Carnival of Blogs on Golden Era of Hindi Film Music – Volume X – November 2022 Edition

Welcome to November 2022 edition of Xth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

Tabassum passes away at 78 due to cardiac arrest – Born as Kiran Bala Sachdev, in 1944, Tabassum had started off as a child artiste.

Her most iconic and popular show was Phool Khile Hain Gulshan Gulshan where she used to strike up conversations with celebrities. Tabassum knew how to probe without prying, with conversations that remain, to this day, a pleasure to watch.

One of the most remembered songs of her childhood acting days is Bachpan Ke Din Bhula Na Dena (Deedar, 1953), where she is playing the role of child Nargis , along with Aprikshit Sahni (as child Dilip Kumar). She recalls her role in Bahar (1951) in this clip of her talk sjow Tabassum Talkies:

Presently we move on to our section on tributes and celebrations for the month –

Sanjay Leela Bhansali, Ayushmann Khurrana’s choices seem inspired by filmmaker V Shantaram. Here’s whySampada Sharma – On actor-filmmaker V Shantaram’s birth anniversary, here’s looking at how the contributions of this famed filmmaker impacted Indian cinema and how traces of those films can still be seen in our movies.

Chitragupt and Lata Mangeshkar – Magicians of Melodies – Part 2 is a follow through of Part 1

Master Ghulam Haider: A Trailblazer – DP Rangan pays a tribute to Ghulam Haider on his 69th Remembrance Day (1908 – 9 November 1953

“Hai Duniya Usi Ki Zamana Usi Ka” – Bir Sakhuja – Born in 1924, Bir Sakhuja made his entry into Bollywood via Gunah (1953) and has done around 16 films.

Zeenat Aman-Dev Anand’s Hare Rama Hare Krishna looked down upon rule-breakers, gave Hindi cinema its ‘boldest’ starSampada Sharma –  On Zeenat Aman’s birthday, here’s looking back at her debut film Hare Rama Hare Krishna that was passed on by many mainstream female actors because no one wanted to play Dev Anand’s sister.

November 2022 episode of Fading Memories, Unforgettable Songs takes up Salil Chowdhury and Shailendra’s Songs Fading From the Memory: Char Diwari (1961). Till now we have covered the years

1953-1955 in 2018,

1956 in 2019, and

1957 in 2020

1958 to 1960 in 2021

Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

We now move on to posts on other subjects –

Prithviraj Kapoor to Kiara Advani—Delhi’s Delite Cinema remains a Bollywood favouriteNUTAN MANMOHAN – While many other single screen theatres have packed up due to new market pressures, Delite Cinema continues to draw crowds from old Delhi.

Romancing other miscellaneous balmas recollects the songs that would not find the popular versions anadi balma, pardesi balma, ajnabi balma, bedardi balma and jaadugar balma.

The Worldly Songs, devoted to songs which analyse the world as it is with no reference to the maker of the world – i.e. God or duniyabananewala. There is no attempt to seek refuge at the altar of god or rhetorically invoke God in any of the songs. These are songs which suggest that the world is as we make it, e.g., Matlab Ki Is DuniyaHalla Gulla, (1954) – Mohammad. Rafi & Asha Bhosle – Saba Afghani – Nisar Bazmi.

Songs Addressed to Animals / Birds, with one animal or bird having one song each.

The ‘Not-Naachnewaali’ Gaanewaali: Ten SongsThere is the occasional naachne-gaanewaali who doesn’t dance, she only sits, or, at the most, stands up a bit and languidly moves about. e.g., Badi Mushkil Se Hum Samjhe – Shamshad Begum, Asha – Zindagi Ya Toofan (1958, Lyrics: Nakshab Zarachvi; Music: Nashad)

Part 1 of the Bicycle Saga focuses on songs with bicycles in a group.

Songs of good and ill wishes, which have blessings as well as those that are proponents of the theory of retributive action.

From Bollywood Rewind – Sampada Sharma – Indian Express’s weekly column:

What Sooraj Barjatya wanted to do with Main Prem Ki Diwani Hoon, Basu Chatterjee had achieved in Chitchor – Revisiting Chitchor recently was a strong reminder of how a filmmaker like Sooraj Barjatya, who believed in going big even before it was considered a sure shot formula for success in Bollywood, made a simple story by Subodh Ghosh into an extravagant film that felt more dated than its 1970s version.

Hrishikesh Mukherjee’s Satyakam has Dharmendra giving his most actualised performance, shows how an honest person is a danger to himself – Hrishikesh Mukherjee’s 1969 film Satyakam, starring Dharmendra, Sanjeev Kumar and Sharmila Tagore, explored the idea if living an honest and ideal life is actually worth it.

Amol Palekar-Tina Ambani’s Baton Baton Mein explains why relationships without labels aren’t always the best idea – Baton Baton Mein is set in the 1970s but the complicated nature of romantic relationships it tries to portray makes it obvious that we might have a more varied vocabulary today for explaining the status of our relationships but the status overall, is pretty much the same.

We have moved forward with Solo songs of Madhuri, Jahanara Kajjan, Ram Dulari,  Jayshree, Baby Madhuri, Vishni Lal, Vasanti, Gauhar Sultana, and Other Singers before concluding the Micro View of Female Solo Songs for 1943 with MY Top Female Solo Songs. We have now taken up Micro View of Male-Female Duets for 1943, beginning with Part 1.

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi that are relevant to the topics covered in the present episode, we will institute a series wherein we continue to listen to Mohammad Rafi and Lata Mangeshkar’s duet with a music director for the first time in a Hindi film, every month for the rest of the 2022 –

Ek Daal Par Tota Bole Ek Daal Par Maina – Chor Machaye Shor (1974) – Indra Jeet Singh Tulsi – Ravindra Jain

https://youtu.be/v7-Mysg2StI

Kahun Kya Tumse Apni Dastaan – Jimmy Aur Johney (1976) – Majrooh Sultanpuri – Rajesh Roshan

Janam Janam Ka Saath Hai Hamara Tumhara – Bheegi Palkein (1982) – M G Hasmat – Jugal Kishore-Tilak Raj

Shole Shole Meri Jawani – Locket (1984) – Gauhar Kanpuri – Bappi Lahiri

I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.

Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.