Tag Archives: Indian Movies

The Compositions Of Lesser Heard Indian Music Directors

Indian Film Industry Gave Recognition To Many  Talented Souls But There Were Many Great Souls Who Failed To Get Due Credit!

Indian Film Industry Gave Recognition To Many Talented Souls But There Were Many Great Souls Who Failed To Get Due Credit!

Indian movies are incomplete without music. Music in Indian movies provide them a distinguished appeal making them stand apart from Western movies relying heavily on storyline. In fact, movie named Indrasabha which was released in 1932 had more than 70 songs! It holds the world record for maximum number of songs in any musical. Let’s not forget that it was the second year after Alam Ara -the first movie to have sound in 1931.  And in the very second year of introduction of sound we created record number of songs in one feature film! That substantiates our craze for songs! Anyway, we are now living in ultra-modern age wherein Indian film music differs hugely from days when it first came into existence in 30’s. The musical journey which began in first half of 1930  witnessed  until now host of talented music directors who provided listeners haunting tunes set upon Indian classical music. Some of them gained huge popularity but there were unfortunate ones as well who despite providing real good music failed to shine brightly. However, the few songs which they came to compose remain evergreen in memories. They are priceless gems for any music lover who has got refined taste for music.


This song is from movie “Aag” (1948).  Raj Kapoor made his directorial debut with this movie. It was made on complex theme that true beauty is more than skin deep! Raj Kapoor was pretty young when he directed this movie but his mature treatment of this complex subject proved beyond doubt that India was about to see rise of great film maker. Ram Ganguly gave memorable music in this movie. The song sung by Mukesh” Dil Jalta Hai To Jalne De” and “Dekh Chand Ki Aur” sung by Sailesh Mukherji and Meena Kapoor left listeners spellbound. Mukesh virtually imitated K L Saigal while rendering “Dil Jalta Hai To Jalne De” but he went on to develop his own style of singing in later years. Ram Ganguly gave fabulous music in this movie but he failed to strike rapport with Raj Kapoor. That ensured arrival of Shankar- Jaikshan in Raj Kapoor’s life. This song sung by Shamshad Begum is picturized on Nargis.

This song from movie Saranga (1961) composed by Sardar Malik and penned by Bharat Vyas. It’s based on Raga Yaman Kalyan- a raga sung in night hours. Saradar Malik was a very talented music director  but unfortunately he belonged to era wherein great composers ruled the roost. The period between 1950 and 1960 set high standards in field of Indian music with likes of Shankar Jaikishan, Hemant Kumar, Naushad, Ravi and Madan Mohan, to name a few,  delivered their best work. It was a Herculean task  for a new composer to make itself known in that period since not much space existed. However, some of the songs composed by Sardar Malik have managed to retain their charm even after so many decades. They are “Aye Gham-E-Dil Kya Karu” (Talat Mahmood in Thokar), “Ha Diwana Hoon Main” (Mukesh in Saranga) and “Mai Gareebo Ka Dil Hoon Watan Ki Zubaan” (Hemant Kumar in Ab-E-Hyaat). He died in 2006 after battling with long disease. And yes, he was  father of Anu Malik- the talented musician of current era.

This song composed by Snehal Bhatkar was written by Kidar Nath Sharma. Kidar Nath Sharma was a genius in a sense that he introduced giants in Indian movie landscape like Raj Kapoor, Madhubala and Geeta Bali! He was also a lyricist besides being a legendary movie maker. Anyway, this song sung by Mubarak Begum received a lukewarm response at initial stages. However, it’s mesmeric haunting tune and brilliant picturization ensured that it became a huge hit. It’s one of the few songs which did not let Snehal Bhatkar and Mubarak Begum fade into oblivion. This song is picturized on gorgeous Tanuja who was then struggling hard to ensure her place in film industry. This movie finally let her had desired stardom. Snehal Bhatkar mainly worked for the production of Kidar Nath Sharma. Besides this song, this number “Lehron Pe Lahar Ulfat Hai Jawan” (Chhabili released in year 1960)  in voice of Heman Kumar made Snehal Bhatkar a household name in his era.

Hansraj Behl
started giving music in late 40’s and  managed to carve indelible impressions on minds of music lovers. Although he stayed in world of music for nearly three decades, he did not get much chance to explore his talent. His music appeared in movies which failed to do good business. As a result of that not much opportunity came his way, leading to manifestation of just few good songs on his part. However, songs like “Bheega Bheega Pyar Ka Sama” ( Sawan released in 1959), “Zindagi Bhar Gham Judaai Ka” ( Miss Bombay released in 1957) and “Jahan Daal-2 Par Sone Ki Chidiya” (Sikandar-E-Azam released in 1965). This song is from movie Changez Khan released in 1957 and is  written by Qamar Jalalabadi. It has such a soulful prelude that it makes the song immortal. The unusual depth exhibited by Rafi in this song makes this song very special at least in my eyes!

Iqbal Qureshi
did not get much opportunity to exhibit his talent in Indian movies but he still managed to carve a niche for himself by composing beautiful songs which refuse to part ways from memories of listeners. Love In Shimla, Panchayat, Yeh Dil Kisko Doon, Cha Cha Cha, Umar Qaid and Banarasi Thug, to name a few, were some of the prominent movies which featured his music. “Do Badan Pyar Ki Aag Me Jal Gaye Ek Chameli Ke Mandave Tale” is technically a Nazm which is different than a Ghazal. Famous Urdu poet Shahryar speaking about Nazm says that in Nazm poet deals specifically with the theme while Ghazal is more a generalized take on a certain theme. In movies we so often find Ghazals but Nazms are a rarity. This “Nazm” which appeared in movie Cha Cha Cha (1964) was penned by famous Urdu poet Makhdoom Mohiuddin. Chandrashekhar and Helen played the lead roles in this movie.

6. S. Mohinder: Guzra Hua Zamana Aata Nahi Doobara

To understand the depth of his music one needs to listen songs from movie Shirin Farhad released in 1956. S. Mohinder who became associated with Filmistan Studio learnt the basics of Indian classical music in Varanasi. He was born in Pakistan but later migrated to India. The movies in which he gave music were commercially not successful  which prevented this talented musician from attaining desired fame. However, he got National Award in 1970 for movie Nanak Naam Jahaz Hai (1969). This sad number  sung by Lata Mangeshkar has been written by Tanveer Naqvi.

Ramlal Choudhry, Ganesh, Dan Singh,  Lachhiram Tamar and G.S. Kohli:

The common link among all these talented music directors is that despite exhibiting their talent in exceptional way, they just could not withstand the dirty politics played by vested interests in film industry. Ramlal Chaudhary who gave  memorable songs in Sehra (1963) and Geet Gaya Pattharon Ne (1964) was unhappy the way well-known music directors of his age campaigned against him in vicious manner. That forced him to start his own production but this did not augur well for him.

Dan Singh also became victim of negative publicity done by powerful music directors who felt threatened by his talent. In his later years, he could not hide his pain and brought in light the dirty tricks employed by reputed music directors to crush the emerging talents in film industry. He accused few well-known music directors of stealing his compositions. Anyway, Dan Singh’s melodious numbers in My Love (1970) made his presence immortal. “Zikra Hota Hai Jab Qayamat Ka” sung by Mukesh makes any good listener go into trance!

G.S Kohli assisted music director O P Nayyar in many of his hit movies before giving music independently. His career as independent music director did not last for long. After giving music in movies like Shikari, Faulad, Mr. India (1961) and Bhai-Bahen, to name a few, he faded into oblivion. However,  anybody who comes to listen this Shikari song “Tumko Piya Dil Diya Kitne Naaz Se” is bound to become curious about maker of this evergreen song!

Ganesh gave beautiful songs in movies like Kundan, Anjam, Thakur Jarnail Singh, Husn Aur Ishq , Badnaam and Chalak, to name a few. However, this song picturized on Helen made his name eternal in Hindi film music: Hum Tere Bin Jee Na Sakenge (Thakur Jarnail Singh). Interestingly, Shikari’s (music by G.S. Kohli) famous song also features Helen!

Lachhiram Tamar made his presence quite early in Indian film industry. Champa which was made in (1945) was followed by  Badnami, Kahan Gaye, Shalimar, Mohini, Ameer, Razia Sultana and Mai Suhagan Hun (1964) He gave music in as many as twenty movies. His fame rests upon songs he composed for  Mai Suhagan Hun (1964). The songs like “Aye dil machal machal ke yun rota hai zar zar kya” (Lata) and “Dhalti Jayen Raat Kahle Dil Ki Baat” ( Asha/Rafi in Razia Sultana {1961} ) enchant the listeners even in this age marred by loud music!

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Vishal Bhardwaj: A Genuine Music Composer In Times When Indian Music Directors Have Become Copycats

Vishal Bhardwaj: The Really Talented Filmmaker And Music Composer

Vishal Bhardwaj: A Truly Talented Filmmaker And Music Composer

( Also published in  Northern India Patrika, December 08, 2013 ) 

One needs a great musical mind to appreciate the music of Vishal Bhardwaj. We are well aware of his directorial skills, having seen his ability to deal with complex themes in movies like Omkara, Maqbool, Kaminey and Saat Khoon Maaf, to name a few. In my eyes he is a music director par excellence, who still have guts to introduce original compositions in Bollywood given way to borrowed tunes. If we analyze deeply the happenings inside Bollywood’s musical landscape what prevails is recycling of works of others in most blatant manner with no credits to original composers who composed these compositions in the first place.  

Very recently I watched “Ek Thi Daayan” which dealt with supernatural elements. It was a theme which had not much scope for a romantic number. However, Vishal managed to create magic with his “Yaaram” song. Gulzar after demise of his best friend RD Burman felt a great sense of loneliness. He wasn’t all wrong in feeling that way. Only RD Burman had that capability to lend perfect musical notes to newsy type lyrics penned by Gulzar. Thanks to the arrival of Vishal Bhardwaj, which allowed Gulzar to breathe a sigh of relief. Vishal didn’t disappoint Gulzar. The chartbusters like ” Yaaram”, “Naina Thag Lenge”,  “Darling”, “Chod Aaye Hum Wo Galiyan”, “O Saathi Re”,  “Dil To Bachcha Hai Ji”, “Raat Ke Dhai Baje”, “Matru Ki Bijli Ka Mandola” and “Sapney Me Milti Hai” etc. are the ones which bear testimony to the fact he knows what treatment very sensitive verses of Gulzar actually need.

This very highly conscious music director, dealing in experimentation and improvisation in unorthodox manner, loves to introduce best of the literary works, which until now remained unexplored by Indian movie-makers. The cinematic versions of Shakespeare’s Othello, Macbeth and Hamlet really impressed all film-goers. At the same time, movie versions of Ruskin Bond’s “Susanna’s Seven Husbands” and “The Blue Umbrella’ also left the lovers of cinema spellbound. In fact, even in movie meant for kids like Makdee you can notice the variation he introduced in his music. He has received National Award for his music in Ishkiya and Godmother. Today Bollywood is dominated by musicians who first don’t know what music really means, and second, they are not musicians but technocrats depending on arrangement of music done by the computers. A reason why film music sounds so mechanical and jarring to the ears. Worse, it’s so humiliating when foreign composers make allegations that Indian music makers totally copied their compositions in the name of inspiration!

Happy That This Man Has Got So Many Awards!

Happy That This Man Has Got So Many Awards!

Against this backdrop, this genuine music composer evokes a sense of self pride within with his creativity. Let’s hope his fabulous compositions which make wonderful use of various instruments like Piano and Guitar keep enthralling music lovers. One is not against Western music and use of latest technology but against ignorance of richness present in Indian music. There is calculated attempts on part of movie makers to diminish the aura of Indian classical music. Vishal Bhardwaj is the best example of how to blend western notes with Indian classical music. This art needs to be learnt by new age Indian music directors, who, sadly, are more interested in making money instead of truly enriching the world of film music. Anyway, Vishal Bhardwaj needs to be complimented for keeping the roots of Indian classical music green and fresh.

Some of the songs composed by him: 

1. Chod Aaye Hum Wo Galiyan

2. Naina Thag Lenge

3. Maine To Maanga Tha 

4. Dil To Bachcha Hai Ji 

5. Raat Ke Dhai Baje 

6. Matru Ki Bijli Ka Mandola

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Ship Of Theseus: Moving Swiftly In The Ocean Of Perspectives (Movie Review)

Ship Of Theseus: A Nice Take On Perspectives!

Ship Of Theseus: A Nice Take On Perspectives!

I curiously awaited the screening of the movie Ship of Theseus, which had managed to elicit great remarks from leading directors of Indian cinema landscape. The film festival in Allahabad, organised by Dainik Jagran, provided me an opportunity to watch this movie. In eyes of Shekhar Kapoor, the movie marked the arrival of “a brilliant new filmmaker” while Shyam Benegal could not resist himself from stating that it’s a “rare film that engages your mind, emotions and senses in equal measure providing the viewer a cinematic experience that is both hugely entertaining and stimulating”. The movie was inspired from the dilemma whether or not the object remains  same if its components undergo total replacement. In this movie the promising young director, Anand Gandhi, has interconnected three different short stories, each dealing with a different issue, but underlying theme remains the same. The first one dealt with visually impaired photographer, who lost her intuitive ability to capture striking images after a successful cornea transplant operation. The second story depicted an ailing monk, questioning life and death via his ongoing fight for rights of animals meant for conducting experiments during preparation of medicines. The third and the final story highlighted corrupt practices prevalent in medical world, wherein a stockbroker tries to place in dock persons involved in organ trade racket.

I am not the sort of person to go entirely by the rave reviews by big names from the world of cinema. In fact, even the sentiments of well-known directors fail to impress me. “Seeing is believing” has always been the principle which defined my approach, especially while anticipating the worth of a movie. And thus, contrary to the general consensus, I found the acting of  Aida El-Kashef ( Aliya in movie as visually impaired photographer) and Farza Khan (Aliya’s live-in-boyfriend in the movie) absolutely horrible. The exhibition of emotions was synthetic and loud. Great movies do not begin that way. The agony that should have hit her, in the aftermath of loss of her intuitive abilities, never got reflected in her mannerism. The saving grace came in the form of crispy thought provoking dialogues: “Does reality exist when no one is looking?” It’s the deep concerns which the characters portray compensates the poor acting.

The movie gained substance with the arrival of crazy monk Maitreya (Neeraj Kabi). Not only humour element got elevated but even the thematic shortcomings got balanced due to superb acting skills demonstrated by Neeraj Kabi and Vinay Shukla ( Carvaka in the movie). This part of the movie successfully conveyed that contradictions rules the lives and a perfect life is healthy assimilation of contradictions. A person should not be too rigid while pursuing noble cause since it comes in the way of fulfillment of goals. It might also limit one’s ability to make better choices. The rigidity displayed by Maitreya is in the eyes of Carvaka- the lawyer who believed in learning arguments of both the sides- was not very different than fundamentalism exhibited by a suicide bomber! This lawyer, follower of  Pastafarianism, induces great deal of pragmatism when he tries to create a fitting place for the contradictions. Anyway, Maitreya does impress us all when he places reasons above crude sentimentality!

Ship of Theseus: The First Story Marred By Poor Acting!

Ship of Theseus: The First Story Marred By Poor Acting!

Well, it’s crude sentimentality which always makes its presence felt in Indian movies. It’s not always the case that movies devoid of melodramatic elements manage to evoke mass attention. The average Indian cinema lover’s connection with melodrama is so intense that a director’s take on critical issue without this element is akin to self-goal in football! Anand Gandhi, at least, need to be credited for the fact that he manages to tell the story for Indians without being in awe of sentimentality! The last scene of the story showing the monk’s decision to live the life fully proves one thing quite well that healthy compromises for an elevated cause is not a bad thing. Well, the monk didn’t talk of Krishna’s Bhagvad Geeta but I feel the realization of monk is on par with view of Lord Krishna who in Bhagvad Gita stated that “every profession is world is tainted by some flaw”. So the summum bonum is: Healthy compromise should not prick the conscience!

The stockbroker’s case in the movie is pretty interesting but I need to differ from the reviews which have appeared in mainstream media and elsewhere that humour element in this part delight us. That’s not true. The humour appears as some sort of forced entry into a well structured plot. It also baffles me that reviewers have ignored some greater aspects related with this part of the movie wherein an young stockbroker trails the missing recipient of the stolen kidney! The reviewers failed to remember the heated conversation between stockbroker and his maternal grandmother, who happens to be progressive thinker, confined to ideological orientations spread in progressive literature churned out by the leftist. The impression she generates, and which irritates this guy working for American companies, is that one can pursue a noble cause only when one is in tune with such literature. The young stockbroker hits hard at her this “fallacious notion” when he tries to ensure justice for the poor labourer. The another myth which gets shattered ( and I really found it pretty interesting) is that fight for greater cause leads to its perfect attainment. Ask a real life hero and you would realize that he/she often feels cheated. The people for whom he/she comes to fight often leave their saviour in the lurch. The stockbroker wanted justice in real terms for this unfortunate labourer whose kidney got stolen for a rich foreigner ( the recipient). The labourer retracts from his promises after his petty interests get fulfilled. The protagonist has to remain contend with limited achievement.

In real life also we find that similar dilemma occurs. For instance, the moment one tries to make the purpose of education an extension of values, one has to face stiff resistance for all quarters of society, which feels that only purpose of education is to earn huge money, no matter if it means adoption of unethical means. The film does not end with a specific message but it does symbolically shows via the passage through the cave that life is full of immense possibilities, which allows nurturing of different perspectives. Hope we come to choose the one which best serves the cause of not only humanity but also our own personal causes close to heart!

The Crazy Monk Who Added New Dimensions In The Philosophical Paradoxes!

The Crazy Monk Who Added New Dimensions In The Philosophical Paradoxes!



Ship Of Theseus IMDB

Friday Times


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Not failing to remember a mad singer Kishore Kumar


Miss You Always

Miss You Always

The lovers of this singer, like always, would pay customary tribute to this multifaceted singer Kishore Kumar on his birth anniversary, which falls on August 4. It’s really strange that people ignored in their own life times or, for that matter, people who get subjected to humiliation of all sorts while they are alive, attain exalted position after death. It’s pretty hard to analyze the behaviour of worldly souls. Kishore Kumar, attained legendary status during his life time. Nothing strange, after all, he was actor, singer, producer and director par excellence. He did full justice to the various roles he came to play. Let me state that I am not much impressed by folks working in world of cinema but then how can I ignore some real good souls, who provided this fascinating medium a great height? Above all, I feel it’s need of the hour to resurrect the images of people grossly misunderstood in their own life times. That’s the most ideal way to pay tribute to these great souls.

Kishore Kumar was fully aware of nuisance created in his name. That’s why he openly confessed that “world hails me as mad but I feel that world has gone mad. I wish to make it clear that I am not that mad as assumed by some sections of the society.” He was really hurt by the gossip stories, shared by the pervert minds behind his back. He always wondered what made people enter in falsehood and cheap stories about a person whom they knew nothing much other than that he was a good singer? Anyway, I must say that such gossips and stories tell less about him but revealed lot about the mindset of persons involved in them. “When you judge another, you do not define them, you define yourself.” (Wayne Dyer)

This theory that he was mad was circulated by one lady journalist, who had come to take his interview, living alone at that time. To prove his point that he was not all alone, Kishore introduced this lady journalist to trees and flowers, whom he treated as best friends. This lady presented this gesture in all wrong way suggesting that he spent long evenings with his arms entwined around them! One can imagine how simple facts get twisted to create bizarre stories about this very simple and honest person, trapped in the deceptive world of cinema. He always cursed himself that he became part of this medium, which survived on cosmetic gestures. It’s amazing that many know him as money crazy soul, forgetting the cruel gestures of producers who made him sing the song but never bothered to pay in time. When he introduced tough measures to ensure timely payment he was declared money crazy. That’s so nasty, isn’t it?

He was in many circles accused of not taking enough care of Madhubala. Well, very few knew that he was not only fully aware of her fatal disease when he came to marry Madhubala but also spent 9 long years with a bed ridden wife, taking her care in all the ways possible. All this he did amid many professional obligations, which in crazy world of movies, had to be fulfilled in time. Talking about cause of his separation with one of his wives, actor Shammi Kapoor, revealed that Kishore was not entirely wrong in divorcing his wife. After all, if the wife remained away all the time, on one pretext or another, is there any point in staying with that wife?

Let’s acknowledge his singing abilities. He was so humble could be gauged from the fact that he had no shame in accepting that he knew nothing about singing and thing like classical singing was beyond his singing ability! Contrast this remark with remark of R D Burman who said that “Kishore’s voice was the best voice for songs having classical touch”. When he was asked to sing “Mere Naina Sawan Bhado” he had refused to sing it, stating that it was a very tough song not on par with his vocal chords. Anyway, he made Lata to sing it first and then came to sing it just the way sung by Lata after rehearsing her version for many days. The famous Ghazal Singer Pankaj Udhas, throwing light on Kishore’s sense and sensibility, said,” We know Kishore as man capable of singing fun-filled songs in great style. However, Kishore also sang some very serious numbers. That’s ample proof of the fact that inside his child like heart, there were traces of deep seated sadness.” The celebrated Bhajan singer Anoop Jalota feels that such a great singer appear once every 500 years. According to him, a singer should be a good actor to do full justice to any movie song. That’s the reason why Kishore not only sang well songs picturized on him but also sang to such perfection songs picturized on other actors that it appeared as if actor himself was singing the song. The unusual range of his vocal chords could be known from the very fact that on one hand, he sang “Ek Chatur Naar“; on the other hand, we find him singing “Koi humdum na raha” with such sadness that it fills our heart with deep pain.

In the end, it would not be out of tune to say that let’s stop judging the worth of creative souls via our limited perceptions. These creative souls are often very sensitive souls, who reside on higher plane of thoughts. Our limited understanding of them and their works often leaves such soul in great pain. Instead of highlighting our ignorance, it’s better we truly honour them by taking care of their great works in a genuine way. I can hear Kishor Da singing “Hum Laut Aaayenge Tum Yun Hi Bulate Rahana” (I would surely return..Just keep on calling me back). So do you hear my calls, Kishore Da?


Kishore Kumar

Illustrated Weekly 

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Rajesh Khanna: The Earthly Superstar Who Now Became A Star In The Sky

Anand Never Dies!

Anand Never Dies!

The passing away of Rajesh Khanna makes all sensitive souls very sad. He should have lived for some more years on this planet. In India, they say people used  to live for more than 100 years in ancient  times. The  people are dying at a very young age nowadays. We have been witnessing the passing away of creative souls at frequent intervals since last year- Jagjit Singh, Shahryar, Ravi, Shri Lal Shukla, Shammi Kapoor, Hanuman of modern times Dara Singh and now Rajesh Khanna. It appears that heaven badly needs creative artists to entertain its own residents, and thus, be it a singer, writer or actor, all are slowly getting  placed in heaven one by one. Anyway, the death of Rajesh Khanna makes me realize that death is really the great leveler. It leaves none. It cares a damn for stature.

Rajesh Khanna provided death a new meaning in his timeless classic movie “Anand”. The movie highlighted the theme that death is an insignificant drama. However, today when he has passed away, it’s pretty hard to keep emotions in check. The Hindi movie landscape’s first superstar has now become a sweet memory as the presence now gets limited to magazines, books and movies. I really don’t know what are the elements involved in the making of a superstar but I am aware of the fact that his charishma in 70s left both young and old spellbound. Male newborns got named Rajesh, a new hair style came into existence and the frenziness found in every woman’s heart attained new height. The arrival of angry young man Amitabh Bachchan  soon eclipsed the magic of Rajesh Khanna, but by then Rajesh Khanna image has attained some sort of immortality.

The early phase of all great actors had been a roller coaster ride. Rajesh Khanna proved to be no exception. The leading actresses of those days refused to work with him and well known directors failed to take note of him. His early movies did not create a desired effect. When Shakti Samanta narrated him the story of Aradhana, he noticed that Rajesh Khanna did not seem to be much impressed. After all, it was a female oriented movie, in which the hero died during the middle of the movie. It was no less a herculean task for Shakit Da to make Rajesh Khanna see light at the end of the tunnel. However, very few can predict the course  of destiny. The movie, which in eyes of Rajesh Khanna, offered no better prospects not only proved to be a milestone in history of Indian movies but also gave Hindi movie world its first superstar. That’s the only logic which governs Bollywood- success appears like appearance of cascade in barren land. It defies all established rules. A female oriented movie gave Indian movie landscape its first male superstar!
Interestingly, the other dominant trend which defines Bollywood is that superstars rarely know real acting or, for that  matter, are  rarely offered roles that involve some real shades of acting.  That’s so evident if one has witnessed acting skills of present “Khan Brigade”. They develop some lovable styles but they  rarely come to act. The only superstar that can act a bit, Amitabh Bachchan, too feels that he never got an opportunity to reveal interesting shades of acting. All the time he remained engaged in “dhishum dhishum” (fight scenes)! Anyway, destiny smiled on Rajesh Khanna once again when he got opportunity to show his acting skills in some movies having substantial plots. It’s really curious coincidence that it was Hrishikesh Mukherjee, known for his simplistic take on serious issues, who came to provide both Rajesh Khanna and Amitabh Bachchan some good opportunities to strike a bonhomie with various shades of acting. In fact, they both came to work together under his direction in Anand and Namak Haraam. Anand turned out to be a huge success. In fact, the character played by Amitabh, Babu Moshay, became a household name. The plot of Anand revolved around the philosophy found in the Upanishads that there is no such thing as death. Death is not an end but a new  beginning. In other words, it taught the art of living, reminding us that laughter is the best medicine. After all, we rarely come to live life in a proper way.  The movie made it clear that death is final drama, which paves the way for soul’s fresh journey with new set of cloth in form of a new body! Rajesh Khanna depicted this art of living in an unforgettable way.

Anand: Now Offering Solace To People In Heaven

Anand: Now Offering Solace To People In Heaven

Rajesh Khanna’s method of acting was not full of complex elements. Like any star actor, his appeal was confined to few stylish gestures, which suited him so well. His acting mannerism was heavily dramatic, which went so well with romantic plots. But he was a good actor, who can do justice with complex themes became known to all  cinema-goers with release of “Ittefaq” which came right in the beginning of his career. The movie directed by Yash Chopra and produced by B R Chopra revolved around a painter trapped in a tragic situation, wherein people perceived him to be a murderer with an unstable mind. He  depicted the agony of such an innocent man in an impressive way. Anyway, the movies like Amar Prem, Kati Patang, Kudrat, Khamoshi, Souten, Avatar, Doli, Roti, Aan Milo Sajna, Thodi Se Bewafai, Sachha Jhootha and Dushman, to name a few, are some of his super-hit movies, which made him darling of the masses.

However, let’s not forget the role which Kishore Kumar, Mukesh, R D Burman, Salil Choudhary, Majrooh Sultanpuri, Anand Bakshi, Laxmikant Pyarelaal, Hemant Kumar, Sahir and Khaiyyam played in shaping the course of success for Rajesh Khanna. It’s an undisputed fact that Kishore Kumar played the most significant role in making Rajesh Khanna and Amitabh Bachchan careers attain starry heights. It’s also a proven fact that both of them lost their star appeal, when Kishore Kumar stopped singing for them in last stage of his singing career, due to health reasons. The romanticism demonstrated by Rajesh Khanna and machoism exhibited by Amitabh were heavily dependent on voice of Kishore Kumar! His voice acted as most suitable medium for them, which earlier provided new heights to Dev Anand. I am sure had Kishore been missing, Rajesh Khann would have failed to locate “Mere sapno ki Rani“. Tanuja would have maintained safe distance from Rajesh Khanna had Kishore not turned out to be “Dil ke Chain“. This song “Ye Jo Public Hai Ye Sab Jaanti Hai” became the most popular idiom to make a remark on the shady affairs in the world of politics and business. Another song from the same movie Roti “Gore Range Pe Na Itna Gumaan Kar” transcended generations to influence the fate of every fair skinned Indian girl.


May his soul rest in peace. The people who have moved ahead in this eternal  journey, never travel backwards. They simply live inside our heart and minds as sweet memories. This line which forms the part of song picturized on him expresses this sentiment so well: “Kuch Log Jo Ek Roj Bichud Jaate Hai  Wo Hazaro Ke Aane Se Milte Nahi“. Anand never dies. He always manages to be back on earth’s playground to play the game of life with a new face.That realization is bound to make one smile even as the eyes remained moist with tears. It makes reunion with Rajesh Khanna-a good soul-a great possibility. By the way, let’s not forget  Rajesh Khanna’s  words said to Pushpa In Amar Prem: ” Pushpa, I hate tears”.  

These songs picturized on Rajesh Khanna are very close to my heart:

1. Mere Naina Saawan Bhado ( Mehbooba )

2. Kuch To Log Kahenge  (Amar Prem)

3. Zindagi Pyar Ka Geet Hai (Souten)

4. Hazaar Rahe Mud Ke Dekhi (Thodi Se Bewafai)

5. Vada Tera Vada (Dushman)

6.Sajna Saath Nibhana (Doli)

7. Pyaar Deewana Hota Hai (Kati Patang)

8. Ye Reshmi Zulfein  (Do Raastein)

9. Jeevan Se Bhari Teri Aankhein (Safar)

10. Zubaan Pe Dard Bhari Daastan( Maryaada)

11. Wo Shaam Kuch Ajeeb Thi  (Khamoshi)

12. Yun Hi Tum Mujhse Baat Karti Ho  (Sachha Jhootha)

13. Mere Dil Me Aaaj Kya Hai (Daag)

14. Kahin Door Jab Din Dhal Jaayein (Anand)

15. Zindagi Ek Safar Hai Suhana   (Andaaz)

A lot depends on how the song is picturized. I love this song not only for beautiful verses by Majrooh Sultanpuri, excellent composition by R D Burman, terrific singing by Kishore Kumar, but also for its mesmeric picturization. Absolutely stunning romantic song picturized in a perfect setting. A meaningful one as well. The verses are not only talking about romance in some absurd way like “Tum mujhko chand laake do” (get the moon for me) but they are having a take on it in a balanced way. The movie was full of typical Bollywood elements ( and that’s why I don’t like this movie) but the songs stand apart. 

Pics Credit:

Pic One

Pic  Two

राजेश खन्ना: सबके नैनो को सावन भादो करके चले गए तुम


राजेश खन्ना : अब क्षितिज के उस पार

राजेश खन्ना : अब क्षितिज के उस पार

राजेश खन्ना का यूँ  ही अचानक क्षितिज के उस पार चले जाना दुखी करता है. अभी उनकी उम्र ही क्या हुई थी लेकिन कलाकारों की मौत का जो सिलसिला पिछले साल से शुरू हुआ है वो अब तक बना हुआ है. जगजीत सिंह, शहरयार,  मशहूर संगीतकार रविजी, हिंदी के लेखक श्रीलाल शुक्ल, शम्मी कपूर, फिर हमारे चहेते हनुमान दारा सिंह और अब राजेश खन्ना. ऐसा लगता है कि देवलोक का माहौल बहुत ग़मगीन हो गया है तभी पृथ्वी के सभी बड़े कलाकार एक के बाद  ऊपर के लोको में चले जा रहे है. खैर राजेश खन्ना की मौत के बाद  ये एहसास मुझे हो चला है कि मौत भी कोई चीज़ होती है जो “आनंद” को भी शोक में   परिवर्तित कर सकता है. हिंदी फ़िल्म जगत को पहला सुपरस्टार देने वाला अब यादो का हिस्सा बन गया है. ये सुपरस्टार क्या चीज़ होती है मुझे ज्यादा नहीं पता पर राजेश खन्ना का जादू  सत्तर के दशक में यूँ चढ़ा कि माएं अपने बच्चो का नाम राजेश रखने लगी, युवतियों के अन्दर का पागलपन थोडा और बढ़  चला और नाई के दुकान पे एक और हेयर स्टाइल का उदय हो गया. बुरा हो एंग्री यंगमैन अमिताभ के अवतार का जिसने राजेश की आभा को ग्रहण लगा दिया बहुत जल्द ही पर तब तक राजेश का जादू एक अमरता को प्राप्त कर चला था.

जैसा सब अच्छे  कलाकारों के साथ होता है राजेश को भी आरंभिक दिनों में सब ने नकार दिया. चोटी की अभिनेत्रियों ने काम करने से मना कर दिया. शुरुआती फिल्मे पिट गयी बाक्स ऑफिस पे. फिर जाके आराधना मिली जिसको लेके राजेश खन्ना खुद ही सशंकित थे क्योकि नायिका प्रधान फ़िल्म में इनके लिए कुछ ख़ास नहीं था. पर जब सफलता मिलनी  होती है तो मिल के रहती है यूँ ही जैसे रेगिस्तान में झरने का फूट  पड़ना. कम से कम बालीवुड में सफलता का सिलसिला ऐसे ही शुरू हो जाता है सब  तर्कों  को धता बता के.  तो एक नायिका प्रधान फ़िल्म ने भारतीय रजत पटल को उसका पहला सुपरस्टार दिया.

बालीवुड में वैसे सुपरस्टार को कुछ ख़ास एक्टिंग नहीं करनी पड़ती. कम से कम आज कल के तथाकथित “खान” सुपरस्टारों को देख तो यही समझ में आता है. अमिताभ का भी यही दुखड़ा रहा है कि उनसे किसी ने ढंग की एक्टिंग नहीं करवाई  सिवाय ढिशुम ढिशुम के. खैर राजेश खन्ना के हाथ कुछ अच्छी फिल्मे आई जिनमे उन्हें एक्टिंग के अपने कुछ ख़ास शेड्स दिखाने का मौका मिला. ये एक महज सयोंग ही है कि ऋषिकेश मुखर्जी ने ही राजेश खन्ना और अमिताभ दोनों को कुछ फिल्मे प्रदान कि जिनमे उन्हें वास्तविक अभिनय से दो चार होना पड़ा. ये भी क्या अद्भुत  संयोग है कि इन दो फिल्मो “आनंद” और “नमक हराम” में दोनों ने साथ काम किया. आनंद एक कालजयी फ़िल्म बन के उभरी. आनंद तो अमर हुआ ही पर बाबु मोशाय भी कभी ना मरने वाली लोकप्रियता को प्राप्त हो चला. आनंद उपनिषद् के इस सत्य को प्रतिपादित करता था कि इंसान कभी नहीं मरता है. मौत एक तमाशा है जिसमे आत्मा को नए कपडे लत्ते मिल जाते है. इस भाव को राजेश खन्ना ने अद्भुत तरीके से परदे पे प्रस्तुत किया.

राजेश खन्ना के एक्टिंग में एक ख़ास तरीकें की नाटकीयता थी मगर जब कभी सधा हुआ अभिनय करने का मौका मिला उन्होंने कर दिखाया.  शुरुआती दौर में नंदा के साथ आई  यश चोपड़ा की “इत्तेफाक” इस बात की पुष्टि करती है. खैर अमर प्रेम, कटी पतंग, कुदरत, सौतन, थोड़ी सी बेवफाई, अवतार, डोली, रोटी और आन मिलो सजना इनकी कुछ उल्लेखनीय फिल्मे है. इनकी सफलता के बारे में बात करना और किशोर कुमार, आर डी बर्मन, मजरूह, आनंद बक्षी, एस डी बर्मन,  लक्ष्मीकांत प्यारेलाल, कल्यानजी आनंदजी, हेमंत कुमार और खैय्याम इत्यादि का जिक्र ना करना मतलब दाल में से नमक का गायब कर देना है. किशोर कुमार ने ही रूमानियत के सुपरस्टार राजेश खन्ना और यंग्री यंग मैन अमिताभ को वो दर्जा दिलवाया जो किसी के लिए दुर्लभ  होता है. किशोर कुमार के चले जाने के बाद ये दोनों  धडाम से नीचे आ गिरे.  सोचिये अगर किशोर ना होते तो “मेरे सपनो की रानी” कहा से आती इस शानदार तरीके सें ? सोचिये अगर  “ओ मेरे दिल के चैन” के चैन किशोर ना होते तो क्या राजेश तनूजा को इम्प्रेस कभी कर पाते!  और रोटी में गाया ये गीत “ये जो पब्लिक है ये सब जानती है”  तो एक कालजयी मुहावरा ही बन गया. और इस फ़िल्म में किशोर कुमार का गोरे रंग पे कटाक्ष ” गोरे रंग पे ना इतना गुमान कर” सिर्फ मुमताज़ पर ही नहीं सिमट के रह गया वरन  इस गीत के बाद भारत में पैदा हुई हर गोरी लड़की के व्यक्तित्व को बेधता चला गया.

खैर ईश्वर इनकी आत्मा को शांति प्रदान करे. कहते है जाने वाले कभी लौट के नहीं आते. सिर्फ इनकी याद रह जाती है. सही बात है ” कुछ लोग जो बिछुड़ जाते है वो हजारो के आने से मिलते नहीं“. पर “आनंद” कभी मरते नहीं बस इसी रंगमंच पर  रूप बदल के आ जाते है और ये बोध  इस दुःख में एक मुस्कान की लहर तो पैदा ही कर देता है. पुनर्मिलन की उम्मीद तो बंधा ही देता है.

मेरे कुछ पसंदीदा गीत राजेश खन्ना पे फिल्माए हुए:

१. मेरे नैना सावन भादो ( मेहबूबा)

२. कुछ तो लोग कहेंगे  (अमर प्रेम)

३. जिंदगी प्यार का गीत है  (सौतन)

४. हज़ार राहे मुड़ के देखी (थोड़ी से बेवफाई)

५. वादा तेरा वादा (दुश्मन)

६. सजना  साथ निभाना (डोली)

७. प्यार दीवाना होता है ( कटी  पतंग)

८. ये रेशमी जुल्फे  ( दो रास्ते)

९. जीवन से भरी तेरी आँखें (सफ़र)

१०. जुबान  पे दर्द भरी दास्ताँ( मर्यादा)

११.  वो शाम कुछ अजीब थी  (खामोशी)

१२. यूँ ही तुम मुझसे बात करती  हो  (सच्चा झूठा)

१३. मेरे दिल में आज क्या है (दाग)

१४. कही दूर जब दिन ढल जाए (आनंद)

१५. जिंदगी एक सफ़र है सुहाना   (अंदाज़)

आनंद मरा नहीं करते!!!

आनंद मरा नहीं करते!!!

Pics credit:

Pic One 

Pic Two


I Am Hindi Movie Songs Addict!

I Am Hindi Movie Songs Addict!

I must confess that I am Hindi songs addict! I am not at all ashamed to reveal this great truth. One reason why Hindi movie songs come to stir the emotions so often is because they are based on elements defining Indian classical music. The raga and tal employed often connects us with newer plane of consciousness. In this very land, the various forms of art are ways to explore and establish our connection with the Absolute. So we can see that some addictions are good.

Listen to the “Mere Naina Sawan Bhado ” moulded in Raga Shivaranjini. It immediately makes you get lost in a strange unknown realm of a mysterious world. Listen Talat singing ” Aye Dil Mujhe Aise Jagah Le Chal”(Arzoo) and you get transported to a world embedded in total silence.

A sincere lover of Indian movie songs would also take note of the picturization of these songs. The geniuses like Gurudutt, Raj Kapoor , Vijay Anand and Manoj Kumar, to name few, had mastered the art of perfect picturization. The dream sequence songs like “Hum apki aankho me ” (Pyasa) and ” Ghar Aaya Mera Pardesi” (Awara) epitomizes song picturization. Even ”Pal Pal Dil Ke Pass ” from movie ‘Blackmail’ is a treat for the eyes. One interested in knowing how to use light and shade needs to watch “Saqiya Aaj Mujhe Neend Nahi Ayegi” (Sahib Biwi Aur Ghulam).

I Am Hindi Movie Songs Addict!

One thing more. We always tend to ignore and downsize the contributions of music directors and lyricists. The lyricist is the most unfortunate creature in terms of eliciting credit. Anyway, Shailendra, Sahir, Shakeel, Indeevar, Rajendra Krishn and Pradeep would never get lost into oblivion. The composers like Shankar-Jaikishen, SD Burman, Ravi, Kalyanji Anandji, OP Naiyyar, Laxmikant-Pyarelal and RD Burman would continue to keep providing few moments of bliss in the world gone to the dogs.

It’s time to sing for Hindi songs Chura Liya Hai Jo Tumne Dil Ko,Nazar Nahi Churana Sanam!”( You have stolen my heart and so never ignore me) .

I Am Hindi Movie Songs Addict!

Pic Credit:

Pix One

Pix Two

Pix Three

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