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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

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

Monday, 4 December 2017

SHASHI KAPOOR- The Prince Charming of Bollywood

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A Tribute To Shashi Kapoor
From the age of four, Shashi Kapoor acted in plays directed and produced by his father Prithviraj Kapoor.He first appeared in films in the 1948 film AAG where he played the younger version of the characters played by his eldest brother Raj Kapoor and then he appeared in Sangram (1950), where he played younger version of Ashok Kumar.
He was a very popular actor in Bollywood during the 60s, 70s and until the mid 80s.He made a hit Jodi with Amitabh Bachchan in the 70s.The two co-starred in a total of 12 films:
Shashi Kapoor made his debut as a leading man in the 1961 film Dharmputra and went on to appear in 116 Hindi films, including 61 films as the solo lead hero and 55 multi star-cast films, 21 films as supporting actor and special appearance in 7 films.
He got an opportunity to work as an assistant director in the film Post Box 999, the debut film of Sunil Dutt, and worked as an assistant director to Ravindra Dave in Guest House(1959), which was followed by movies such as Dulha Dulhan and Shriman Satyawadi, where Raj Kapoor was the lead hero.
He personally regarded his best performances as solo lead hero in Hindi films were in Neend Hamari Khwab Tumhare , Jab Jab Phool Khile, Haseena Maan Jayegi , Pyar Ka Mausam, Raja Saab (1969), Jaanwar Aur Insaan, Mr.Romeo, Aa Gale Lag Jaa, Chori Mera Kaam, Phaansi, Junoon, Kalyug , Pighalta Aasman, New Delhi Times
In 1978, he set up his production house, Film Valas, which produced critically acclaimed films such as Junoon (1978), Kalyug (1981), 36 Chowringhee Lane (1981), Vijeta (1982) and Utsav (1984).^[22] In 1991 he produced and directed a fantasy film titled Ajooba which had his frequent co-star Amitabh Bachchan and nephew Rishi Kapoor in the lead.
He met English actress Jennifer Kendal in Calcutta in 1956 while both were working for their respective theatre groups. Shashi was both assistant stage manager as well as an actor for his father's theatre group, Prithvi Theatre. Geoffrey Kendal's Shakespearean group was also present at the same time in Calcutta and Jennifer was Geoffrey's daughter. After their subsequent meeting, the couple fell in love and after facing initial opposition from the Kendals and support from sister-in-law Geeta Bali, they got married in July 1958.

Shashi_Kapoor_receiving_Dadasaheb_Falke_award_from_Arun_Jaitley.

In 2011, he was honoured with the Padma Bhushan by the Government of India for his contributions to Art-Cinema.^[4] In 2015, he was awarded the 2014 Dadasaheb Phalke Award, making him the third member of his family to receive the highest award in Indian Cinema after Prithviraj Kapoor and Raj Kapoor
He died yesterday on 4th Dec 2017 at the age of 79 at 5.20 pm. He had kidney problem for several years. He was on dialysis for several years." Kapoor is survived by two sons, Kunal and Karan, and a daughter, Sanjana, who takes care of the Prithvi Theatre

Song from Jab Jab Phool Khile 1965

Song from Neend Hamari Khwab Tumhare 1966

Song from Abhinetri 1970

Song from Sharmilee 1971

Song from Aa Gale Lag Jaa (1973)

Saturday, 2 December 2017

Dev Anand-The Original Style Icon of India

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Fashion is a big industry today in India .An early trendsetter in fashion was Bollywood(Hindi cinema).If we look back we will find Dev Anand was the original Trend Setter. He was the style icon of 1950s and 1960s, scripted a fashion statement with his scarves, mufflers,hats Shirt collars and jackets and his singnature puff.
Dev saab created style "not only in reel but also in real life. His signature strip black trousers, cap wore on one side, bright cardigans and scarves tied around his neck created sensation." I will consider him as the father of fashion in the lead actors wardrobe.
I think that era will never come back because right now people are too much influenced by outside world. Rather than creating their own style, many people are looking at the West. In the 50s there were no fashion designers,Dev Saheb used to create his own style which later becomes a fashion
Thanks to his good looks, further enhanced by his stylish wardrobe and on-screen romantic image portrayed in songs like Abhi NA Jao Chodkar, Jia O and Khoya Khoya Chand, Dev Anand had girls swooning over him.
In an interview he was asked about fashion he said"I have always had the passion for clothes and what I wear should be perfect. If I like something, I do it. That's how everybody should, and the world should function. Dev Anand likes fashion. I look myself in the mirror everyday and say, "I look good" and don't care what everyone has to say about me as long as I like it. That's what fashion is all about. Fashion is what suits a man, his body, his physique, his appearance. You cannot follow a fashion designer but you can follow your own personality."

Black Suit-His black coat after Kaala bazaar became a trend. His looks were compared to Gregory Pack- the great Hollywood star, his charisma, charm & child like smile was intoxicating & every generation admired, adored and appreciated him. He was asked not to wear black color in public as women would jump from buildings after seeing him dresses in black. Such was his charisma.

Hair Style-Dev Anand’s much-aped hair-style the Puff symbolized an urban chic fashion trend.This trend remained till Pyar Mohabbat released in 1966.From this film onwards he stopped making Puff,soon all the young generation changed their hair style.

His penchant for hats- Like every piece of accessory that defined his wardrobe,his hats became a rage. From the artistic beret to the classic cowboy hat to the sophisticated panama,the Jewel Thief cap very few Bollywood stars could carry a range of hats the way Dev saab did!

His Walk: Mr. Anand was known for his trademark sloping walk, which added to his charisma. Watch the song Khoa Khoya Chand from Kaala Bazar for his walk.

His Sweaters and Jackets-He made the effortless way of wearing sweaters on shoulders a big rage during the 50s,60s and is still the only man you think of when we talk about retro style in Bollywood. Many many years past his hey day, He used a lot vibrant colours and psychedelic hues in his wardrobe when most people during that time didn’t prefer to experiment much. His understanding of colour-coding was phenomenal and personalised it to the hilt. In Guide he challenged all the existing norms with his big floral prints and buttoned up turtle-neck shirts. Dev Anand (inspired heavily by Gregory Peck) draped a sweater over his shoulders, a trend that was replicated years later by Shahrukh Khan in Mohabbatein.

Scarfs and Muffler-He employed a variety of mufflers in range of psychedelic hues quite effortlessly. He paired up those bold and outrageously colourful accessories with big and conspicuous floral motifs. It is said he popularized mufflers in India.

Dev Anand’s style was highly individualistic. Though widely imitated,

Song from Kala Bazar

Song from Tere Ghar Ke Samne

Song from Teen Deviyan

Song from Guide

Wednesday, 27 September 2017

LATA MANGESHKAR-The Voice for every major leading lady of Bollywood

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As a teenager she struggled to help support her family and to establish herself as a playback singer in the Hindi film industry of the 1940s, at a time when the profession was dominated by such divas as Shamshad Begum and Noor Jehan.
She represented every generation of Hindi cinema from Nargis and Waheeda Rehman to Madhuri Dixit and Kajol.
Mangeshkar was trained from age five by her father Dinanath Mangeshkar, a disciple of the Gwaliorgharana (a community of performers who share a distinctive musical style), and she was also tutored by maestros such as Aman Ali Khan Sahib and Amanat Khan.
Her first song as a playback singer in hindi films was in 1947 - Aapki Sewa Mein (paa laagu kar jori...)but this song did not give lata recognition as a singer,her first major break was in 1948-Majboor (Dil Mera Toda) given by Music Composer Ghulam Haider.After she recorded the hit “Uthaye ja unke sitam” in Andaz (1949), her destiny was sealed,the year 1949 was the turning point of a great career.The year saw the rise of Lata Mangeshkar The song Aayega Aane Wala from Mahal and the songs of Barsat came the same year.After that she never looked back.She became the voice of all the Major Heroines.In an interview when asked who according to you enacted your songs really well onscreen?.She said that Actresses like Sadhana, Meena Kumari, Nargis, Madhubala and Kajol, took the effort to understand the song and act accordingly. Jaya Bachchan observed me well and got my mannerisms right - starting with how I stand, how I sing and how I drape my sari. In Abhimaan (1973), she even chose to wear white saris like me. It was commendable.
From the 1940s to the 1970s, Mangeshkar sang duets with Asha Bhosle, Suraiya, Usha Mangeshkar, Mohammed Rafi, Kishore Kumar, Mukesh, Manna Dey, Hemant Kumar, and Mahendra Kapoor. In 1964, she sang "Chanda Re Hoga" with P.B. Sreenivas from Main Bhi Ladki Hoon. she continued to sing with Shabbir Kumar, Shailendra Singh, Nitin Mukesh (Mukesh's son), Manhar Udhas, Amit Kumar (Kishore Kumar's son), Mohammed Aziz, Vinod Rathod, and S.P. Balasubrahmanyam.Udit Narayan,Kumar Sanu and Sonu Nigam
In the 2000s, Mangeshkar's duets were mainly with Udit Narayan and Sonu Nigam. 2005-06 were the years of her last well-known songs: "Kaise Piya Se" from Bewafa and "Shayad Yehi To Pyaar Hai" from Lucky: No Time For Love, with Adnan Sami and " Lukka Chhupi" in Rang De Basanti (2006 film) with A.R.Rahman. She sang "Ek Tu Hi Bharosa" from Pukar. Other notable songs of this decade were from Veer-Zaara, sung with Udit Narayan, Sonu Nigam, Jagjit Singh, Roop Kumar Rathod, and Gurdas Mann. One of her latest songs was "Jeena Hai Kya" from Dunno Y2 (2014).
Lata Mangeshkar has won several awards and honours, including Bharat Ratna (India's Highest Civilian Award), Padma Bhushan (1969),Padma Vibhushan (1999), Dadasaheb Phalke Award (1989)
SONGS VIDEOS FOR SADHNA