Carnival of Blogs on Golden Era of Hindi Film Music – March 2020

Welcome to March 2020 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

March was the month when India celebrated its traditional festival of Holi.

The month also celebrated International Women’s Day on March 8.. SoY has scripted Nayika Bhed in songs. The aesthetics classification of women has been an important part of aesthetics in our ancient literature and arts, such as poetry, drama, dance, music, painting and sculpture. The post has listed Hindi films songs on the basis of the eight types of Heroine, based on अवस्था – The state of her being -, are most commonly referred as Nayika Bhed, e.g. Solah singaar sajaaungi, main piya ko rijhaaungi, main waari waari jaaungi by Shanta Apte from Panihari (1946), music SN Tripathi w.r.t. वासकसज्जा (One dressed up for union).

Incidentally, this Shanta Apte song also gives an opportunity to connect to a full-fledged Shanta Apte tribute post – ‘The stormy petrel of the Indian screen’: Shanta Apte – on SoY last month.

Main Chup Nahin Rahoongi: Ten ‘Outspoken Woman’ Songs also is an article on the occasion of International Women’s Day. Lara lappa lara lappa (Ek Thi Ladki, 1949) has strongly advocated gender equality way back in 1949.

We pick up other tributes and memories:

As it happens, we have some excellent posts  covering the past epidemics in different parts of world, as captured in Hindi films-

Looking Back at My Old Review of Dr. Kotnis Ki Amar Kahani – This was a film about a doctor who goes to China to help cure a plague, which incidentally is now at the root of coronavirus pandemic.

‘No harm in asking him, is there?’ How Rajendra Kumar got Bertrand Russell to be in a Hindi movie  – Edited excerpts from the biography ‘Jubilee Kumar’ reveal the story behind the Nobel laureate philosopher’s cameo in the 1967 movie ‘Aman’.

Dharti ke Lal – Earliest Depiction of the Great Bengal Famine – The Great Bengal Famine, a holocaust that obliterated nearly 3 million Bengalis in a span of a year or so is mostly forgotten and undiscussed. The first film to illustrate the tragedy of the famine was Dharti Ke Lal (Children of the Earth, 1946) by Khwaja Ahmad Abbas. Amitava Nag looks back at this classic.

A scene from Dharti Ke Lal

A Norwegian folk song that is cathartic, sublime and upliftingShobha Mudgal – As we seal borders and lock ourselves in fearing for the survival of the human race, this is a voice (singing about Heiemo, a girl who sings with such a perfect voice that even the water-spirit Nykkjen falls in love with her) that I find cathartic, sublime and uplifting.

In the Musical Memory of Meena Kapoor is in fact a second part of comprehensive post on Meena Kapoor on her first death anniversary 23 November 2018 by Shalan Lal.

Nutan’s understated yet powerful performance in Bandini is a masterclass in acting – Set in pre-Independence India, Bandini tells the story of Kalyani (Nutan), a young woman who has been sentenced to life in prison after she murders the wife of her lover, Bikash (Ashok Kumar).

7 Films That Prove Shashi Kapoor Was Way Ahead of His Time – Looking back at a collection of the actor’s and producer’s way-ahead-of-the-times films, when it was still possible to fly over the cuckoo’s nest – Dharmaputra (1961), Sidhdhartha (1972), Satyam Shivam Sundaram (1977), Kalyug (1980), New Delhi Times (1984), Utsav (1984), Sammy and Rosie Got Laid (1994)

Shashi Kapoor in Junoon is a masterclass in how to humanise an unlikeable man – Shyam Benegal’s historical drama based on a Ruskin Bond story, The Flight of Pigeons,  brings together the very best of Hindi cinema.

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

In our Manna Dey birth centenary series, after Manna Dey and his contemporary lead actors, we have taken up Manna Dey’s Comedy Songs. covers Manna Dey- In the January 2020 episode we began from the beginning of Mehmood’s acting career, till Ziddi (1964), and in February, 2020 episode, the songs composed by Roshan, Hement Kumar and Chitragupta had been covered . In the present, March 2020 episode we take up Mehmood’s Manna Dey comedy songs composed by R D Burman

March 2020  episode of Fading Memories, Unforgettable Songs takes up S N Tripathi: Unremembered music director of remembered songs: 1961 – 1968Prior to this, we have covered S N Tripathi’s unremembered songs

from 1941 to 1950 in 2017,

from 1951 to 1956 in 2018, and,

from 1957 to 1960 in 2019.

We will now take up the articles on other subjects:

Humour and fantasy in Arvind Desai and Chhoti si Baat is about two scenes from Hindi films of the 1970s, about the use of soft weapons against privilege

Mr India may have been played by Anil Kapoor but Sridevi was the best thing about it – the movie’s most iconic line, said to perfection by a wonderfully creepy Amrish Puri, reportedly wasn’t even going to make the final cut, but Javed Akhtar, who had written the film with his long-time writing partner Salim Khan before they split, insisted on it. And thank god for that, because what even is Mr India without “Mogambo…khush hua”?

Sahir Ludhianvi biopic to be adapted for the screen = The treatment will be based on Akshay Manwani’s biography ‘Sahir Ludhianvi: The People’s Poet’.

Also read:

‘I have lit fires with songs of rebellion’: Memories of Sahir Ludhianvi’s college years

Remembering Nehru, Gandhi, Ghalib: Four poems by Sahir Ludhianvi

The unspoken passion of Sahir Ludhianvi and Amrita Pritam

Sahir Ludhianvi’s hard-hitting, haunting words make ‘Phir Subah Hogi’ relevant even today – The 1958 Raj Kapoor and Mala Sinha-starrer was all about criticising the government, talking about cruel realities and helping the disadvantaged. BJP leader L.K. Advani revealed that he and Atal Bihari Vajpayee, who would go on to be prime minister, had once sought comfort in this film after an election loss in 1958.

A podcast about Gol Maal and other Hindi-film comedies – It centres on Hrishikesh Mukherjee’s Gol Maal, and such other themes of masquerade and self-discovery,  the contributions of Utpal Dutt and Rahi Masoom Raza, and the spectrum of comedy in Hrishi-da’s films (from Deven Varma’s deadpan “shabd-phenk” to the broad slapstick Biwi aur Makaan).

Rajendra ‘Jubilee’ Kumar’s lonely years: ‘I helped all those I could. Where are they today?’– In Jubilee Kumar, Seema Sonik Alimchand writes about the life of one of Bollywood’s biggest superstars and the year he almost had no films.

Nasir Husain’s Hum Kisise Kum Naheen is all about the music = R.D. Burman, Majrooh Sultanpuri, Kishore Kumar, Asha Bhosle, Mohd Rafi — this 1977 superhit was powered by its all-star music team.

We end the post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post, we have picked up:

Jis Pyar Mein Ye Haal Ho – Phir Subah Hogi (1958) – with Mukesh – Khayyam – Sahir Ludhyanavi

Jiyo To Aise Jiyo Jaise Sab Tumhara Hai – Bahu Beti (1965) – Ravi – Sahir Ludhyanavi

Kya Hua Tera Wada – Hum Kissi Se Kum Nahi (1977) – R D Burman – Majrooh Sultanpuri

Ishq Ne Sar Par Todi Quayamat – Junoon (1978) – Vanraj Bhatia – Jigar Morarabadi

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.

Manna Dey and Contemporary Lead Actors – 4

We have covered Manna Dey’s songs with main stream lead actors Dilip Kumar, Dev Anand, Raj Kapoor, Ashok Kumar, Balraj Sahni, David Abraham, Bharat Bhushan and Kishore Kumar, Shammi Kapoor and Guru Dutt in the present series till now.

Our journey of Manna Dey’s songs for mainstream lead actors is till rests in the last few years of the decade of ‘50s. These are the years wherein most of the second-generation top male stars were struggling to search the key to the door of success in the Hindi films. We have enough number of Manna Dey’s songs for just two male actors for one post.

With Raj Kumar

Raj Kumar began his career as the typical lead actor but is known more to us for his unconventional lead roles, several of these being the anti-hero type, as well. One such game-changing role that he played was that of the husband of Nargis, in the role of Radha as the lead character in Mother India (1957).

Chundariya Katati Jaye Re, Umariya Ghatai Jaaye Re – Mother India (1957) – Naushad – Shakeel Badayuni

Technically, the song plays in the background, but is the unmistakable feeling of turbulence that Shamu (Raj Kumar) undergoes in his struggles on and off-the field.

The song not only occupies an iconic status in Manna Dey’s repertoire but is also rated as one of the best songs of Naushad, too.

Dil Ko Baandha Zulf Ki Zanjeer Se, Hosh Lute Husn Ki Tasir Se – Zindagi (1964) – Shankar Jaikishan – Hasrat Jaipur

We now have a very unconventional Shankar Jaikishan composition, in the form of a recital.

Janak Janak Tori Baaje Payaliya – Mere Huzoor (1968) – Shankar Jaikishan – Hasrat Jaipuri

Raj Kaumar was as his one the best in the unconventional lead role in this film. Shankar Jaikishan have very expectedly chosen Manna Dey for the classical based song.

Har Taraf Yahi Afsane Hai, Ham Teri Ankhon Ke Deewane Hai – Hindustan Ki Kasam (1974) – Madan Mohan – Kaifi Azmi

It is Madan Mohan who has chosen Manna Dey to vent the on-screen Raj Kumar’s emotional thoughts.

Here we take up one song out of chronological turn for its highly uncoventainal but so much creative use of Manna Dey’s voice.

Hum Dil Ka Kanwal Dege Jisko – Zindagi (1964) – Lata Mangeshkar and chorus – Shankar Jaikishan – Shailendra

Mannaa Dey just sings one line of the mukhda as part of the rehearsal of the dance sequence, that obviously is choreographed by Raj Kumar on the screen.

With Rajendra Kumar

Before Rajendra Kumar was acknowledged as ‘Jubilee’ Kumar in the industry, several voices have been tried for the playback of his songs on the screen. We have Manna Dey’s Rajendra Kumar songs from this initial period when Rajendra Kumar was still struggling to get his feet in the quicksand of success in the Hindi film industry, with two exceptions – the first exception has a link with the unconventional aspect of the song that we just heard from Zindagi (1964) and the other one will underscore the exception of the rule.

Muskura Laadle Muskura – Zindagi (1964) – Shankar Jaikishan – Shailendra

Knowing well Shankar’s marked preference for Manna Dey, one may not feel very surprised by this exceptional us e of Manna Dey as Rajendra Kumar’s playback, but how would Rajendra Kumar have agreed to the decision does remain a question.

Tere Naina Talash Kare Jise – Talaash (1969) – S D Burman – Majrooh Sultanpuri

If S D Burman has easily opted for Mohammad Rafi for a text-book romantic duet dance song, he would have equally easily chosen Manna Dey for this classical-based dance song.

We now comeback to the period of Rajendra Kumar’s struggle for survival the highly uncertain terrains of Hindi film industry.

Mere Jivan Mein Kiran Banke Bikharanewale, Bolo Tum Kaun HoTalaq (1958) – with Lata Mangeshkar – C Ramchandra – Pradeep

The song is filmed as the then very popular genre of someone else (mostly street song dancers) venting the feelings of the key protagonists. In the present instance too, the song is lip-synched by a rural couple, but we are left in no doubt that these are indeed the feelings of the lead pair Rajendra Kumar and Kamini Kadam on the screen.

Manna Dey so easily molds into the melody of the song and the intimacy of the feelings of the lyrics, whether it is the alaap in the pre-lude or interludes or seamless synching with Lata Mangeshkar in the body of the song.

O Babu O Memsaab Kya Rakha Is Taqarar Mein, Zara To Aankhen Dekho Mila Ke Bada Maza Hai Pyar Mein – Talaq (1958) – C Ramchandra – Pradeep

This time C Ramchandra has opted for Manna Dey to playback directly for Rajendra Kuamr, in a very light-mood duet.

Bigul Baz Raha Azaadi Ke Naaro Ka – Talaq (1958) – C Ramchandra – Pradeep

Manna Dey’s choice for a patriotic fervor song would have been a foregone conclusion. As we closely listen to the lower-scale opening lines as well as the regular mukhada of the song, we do seem to feel that, if the song would not have to scale very high notes, as it does later on, the composition has been so composed that C Ramchandra possibly would have sung the song himself,as he indeed did for Paigam (1959) song Daulat Ne Aaj Paseene Ko Laat Hai Maari.

Yeh Hawa Yeh Nadi Ka Kinaara, Chand Taaron Ka Rangeen Ishara – Ghar Sansar (1958) – With Asha Bhosle – Ravi – Majrooh Sultanpuri

Ravi has also depended on Manna Dey for playback to Rajendra Kumar. Since Mohammad Rafi’s voice has been used for playback to Johnny Walker, the choice of Manna Dey also can easily be taken as result of the highly probable success formula of Rajendra Kumar-Manna Dey in the cases of romantic duets.

Bole Ye Dil Ka Ishara Aankho Ne Mil Ke Pukara – Santan (1959) – With Lata Mangeshkar – Dattaram – Hasrat Jaipuri

Dattaram has opted for Mukesh (Dil Ne Use Maan Liya – Happy and sad versions) for a simple romantic solo, but has easily chosen Manna Dey for the romantically peppy duet.

Na Jaane Kahaan Tum The, Na Jaane Kahan Hum The, Jaadu Ye Dekho Hum Tum Mile HainZindagi aur Khwaab (1961) – With Suman Kalyanpur – Dattaram – Pradeep

Here too Dattaram seems to have opted for a highly probable chances of success, as he has done for Mukesh for a pathos songKabhi Kisi Ki Khushiyan Koi Lute Na


Mere Ghar Se Pyar Ki Palki Chali Gayi – Palkee (1967) – with Mohammad Rafi, Suman Kalyanpur – Naushad – Shakeel Badayuni

Technically, it is Mohammad Rafi who plays back for Rajendra Kumar in this triad. However, the very strong linkage of Manna Dey in the song, one of those rae Naushad – Manna Dey combination tempts me to include the song here.


Normally we do not include non-Hindi films songs on our column, but the very exceptional nature of the songs again tempts me to include them here.

Mahendi Rang Lagyo was a the then trend-setter film for the Gujarati screen. Roping in Rajendra Kumar and Usha Kiran form Hindi films was a very bold move at that time. It did succeed so well, too.

Mahendi To Vavi Malve Ne Eno Rang Gayo Gujarat Re – Mahendi Rang Lagyo (1960) – with Lata Mangeshkar – Avinash Vyas

(Approximate translation of the opening lyrics in English – Henna (lawsonia alba), planted in Malwa has blossomed to its full color in Gujarat)

If Avinash Vyas has deftly used Manna Dey to play back for Rajendra Kumar in this duet for an intimately emotional, romantic, soft expression of the budding love, he has fallen back on Maohammad Rafi for Nain Chackchur Chhe, Man Aatur Chhe (Eyes are intoxicated, Heart is Eager)

Dard Eka Ja Chhe Ke Hun Bedard Thato Jaun Chhun – Mahendi Rang Lagyo (1960) – Avinash Vyas

(Approximate translation of the opening lyrics in English – The only grief I have is that I have become grief-less. Don’t ask me if I anymore belong to someone.)

If the song would have been composed for a Hindi film, it would definitely have been a front-row ever song in the heart-broken pathos songs.

In the final conclusion, Manna Dey’s songs for Rajendra Kumar may count far less in numbers, but the quality, and the then popularity, does leave us wondering what was still missing to push Manna Dey to become the voice of the popular male lead……..

Our search for the elusive answer is still on…..

Carnival of Blogs on Golden Era of Hindi Film Music – May 2013

Welcome to May 2013 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We open the present edition with the help of a couple of  new entries on this platform.

Simkie’s Choreography in the Awara Dream Sequence (Hindi, 1951)Minai’s Cinema Nritya Gharana

“Awara‘s dream sequence is comprised of three segments filmed in three different spaces which Gayatri Chatterjee in her National Award-winning book Awara sees as representing the “Earth-Hell-Heaven triptych.”  “Tere Bina Aag Yeh Chandni” is the name of the song for the first two segments (earth and hell) though some have listed the second hell segment as a separate song “Mujhko Chahiye Bahar.” “Ghar Aya Mera Pardesi” is the song for the last segment (heaven).

Another surprise find about the dream sequence: famous Cabaret film dancer Helen was supposedly among the background dancers in what would be her first screen appearance!  Can anyone spot her?”

We pick up the latest posting by Coolone160 –  Rajendra Kumar- The Jubilee King, which has lined up quite representative songs from the very large pool of songs filmed on Rajendra Kumar.

We now move on to our known sites /blogs to enjoy the offerings there –

Songs of Yore: In which a Moving Vehicle is the Cause of a Delay –  by Raat Akeli Hai (geniosity514) has been able to muster up (just) seven songs that have varying stories of delays caused by the moving vehicles. Trust the enlightened readers to add songs to make the list 10+ strong. An interesting subject, being made more by raking of grey cells to remember few more of songs under the subject…….

Dances on Footpath’ has presented excellent fare on Gope – a versatile actor in comedy or villainous roles. Because not many would be able to recall films or songs of Gope, a full post on Five Songs with Gope “that stars or features” Gope, provides not only a veritable fare on Gope, but in the process gem of songs, too. We also have a complementarily preceding post on Gope’s beautiful wife,Latika.

Continuing with the subject, we are presented with what can be easily termed as THE find from the treasure – Azurie. “According to Cineplot, her first film might have been one called Nadira (like the name of another famous Jewish actress…), which was made in 1934. Her last film in India was Bahana, which was released in 1960, and she starred in other films in Pakistan, such as Jhoomar, which actually has a release date of 1959. She died in Pakistan in 1998, at the age of 90 or 91.” The post has excellent video clips of her songs.

Anandaswarup Gadde has further enriched these gems by providing a link to “new documentary on the topic will come out this year – Jewish Stars of Bollywood .

‘Conversations Over Chai’, as can be expected,  has done an excellent sequel to my-favourites-songs-of-cynicism, which we covered in our April 2013 edition, in My Favourites: Philosophical Songs. Out of “an entire gamut, the ‘filter’ set is that of “songs that sing of a personal philosophy”.

Song of Yore’ (SoY) has three posts, in running, on Multiple Version Songs. Multiple Version Songs (8): Hindi-Tamil film songs (2) Songs from Dubbed Versions is the follow-on of Mr Venkataraman’s first part of Hindi-Tamil similar songs.  ‘Inspired and adopted songs’. As with the previous one, the present post also can easily be treated as the proverbial tip of an iceberg of a very rich, enterprising, and of course quite melodious, trend of transposing songs from one culture to another and vice versa. During the discussion among the readers, Veda has opened up a possible floodgate of a similar sets of songs in Oriya.

Multiple Versions Songs (9) : Gujarati to, and fro, Hindi (film) songs (1) and Multiple Versions Songs (10): Gujarati to, and fro, Hindi (film) songs (2), guest written by yours truly, has taken at a peep an such an exchange between Hindi Film Music and Gujarati Folk / Sugam (Light) Sangeet (Music). The knowledgeable co-readers of SoY, Arunmumar Deshmukh, Khyati Bhatt, Gaddeswarup, ‘bluefire’ etc. have made highly interesting and valued addition to the fare.

I also have had visited on more interesting blog – My Music Movies and Mutterings – which proudly proclaims an ever growing collection of English, Hindi and Russians (yes,  Russian) vinyls (over 1500 to date), hundreds of cds and cassettes and thousands of MP3s and DVDs which I am hoping to share with like minds.  Should be quite interesting to visit and explore this site,  in depth, in the days to come.

We end the present edition by taking note of an” inevitable” (!!) break, announced by  ‘Harveypam Blog’, necessitated by the exigencies of the primary duties of the life.  The announcement came up at the end of a two-part Happy 3rd Birthday to My Blog and a Quiz and 3rd Anniversary Quiz Answers posts. As an obvious first reaction, all reader reactions spent more energies on the feeling of shock, then the process of evaluating the answers to cleverly laid maze of hints in the first of the 3rd Anniversary celebration-cum- quiz post. Of course, ‘Harveypam’ has been profusely assuring that this is only a break, and not an end. Our best wishes………….

On that note, we also take your leave, till we meet gain next month……….