Showing posts with label Golden Era. Show all posts

Monday, 25 December 2017

NAUSHAD-Once All of India was crazy about his Melodies.

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Naushad(26 December 1919 – 5 May 2006 )began his career in 1940 with Prem Nagar, but took off in 1944 with Ratan, where he created his own style. All of India was crazy about him. His music had that simplicity. Songs like Jab dil hi toot gaya and Gham diye mustaqil from Shahjehan touch you.
He was one of the first to introduce sound mixing and the separate recording of voice and music tracks in playback singing. He was the first to combine the flute and the clarinet, the sitar and mandolin. He also introduced the accordion to Hindi film music and was among the first to concentrate on background music to extend characters' moods and dialogue through music.
He was the first composer to have developed the system of western notation in India. The notation for the music of the film 'Aan' was published in book form in London.He was the first to use a 100-piece orchestra.for Aan in 1952.

His greatest contribution was to bring Indian classical music into the film medium. Many of his compositions were inspired by ragas and he even used distinguished classical artistes like Amir Khan and D.V. Paluskar in Baiju Bawra (1952) and Bade Ghulam Ali Khan in Mughal-e-Azam (1960). Baiju Bawra (1952) demonstrated Naushad's grasp of classical music and his ability to bring it to the masses, for which he won the first Filmfare Best Music Director Award in 1954.

He was very innovative,in Uran Khatola (1955), he recorded an entire song without the use of orchestra, having replaced the sound of musical instruments with choral sound of humming..For Mughal-e-Azam (1960) song Ae Mohabbat Zindabad, he used a chorus of 100 persons. He asked Lata Mangeshkar to render a part of the song "Pyaar Kiya To Darna Kya" in a bathroom that had glazed tiles and then recorded the music to get the echo effect.
Naushad made Suraiya stand on a stool for the 12-year-old schoolgirl's voice to be able to reach the microphone on her debut, Boot karoon main paalish baaboo (from A R Kardar's Nai Duniya in 1942). It was under him, likewise, in another A R Kardar songathon, Dastan (1950), that Suraiya vocally peaked with Mohabbat badhakar jooda ho gaye.
This master composer first made both Mukesh (Andaz) and Talat Mahmood (Babul) sound surpassingly individualistic on Dilip Kumar He was, near clandestinely, getting Mohammed Rafi ready for the big leap. From his first Anmol Ghadi solo, Tera khilauna toota baalak (1946), to O door ke musafir on Dilip Kumar in Uran Khatola (1955), Rafi came a long, long way, once the Baiju Bawra (above) miracle happened in 1952..

His association with Mohammad Rafi had marked the most golden combination which galvanized the outstanding music composed during the golden age in Indian music, the 50s and 60s. His composition in the film Dulari, 1947, for Mohammad Rafi titled “suhani raat dhal chuki” makes a music lover addicted and it has an appeal even after 60 years of its composition.
Naushad’s composition in Son of India, “dil torneewale”, duet for Rafi and Lata, shows the effective use of instruments in that age when recording was not developed to that extent. In Dilip Kumar’s Kohinoor, 1960, Rafi’s songs “madhuban me radhika nachere”, “do sitaron ka zamee par hai Milan aaj ki raat” marks Naushad’s control over bhajans and songs with chorus effects. In Rajender Kumar’s Mere Mehboob, 1963, Naushad had explained the transformation of nasams into ghazals. His songs “mere mehboob tujhe meri mohabbat ki kasam”, “tumse izhaar-e-haal kar baithe”, “ai husn zara jag tujhe isq dikhaye” enchanted the listeners. Naushad’s compositions were as outstanding as Shakeel Badayani’s lyrics and Rafi’s golden voice.
Naushad had used folk songs to a great extent where the subjects in the films required them. For example in the film Ganga Jumna, 1961, his composition for Rafi including “nain lar jaihe” was created with bhojpuri effect, and Rafi had succeeded in pronouncing it in the manner expected from him. Rafi’s songs in Rajender Kumar’s Palki, Ganwar, composed by Naushad were also outstanding.
It is tragic that the film industry, could not utilise Naushad’s talent in 1970s and 80s,
He gave 35 silver jubilee hits, 12 golden jubilee and 3 diamond jubilee mega successes. Naushad was conferred the Dadasaheb Phalke Award and the Padma Bhushan in 1982 and 1992 respectively for his contribution to the Bollywood film industry.
Some of the Immortal songs of Naushad

Song from Rattan 1944

Song from Anmol Ghadi 1946

Song from Shahjehan 1946

Song from Dard 1947

Song from Mela 1948

Song from Andaz 1949

Song from Babul 1950

Song from Deedar 1951

Song from Baiju Bawra 1952

Song from Uran Khatola 1955

Song from Mughal-e-Azam 1960

Song from Gunga Jumna 1961

Song from Mere Mehboob 1963

Saturday, 23 December 2017

Mohammad Rafi-The Voice That Swayed Millions

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Mohammed Rafi had an immortal, melodious voice. He was trained in classical music and had an unparalleled range. Rafi conveyed different shades of emotions through his songs whether romantic, sad, classical, devotional, ghazals or bhajans. He could sing every kind of song with an ease and perfection that made him the uncrowned king of Indian playback singing.

He was born on December 24, 1924, and was fond of singing from childhood. As singing was not considered respectful those days, he ran away from home to Lahore, where he got training under maestros such as Bade Gulam Ali Khan and Ustaad Abdul Waheed Khan. Rafi sang on All-India Radio before he entered cinema. Sham Sunder was the first music director who recognised the artiste in Rafi and gave him a break in a Punjabi movie, Gulbloch, in which Rafi sang Soniye, Hiriye nee.

Mohammad Rafi's first big break came late in 1946. Shooting for a Dilip Kumar ,Noorjehan starrer block-buster film Jugnu which was started in 1946.He sang a duet with Noorjehan"Yahan badla wafa ka be wafayi ke siwa kya hai"When the film was released in 1947, this very duet became the best selling song. This gave the necessary break to Mohammad Rafi and from then on he never looked back and went from strength to strength. He also acted in this film.

By the middle of 1947, Mohamad Rafi had become a household name in Hindi speaking North India . His flexible, sweet and velvety voice suited most young actors including the brilliant rising star Dilip Kumar. Most of the finest music directors, spearheaded by the duo of Pandit Husnalal Bhagatram, were showing interest in grooming his raw talent further into the art of film playback singing.
Pandit Husnalal Bhagatram gave Mohammad Rafi an immortal song "Is dil ke tukde hazaaar huye, koi yahan gira koi wahan gira, behte huye aansoo ruk na sake koi yahan gira koi wahan gira".Mohammad Rafi gave his emotion filled voice to this song. This song became an instant hit .
In 1948 another song by Rafi "Watan ki raah mein watan ke naujwan shaheed ho" from Shaheed, which became the signature tune for the movie, became overnight a nationwide hit.
The music director Shyam Sunder's tunes rendered by Mohammad Rafi for film Bazaar(1949) including a duet with Lata Mangeshkar entitled "Apni nazar se door voh, unki nazar se door hum, tum hi batao kya Karen, majboor tum majboor hum" caught the imagination of entire Hindi knowing India.

Mohammad Rafi's utmost devotion to his profession and hard work under the music direction of Pandit Husnalal Bhagatram paid great dividends and he became India 's leading duet singer in the company of Lata Mangeshkar. Some of his pre-1950 duets with Lata Mangeshkar are acclaimed as some of the finest in the history of film singing.
After 1950 most of the great music directors of India considered Mohammad Rafi a force in film music. When Naushad composed his masterly tunes for films like Dulari (1949) and Deedar (1951), Mohammad Rafi became the star that no one could afford to ignore. Film Deedar song "Huye hum jin ke liye barbad became an all time hit. Later on his high pitched numbers sung for films Amar and Baiju Bawra put him up at a very high pedestal. Mohammad Rafi was honest to the core, never greedy and success did not make him arrogant.

S D Burman also used Rafi's voice for Dev Anand and Guru Dutt beautifully.Rafi worked with Burman in 37 movies, including Pyaasa (1957), Kaagaz Ke Phool (1959), Kala Bazar, Nau Do Gyaran, Kala Pani , Tere Ghar Ke Samne (1963), Guide (1965), Aradhana (1969), and Abhimaan (1973).

Rafi's partnership with Shankar Jaikishan was among the most famous and successful in the Hindi film industry. Under Shankar-Jaikishan, Rafi produced some of his songs for actors like Shammi Kapoor and Rajendra Kumar. Out of six Filmfare awards, Rafi won three for S-J songs – "Teri Pyari Pyari Surat Ko", "Baharon Phool Barsao" and "Dil Ke Jharokhe Mein". The song "Yahoo! Chahe Koi Mujhe Junglee Kahe" was sung by Rafi, only to be matched a fast-paced orchestra and a composition by Shankar Jaikishan. S-J had Rafi give playback for Kishore Kumar in the film Shararat ("Ajab hai daastan teri yeh zindagi"). Rafi sang a total of 341 numbers (216 solo) for Shankar-Jaikishan. Among the films of this combination are Basant Bahar, Professor, Junglee, Suraj, Brahmachari, An Evening in Paris, Dil Tera Deewana, Yakeen, Prince, Love in Tokyo, Beti Bete, Dil Ek Mandir, Dil Apna Aur Preet Parai, Gaban and Jab Pyar Kisi Se Hota Hai.
The composer duo Laxmikant-Pyarelal (L-P) patronised Rafi as one of their singers, right from their very first song by him from the film Parasmani (1963). Rafi and L-P won the Filmfare Awards for the song "Chahoonga Main Tujhe Saanjh Savere" from Dosti (1964). Rafi rendered the highest number of songs for the music director duo Laxmikant-Pyarelal: 369 numbers (186 solo) for L-P.
Rafi sang for many famous music directors during the 50s and 60s. He sang Naushadâ's composition Man tarpat Hari darshan ko, with the same perfection he sang O.P. Nayyar's light composition Yeh hai Bombay meri jaan. He also sang S.D. Burman's Khoya-khoya chand – Kala Bazar, Shankar Jai Kishan's Ehsaan tera hoga mujhpar – Junglee, Roshan's Zindagi bhar nahin bhoolegi – Barsaat ki Raat, Madan Mohan's Main nigahen tere chehre se – Aap ki Parchhaiyan, Salil Chowdury's Koi sone ke dilwala – Maya and Ravi's Sau baar janam lenge – Ustaadon ke Ustaad.
Rafi was truly a singer for the masses and not for any particular class. His voice appealed to all, the old, young, rich, poor, men and women.
Rafi brought cheers and smiles to millions of his fans through his songs. In his songs like Main zindagi ka saath nibhata chala gaya, Rafi tried to inspire the dejected and give hope to those who had lost faith in life and God. On July 31, 1980, a massive heart attack silenced this peerless singer forever. But his songs keep him alive.
The First Song of Mohammad Rafi

Rafi Sahab's first Hindi Film Song

Song from Pehle Aap 1944

The Song that gave fame to Mohammad Rafi-first duet with Noorjehan

Song from Jugnu 1947

First On screen appearance

First Solo Hit

Song from PYAR KI JEET 1948

The First Duet of Mohammad Rafi & Lata

Song from Shadi Se Pehle 1947

First Filmfare Award Song

Song from Chaudhvin Ka Chand 1960

Second Filmfare Award

Song from Sasural 1961

Third Filmfare Award Song

Song from Dosti 1964

Fourth Fimfare Award Song

Song from Suraj 1966

Fifth Fimfare Award Song

Song from Brahmachari 1968

Sixth Fimfare Award Song

Song from Hum Kisise Kum Naheen 1977

English Song By Mohammad Rafi

The Last Song of Mohammad Rafi

Song from Aas Pass

Wednesday, 20 December 2017

Ameen Sayani-The Man with the Gravelly Voice and Stylised Drawl,

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He is one of the most imitated announcers even today. His style of addressing the crowd with "Behno aur Bhaiyo" is still treated as an announcement with a melodious touch. He has produced, compered (or spoken for) over 54,000 radio programmes and 19,000 spots/ jingles since 1951.He achieved fame and popularity all across South Asia when he presented his Binaca Geetmala program of the First ever Hindi film Songs countdown hits over the airwaves of Radio Ceylon.
He was born on 21st Dec 1932 in a family deeply involved with India’s Independence Movement.His eminent college, ST. XAVIER’S (Bombay) nourished his talent in the performing arts – and turned him into a keen student with a romantic touch of endless optimism.His elder brother Hamid Sayani introduced him to All-India Radio, Bombay, where he participated in English programmes for ten years.

It was a Wednesday from the summer of 1952, and a newly independent India heard, rapt in awe, a deep baritone with a touch of melody from Radio Ceylone. It joked with its audiences, teased them, gave interesting trivia, interviewed celebrities and punctuated it all with “filmi sangeet”, the kind that was taboo in most households of the time.
What began as a 30-minute programme turned into a rage in 1952 and continued for almost half a decade. First it was called Binaca Geetmala, then Hit Parade and finally Cibaca Geetmala which was how it was known for the longest time.
He was India's leading voice.He compered over 2000 stage functions of all sorts in India, including musical variety shows, beauty contests, fashion shows, award functions, film silver jubilee functions, an International Film Festival closing session (in Delhi), concerts, seminars, workshops, and trade presentations. Has also compered stage shows abroad – in the USA, Canada, UK, South Africa, UAE, Holland and the West Indies.
He was conferred the Padma Shri award in 2009.

Sunday, 10 December 2017

Dilip Kumar-The Ultimate Method Actor

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In India, when we think of method acting, the name that pops up first is Dilip Kumar. He remains the inspiration of countless actors in Indian cinema. From Amitabh Bachchan to Naseeruddin Shah, Shah Rukh Khan to Nawazuddin Siddiqui, every actor of Hindi cinema carries the grain from the sand dunes that Dilip Kumar created with his acting.
He brought a sense of naturalism to his characters that was unthinkable for his age. He was the first one to debunk the myth that actors on screen hardly carry any insight into human behavior

.Dilip Kumar went out of his way to get into the skin of the character. He got so consumed by the sadness of a string of characters he played, he had to visit a psychiatrist who advised him to do comedies to get rid of the gloom that had seeped into his bone marrow.
For the song ‘Madhuban mein Radhika nache re ’from Kohinoor he actually took lessons in sitar for almost a year. For Gunga Jamuna, he drew from his gardener in Deolali, where he spent a considerable time while growing up, and spoke Bhojpuri like a pro.
It was Dilip Kumar’s natural way of inhabiting roles that brought directors like Bimal Roy to the forefront. Roy’s cinema influenced by Italian neo-realism had to rely on actors who never went for manners, but a way of playing characters that draws you in slowly in their environment.

Still from Jwar Bhata 1944

His first film was Jwar Bhata (1944). He had to learn everything from scratch and how he had to develop his own distinct histrionics and style, which would set him apart from his contemporaries.
He soon soared to great heights with movies such as Jugnu, Shaheed, Mela, Andaz, Deedar, Daag and Devdas. He switched to play lighter roles as suggested by his British psychiatrist, who advised him to switch over to comedy.Remember his performance in Naya Daur,Ram Aur Shyam.

Dilip Kumar in Ram Aur Shyam

His career has spanned over six decades and with over 60 films.The period of 1949-1961 is considered the peak period of Dilip Kumar's career as a hero. From late 1960s roles dried up for Kumar as films starring Dev Anand, Rajendra Kumar and Shammi Kapoor were more successful from 1961-1969 and also Dilip's films from 1966 to 1976 were box office flops like Dil Diya Dard Liya, Sunghursh, Aadmi, Dastaan, Gopi, Sagina and Bairaag and after 1976 he left films for a five year break.
After a five-year break he started his ‘second innings’ with Kranti (1981), after which he appeared in a series of hits such as Vidhaata, Shakti, Mashaal, Karma and Saudagar
The Government of India honoured him with the Padma Bhushan in 1991, the Dadasaheb Phalke Award in 1994 and India's second highest civilian award, the Padma Vibhushan in 2015 for his contributions towards Indian cinema and nominated him to Rajya Sabha, the upper house of Indian Parliament for a term.
On his 95th birthday I wish him Long Life and Good Health

My Favourite Dilip kumar's Songs

Song from Andaz 1949

Song from Daag 1952

Song from Aan 1952

Song from Sangdil 1952

Song from Footpath 1953

Song from Madhumati 1958

Song from Ganga Jamuna 1961

Song from Leader 1964

Song from Sangharsh 1968

Saturday, 9 December 2017

A Tribute to Dada Muni on his 16th Death Anniversary

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An actor who could capture all your attention in a single shot, a man who added glamour to Hindi film fraternity and promoted talents from all corners of the country, Ashok Kumar has ruled the silver screen and melted millions of hearts with his charismatic screen appearance and personality.He was the first superstar of Hindi cinema as well as the first lead actor to play an anti-hero. He also became the first star to reinvent himself, enjoying a long and hugely successful career as a character actor.

He never ever wanted to become an actor. He came to Bombay to become a director. Those days, actors were really looked down upon. They were believed to come from the lowest strata of society. So he joined Bombay Talkies as a technician. he worked in the camera department. Later, he was made a lab assistant." It was sheer fluke that he became an actor.
He got the lead role in Jeevan Naiya (1936), a Bombay Talkies production. His first big hit was Achhut Kanya (1936), where he again paired with Devika Rani. The film was about a Brahmin boy falling in love with a girl from the 'untouchable' class.
He was the first anti-hero of Indian cinema. Gyan Mukherjee's Kismet (1943) presented Ashok as a pickpocket who falls in love. This was the first film in Indian cinema that grossed at one crore rupees. So technically, Ashok Kumar was the one to set up the 'crore club'.

His rise to fame however rattled his parents. In an interview he said "My mother was certain that since I'd joined films, I would fall into bad ways. So without letting me know, she arranged my marriage. I didn't even see my wife before the wedding. Meeting your bride before marriage wasn't the done thing then".

Post Kismet, Ashok Kumar became the most bankable star of the era, delivering a succession of box office successes with movies like Chal Chal Re Naujawan (1944), Shikari (1946), Sajan (1947), Mahal (1949), Sangram (1950) and Samadhi (1950).
He produced several films for Bombay Talkies during the final years of the company including Ziddi (1948), which established the careers of Dev Anand and Pran,Later on he quit the Bombay Talkies and started Filmistan Studio with Shashdhar Mukharjee ,his desire to return to Bomaby Talkies was always there." He re bought Bombay Talkies in 1947. "Devika Rani had left by then. But the Talkies had fallen on bad days. The debts amounted to Rs 28 lakhs. We made movies like Majboor, Ziddi, Mahal and Mashal to repay the debts."

With the advent of the 1950s Ashok Kumar switched over to more mature roles, with the exception of the 1958 classic Howrah Bridge. Despite the arrival of a younger crop of stars like Dev Anand, Dilip Kumar and Raj Kapoor, Ashok Kumar remained one of the stars of the era with hits like Afsana (1951), Nau Bahar (1952), Parineeta (1953), Bandish (1955) and EK Hi Raasta (1956). His most successful film of that era was Deedar (1951), in which he played second fiddle to Dilip Kumar.

Ashok Kumar played an important role in several landmark movies in the 1960s and 1970s, including Jewel Thief (1967), Aashirwad (1968) (for which he won a Filmfare Award as well as National Award in 1969), Purab aur Pashchim (1970), Pakeezah (1972), Mili (1975), Chhoti Si Baat (1975) and Khoobsurat (1980).

Ashok Kumar's last film role was in the 1997 movie Aankhon Mein Tum Ho.

. Altogether, he starred in over 275 films. He has done more than 30 Bengali dramas in Dhakuria.He was honored in 1988 with the Dadasaheb Phalke Award, the highest national award for cinema artists, by the Government of India and also received the Padma Bhushan in 1999 for his contributions to Indian cinema.

He died at the age of 90 in Mumbai on 10 December 2001 of heart failure at his residence in Chembur. The then Prime Minister Atal Bihari Vajpayee described him as "an inspiration... for many generations of aspiring actors.

Songs from Ashok Kumar's Films

Koi Hamdam Na Raha from Jeewan Naiya 1936

Song from Achhut Kanya 1936

Original Ek Chatur Naar from Jhula 1941

Song from Kismet 1943

Naani ki naao chali from Aashirwad

Song from Aashirwad 1968

Thursday, 7 December 2017

Dharmendra-The Original He Man of Bollywood

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Happy 82nd Birthday DHARMENDRA
Dharmendra was born in Punjab on December 8, 1935, and spent most of his childhood in Sahnewal village.Came to Bombay in 1958 and won the ‘New Talent’ contest conducted by Filmfare magazine.Got his first break in the 1960 film ‘Dil Bhi Tera Hum Bhi Tere’, Got the real star status after giving the biggest hit of the year 1966 Phool Aur Patthar’

He became the first He Man of the Industry.Dharmendra blended machismo with marshmallow tenderness and won a major female following.

In the ’60s, Dharmendra represented moral seriousness in Hindi cinema; in film after film, the characters he played tried to reconcile the conflicting demands of love, advancement and integrity. He specialised in playing the respectable professional. He was a jail doctor in ‘Bandini’, a barrister in ‘Mamta’, an engineer in ‘Satyakam’ and ‘Aadmi aur Insaan’ Dharmendra played himself in the 1971 comedy ‘Guddi’, which did reasonably well at the box office.

After the success of Mera Gaon Mera Desh (1971) the image of an action hero.got confirmed.Dharmendra acted in several action films such as ‘Dharam Veer’,Sholay ‘Charas’, ‘Ghazab’ Jugnu,Azaad, Katilon Ke Kaatil, , Bhagawat, Jaani Dost, Dharm Aur Qanoon, Main Intequam Loonga, Jeene Nahi Doonga, Hukumat, and ‘Rajput’. In his long career consisting of some 300 films.

In 1983 Deol set up a production company known as Vijayta Films. Its first film was Betaab, released in 1983, starring his son Sunny Deol as the lead actor in his debut movie. The film was a blockbuster. In 1990 he produced the action flick Ghayal, also starring Sunny. Dharmendra launched the career of his younger son, Bobby, in 1995 in Barsaat.He also launched his nephew Abhay Deol in Socha Na Tha (2005).

Dharmendra never got Filmfare award for acting but I consider he gave excellent performance in films like Phool aur Patthar’, ‘Satyakam’, ‘Chupke Chupke’, ‘Pratigya’, ‘Sholay’ and ‘Naya Zamana’

Dharmendra is a gentleman he had no dispute with anyone personally,perhaps this is the secret behind his evergreen popularity.He was awarded the Padma Bhushan in 2012.

Dharmendra married Hema Malini who was his heroine in many films.It was his second marriage.His first marriage was to Parkash Kaur at the age of 19 in 1954. From his first marriage, he has two sons, Sunny and Bobby, successful actors, and two daughters, Vijeeta and Ajeeta.

On his birthday I present some of his hit songs