Salil Choudhury's Bengali and hindi version of songs.

Salil Choudhury’s Bengali and hindi version of songs.

Salil Choudhury was one of rare class of intellectual who embraced Bengali and films with his eternal treasure of music. His words and tunes matched one another in both the versions.In the 40s, 50s, 60s and 70s he experimented with many songs made both for Bengali modern version and gave the same song with a different version in bollywood films.

His song “jhir jhir jhir jhir jhir borosa” sung by Dhananjoy Bhattacharya composed by Salil Choudhury in the film Pasher Bari who remade in hindi with the title “jhir jhir jhirjhir” sung by Lata Mangeshkar with equal brilliance. Dhananjoy Bhattacharya’s classical touch was balanced by Lata Mangeshkar with her own unique style.

Shyamal Mitra’s brilliant modern song “Jodi kichu amare sudhao” was remade with the title “dil tarpe tarpaye” sung by Rafi in the film Poonam Ki Raat. In Shyamal Mitra’s version Salil Choudhury used music for half part of the song, the rest was blank version. In Rafi’s version chorus was used at the back of Rafi’s solo. If Shyamal Mitra’s pitch was unparallel, Rafi’s romantic rendition with slight classical alaap was outstanding. It was Salil Choudhury’s sheer brilliance that he used the immortal singers in style.

Salil Choudhury’s song “ganga gangar tarange prano paddo bhasailam” sung by Sabita Choudhury in the film Ganga was remade in hindi by Manna Dey. The film Ganga was directed by Rajen Tarafdar and won many awards for its excellence. The rhythm of fishermen sailing in boats was synchronized by Salil Choudhury’s own orchestration. Salil Choudhury’s outstanding music was one of the reasons for the success of the film Ganga. The hindi version sung with the title “ganga” sung by Manna Dey. Manna Dey brought the folk flavor in style. The other song in film Ganga sung by Manna Dey titled “uthali pathali amar book” was remade in the hindi by Hemant Kumar with the title “ganga aye kahan se”. Manna Dey’s version had folk title “bhatiyali” embedded in it.

Salil Choudhury’s song “aye brishti jhepe” sung by Sandhya Mukherjee was remade in hindi titled “bhaiya re bhaiya” sung by Shusma Shresth and others. Salil Choudhury’s song “ei duniyay bhai” sung by Manna Dey and picturised on Bengali actor Chabi Biswas in the film Ekdin Ratre was remade in hindi with the title “humko samajh baithe” sung by Mukesh.

Salil Choudhury’s song “guru guru meghero mondrobahare” sung by Sabita Choudhury was remade as “o sanyasi” sung by Asha Bhosle and Yesudas. Shyamal Mitra’s song “ja jare ja ja pakhi” was remade in hindi by Mukesh with the title “door bahut abadi”. Sabita Choudhury’s song “jhilmil jhiler jole jhikimiki” sung by Sabita Choudhury was remade in hindi with the title “naam mera nimmo” sung by Lata, Manna Dey and Dwijen Mukherjee. The list can go on.

The greatness of Salil Choudhury lies in utilizing all the singing talents in Bengal and India as a whole. Singing talents in Bengal like Manobendra Mukherjee, Manna Dey, Dhananjoy Bhattacharya, Hemant Kumar, Shyamal Mitra, Sandhya Mukherjee, Sabita Choudhury were used as against the giants in Bollywood industry like Mohammad Rafi, Mukesh, Lata Mangeshkar, Asha Bhosle, Talat Mehmood, Yesu Das and others.

Happy birthday to Bhupen Hazarika.

Happy birthday to Bhupen Hazarika.

The viewers wish happy birthday to music maestro Bhupen Hazarika on his 84th birthday on 8th September, 2010. He was born in Sadiya, in Assam in 1926.

He had done MA from Benaras Hindu University. He did his PhD from Columbia University, New York, USA in 1954. While studying in Columbia University, New York, USA he came in close contact with eminent singer Paul Robson, who taught him landmark songs. Bhupen Hazarika’s song “we are in the same boat brother” was the creation of Paul Robson.

He returned back and made a major contribution to Assamese film industry with his songs. He made the Bengali listeners flabbergasted with his brilliant songs. The songs were not only romantic, but more than that had provided social message.

Some of his brilliant compositions included “manush manusheri jonyo”, “ami ek jajabor”, “bistirnodi pare ashonkho manusher hahakar shune nistaba nirabe o ganga tumi o ganga boicho keno”, “ganga amar ma”, etc. He composed music in Uttam Kumar’s film Jibon Trishna, where his song “sagar sangame satar ketechi koto”, became extremely popular.

He composed songs for other landmark singers like Lata Mangeshkar titled “rangila bhashite ke bajae”, Hemant Kumar titled “e dola e dola”, Subir Sen titled “ogo shakuntala”, Ruma Guha Thakurta titled “ek phalli megh bheshe elo akashe”, to name a few.

He received national award for his music in the film Chameli Memsaab in 1977. He received Padmabhushan and also Dadasaheb Phalke award. His composition of music in the film Rudali, with Lata’s song “dil hum hum kare” had made the viewers spellbound.

One article is to small to bring forward the achievements of the great singer, composer and creator Dr. Bhupen Hazarika. It can be said that he was one of the greatest genius that Assam had produced during the golden age. There are statues of the legend made in Guwahati, the capital of Assam.

The musiclovers expect him to continue the great work that he start 60 years ago and pray for his long life. His works should be restored.

Contribution of C. Ramchandra in bollywood films.

Contribution of C. Ramchandran in bollywood films.

C. Ramchandran glorified bollywood films of the 50s and 60s with his innovative music. Born in 1918, in Puntumba town of Ahmadnagar District of Maharashtra, he studied music under Vinayakbua Patwardhan at Gandharva Mahavidyalaya.

He acted in bollywood films like Naganand, Saeed-e – Havas and Atma Tarang in the late 40s. He independently composed music in Tamil films like Jayakkodi and Vanamohini. As far as bollywood films were concerned he got break in Bhagwandada’s film Sukhi Jeevan. His biggest hit with Bhagwan came in the film Albela in 1951. All the songs in the film became super hit including “bholi surat dil ke khote”, “shola jo bharke”, “dheere se aja”, etc.

In the mid-50s, Anarkali was the greatest hit music composed by C. Ramchandran in his entire career. Lata’s song “yeh zindagi usi ki hai” stormed bollywood with Bina Roy and Pradeep Kumar becoming immortal in the roles of Anarkali and Salim respectively. In the mid-50s, C. Ramchandran’s music in Dilip Kumar Meena Kumari’s film Azad became super hit. The landmark songs included “aaplam chaplam” sung by Lata and Usha Mangeshkar, “dekhoji bahar ayi” sung by Lata, to name a few.

C. Ramchandran’s music in Dev Anand’s film Amardeep became super hit in 1958. Rafi and Asha’s duet song “dekh hume awaaz na dena” became super hit along with Lata’s song “mera manka bhawra panchi”. C. Ramchandran was probably at his best in the film Navrang released in 1959. Mahendra Kapoor and Asha Bhosle’s duet “adha hai chandrama raat aadhi”, “aare jaare natkhat na chu re mera ghoonghat”, became everlasting classic. Manna Dey’s duet song with Asha Bhosle titled “tu chupi hai kahan” became another super hit song from the same film.

The other hit films where C. Ramchandran composed landmark tunes included Raj Kapoor’s Sharda in 1957, and Dev Anand’s Baarish in 1957. His music in Kishore Kumar’s film Asha also stormed bollywood in late 50s.

C. Ramchandran was also known for the immortal tune for Lata’s song “aye mere watan ke logon” written by poet Pradeep. It had remained as one of the most landmark songs related to India’s freedom struggle movement which brought tears in the eyes of Jawahar Lal Nehru in 1963, when sung during Republic Day by Lata. In the 60s, C. Ramchandran’s music in Feroz Khan’s film Oonche Log stormed bollywood with Rafi’s hit song “jag dil-e diwana ruth jaage”. It is not possible to highlight the contribution of C. Ramchandran in a small article as he composed music in more than 100 films in a span of 40 years. With the dominance of Shankar Jaikishan and OP Nayyar in the 60s, C. Ramchandran gradually faded away from the industry. But his hit music in films like Anarkali, Amardeep, Asha, Albela, etc. had made him immortal. His music and the films should be preserved and restored.

Rafi and Roshan created history with melody in 60s.

Rafi and Roshan created history with melody in 60s.

Roshan Lal Nagrath, better known as Roshan was born in Gujranwala on 14th July, 1917. His lessons from Ustad Allauddin and Sarangi King Bundu Khan transformed himself into regular composer of All India Radio in the 40s.

He started his career as composer in bollywood films with the film Neki Aur Badi in 1949. In the early 50s Mukesh and Talat Mehmood featured in most of the films of Roshan. Some of the hit songs included “khayalon me”, “sun bairi balam” from Bawre Nain, “tare toote duniya dekhe” from Malhar. Although he had success in the films Shisham, Anhonee, Malhar, etc., his immense talent did not get recognition until he used the man with the golden voice Mohammad Rafi.

Roshan stormed bollywood music with brilliant composition in the film Barsaat Ki Raat. The romantic film of Bharat Bhushan and Madhubala did fantastic business. Roshan’s brilliant use of sarangi was evident in Rafi’s song “zindagi bhar nahi bhulenge woh barsaat ki raat”. The song was sung by Rafi and Lata at different time in the film. Barsaat Ki Raat was also known for the famous qawalli “na to karwaki talash hai” and “yeh ishq ishq hai isqh ihqh” where Rafi and Manna Dey were equally brilliant. Sahir Ludhiyanvi also made brilliant use of words in the songs of the film.

In 1962 Roshan amazed the listeners with the brilliant composition in the film Aarti. Pradeep Kumar, Ashok Kumar and Meena Kumari played the lead roles in the film. The film had every type of song including folk song and ghazals. The song “baar baar mohe kya samjhaye” sung by Rafi and Lata had complete balance of melody and rhythm. The slow numbers in the film like “ab kya misaal doon mai tumhare shabab ki” sung by Rafi and “aapne yaad dilaaya to mujhe yaad aya” sung by Rafi and Lata can be considered to be some of the best ghazals in the entire 60s. Lata’s song “baharon ki manzil rahi” was equally brilliant.

Roshan used Mukesh and Manna Dey in Raj Kapoor’s film Dil Hi to Hai. The song “laga chunari me daag chupayun kaise” was a fine example of classical excellence in the film where Manna Dey showed his class.

Roshan received filmfare award for the best composer for his landmark creation in Pradeep Kumar’s Taj Mahal. All the songs of the film displayed the royal andaz of songs sung during the mughal period. Pradeep Kumar played the role of Shahjehan and Bina Roy played the role of Mumtaz Mahal. Rafi’s duet with Lata “jo wada kiya hai nibhana parega”, was as outstanding as Rafi’s song “paon chulenedo phoolon ko inaayat hogi”. The use of sarangi require special mention in the song “jo baat tujhme hai teri tasveer me nahi”.

The Rafi Roshan magic continued in the film Chitralekha in 1964. Rafi’s song “man re tu kahe na dhir dhare” is still considered to be one the most landmark bhajans of all times. Roshan was at his best in the film Bheegi Raat. Rafi made the audience stand up on their feet with the song “dil jo na keh saka”. The same song was sung by Lata too in the film. Rafi presented the other ghazal in the film in style titled “jane woh kaun hai kya naam hai in ankhoka”.

The Rafi Roshan combination continued to produce evergreen gems in the films Noorjahan and Bahu Begum. All the songs of Bahu Begum were masterpieces including Rafi’s “hum intezar karenge”, Lata’s “duniya kare sawal to hum kya jawab de”, Asha’s “niklete kahan janeke liye”, to mention a few. Roshan Rafi combination was also evident in the film Mamta. Rafi’s song “in baharon me akela na phiro” was as brilliant as “rahe na rahe hum” sung by Lata.

It is not possible to highlight the significance of Rafi Roshan combination of the 60s in a small article. Separate articles can be written on the music of the films Surat Aur Seerat, Dooj Ka Chand, Bedaag, etc. It was very amazing that Roshan had just received only one filmfare award in his illustrious career. The music of Taj Mahal, Bheegi Raat, Barsaat Ki Raat could qualify for national awards in the respective years. Roshan died in 1969 and the royal combination of Rafi and Roshan also ended with it.

The films and the songs require re-examination, restoration and preservation.

Aarti was a musical blockbuster of early 60s.

Aarti was a musical blockbuster of early 60s.

Bollywood films reached its zenith during the 60s. Director Phani Majumdar directed a classic film Aarti in the early 60s with Pradeep Kumar, Ashok Kumar and Meena Kumari.

Meena Kumari and Ashok Kumar became doctors together. Ashok Kumar went abroad for further studies and after return opened a clinic in West Bengal. Pradip Kumar saved Meena Kumari when she fell in a river in West Bengal while going to a relief camp after a natural calamity. From that time Meena Kumari was impressed with Pradeep Kumar.

Meena Kumari married Pradeep Kumar even after knowing that she had to live in a joint family along with Pradeep Kumar’s father played by Jagirdar and brother played by Ramesh Deo. Ashok Kumar wanted to marry Meena Kumari but due to disinclination showed by Meena Kumari the relationship did not mature.

At the end of the film Pradip Kumar met with a serious accident and required operation. Ashok Kumar was the only competent surgeon in the region to do the operation. Meena Kumari inspite of her differences relied on Ashok Kumar. Ashok Kumar had the scope of showing negligence and killing Pradeep Kumar. Instead he fulfilled the liabilities and responsibilities of a responsible doctor. As part of consideration she asked Meena Kumari to live happily with Pradeep Kumar and his family.

The most striking feature of the film included its superlative music. Roshan composed the tunes and Majrooh Sultanpuri wrote the lyrics. Rafi’s songs “ab kya missal doon mai tumhari shabab ki”, Rafi Lata’s duets like “baar baar mohe kya samjhaye” and “aapne yaad dilaya to mujhe yaad aya” stormed bollywood in the early 60s. Rafi was at his best and the lyrics were written by Majrooh Sultanpuri.

Pradeep Kumar was known for acting in historic films like Taj Mahal, Anarkali, Anandmath, etc. When he was cast in a social drama, Pradeep Kumar depicted the character of a middleclass Indian very well. He later got a job and showed his submissiveness before Meena Kumari. Meena Kumari was probably the most powerful actress of the classic age, that is the 50s and 60s. She as usual reached the depth of the character. Ashok Kumar was sublime in his individual role. The character artists in the film like Shashi Kala, Rajender Nath, Mehmood played their role in style. The film did great business. The film should be restored for its superlative music and powerful performances of the artists in the film.

Dilip Kumar was matchless in Leader.

Dilip Kumar was matchless in Leader.

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

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

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

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

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

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

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.

The nation remembers Pancham on his birthday.

The nation remembers Pancham on his birthday.

The nation remembers Pancham, better known as Rahul Dev Burman, on his birthday on 27th June, 2009. Almost 15 years passed after his death, yet his tunes had kept him alive among the young generations.

Being the son of legendary singer and composer SD Burman, he had a monumental task of proving his identity in the 60s. He came out with innovative tunes sung by Rafi in Mehmood’s film Chote Nawab. From that time onwards critics understood that RD Burman had come to create his unique identity. His biggest in the 60s came in Shammi Kapoor’s film Teesri Manzil in 1966. All the songs sung by Rafi and Asha became landmark hits including “o haseena zulfonwali”, “aaja aaja mai hoon pyar tera”, “janeman janejaa”, etc. Along with western composers like Shankar Jaikishan, OP Nayyar, Salil Choudhury, who were ruling the industry, RD Burman kept his feet on strong platform.

RD Burman and Rafi combination continued in films like Abhilasha with songs like “wadiyan tera daaman”, Jeetender’s Karwan with songs like “kitna pyara wada”, “are chadti jawani”, “are ho goriyan kahan tera des re”, Shashi Kapoor’s Pyar Ka Mausam, with songs like “tum bin jayun kahan”, “ni sultana re”, Rajesh Khanna’s The Train, with songs like “gulaabi aankhe”, “tujshe bhala yeh”, etc. In the 70s, RD took the bollywood industry by storm. With death of Jaikishan, Roshan, Ghulam Mohammad, Vasant Desai, etc., the industry depended on Pancham, Laxmikant Pyarellal and Kalyanji Anandji for best music. They provided stability to the industry for the next 15 years.

RD Burman had monumental contribution in Rajesh Khanna and Big B’s films and gave a new life to Kishore Kumar. All the songs of films like Amar Prem, Kati Patang, Aap Ki Kasam, Namak Haram, Mehbooba, Barsaat Ki Ek Raat, Shaan, Shakti, etc. Memorable songs included “tere naina”, “kuch to log kahenge”, “ai sham mastani”, “janu meri jaan”, etc.

RD Burman contributed a lot in Uttam Kumar’s Bengali film Raj Kumari in 1970. The song “ki holo kabe holo” , created history which was remade in hindi in the film Amar Prem. Critics argue that RD Burman reserved his best music in Gulzar’s films. His songs for Lata in Suchitra Sen’s Aandhi titled “is mor se jaate hai”, Uttam Kumar’s Kitaab, “aa ii masterjiki ho gayi chutti”, Jeetender’s Kinara where Bhupinder Singh and Lata did their best in “naam gum jayega”, “meethe bol bole”, “ek hi khwab”, etc., Sanjeev Kumar’s Parichay, with Bhupinder’s “biti na bitai rehna”, etc.

He won the filmfare award for the best composer three times. The young generations associate themselves with RD’s tunes even today, in that count he was one of the versatile composers after Shankar Jaikishan, Naushad, Madanmohan, Roshan, etc.

Remembering Hemant Kumar on his birthday.

Remembering Hemant Kumar on his birthday.

The viewers of bollywood and Bengali films pay their homage to evergreen singer Hemant Kumar on his birthday on 16th June, 2009. He had died more than 15 years back, but had left lot of memories which are cherished by the following generations.

He composed music in many bollywood films in the 50s and 60s and carried forward the legacy of Rabindra Sangeet beyond the Bengal border and made it popular all across India. He composed music in the film Nagin and got the filmfare award for the best composer in 1955. His tune “man dole” sung by Lata for Vaijayantimala became extremely popular in the mid -50s.

He sang a number of songs for Dev Anand including “yeh raat yeh chandni” in the film Jaal, “yeh apna dil” in Solwa Saal, songs in Patita, etc. He also sang the legendary song “jane yeh kaise” for Guru Dutt in the film Pyaasa. His composition in Biswajeet’s film Bees Saal Baad and Kohra became super hit. Successful songs included “yeh nayan dhali dhali”, “zara nazron se kahdo ji”, etc.

Hemant Kumar’s composition in the other films included Biswajeet’s Do Dil, Dilip Kumar’s Paigam, Dharmender’s Khamoshi, Guru Dutt’s Sahe Bibi Aur Ghulam. Some of the hit songs sung by Hemant Kumar in those films included “tum pukarke”, and others. Besides he had given many hit songs to Lata, Asha and Geeta Dutt in those films.

Hemant Kumar had sung majority of playback songs for Bengali superstar Uttam Kumar in the 50s. His songs included “surer akashe tumi je go shuktara” from the film Shapmochon, “tare bole diyo” from the film Dui Bhai, “nir choto khoti nei” from the film Indrani, “ei poth Jodi na shesh hoi” from the film Saptapadi, “jai chole jai” from the film Kal Tumi Aleya, “sapno jagano raat” from the film Shudhu Ekti Bachar, “mou bane aaj” from the film Bondhu, to name a few.

Besides most of the Rabindra Sangeet sung by Hemant Kumar in Bengali films became hits, including “tumi robe nirobe” in Biswajeet Kuheli, “ami pothbhola ek pathik” in Uttam Kumar’s Mon Niye, “jokhon porbe na mor” in Uttam Kumar’s film Bibhas, etc.

Hemant Kumar’s contribution in Bengali modern songs and film songs is so huge that articles after articles can be devoted for the melody king of Bengal. The viewers pay their respect for the departed soul of legendary singer Hemant Kumar on his birthday.

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Death anniversary of Shankar.

Death anniversary of Shankar.

The viewers of bollywood films mourn the death anniversary of Shankar, the legendary composer on 26th April, 2009, whose combination with Jaikishan had created musical masterpieces during the 40s, 50s and 60s. The combination started working together in Raj Kapoor’s film Barsaat in 1949, and after that they never looked back. They created trends, broke the conventional style of music, experimented in every level of music, gave music in the films of all the leading actors and actresses of 50s and 60s.

As the name of Shankar Jaikishan was always used together due to their dominance in bollywood music in the 50s and 60s, individually their individual capabilities were not discussed in details. Music historians had reiterated after the death of the magical duo that Shankar had contributed the most in the classical songs while Jaikishan was more instrumental in the westernized tunes and orchestrations. Further Shankar’s most of the compositions were associated with lyricist Shailendra and Jaikishan’s creations were mostly associated with Shankar.

Some of the unforgettable classical tunes of SJ include “sur na saje kya gayun mai” sung by Manna Dey in the film Basant Bahar picturised on Bharat Bhushan, “ajahu na aye balma” sung by Rafi in the film Saanjh Aur Sawera picturised on Mehmood, “aji ruth kar ab kahan jayiega” sung by Lata and Rafi in the film Aarzoo picturised on Sadhna and Rajender Kumar, “o mere shahe khuba” sung by Rafi and Lata in the film Love In Tokyo, picturised on Joy Mukherjee and Sadhna, etc.

Besides a huge number of compositions of SJ included folk songs involving the smell of the soil from where they had originated. Those songs included “ramaiya vasta maiya” in the film Shree 420, sung by Rafi, Lata and Mukesh picturised on Raj Kapoor and Nargis, “chalat musafir” in the film Teesri Kasam, sung by Manna Dey picturised on Raj Kapoor, “aa ab laut chale” sung by Mukesh, Lata and picturised on Raj Kapoor and Padmini, etc.

Music lovers lament the death of Shankar and the disintegration of the SJ team in the 60s, because they had contributed in the films of Raj Kapoor, Rajender Kumar, Shammi Kapoor, Joy Mukherjee, Biswajeet, Dharmender, Jeetender, Dev Anand, Dilip Kumar, Manoj Kumar, etc., which includes almost the entire industry. So viewers of different tastes enjoyed the composition of SJ in those films. It is very sad that during the last 15 years, the media had underrated SJ and tried to project RD Burman as the greatest phenomenon of the century. He was a definitely a brilliant composer but his contribution cannot be equated with the dynamic composition of SJ. Shankar’s contributions should be preserved and restored.

Bollywood lacks handsome actors like Rishi Kapoor these days

Bollywood lacks handsome actors like Rishi Kapoor these days.

Bollywood films lack handsome actors like Rishi Kapoor these days. The peculiarity of success of Rishi Kapoor lies in his domination during the age of action films. From the mid-70s anti-establishment images of Big B, Vinod Khanna, Shatrughun Sinha dominated bollywood films. Just because corruption in the society was rampant, the fight against corruption by all these action stars stormed bollywood.

Rishi Kapoor retained his romantic image in that era with non-violence. Most of his films were based on simple stories related to social norms, practices, etc. His film Sargam with Jaya Prada, was related to the hardships faced by dumb girls in Indian villages. Jaya Prada was a great dancer in the film, but her family never highlighted her skills, on the contrary cursed her for her disabilities. The music of Laxmikant Pyarellal and songs of Rafi and Lata like “koel boli”, “ramjiki nikli sawari”, “dafliwale” amused the viewers in the late 70s.

Raj Kapoor came up with a social message in his film Prem Rog with Rishi Kapoor and Padmini Kolhapuri. In the early 80s, the film showed the sufferings faced by widows in Hindu undivided families. Padmini Kolhapuri was married at an early age in a rich family. Her husband died at an early age and from that time her suffering started he even got insulted and molested by her in-laws.

Rishi Kapoor was helpless, as he was not rich enough to have been considered eligible for marriage with the young girl. He was a silent observer of the backdated thinking of the family of Padmini Kolhapuri in the film. The music of the film was extraordinary just like other films of Raj Kapoor. LP’s tunes for Lata and Suresh Watkar had not lost their appeal even today with songs like “mohabbat hai kya chis”, “mai hoon premrogi”, etc.

Rishi Kapoor’s successful films in the late 70s and early 80s like Karz, Laila Majnu, had hardly anything to do with action. He created a separate place for himself in the list of romantic actors and whenever viewers went to watch his films, his romantic face carried a different identity.

Bollywood films these days bank on muscular personalities like Salman Khan, Saif Ali Khan, Akshay Kumar, etc., but refined commercial films with romantic actors like Rishi Kapoor had dried up these days to the astonishment of many viewers. Rishi Kapoor still remains one of the legendary romantic actors of bollywood films of all ages.

Saira Banu in the 60s.

Saira Banu in the 60s.

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

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

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

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

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

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

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