created over a period of time. The viewers expect the legendary actor to continue his dynamic performance as he is still irreplaceable in bollywood films.

Katrina Kaif versus Kareena Kapoor.

Katrina Kaif versus Kareena Kapoor.

After the success of the films New York and Kambakht Ishq, viewers are wondering about the ruler of bollywood film industry, whether it is Katrina Kaif or Kareena Kapoor. Both of them had been in the industry for some time.

Kareena Kapoor started her career with a bang with films like Refugee and Mujhe Kuch Kehna Hai. Her beauty stole many hearts and always she was blessed with good stories and powerful direction. Her career got disturbed for two three years after start, but she came back with unconventional role in the film Chameli. From that time critics acknowledged Kareena’s acting capabilities. She got the filmfare award for her best performance in the film Jab We Met. She had a bad year in 2008, as her film Tashan failed miserably.

But 2009, she returned back in style with the film Kamakht Ishq with Akshay Kumar. She had acted with all the leading stars in bollywood including Salman Khan in Kyun Ki, Hrithik Roshan in Yaadein, Shahrukh Khan in Ashoka, Ajay Devgan in Omkara, to name a few. But her age is in the way, if she has to prove herself against Katrina Kaif who is much younger than her.

Katrina Kaif gave hit films one after the other with Salman Khan and Akshay Kumar. Her films Humko Dewaane Kar Gaye, Namaste London, Maine Pyar Kyun Kiya, became super hit. Even her comedy films like Partner and Welcome struck box-office. Even the films where she had played villanish roles, had been successful, like Race. She has the most attractive screen presence at the moment. Her success in the film New York had proved her acting capability also. It does not matter to her that she had not received filmfare awards and other awards at the moment.

The viewers agree if Kareena Kapoor has acting background, Katrina Kaif has her age in her favour, so in the long run, Katrina Kaif has the potentiality to be the winner. The war of the two beauty queens will continue as Kareena has Mr. and Mrs. Khanna opposite Salman Khan to be released this year, while Katrina Kaif has Ajab Prem Ki Gazab Kahani opposite Ranbir Kapoor to be released this year. The other characteristic which is common between Katrina and Kareena is their affair with Salman Khan and Saif Ali Khan. Both of them are involved for the last few years, yet none of them had declared their date of marriage.

The viewers wish that both Katrina Kaif and Kareena Kapoor should give out their best in their struggle for number one spot.

Remembering Rajender Kumar on his birthday.

Remembering Rajender Kumar on his birthday.

The viewers remember Jubilee Kumar Rajender Kumar on his birthday on 20th July, 2009. He had died few years back and his viewers all over India and outside India had mourned the death of the legendary romantic actor.

From 1963 to 1966, all his films celebrated silver jubilees. From that time he became Jubilee Kumar. His films were designed in the same lines as that of Dilip Kumar, and he was successful in getting appreciation of the refined viewers of the country. Right from Goonj Uthi Shehnai, he acted in roles which were sacrificing nature and most of the roles touched the hearts of the viewers. He was sublime in Mere Mehboob and Aarzoo opposite Sadhna, Dil Ek Mandir, Chirag Kahan Roshni Kahan, opposite Meena Kumari. He acted in many films opposite Vaijayantimala and most of them ended up becoming superhit films, including Zindagi, Sangam, Aas Ka Panchi, Ganwar, Suraj, Saathi, to name a few.

Rajender Kumar acted in superhit films opposite Saira Banu as well including Ayee Milan Ki Bela, Jhuk Gaya Aasman, Aman, etc. Rajender Kumar’s films were also remembered by the audience for their everlasting music composed by Shankar Jaikishan and Naushad. SJ’s music in the film Ayee Milan Ki Bela, with Rafi’s songs like “mai pyar ka diwana”, “aha aye Milan ki bela”, “o sanam tere ho gaye hum”, “tum khamseen ho” became invaluable hits. SJ’s music in the film Suraj was equally impressive with Rafi’s songs like “chehere pe giri zulfein”, “kaise samjhayun”, “baharon phool barsao”, storming bollywood in the mid-60s.

Naushad gave his career’s best music in the film Mere Mehboob. All the songs sung by Rafi and Lata including “mere mehboob tujhe”, “ai husn zara jag tujhe”, “tumse izhaar – e – haal”, etc., astonishing listeners in India and abroad. Also the songs of Palki, like “dil –e –betaab ko seene se lagana hoga”, showed the high quality of ghazals which were given adequate expression by Rafi.

Rajender Kumar never received any filmfare award for his performance, but the viewers in India and abroad acknowledged his creditable performance in most of the films. His films should be revisited.

Review of Uttam Kumar's Ekti Raat.

Review of Uttam Kumar’s film Ekti Raat.

Uttam Kumar, the greatest superstar of Bengali films, created sensation in the 50s, with the legendary actress Suchitra Sen. Whenever both the romantic performers performed together, middle-class bengalies associated themselves with the characters and became part of the same film. Till today, they are still considered to be the most romantic pair, who had graced Indian silver screen.

In Ekti Raat, while Uttam Kumar’s wife Sabita Chatterji, lost her train, due to contingent reasons, Uttam Kumar travelled with Suchitra Sen was also married to his destination in car. As that car also faced mechanical problems, they had to stay in Tulsi Chakravarty’s hotel for one night. Tulsi Chakravarty, only allowed married couples in his hotel, and for staying over there for a night, Uttam Kumar had to tell a lie that he was the husband of Suchitra Sen.

Suchitra Sen came with her dog, which ran away from the garden of that hotel and ran into the fields at night. Malina Debi, the mother of Sabita Chatterji, went to the house where her daughter was supposed to go to trace her son-in-law. All the events continued one after the other with comedy sequences. When Kamal Mitra, the husband of Suchitra Sen, came to know about the incident, he decided that he had to do play acting with Uttam Kumar to convince his wife, that nothing untoward happened during the night when Uttam Kumar and Suchitra Sen stayed together in the same room.

The last part of the film was related to the manner in which the Sabita Chatterji was reconciled with the assistance of relatives like Pahari Sanyal, Chandabati Debi and others. Bhanu Banerjee played the role of a drunkard in the film.

The music of the film was brilliant with experiments done by Anupam Ghatak. Sandhya Mukherjee was elegant as usual especially in the song “kakon bole srimoti kande”. Her voice suited Suchitra Sen the most and she was indebted to Sandhya Mukherjee for her huge success in bengali films. The film released in 1956, had not lost its appeal even after 50 years of creation and should be restored.

Short cut had shown crude realities of bollywood industry.

Short cut had shown crude realities of bollywood film industry.

Anil Kapoor’s project Short cut had shown the crude realties of bollywood film industry. Those actors who hardly can even play a proper character had become superstars over the years. Arshad Warsi’s character was used to show the success of less-callibered performers in bollywood. Once they had been made stars, whatever they had done had become myths.

Akshay Khanna’s character had also shown that directors who had been innovative over the years and did original work could not get breaks. Stories were stolen, ideas were robbed, scripts were copied. This has been the story of bollywood industry for the last 25 years.

There was a time, during the 50s and 60s, when genuine creative work was appreciated. Audience were educated, learned, cultured and able to appreciate rich creations. Directors like Bimal Roy could make risky films like Devdas, Do Beegha Zamin, Madhumati, Kabuliwala, etc., which were appreciated and got box-office success as well. Actors like Dilip Kumar who were tragedians ruled the industry. Even Raj Kapoor could experiment with serious subjects in films like Boot Polish, Jaagte Raho, etc.

Music in bollywood films reached their level of excellence with composers like Naushad, Shankar Jaikishan, Roshan, Salil Choudhury,etc., lyricists like Sahir Ludhianvi, Shailendra, Kaifi Azmi, singers like Rafi, Lata, Manna Dey, and others sang even pure classical numbers which were digested and liked by the audience. The concept of commercial films and art films did not develop at that stage.

In the recent past it had been seen, that the industry had been run by influential people, who had contacts, good distribution capability and were engaged in politics who did shine. Akshay Khanna and Arshad Warsi were characters who tried to depict the reality of modern bollywood industry. Purely talented characters in all the fields of the film industry, had struggled to get producers to finance their work in recent past, and sometimes their work had been copied or stolen and reproduced by others. Anil Kapoor had been daring enough to deal with a subject which could have brought lot of controversy. Viewers should see the film.