Carnival of Blogs on Golden Era of Hindi Film Music – February, 2018

Welcome to February, 2018 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We begin our February, 2018 episode with Bharat Darshan – Bharat Darshan in Songs (1): Small towns  followed by Bharat Darshan in Songs (2): Metros. Once we tour India, how can we be satisfied without having a look Around the World in Songs.

Knowing fully well that a mere mention of the these tours will not suffice, I have selected one song from each post to taste the potentials of these tours

Tum Dilli Main Agra Mere Dil Se Nikle Haaye – Pahle Aap (1944) – Shyam Kumar and Mohammad Rafi – Naushad  – DN Madhok

Bombay Purani Kalkatta Purana – Umar Qaid (1961)   Mohammad Rafi and Kamal Barot – Iqbal Qureshi – Hasrat Jaipuri

Ek Din Lahore Ki Thandi Sadak Par Shaam Ko Ja Rahe TheSagai (1951) – Chitalkar, Rafi and Shamshad Begum – C Ramchandra  –  Rajendra Krishna

Around the World in Ten Songs also is an off-shoot of the aforementioned Bharat Darshan posts. There are songs—the ones shot abroad—merit a separate post, because so many of them (Akele-akele kahaan jaa rahe ho, O mere shahekhubaan, Raat ke humsafar, Aye meri zindagi tu ajnabi toh nahin, etc) have little to do with the place itself. The present list is limited to the songs that actually name a city or town, whether or not the song itself is shot there, e.g.  Bade Bhaiya Laaye Hain London Se Chhori  – Ek Hi Raasta, (1956) – Asha Bhosle – Hemant Kumar – Majrooh Sutanpuri

And, now, we take up the tributes in January (post-our January, 2018 issue) / February, 2018:

The first five posts are w.r.t. the Valentine Day.

Valentine Day also is the birth date of Madhubala.

The Many Moods of Madhubala – On her 85th birth anniversary on 14th February, 2018 – Her obvious beauty blinded people to her talent, and her ill-health didn’t allow her much of a chance to explore roles that might have rewarded her latent talent.

Barsat Ki Raat Part 1: A Musical Romance – On the occasion of Valentine’s Day, and the birthday of Hindi films’ Venus, Madhubala, Monica Kar revisits the classic musical Barsat Ki Raat 1960, exploring the evergreen memorable songs and scenes of this delightful romantic story. [We will include the Part II of the article in our next episode.]

Happy Birthday Suman Ji! presents her representative solo songs on her 81st birthday on 28th January, 2018.  This is followed up with Suman Kalyanpur – Duets. I have picked up a duet with Mohammad Rafi from her one of the first films just after her marriage:

Jara Thahero Abhdul Gaffar Rumal Mere Leke Jaana – Satta Bazar (1959) – Kalyanji Anandji – Gulshan Bawra – The tune is composed on Gujarati Garba folk song tune.

The Many Moods of Waheeda Rehman – a ‘song’ tribute to Waheeda Rehman on her 80th birthday (3rd February, 2018), songs that she sang on screen presenting her in a different mood and/or emotion.

OP Nayyar — Music Alchemist  –  In a tribute to the legendary music director OP  Nayyar, Silhouette presents a unique collection of essays curated by noted musicologist and author Manek Premchand, admin of the RTS group. The group draws its name from Manek’s book ‘Romancing the Song, an in-depth encyclopedic lyrical journey through the history of the Hindi film song.

Khayyam: The Poets’ Musician – The earnestness, the depth and the genius of Khayyam led to the creation of masterpiece ghazals, songs and nazms that are among the most beautiful melodies in Hindi film music. Vijay Kumar explores a few of Khayyam’s everlastings songs on the music maker’s birthday on 18th February, 2018.

Pankaj Mallik-The Singer,Composer Admired By Rabindranath Tagore – The credit of taking Tagore’s songs and music, which have come to be known as ‘Rabindra Sangeet’, to the masses goes to ‘Mukti’.

Zindagi Bhar Nahin Bhoolegi: Bharat Bhushan’s Unforgettable Singer-Poet Musicals – By Peeyush Sharma – Bharat Bhushan’s educated, decent, quiet and humble personality made him excel in unforgettable musicals as historical singer-poet or romantic shayar.

February, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to: Talat Mahmood’s Duet Combinations with Rare Co-singers. I plan to follow the practice of following-up one artist every month every year. E.g. Our present episode is follow-on post to the February, 2017 episode:Some of the Talat Mahmood Duets receding from the memory’.

And, now the posts on other subjects:

The mesmerizing Qawwaalis from Hindi movies – Listening to a good Qawwaali may take you into a state of trance. Bollywood movies have carried the Qawwaali tradition a long way through several memorable Qawwaalis.

Bombay Returned is Manek Premchand’s maiden article as far as this blog carnival is concerned.  The post looks at many actors, singers, composers or filmmakers who came to Bombay to try their fortunes in Hindi films, only to go back to where they were known better through the prism of lens of their Hindi Film Songs.

Great Theme Music of Bollywood – Theme music is a piece that is often played during the introopening credits and/or ending credits. This music is a Signature Music of a Film. For example – Alaap at the end of a musical piece from ‘Pakeeza’. In the early years of radio and television, celebrities often had a signature song associated with them that became their theme.

‘Bandini’ is about crossings real and imagined, literal and metaphoricalRudradeep Bhattacharjee – Gulzar made his debut as a lyricist with the 1963 Bimal Roy classic, starring Nutan, Ashok Kumar and Dharmendra and scored by SD Burman…Mora Gora Ang Lai Le is the only song Gulzar wrote for Bandini. By then Burman and Shailendra had made their peace, and the latter wrote the remaining songs. [A concerned Bimal Roy then asked Gulzar to join in on his next production, which was being directed by Hemen Gupta. Kabuliwala, for which Gulzar wrote Ganga Aaye Kahaan Se, went on to release earlier than Bandini.].This song also is the first after SDB and Lata’ feud was patched up.

25 All Time Great Whistling Songs Of Bollywood – Whistling is an old art used in songs started in 1930s and 40s. A whistle can be used to express happiness or woo a beloved. Many a times whistling is a part of hero’s introduction song, where he is shown to whistle happily, either walking or riding a bicycle, or driving a car.

‘Gharonda’ remains one of the most resonant films about Mumbai’s housing woesNandini Ramnath – House-hunting leads to heartbreak in Bhimsain’s 1977 morality tale, starring Amol Palekar, Zarina Wahab and Shreeram Lagoo.

Devika Rani is a free-spirited bird in ‘Main Ban Ki Chidiya’Archana Nathan – The famous song from Franz Osten’s ‘Achhut Kanya’ is a perfect ode to Devika Rani.

Zara Dekhiye Meri Saadgi’ – Dara Singh – His first real acting film was Bhaktraj (1960). But he came in a hero in Faulad (1963), and then went to act in 80 films in the lead role. The song that the article title refers to is from Nasihat(1967) – rendered by Mahendra Kapoor and composed by O P Nayyar.

We concluded our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are?  with the final post that presents my views on the Top Music Directors for 1948. If we recall, SoY had concluded the series with Best songs of 1948: Final Wrap Up 4.  All the posts of the Micro View of Best Songs of 1948 can be accessed @ The Songs of 1948 @SoY.

In our tradition of ending our post with article or topical song, I have picked up one duet with Suman Kalyanpur and one rarely heard composition of O P Nayyar and Roshan each, in continuation to leads that we have had earlier in this episode::

Aankade Ka Dhandha Ek Din Teji – Satta Bazar (1959) – Kalyanji Anandji – Gulshan Bawra

Sharab Ka Sahara Leke Bahal Saka Na Mera Dil – Commecrical Pilot Officer (1963) – Roshan- Anand Bakshi

Bana De Bana De Prabhuji Tu Bigdadi Bana De Prabhuji – Phaagun (1958) – With Asha Bhosle – O P Nayyar – Qamar Jalalabadi

Madhubala and Bharat Bhushan lip sing the song on the screen.

I earnestly seek your suggestions / inputs / criticisms so as to make our Film Blog Festival more interesting and live.

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The Micro View of the Songs of 1948 @ SoY – The Duets – Male-Male Duet & Triads, Triads+ Songs

Male-Male Duet Songs

While remaining an essential variant of the duets, male-male duets has neither been a popular format nor been an easy one to compose. We have only two male-male duets for the year, essentially with chorus support.

Mohammad Rafi, Khan Mastana, ChorusWatan Ki Raah Mein Watan Ke Naujawan Shaheed Ho – Shaheed – Ghulam Haider – Raja Mahendi Ali Khan

Mukesh, Shailesh, ChorusRab Mere Araj Sun Meri, Sharan Ab Teri – Aag – Ram Ganguli – Saraswatikumar ‘Dipak’

Triads, Triads+

1948 has quite a fairly large selection of triads or triad+ songs. All of the songs that could be listed form HFGK do not have digital link on the most of the otherwise rich reference platforms.

Popular TRiad Song

Mohammad Rafi, Chitalkar, G M Sajan, ChorusAji Khushiyan Manae Na Kyon Hum , Ham Kise Se Kyun Dare, Kismat Hamare Sath Hai, Jalanewale Jalanewale Jala Kare – Khidki – C Ramchandra – P L Santoshi

Its all female version – by Shamshad Begum, Lata Mangeshkar, and Mohan Tara – was equally popular.

Other Triads, Triads+ Songs

Shamshad Begum, Lata Mangeshkar, Unidentified voiceHello Hello Gentleman, Milate Nahi Kyun Ham Se Nain – Actress – Shyam Sundar- Raja Mahendi Ali Khan

Moahammad Rafi, Chitalkar, Shamshad BegumAji Mera Bhi Koi Haal Suno,.. – Khidki – C Ramchandra – P L Santoshi

Lata Mangeshkar, Geeta Roy, ChitalkarTere Bina Suna Suna, Man Ka Mera Anagana  – Khidki – C Ramchandra – P L Santoshi

Suraiya, Surinder Kaur, Meena KapoorKabhi Panabhat Pe Aaja Mere Sapno Ke Raja – Pyra Ki Jeet – Husnlal Bhagatram – Rajendra Krishna

Suraiya, Surinder Kaur, Meena KapoorRut Rangeeli Hai, Suhani Raat Hai, Tum Chale Aao To Kya Baat Hai  – Pyar Ki Jeet – Husnlal Bhagatram – Rajendra Krishna

Mohammad Rafi, Shamshad Begum, Sulochana  Kadam  – Chalo Jamuna Ke Paar – Lal Dupatta – Gyan Dutt – ?

Chitalkar, Lalita Deulkar, P Chandar, S L PuriKathawa Ke Nayaa Banaihe Hai Re Malhawa, Nadiya Ke Paar Tej Dhar– Nadiya Ke Paar – C Ramchandra – Moti B A

We will take up the concluding part of the Duet Songs of 1948 in our next episode.

The Micro View of the Songs of 1948 @ SoY – The Duets – Male Female Duets – Mohammad Rafi +

Mohammad Rafi’s duets with other female singers appear reasonably respectable in numbers. However, in terms of depth of penetration, i.e. range of co-singers or music directors the duets do look at the very initial stage of its enveloping wave formation. In fact the range of music directors and the number of Rafi duets with Shamshad Begum can be said more to the reflection of her strong acceptance at that point of time. Few duets had attained a high popularity level, but these are too few and far in between.

+ Suraiya

Taaron Bhari Raat Par Tu Nahin Hai, Ye Zindagi Kya Hai Tu Kahin Ham Kahin – Kajal – Ghulam Mohammad – D N Madhok

+ Shamshad Begum

Solah Baras Ki Bhai Umariya – Aag – Ram Ganguly – Nakshab Jarachvi

Dheere Dheere Bol Koi Sun Na Le Bol – Actress – Shyam Sundar – Nakshab Jarachavi

Are O Albeli Naar Kyon Kar Kare Chhip Kar Vaar – Lal Dupatta – Gyan Dutt – Manohar Khanna

Nanhi Si Jaan Mein Hae Jawani Ka Sitam Kyon … – Nadiya Ke Paar – C Ramchandra – Moti B A

Ek Abre Siah Chhaya Aaj Mere Saathi – Rahnuma – Dhumi Khan – Dhumi Khan

+ Amirbai Karnataki

Mujhe Tum Se Muhabbat Hai Ye Meri Chak Damani – Shahnaz – Ameerbai Karnataki – Fiza Kausar Banglauri

Nazaron Se Khelun Baharon Se Khelun, Mera Bas Chale Chand Taaron Se Khelun – Shahnaz – Ameerbai Karnataki – Akhtar Pilibhiti

Tere Nazdik Jaate Hai, Na Tujhse Door Hai – Shahnaz – Ameerbai Karnataki – Akhtar Pilibhiti

Zindadi Ki Raah Mein Tez Chal Kahin Na Tham – Shahnaz – Ameerbai Karnataki –Amir Usmani Deobandi

Man Ki Sooni Nagariya Suhani Bani– Sona Chandi – Tufail Farookhi – Khavar Zanam

+ Geeta Roy

Phool Ko Le Baitha Bhool Kar – Chunariya – Hans Raj Behl – Mulk Raj Bhakari

 + Beenapani Mukherjee

Mera Dil Ghayal Kar Ke Bairi Jag Se Dar Ke – Satynarayan – Hansraj Behl – Surjeet Shethi

Kya Yaad Hai Tum Ko Wo Din – Satynarayan – Hansraj Behl

+ Other female Singers

Mohantara Talpade +Bairan Ho Gayee Raat Piya Bin – Adalat – Datta Davjekar – Mahipal

Rekha Rani +Jamana Ke Tat Par Ham Rokenge Baan – Amar Prem – Datta Thakar – Mohan Mishra M.A.

Rajkumari +O Aao Chale Manwa More Door Kahin – Amar Prem – Datta Thakar – Mohan Mishra M A

Lalita Deulkar +More Raja Ho Le Chal Nadiya Ke Paar – Nadiya Ke Paar – C Ramchandra – Moti B A

Next, we will take up, spread over three parts, Male Female Duets of Other Singers for Micro View of Songs of 1948.

Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director: 1952-1953

We have taken up to celebrate Mohammad Rafi’s anniversaries by publishing a series of articles that enlist the solo song of Mohammad Rafi with the music director for the first time in any film. The first 5-year slot of 1944 to 1948 was covered in Part I and Part II in December, 2016. We have covered 1949  and 1950-1951 of the 2nd five-year-slot of 1949 to 1953.

Presently we will take up years 1952 and 1953 of this 1949-1953 period..

 [For the sake for structured documentation, I will be following the alphabetical sequence of Film names in the post.]

1952

Year 1952 had 80 songs to Mohammad Rafi’s account, of which 32 songs were solos.  Naushad gave a slew of Rafi hits in Aan and Baiju Bawra. For Deewana, Naushad had one of Rafi’s immortal Tasweer Banata Hun Teri Khoon-e-Jigar Se.Ghulam Mohammad had had Rafi in films like Ajeeb Ladki, Amber and Sheesha, C Ramchandra in  Saaqui and Maadn Mohan had him in Anjaam. Chitragupt had Rafi songs in a religious film, Bhakta Puran and a Sinbad series film, Sindbad The Sailor. Rafi gets repeat preference by several other music directors too.

O Moorakh Insaan Apne Ko Pehchan – Annadata  – Mohammad Safi – Anjum Jaipuri

Mohammed Safi was an excellent Sitar player and music arranger. He has provided music independently in about 14 films and was a key assistant to Naushad.

Kit Jaoge  Ghanshyam Murari Jaane Na Doonga – Mordhwaj – Narayan Dutt – Bharat Vyas

The most striking feature of the song is so complex orchestration in support of the song as well as for the interludes.

We find second part of the song on YT.

1953

The last year of the 2nd Five-year period of Mohammad Rafi’s career is quite rich in terms of the ‘first film wherein Rafi had a solo song with the music director’ as well as the films with the music directors who seem to have started giving Mohammad Rafi as lead male playback singer. If we have to select one Mohammad Rafi song from this year that has stood up the tests of time that would easily be Madan Mohan’s composition – Ye Duniya Pagalo Ka Bazaar. For the purpose of records, we note that the year had 31 solos songs of Mohammad Rafi out of a total of 71 songs.

Asides:

This should go on records as the only year where Mohammad Rafi has played back in the films which had the three Kapoor brothers.

Ghata Mein Chup Kar..Jo Dil Ki Baat Hoti Hai – Baaz – O P Nayyar – Majrooh Sultanpuri

O P Nayyar gets to toe in the narrow space through this Guru Dutt film which went on create a crescendo in the years to come. Guru Dutt also comes up in this directorial venture for the first time as a n actor too. The present song is cast in quawalli style. Interestingly, OPN has chosen Talat Mahmood for Mujhe Dekho Hasrat Ki Tasveer Hun Main

Koi Ameer Hai Koi Gareeb Hai – Dana Pani – Madan Junior – Kaif Irfani

The film credit has Shashi Kapoor to as one of the actors, who would have been 14 then.

Ajab Tori Duniya Ho More Rama – Do Bigha Jameen – Salil Chowdhury – Shailendra

Here is the song that can be said to be one more defining step in Mohammad Rafi’s career.

Jal Jal Ke Shama Ki Tarah Fariyad – Fariyadi – Baldev Nath Baali –  Muzaffar Orakhzai

The song is cast in what we know as Mohammad Rafi’s signature style for the songs of sad mood.

Mohabbat Aur Wafa Ki….Chanda Ka Dil Toot Gaya Hai Roney Lage Hai Sitaare – Khoj – Nissar Bazmi – Raja Mahendi Ali Khan

The film has Shammi Kapoor in the lead role. It is said that Mohammad Rafi had charged only Rs. 1.00 to sing this Nissar Bazmi song.

Sulag Rahi Hein Husn Ki Sigdi Aaja Pakaye Prem Ki Khichadi – Madmast – V Balsara – Madhukar Rajasthani

Deft use of mandolin in the prelude and interlude has the distinct imprint of V Balsara. It seems Rafi was mandated to deliver this light-toned song with a dead-pan expression.

Chudiyan Lelo Gori, Pehan Le Chudi – Paapi – S Mohinder – Raja Mahendi Ali Khan

The record-worthy feature of the film is that this is the only film wherein Raj Kapoor was seen in a double role. And of course, we can count one more film where Rafi has playedback for Raj Kapoor.The film had another solo too – Tera Kaam Hai Jalna O Parawane – which had gained immense popularity.

Naram Naram Yeh Garam Garam  Yeh Chane Gagan Ke Tare – Rangeela – Jamal Sen – S H Bihari

We have picked up this song over two other solos – Nadaan Na Ban E Matwale..Kuchh Haath Nahin and Sun Sun Meri Kahani Mushkil Hai Jaan Bachani – because it is similar genre as that of the earlier song. That genre is small-tradespersons-selling-their-wares-by-singing-on-the-streets songs.

To conclude the statistics the music directors with whom Mohammad Rafi sang his first solo song for the 2nd Five-Year-period of Mohammad Rafi’s career, we have had 10 films in 1949,  5 each in 1950 and 1951, 2 in 1952 and 8 films in 1953.

At this stage, Rafi has had established fairly wide base of association with music directors – of the vintage as well as golden era. Also, now more and more of his songs with repeat-music directors are getting high popularity. That sets a very interesting tone for the next 5-Year period.

Carnival of Blogs on Golden Era of Hindi Film Music – November, 2017

Welcome to November, 2017 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

November, 2017 – month of a century+10 birth day of Prthviraj Kapoor and passing away of a noted thumri and khayal exponent Girija Devi.

Remembering Prithviraj Kapoor on His Birthday – the Dubsmash Way – Prithviraj Kapoor was honored with the Padma Bhushan in 1969 and the Dadasaheb Phalke Award in 1971.

Clockwise: From Top Right: Aawara (1951), Mughal-e-Azam (1960), Sikandar (1941)

No Singer Like Girija Devi Will Ever Be Born: Pandit Jasraj 

The Depth of Girija Devi’s Fluid Notes Will Continue to Anchor the Memory of Banaras by Navina Jafa – The energy that buoyed Girija Devi’s creativity as well as her magical execution of thumri and khayal emerged out of the mehfils.

Credit: Still from the documentary Girija Devi: A Lifetime in Music by Madhu Chandra, Debapriya Adhikary and Samanwaya Sarkar

We remember here her most famous rendering: Ras Ke Bhare Tore Nain: Raag Bhairavi

We will now take up tribute posts:

Shyama, the Impish Girl in the Dungarees, Is No MoreKaran Bali

There was magic whenever Geeta Dutt lent her voice for Shyama. This vibrant singer and exuberant actress complemented each other perfectly through several films like Shrimatiji.

5 Roles That Could’ve Changed Sanjeev Kumar’s Destiny as an Actor are those of Mirza Ghalib (in Mirza Ghalib, 1988); B V Pradhan in Saaransh (1984); Jailer Raghuvir Sinh in Kaalia (1981); Gabbar / Veeru in Shlay (1973) and Rana Bhojraj in Meera (1979).

‘Who’s Chitragupta?’ Only the Hindi film music composer of numerous forgotten gemsRudradeep Bhattacharjee – A reassessment of the composer, whose birth centenary falls on November 16, is long overdue.

[N.B.: I have picked up a two random, less heard, Mohammad Rafi songs, at the end of our present episode.]

Chitragupt- A Tribute also has picked a few rare songs:

Suna Hai Jab Se Mousam- Ramudada (1961) Kamal Barot / Lyrics- Prem Dhawan

Gori Tori Banki Chitwan Mein – Aadhi Raat Ke Baad (1965) Manna Dey / Lyrics- Prem Dhawan

The Uncommon Roshan – What sets legendary composer Roshan apart from his peers? What – if any – is the hallmark of his compositions? What makes him so different and so intriguing? Monica Kar takes a look.

A 16th November, 2015 article of Peeyush SharmaThe Magic of the Melodies of Roshan and Chitragupt – does not merely connect up Roshan and Chitrgupt through 16th November, respectively death anniversary and birth date….

Actor, producer, novelist and raconteur: Archival documentary reveals Prem Nath’s many roles : ‘Amar Prem Nath- Last of the Titans’ has been directed by his son, Monty Nath, and is being screened on Zee Classic…… Kalicharan (1976) contains a meta-moment: as the characters played by Prem Nath and Ajit play a game of chess, a police officer’s portrait hangs in the background. The figure in the painting is Prem Nath’s father.

Remembering Ghulam Haider on his Death anniversary is all-round memoir of Ghulam Mohammad’s major songs.

Remembering AMJAD KHAN on his 77th Birth Anniversary through his iconic dialogues.

Lata Sings For RD has a few less remembered songs: like, Din jaa rahe hain raaton ke saaye :Doosri Sita (1974) – Lyrics: Gulzar

The November 2017 episode of Fading Memories, Unforgettable Songs was dedicated to Salil Chowdhury’s Hindi Film Songs in Other Languages.

Here are posts on other subjects as well:

Percussion Discoveries: Kathak Bols Can Be Great Just for Listening, and I Have Finally Found a Queen of the Dholak! – The path of discovery takes us from LP recording of SItara Devi to 1951 film Dholak’s song Mausam Aya Hai Rangeen, in which dholak is being played all female cast (on the screen). The hunt for a real female dholak player does not find any result from India or Pakistan or the UK or the U.S.A. It lands up at some place closer to the countries in the Western hemisphere that obviously influenced the Latin-flavored jazz within that song from the film Dholak. Her name is Chantal (referred to at different times, I see, as Chantal Mangal or Chantal Khaderoe), and she is from the Caribbean – specifically, Suriname. She is seen performing @ Sarnami khana pakana and a live Baithak Gana. YT search leads to a couple of more performances – here and here.

Bol Ri Kathputli: Personifying the Puppet Perfectly – Among the memorable dances picturised in Hindi films, Bol Ri Kathputli from Kathputli (1957) is an innovation in terms of choreography and music. Anand Desai and Antara Nanda Mondal explore the finer nuances of this exuberant story of the puppet personified by Vyjayanthimala, written by Shailendra, composed by Shankar Jaikishan and sung by Lata Mangeshkar.

Folk Dances in Bollywood’ presents some popular folk dances of Bollywood.

Merchant Ivory classic ‘Shakespeare Wallah’ restored, to have limited re-release along with 29 other Merchant-Ivory productions.

And They Made Classics – Director-Writer Duo of Bimal Roy and Nabendu GhoshAntara Nanda Mondal – Directed by Ratnottama Sengupta, And They Made Classics goes behind-the-scenes through an interview with Nabendu Ghosh that was taken in 2005 where he talks about his association with Bimal Roy. The film explores behind the scenes stories about the casting, the arguments, the reactions, the way they worked, along with clips, stills, documents.

[N.B.: Antara Nanda Mondal had published Nabendu Ghosh: The Master of Screen Writing on 26th March, 2016 to commemorate the birth centenary of Nabendu Ghosh.]

The Story of Babul mora naihar chhooto hi jaye-The Queen of Thomris is historical narrative of The Famous thoomari, with video clips of different versions.

RD Burman and His LyricistsPeeyush Sharma and Antara Nanda Mondal take us through a journey of discovering and enjoying gold nuggets of RD Burman’s music created with some of the most prolific lyricists he worked with.

‘Aaj Phir Jeene Ki Tamanna Hai’ from ‘Guide’ is an ode to life – In Vijay Anand’s 1965 film, Waheeda Rehman finally let rips after a lifetime of sorrow and neglect.

S D Burman’s Love and Hate for Lata traces some of S D Burman’s great Lata Songs

Madhubala, As Anarkali, Unveiled In Madame Tussauds Delhi

My Favourite ‘EYE’ Songs lists songs that describe a certain quality of the eyes, it can be romantic, naughty, sad, quiet, magical, frightened or just beautiful!

Incomplete Films: Ek Tha Raja Ek Thi Rani

Ek Tha Raja Ek Thi Rani saw Nargis paired opposite Kishore Kumar for the first time, a most unusual pairing. The film, written by Inder Raj Anand, had them both in double roles, in a tale of mistaken identities

Controversy in Bollywood Films  discusses some of those Bollywood films which made controversy at the time of their release.

Is that really a lesbian moment in ‘Khwab Bankar Koi Aayega’ from ‘Razia Sultan’? – Kamal Amrohi’s historical is chiefly remembered for its soundtrack, which includes a daring clinch between Hema Malini and Parveen Babi

There is Always a Story Behind a Great Song bring forward some of these interested inside stories to the readers.

In our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are?, we continued with the posts on Female Solo Songs. Having heard Suraiya, Geeta Dutt, Shamshad Begum and Raajkumari, we explored solos songs of Surnder Kaur, Other Female Singers and the 1st of 3 parts of Lata Mangeshkar solos.

We will begin the end of the present post with a post on The 11 Emotions of Mohammad Rafi which has presented Mohammad Rafi’s ‘ability to express the emotions which make up different slices of life across 11 different Ras (emotions).

We will also listen to two of the great but receded-from-the-memory-songs of Chitragupt:

Dharati Aaazad Hai Aaasmaan Aazad Hai – Sindbad The Sailor (1952)

Itni Badi Duniya Jahan Itna Bada MelaToofan Mein Pyar Kahaan (1963) – Prem Dhawan

I trust you will always feel free to proffer your suggestions for making this series of posts more lively and informative….

Fading Memories…. Unforgettable Songs: November, 2017

Salil Chowdhury’s Hindi Film Songs in Other Languages

Salil Chowdhury (b: 19 November 1922; d: 5 September 1995) was as multifaceted as was talented.

We know the gems he has created as a music director. But he was a poet and playwright too. He has composed many of his Bengali poems as NFS Bengali songs. Songs like Gnaayer bodhu, which he composed at the age of 20, brought about a new wave of Bengali music. Almost every notable singer of that time from West Bengal had sung at least one of his songs. That he wrote story for Do Bigha Zameen, based on his short story Rickshawalla is now a well-known detail of his writing abilities trivia.

His interest in music made his cast his net wide from Western classics like Mozart to folk songs of Europe to folk songs of East India to enable him to innovate a d experiment. For example, his Dil Tadap Tadap Ke Kah Raha Hai (Madhumati 1958) does seem to have a very strong influence of  a150+ years old Silesian (South-Western) Polish folk song Szla dzieweczka do laseczka ( The girl was walking to the forest)

He was one of the music directors of the school who would  so much accord high priority to the music that they would they were insistent upon setting the music first and then set the lyrics of the song to it. Salil Chowdhury was an excellent arranger who was proficient in several musical instruments, including flute, the piano, and the esraj.

We may know that he has composed music for over 75 Hindi and over 40 Bengali films. Many of us may further know that he composed songs for around 27 Malayalam films. And of course, some of us may also know that he did compose music for even Tamil, Telugu, Kannada, Oriya, Assamese, a Marathi and Gujarati film as well.

In this tribute post to Salil Chowdhury we have chosen to bring on one page his Hindi songs that have been transposed to other languages. Such songs are so very large number that they would need several posts to cover them all. So we have chosen here the Hindi songs that have receded from our memory such that we get at least one song form each of the languages he composed songs.

(Note of credit for the core information for this post: I have sourced the other language song version-links as well description about these other language songs from the one the most complete online data base of Salil Chowdury’s work, World of Salil Chowdhury. Gautam Choudhury has so painstakingly and lovingly built up the entire collection. Gautam Choudhury himself has recorded several instrumental albums on which he plays harmonica, recorded tribute albums to Salil Chowdhury’s legacy:

So here is our tribute to Salil Chowdhury:

One of many Hindi to-from Bengali songs:

Dil Mera….Na Jaane Re Naa Jaane Re Biraj Bahu (1954) – Shamshad Begum – Lyrics: Prem Dhawan

Gayatri Basu’s “Naa Jaani re” in Bengali ‘Aaj Sandhaay’ (1954) is as haunting and appealing as Shamsaad Begum’s rendering.

(Bengali-)Hindi – Malayamam connection

Dhitang Dhitang Bolay, Dil Tere Liye Dolay – Awaz (1956) – Lata Mangeshkar – Lyrics: Prem Dhawan

The Malayalam version is “Thaiyam Thaiyam” (Neelaponman (1975) a duet by P.Susheela and P.Jayachandran.

The source for both these is a 1954 Hemant Kumar’s NFS – a Salil classic – “Dhitang Dhitang Bole” with a totally new arrangement

(Bengali-)Hindi – Telugu connection

Kai Baar Yoon Bhi Dekha Hai Ye Man Ki Jo Seema Rekha Hai – Rajanigandha (1974) – Mukesh – Lyrics: Yogesh

This one had quite a contemporary Telugu version – Nayanalu Kalise Toli Saari  – a duet by P.Susheela and S.P.Balasubramaniam in Chairman Chalamayya (1974).

It had three Bengali versions as well:

Hindi –Tamil connection

Ay Mere Dil Gaa Pyaar Ki Dhun ParDil Kaa Saathi Dil (1982) – S Janaki, Chorus –  Lyrics: Manohar

This film is Hindi dubbed version of Malayalam film, which had become so popular that its Tamil and Telugu versions were also dubbed.

The Tamil version of in this film-dubbing chain was Paruvamazhai (1978) which had the equivalent of the above song Thenmalar Kannikal which is also in S Janaki’s voice.

Here are the Malayalam and Telugu versions as well.

If this was not enough, out of nowhere appears another ‘unknown’ film called Mera Damaad (release date 1995) with another Hindi version of this song. Gautam Choudhury writes: Sometimes I think Salil just lost the track (no pun intended) of his version table! –  Jhir Jhir Barse Aaj Gagan Se – Anuradha Paudwal, Sabita Chowdhury, Amit Kumar and Shailendra Singh

It seems the root source is a 1977 Usha Mangeshakr NFS, O phooler dal, in Bengali.

(Bengali-)Hindi – Kannada Connection

Naam Mera Nimmo Muqaam Ludhiyaana – Sapan Suhaane (1961) – Lata Mangeshkar, Manna Day, Dwijen Mukherji – Lyrics: Shailendra

A very fast-paced song wherein male leads Manna Dey and Dwijen Mukherjee aby support Lata Mangeshkar who so ably does the justice to the tempo and the mood of the song.

It appears that opportunity to re-use this tune came up when Kannada film had a situation for a cabaret dance.  The case in point is:  Dooradinda Bandhantha for film Samasayaphala (1971) by L R Eswari . The song has undergone changes in all spheres except the basic structure of the tune. Guatam Choudhury notes that a regular column writer on Kannada film songs, Sridhar Rajanna writes that:  “Dooradinda bandanta sundaraanga jANa” ….is the best cabaret ever, sung by LR Eswari, has excellent rock and roll style guitar music. It is still popular in orchestras and is frequently played on A-I-R.

At the back of the tune must be some Bengal folk tune. So a Bengali version probably was called for to record the nuances of the original tune. The result is Sabita Chowdhury’s NFS of 1963 – Jhilmil jhauer boney.

(Bengali-)Hindi – Oriya Connection

Salil Chowdhury has composed music for only one Oriya film – Batasi Jhada (1981). The film had a Sabita Chowdhury song Rimjhimi Nishaa Bharaaye Raakhi.

Bengali film Antarghaat (1980) has a chronologically earlier version – Jaanina jaanina  – in Asha Bhosle’s voice.

Its Hindi version came up in an obscure 1989 film Aakhari Badla. The song was Jaane Kaisaa Jaadoo Ye Chal Gayaa. This version was too in Asha Bhosle’s voice. Its video clip shows that it is a cabaret-type dance number. That leads us to believe that Bengali and Oriya versions would have been filmed for similar situations.

(Bengali-)Hindi – Marathi Connection

The only Marathi film that Salil Chowdhury did was Sunbai (1982), produced by Hridaynath Mangeshkar.  Guautam Choudhaury writes: Lata wanted to sing her favourite song once again in Marathi. She finally got to sing the same song three times in as many languages! I must say that the Marathi version ‘Preet Khule Maanjhi Soneri’ is equally beautiful.

The original Bengali song, recorded in 1961 – ‘Saat Bhaai Champaa Jaago Re’ is a classic and every Bengali knows it.  This song seems to have been based on a Sihalese folk tune.

It’s slow hindi version in Mere Bhaiyaa “Pyaas Liye Manwaa” is also wonderful and also sung by Lata.

Assamese Connection

Salil Chaowdhury has done two Assamese films – Aparajeyo in 1970 and Manas Kanya in 1985. Gautam Chowdhury has not mentioned any Hindi connection to the songs of these films.

Gujarati Connection

Salil Chowdhury’s only Guajarati film was Ghar Sansar (1978).

This film had a Guajarati folk tune based Prafull Dave song – Ho Halo Re Hansa- penned by a noted Gujarati poet Venibhai Purohit.

This song has only Bengali version in a 1980 film ‘Parabesh’ – O Ghoomer Moyna Paakhi by Asha Bhosle

and a Malayalam version in a 1975 film ‘Ragam’- Omanathinkal by P. Susheela .

We will end our post with a couple of Salil Chowdhaury’s Mohammad Rafi’s songs in other languages.

Zindagi Hai Kya Sum Meri Jaan  Pyar Bhar Dil Meethi Juban – Maaya (1961) – Lyrics: Majrooh Sultanpuri

It is said that this song is based on the theme of Charlie Chaplin’s very wellknown film Lime Light.

Salil Chowdhury had recorded a Bengali NFS – Jhar Jhar More – in the then Bengali and Hindi film hero Biswajeet. Biswajeet had made his Hindi Film debut with Bees Saal Baad.

Like his other contemporary Bengali music director S D Burman, Salil Chowdhury also had an inherent dislike for Mohammad Rafi’s natural Punjabi loudness as against a Bengali voice’s ‘tenderness’. SDB had had to use Rafi for a good many of songs from Pyasa (1957) till Aradhana (1969). In contrast, Salil Chowdhury seems to have used Rafi only when he had to. Dil Tadape Tadapaye, Unke Milan Ko Rarase Woh To Na Aaye (Poonam Ki Raat (1965) – Lyrics: Shailendra) is said to be one such case.

Salil Chaudhury had recorded this song in Bengali by Shyamal Mitra

and by Debabrat Biswas.

I personally feel that each of the singers has done justice to the delivery of the song in his own style.

We will continue our search for Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

Carnival of Blogs on Golden Era of Hindi Film Music – October, 2017

Welcome to October, 2017 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

October, 2017 is the month of Deepawali. So, ‘Let’s Celebrate Diwali!’ at the very beginning of our present blog carnival posts.

We dedicate our October, 2017 episode to Kundan Shah with a selected few obituaries published in memory of his passing away:

Kundan Shah passes away: How the Jaane Bhi Do Yaaro director served anger with bittersweet laughterSita Menon

The one thing that binds all of Kundan Shah’s work is the streak of comedy—of a varied kind | Photo Credit: The Hindu

Kundan Shah (1947-2017): Master of capturing grace in nonsenseNamrata Joshi

So Long Kundan, and Thanks for Inflicting Us With Your Madness and GraceSudhir Mishra

Why Kundan Shah’s Later Works Didn’t Match up to His GeniusSubhash K Jha

And then,

Veteran filmmaker and actor Lekh Tandon dies at 88 – Tandon acted in such films as Swades (2004), Paheli (2005), Rang De Basanti (2006), Chennai Express (2013) and Chaarfutiya Chhokare (2014). Among the films he directed were Amrapali (1966), Dulhan Wahi Jo Piya Man Bhaaye (1977), Agar Tum Na Hote (1983), Doosri Dulhan (1984) and Uttarayan (1985). Tandon also directed television serials Phir Wahi Talaash (1989) and Farmaan (1990).

Here is a retrospective Guftagoo with Lekh Tandon :

We will now take up tribute posts:

Ten of my favourite Roshan songs is a (belated) tribute on birth centenary (14th July, 1917) of the music director.

Best songs of Kishore Kumar 1.0  can easily stand up to great popularity of Rafi or Talat or Mukesh songs in the same period. However, it is KK2.0 that is known more because that is when he became undisputed no. 1.

The alternative Kishore Kumar playlist that is just as good as his most popular songsRudradeep Bhattacharjee – On the brilliant singer’s 30th death anniversary, a reminder of his offbeat tunes.  We have recaptured these pre-1969 songs here:

Woh Meri Taraf Yun Chale Aa Rahe Hain – Kafila (1952) – Husnlal Bhagatram – Vrajendra Gaur

Chup Ho Jaa Amiron Ke Sone Ki Ghadi Hai – Bandi (1957) – Hemant Kumar – Rajinder Krishna

Chand Chup Chaap Hai Sitare Gum Sum – Daal Mein Kala (1964) – C Ramchandra – Bharat Vyas

Akela Hoon Main – Neela Asman (Unreleased)

It’s Mehmood’s birthday! – At his peak, he was paid more than even the film’s hero. Apart from his own disnctive style of acting, his contribution as producer of films, songs fimed on Mehmood has created a very definite space.

MEHMOOD-The Man Who Taught the Nation How to Laugh! – For a brief period in the 1960s, thanks to him, comedy was king. And Mehmood was the uncrowned King of Comedy. A time came, when he was so much “in demand” that producers approached him, offering him full-length comedy films.

How Hema Malini came to be known as Hindi cinema’s ‘Dream Girl’ – Producer and mentor B Ananthaswami came up with the title for her debut film, ‘Sapno Ka Saudagar’. – Ram Kamal Mukherjee – In the authorised biography Hema Malini : Beyond the Dream Girl, the 1970s and ’80s star looks back on her career highs and lows, her relationship with co-star Dharmendra, and her love for classical dance.

Hema Malini Beyond the Dream Girl

The Divas: Hema Malini presents what can be considered as her definitive work on her 69th birthday.

Rekha before Bollywood: A gawky teenager, a Bond girlArchana Nathan – The 63-year-old actor began her career in small yet noticeable roles in Telugu and Kannada films.

Many of Lata Mangeshkar’s best songs by Hemant Kumar have ranked in the all-time greats of Lata’s songs.

50 years of FARZ – This film FARZ released on 6th Oct 1967 gave bolllywood the new star Jeetendra, This movie also gave him that Jumping Jack image, and something that he put to good use in loads of movies at least till Gulzar gave him an image makeover with Parichay (1972).

The October 2017 episode of Fading Memories, Unforgettable Songs was dedicated to Shakila in Mohammad Rafi songs.

Here are posts on other subjects as well:

The blockbuster combination of Guru Dutt and OP Nayyar in ‘Aar Paar’ – The 1954 classic is packed with chartbusting songs, from ‘Babuji Dheere Chalna’ to ‘Sun Sun Sun Sun Zalima’. – Rudradeep Bhattacharjee – To Mohammed Rafi’s “Sun Sun Sun Sun Zalima”, Geeta Dutt’s retort is “Ja Ja Ja Ja Bewafa. Later in the film, when the lovers have their customary tiff, Sultanpuri inventively reworked the lines Ja Ja Ja Ja Bewafa and fashioned a soulful song out of it. Nayyar and Sebastian have kept things simple, slowing down the tempo of Sun Sun… and using minimal instrumentation whilst letting Geeta Dutt do her thing.

Ek Nazar 1951: A Precursor to SD Burman’s Music Trends –S D Burman had had 6 releases – Baazi, Bahar, Buzdil, Ek Nazar, Naujawan and Sazaa. All musically hits, these six films ensured a total of 46 songs in that year. He was composing with a variety of lyricists – Rajendra Krishna in Bahar, Ek Nazar and Sazaa, Sahir in Baazi, Naujawan and Sazaa, Kaifi Azmi and Shailendra in Buzdil, in the immediate footsteps of Shabnam and Mashaal in the previous years. However, in these half dozen musical offerings this year Ek Nazar, is less remembered. Peeyush Sharma presents a very interesting analysis why for a phenomenon that were a precursor to SDB’s hits that would follow later, styles that would evolve and set precedents and experiments that would become the hallmark of the singers.

Ten of my favourite come-hither songs are the songs sung to a single person, not an audience… inviting love (or lust, or whatever interpretation one might want to put on it)….. I have picked up Haaye Mere Ppaas Toh Aa (Shikar, 1968) from the list, simply because it has so young and charming Sanjeev Kapoor being seduced by none other than Helen.

‘Chale Aao’ Songs are the songs that has Chale Aao(come at once or just ‘come back‘) as per the situation in the song) in at least initial lines of the mukhada. For one song, those are the last words of the mukhada. Not surprisingly, the list has only one male solo!

My Favourites: Songs of Regret – Hindsight being perfect, we often dissect our past in the hope that we can find answers to that most frustrating of questions – ‘What if?’. Hindi films have a song to fit the occasion.

Karva Chauth In Hindi Cinema – Normally Ham Dil De Chuke Sanam is credited with giving a decorated prominence to Karav Chauth. But there was a fullfledged song, way back, in Bahu Beti 1965 – Aaj Hai Karwa Chauth Sakhi – Asha Bhosle – Ravi – Sahir Ludhyanvi

In 1994 film Chand Ka Tukda a song was picturised in Gujarati style.

In our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are?, we continued with the posts on Female Solo Songs by concluding the   first part and the second part  of the solo songs of Geeta Dutt with the third part.  We took up solo songs of Shamshad Begum with part one, two, three and the concluding fourth one. We ended the month with solo songs of Raajkumari. SoY has already published Best songs of 1948: Wrap Up 2 covering the female solos and adjudged Lata Mangeshkar and Shamshad Begum as the joint winners.

We will begin the end of the present post with a post on Mohammed Rafi with legacy of composer Roshan.

We will also listen to two of the great but receded-from-the-memory-songs:

Aise To Na Dekho Ke Bahak Jaye Kahin Hum, Aakhir Koik Insaan Hai Farishta Nahi Hum – Bheegi Raat (1965) – with Suman Kalyanpur – Lyrics: Majrooh Sultanpuri

The song to end the today’s blog-post is one of the most-unlikely Roshan compositions:

Sun Ae Mahjabeen Mujhe Tujhse Ishq Nahin | Dooj Ka Chand (1964) – Lyrics: Sahir Ludhyanavi

I trust you will always feel free to proffer your suggestions for making this series of posts more lively and informative….