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Carnival of Blogs on Golden Era of Hindi Film Music

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.

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I Liked Music from films

Manna Dey and Contemporary Lead Actors – 6

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, Raaj Kumar and Rajendra Kumar, Prem Nath, Pradeep Kumar and Sunil Dutt  in the present series till now.

We begin the present episode of our Journey with Manna Dey in his quest for THE big association with the Lead Hero of the film with an indirect association which becomes more pronounced in the later part of carriers of Manna Dey as well as That of that actor.

With Dharmendra

Manna Dey’s first – indirect- association happened with Shola Aur Shabnam (1962). The film had Mohammad Rafi playing back for Dharmendra for two of the most iconic songs – Jaane Kya Dhoondhati Raheti Hai and Jeet Hi Lege Baazi Ham Tum. Khayyam has chosen Manna Dey for the songs filmed on other characters of the film, of which two songs relate to Dharmendra’s character in the film.

Agar Dil Dil Se Takaraye – Shola Aur Shabnam (1962) – with Mohammad Rafi, Geeta Dutt – Khayyam – Kaifi AzmiThe song typically puts in the words from the main protagonists’ mind onto the lips of the actors performing the song on the screen. Dharmendra does sing a few lines @2.0 to 2.18 and @3.06 to 3.36 in Mohammad Rafi’s voice, wherein the third character of the love triangle chips in Manna Dey’s voice in response…

Phir Nahi Aanewali Pyare Aisi Milan Ki Raat – Shola Aur Shabnam (1962) –  with Asha Bhosle – Khayyam – Kaifi Azmi

This time is the song follows the same style of putting the words on singers; lips, nut the song is shaped as public folk song performance.

Hamne Jalwa Dikhaya To Jal Jaoge – Dil Ne Phir Yaad Kiya (1966) – with Asha Bhosle – Sonik Omi – G L Rawail

In this film too major songs on Dharmendra have been played back by Mohammad Rafi, but Dharmendra and Nutan are masquerading in a disguise, so the playback singer also gets a change. Manna Dey and Asha Bhosle have perfectly teamed up to deliver a qawwali-flavoured light-mood song.

Are Zindagj Hai Khel Koi Pas Koi Fel, Khiladi Hai Koi Anadi Hai Koi–  Seeta Aur Geeta (1972)– with Asha Bhosle R D Burman – Anand Bakshi

The second pair of Hema Malini’s double role plays the couple perfoming on the street for living. As was the practice, the song has high dose of common philosophy flowing from the lips of common, street performers.

Abhi To Haath Mein Jaam Hai, Tauba Kitna Kaam Hai – Seeta Aur Geeta (1972) – R D Burman – Anand Bakshi

Manna Dey doubles up to voice the philosophy in the state of drunkenness.

Bandhu Re Ye Man Dole Bole Kya Re Koi Jane, Jal Bhara Megh Ye Dil Ke Pyasa Ye Man Suna – Anokha Milan (1972) – Salil Chowdhury – Jackie Hameed

Here is the film wherein Dharmendra is successfully seen in a so called ‘serious’ role, away from his usual dhishum dhishum commercial lead roles.  Manna Dey is on his familiar turf of a boatman song, composed by Salil Chowdhury in a typical Bengali boatman folk style.

Dharati Ambar Neend Se Jaage – Chaitali (1975) – with Lata Mangeshkar – Laxmikant Pyarelal – Anand Bakshi

Dharmendra’s transformation to serious, meaningful roles can be credited to Hrishikesh Mukherjee. Here is one such fil, a remake of a Benagli film of the same name.

Yeh Dosti Ham Nahi Todenge – Sholey (1975) – with Kishore Kumar – R D Burman – Anand Bakshi

‘Sholey’ has many records of success to its credit. This friendship-genre duet is one of those records.

With Shashi Kapoor

Manna Dey has played back for Shashi Kapoor, in all that I know, only once.

Aaya Aaya Abdulaa Hey Abdulla– Juari (1968) – with Lata Mangeshkar – Kalyandji Anandji – Anand Baksh

Two other songs filmed on Shashi Kapoor – Hamsafar Ab Ye Safar Kat Jayega and Jaaneman Allah Khabar– respectively a pathos and light romantic mood ones are played back by Mukesh and Mahendra Kapoor. In this song Shashi Kapoor is stage-playing a disguised role, hence probably Manna Dey has been chosen as his playback.

With Manoj Kumar

With Manoj Kumar too, I have only one duet wherein Manna Dey play back from him, from his very early film.

Zulfon Ki Ghata Lekar Sawan Ki Pari Aayi Reshmi Rumal (1961) – With Asha Bhosle – Babul – Raja Mahendi Ali Khan

We have one more case of an now obscure film, a very talented but not-so-successful music director, but a duet that always remain live at  the back of our memory.

More important aspect of Manna Dey- Manoj Kumar association is the song that Manna Dey was to sing for a film produced by Manoj Kumar. The film established Manoj Kumar as ‘Mr. Bharat’, the song cemented the place of Pran as character actor in his second innings.

With Pran

Kasame Vaade Pyar Vafaa Sab Baatein Hai Baaton Ka Kya – Upkar (1967) – Kalyanji Anandji – Indeevar

The song and the character of Malang Baba played by Pran have so become iconic landmarks, that with forgoing prologue, only this song will come up in our memory.

Kya Maar Sakegi Maut Use, Auro Ke Liye Jo Jita Hai – Sanyasi (1975) – Shankar Jaikishan – Indeevar

Pran is in one more of his second innings role, with Manoj Kumar as the focus of the message of the song. Shankar is also in his second innings, without the usual company of Jaikishan and Shailendra.

Pran got to sing songs on a more regular pattern in his second innings.Quite a few of them were played back by Manna Dey too. We have picked up just twoof such songs here.

Raam Raam Raam Krodh Lobh Maya Mai Taj Ke – Krodhi (1981)  Laxmikant Pyarelal – Anand Bakshi

We have picked up  this song because the message of the song is for Dharmendra, who we have covered earlier in the episode.

Yaari Hai Imaan Mera Yaar Meri Zindagi – Zanzeer (1973) – Kalayanji Anandji – Gulshan Bawra

This is one more song which has to come up for a mandatory reference, whenever the matter of Pran’s second inning comes up for discussion.

With Joy Mukherjee

Joy Mukherjee has had almost an exclusive playback of Mohammad Rafi. So, this is a very unusual exception. We may assign the cause to, probably, the presence of Johnny Walker in the song. Jhonny Walker, and even Mehmood, commanded a very high respect – be it in price, footage, song allocation etc., in their films. He might have opted Mohammad Rafi as his first choice. So, it is Manna Dey for Joy Mukherjee.

Hum Bhi Agar Bachche Hot Naam Hamar Hota Babaloo Gabaloo – Door Ki Awaz (1964) – with Asha Bosle, Mohammad Rafi – Ravi  – Shakeel Badayuni

We have an archtypical, light, lilting birthday song. Manna Dey so effortlessly fuses with Joy Mukherjee that some time we wonder was it really him, or was it Mahammad Rafi, singing the lines filmed on Joy Mukerjee?

We will end this episode with a Manna Dey song for Prem Nath, that I had missed out in the earlier episode where we had covered Manna Dey’s songs for Prem Nath.

Jeevan Chalane Ka Naam Chalate Raho Subah Shaam – Shor (1972) – with Mahendra Kapoor, Shyama Chittar – Laxmikant Pyarelal – Inderjeet Singh Tulsi

Manoj Kumar presented Prem Nath in his one of the major second innings role in this film. The song had attained avery wide-spread populairity, because the song sequence is one which is so well konwon the rural-semi urban areas – a non-stop cycling, mainly as bread-earning street performance.

In our next episode, we will now switch over to the third generation actors, for whom Manna Dey once gain plays back in their early phase of the career.

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music, March 2019

Welcome to March 2019 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

A tribute to Shashi Kapoor on his 81st birth anniversary: The many faces of the legendary Shakespeare Wallah

Rekha speaks through her eyes, which made her my choice for Umrao Jaan: Muzaffar Ali -For every art enthusiast, Muzaffar Ali’s home is a treat to the eyes. Speaking with him about his films while laying focus on his best-known work, Umrao Jaan (1981), we got to know a bit more about him and his process of bringing poetry and art to the 70mm screen and more.

Rarely Heard Ghulam Mohammad – on 51st death anniversarythe lyrics formed an important part, then the actual tune.

Remembering Ravi through the songs that he wrote, Lata sings for Ravi and The silent giant-killer and the man of many-splendoured talents: Ravi are rich tributes to a music director who did not get credit befitting his success.

Chalo Ek Baar Phir Se Ajnabi – Gumraah – Strangers Once Again – the situation in life becomes such that you start feeling it is better to be strangers than being lovers. Music composer Ravi takes all the care to handle the delicate situation with utmost care. He uses only the piano (violin and percussion is just an accompaniment) and Mahendra Kapoor’s voice to convey Sahir’s thoughts.

The real mesmeriser Talat Mahmood: His best non-film songs capture some of the most remembered non-film songs of Talat Mahmood.

The Story Of A Sindbad – Shankarrao Biniwale, is narrated to us by Kaushal Inamdar in Marathi here. The post is English translation of that article. Shankarrao Biniwale was an accomplished violinist, who went around the world and explored the origins of violin.

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

Farooq Sheikh – A Man For All Seasons, who worked with directors like M S Sathyu, Satyajit Ray, Muzaffar Ali, Sai Paranjape, Hrishikesh Mukherjee, Yash Chopra, Ketan Mehta, Ayan Mukherjee.

On Kundan Shah, Paigham, and Vyjayanthimala as the comic foil recollects a lighthearted scene in the 1959 Dilip Kumar-Vyjayanthimala-starrer Paigham

Flashback series: human pain and human comedy in Boot Polish (1954) recommends seeing the film because two child actors get top billing in a 1950s Hindi film… and earn it

March, 2019 episode of Fading Memories, Unforgettable Songs takes up S N Tripathi: Unremembered music director of remembered songs :1957 – 1960. This is the 3rd article in the series on S N Tripathi. First two covered his songs from 1941 to 1950 and from 1951 to 1956 respectively in 2017 and in 2018.

And, now the posts on other subjects:

Barahmasa in film songs = Literally meaning ‘twelve months’, in music it refers to folk or light classical form of north and east India, sung primarily in the rainy season. E.g.

His girl Friday: Sanjeev Kumar and the ‘computer’ in Trishul, an economical, unobtrusive little moment in a larger-than-life film. The scene is where we are introduced to the middle-aged version of the businessman RK Gupta, played by Sanjeev Kumar, and his superbly resourceful secretary Geeta (Raakhee). The office scene in Trishul isn’t subdued or quirky, but it performs a comparable function – telling us something important about a character, a situation and an environment with a few minute brush-strokes.

Songs At The Opening Credits Of The Movie – Title songs carried a gist of that particular film and the songs at the opening credits sort of served as the preamble of that particular film. Though at times both combined as one and solved both purposes. Opening credit songs might not essentially have the title of film in it. Sometimes the film might also have both, opening credits having the title as well as independent title song. We have picked up a few examples form the article:

Dhund,

Umrao Jan

Rang Birangi – serves the purpose of title songs and an opening credit song.

Somewhat Cross-dressed Women ‘Romancing’ Women in Performances: Ten Songs from which I have picked out a few, which are relatively less-known-

Few Marathi songs by prominent Hindi singers has listed Marathi songs sung by Geeta Dut, Sudha Malhotra, Mukesh, Manna Dey, Hemant Kumar and Moahammad Rafi, obviously excluding Lata Mageshkar, Asha Bhosle and Suamn Kalyanpuar. The post ends with a note on Lata Mangeshkar’s connection with Marathi cinema – a music director. Sixty-nine years back Lata Mangeshkar debuted as a Music Director in the Marathi movie Ram Ram Pavhana (1950). It is to be noted that in her first movie as a composer she used her own name. And it’s not clear why in the later four Marathi movies she gave music under the pseudonym- Anandghan. Anonymity I guess.  Her music was one of the 8 state awrds that Sadhi Manas got.

How SD Burman became as famous as the singers he worked with despite his thin, nasally voice – In edited excerpts from a reissued biography – Incomparable Sachin Dev Burman –  on SD Burman (known as Dada), H Q Chowdhury reopens the debate: was he a singer-composer or a composer-singer?

Who wrote the classic Hindi film ‘Aandhi’? And was it based on Indira Gandhi? Gulzar clears the air – In edited excerpts from an interview, by Saba Mahmood Bashir, in ‘Aandhi Insights into the Film’, Gulzar reveals how his Suchitra Sen-Sanjeev Kumar starrer got made.

Khilte Hain Gul Yahan – Sharmilee – Of Roses And Romance – One version rendered by Kishore Kumar and the other by Lata Mangeshkar. One is happy, the other is sad. The opening lines of both songs depict the sense of the opposites in the songs.

Songs with a Surprise! Share the opening lines by chance. The post has put up quite demaninding filters for the selection of these songs

    • The words should be from the opening lines of the songs
    • The songs should share at least four words.
    • The songs should not have been inspired from a well known ghazal or a bhajan,
    • The songs should be from two different films

Teri Dhoom Har Kahin – Kala Bazaar – Money Matters is a praise money situation –

Sooraj ke jaisi golaai
Chanda ki thandak bhi paayi
Thanke toh pyare duhai
Lai lai lai lai
Teri dhoom har kahin
Tujh sa yaar koi nahin
Hum ko toh pyare tu sab se pyara

In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up a few songs, each one of which basically has a link with the topics discussed in the present post.

Duniya Ki Haalat Naram Naram, Halwa Chhodo, Poodi Chhodo, Bajhiya Yeh Kha Lo Garam Garam–  Guzara-1(954) – Ghulam Muhammad – Raja Mehdi Ali Khan

Ghoda Peshauri Mera Tanaga Lahori  Mera –  Pyar Ka Bandhan (1963) – Ravi – Sahir Ludhyanavi

Beta Jamure Kah De Duniya Ko Lalakar Ke – Biradari (1966) – With Manna Dey – Chitragupta – Prem Dhawan

Kya Hua Maine Agar Ishq Ka Izahar Kiya – Yeh Dil Kis Ko Doon (1963) – with Asha Bhosle – Iqbal Quereshi – Qamar Jalalabadi

I am also not able resist temptation to recall one of my most favorite song – Ghulam mOhammad creation.

Hai Bas Ke Har Ek Unke Ek Ishare Pe Nishan Aur – Mirza Ghalib (1954)

I earnestly solicit your inputs for further broad-basing our cache for the content for our carnival of blogs on the 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.

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Carnival of Blogs on Golden Era of Hindi Film Music

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

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

December, 2017 in any case has several anniversary / birth dates of people connected with HFM.

This month, Shashi Kapoor bade farewell to this mundane world. That would have led to Muhammad Rafi’s birthday, in the presence of Shashi Kapoor in the heaven. The first time it happened in Yeh Dil Kisko Doon (music : Iqbal Qureshi, Lyrics: Qamar Jalalabadi) in 1963,  a black and white film by K Mishra, that had over half a dozen songs from Mohammad Rafi. Here are the duets:

I have recalled the solos at the end of the present post.

Here are some other tributes to Shashi Kapoor:

Some other December tributes:

Diip Kumar:

The Many Moods of Dilip Kumar – He was a fantastic actor, a man who was equally good at comedy and romance (if you don’t believe me, just watch Beimaan tore nainwa from Tarana) as he excelled at the intense, angst-ridden characters he so often played.

Naushad:

  • Always Aashiqana With Naushad Ali’s Music presents some of the gems on the maestro’s birth anniversary (25 December)
  • Aawaz De Kahaan Hai: The Golden Music of Naushad – Naushad’s destiny was written in music, by music to be dedicated to music. Peeyush Sharma, in ‘Silhouette’ pays tribute with a glimpse of his musical journey.
  • NAUSHAD-Once All of India was crazy about his Melodies. – This master composer first made both Mukesh (Andaz) and Talat Mahmood (Babul) sound surpassingly individualistic on Dilip Kumar He was, near clandestinely, getting Mohammed Rafi ready for the big leap. From his first Anmol Ghadi solo, Tera khilauna toota baalak (1946), to O door ke musafir on Dilip Kumar in Uran Khatola (1955), Rafi came a long, long way, once the Baiju Bawra (above) miracle happened in 1952..

Noor Jehan:

My Favourites by Shailendra (30 Aug 1927 – 14 Dec 1966), who worked with nearly all music directors ( exceptions being Naushad & O P Nayyar).

Remembering Meena Kapoor, who passed away on 23rd of November 2017. Meena’s last playback singing was for the movie ‘Chhoti Chhoti Baatein’ that was released in 1965 and was also Anil da’s last film as a music director.

Chalte Chalte Mere Yeh Geet Yaad Rakhna: Bappi Lahiri’s Melodious Hits – On 27th November this year Bappi da turns 65. Also, with his first film, Nanha Shikari, released in 1973, he has completed 45 years in this industry as a music director. Peeyush Sharma takes us on a trip down his memorable songs.

Google remembered Mirza Ghalib on 27th December.

Who is Mirza Ghalib, featured on today’s Google Doodle?

Mirza Ghalib’s 220th birth anniversary: Google Doodle pays tribute to legendary poet

Here are some more posts on this occasion:

Mohammad Rafi has a special place in December on this blog:

We have two parts episode of Fading Memories, Unforgettable Songs for December, 2017 in the memory of Mohammad Rafi. In the series of articles featuring Mohammad Rafi’s Solo Song from FIRST film with the Music Director, we have covered years 1952-1953, after having covered years 1950-1951 earlier this month and year 1949 earlier this year of the 2nd five-year-slot of 1949 to 1953.

And then, we have –

And, now the posts on other subjects:

My Favourite Lullaby Songs – one of the first popular lullby songs from a Hindi movie is ‘So Ja Rajkumari So Ja‘ sung by K L Saigal from Zindagi-1940 (Music by Pankaj Malik). The song is still considered to be an ultimate lori

Ravindra Kelkar has presented three more posts on O P Nayyar @ SoY:

Raj Kapoor: ‘I dream cinema, I breathe cinema and I live cinema’Ritu Nanda – An excerpt from a compilation of writings by and about the legendary actor and filmmaker.

Beauties bond over baubles in ‘Mann Kyun Behka’ from ‘Utsav’Nandini Ramnath – Rekha and Anuradha Patel are visions to behold in the Laxmikant-Pyarelal song from Girish Karnad’s movie.

Ten of my favourite ‘Unusual Singer’ songs, which means:

(a) That it’s the person who’s lip-syncing to the song (and not the playback singer) who’s unusual…

(b) and unusual because the actor in question is a well-known face, but doesn’t usually lip-sync to songs.

“Nazar Lagi Tore Bangle Par” and Zarina Begum, who was a protégé of Begum Akhtar.  Both famously sung a version of “Nazar Lagi Tore Bangle Par” that predated the one in Kala Pani.

In our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are? , we completed the third part of Lata Mangeshkar solo songs, and then summed the Female Solo Songs for 1948 with  My Top Female Solo Songs and then went on to take up Male- female Duets in the Duets section. We covered the male female duets of Mukesh as well as those of  Mohammad Rafi. SoY has concluded the series with Best songs of 1948: Wrap Up 3 and Best songs of 1948: Final Wrap Up 4.

We have placed the articles paying tributes to Mohammad Rafi in the space for the tributes here before in the present article. So we will take up two songs of Mohammad Rafi, form the first film he played back solo for Shashi Kapoor to begin the end of the article:

Ye Dil Kiso Dun – Ye Dil Kisko Dun (1963) – Iqbal Quereshi – Qamar Jalalabadi

Mera Dil Tum Pe Aa Gaya., Mere Pahlu Se Dil Gaya – Ye Dil Kisko Dun (1963) – Iqbal Quereshi – Qamar Jalalabadi

The Christmas Celebration in Hindi Films’ picks up the rare, ddelightful Christian characters, which always brought a smile on our lips.

On that note of festive smile, I wish you all a very HAPPY & PRPOSPEROUS 2018 that keeps providing rich music to your Life.

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – May 2015

Welcome to May, 2015 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

Shashi Kapoor was physically conferred with the Dadasaheb Phalke award on 10th May.

Shashi Kapoor and His Leading Ldies - Dadasaheb Phalke AwardTen of my favourite Shashi Kapoor songs and a huge additions from the readers celebrate giving away of Dadasaheb Phalke Award. The list becomes more interesting because the songs are solos.

Remembering Sunil Dutt ….. with a song list! From which we pick up the songs that we do not get to listen often:

……Whilst on the subject, we may add a few from our side:

We move on to regular posts:

Ten of my favourite percussion instrument songs continues with an on-and-off series of song lists featuring—in the picturisation—various types of musical instruments. This began with my post on women pianists, followed much later by a post on male pianists, and then a post on songs that featured string instruments. It’s time, … to try and compile a list of good songs that feature another important category of musical instruments: percussion instruments.

Raju Bharatan’s ‘Naushadnama’ continues with the tributes to Naushad.

A Few Favorite Cabaret Dances From Lollywood adds the variety to the blog’s, and our blog carnival’s, content.

raat bhi hai kuchh bheegi bheegi .. LATA MANGESHKAR .. A New Look – that can hardly ever do justice to the earthy visuals of the original song

Waheeda Rahema - Raat Bhi Hai Kuchch Bhigi Bhigi“Pehle To Ho Gai Namaste Namaste” – Mohana recaptures the life story of one more dancer-actress- Mohana, who belongs to Goa’s Konkani speaking tribe of artists. She entered Hindi films towards the end of 1940 decade. In a short career of around 10 years, she acted and danced in almost a dozen films. She is said to have been first seen on screen with actor Vishwa Mehra in Aag (1948) in a song ‘raat ko ji chamake taare’ (Mukesh, Shamshad Begum – Ram Ganguly).

Best songs of 1950: And the winners are? – SoY continues with year-wise review of best songs. The previous ones were: 1955, 1953 and 1951. We will also match this by way of posting a separate post, in due course, for the different aspects of the highly debated discussions of the key issues of the post.

Istanbul Girls Orchestra / Ugur Hagan / Unknown buskers, Toronto / Chinese Karoke Version / Avare (Ahmet Koc) – Awara Hoon from Turkey to Toronto: five versions of the classic Raj Kapoor song by Nate Rabe . These can be accessed on YT channel.

We had missed visiting Gaddeswarup’s blog last month. ….that has reaped in a very large harvest this for the present edition of the blog carnival:

Songs from Mr and Mrs 55, some with subtitlesin Upperstall – As in any Guru Dutt film, music was always one of the high points of the film.. And Mr and Mrs 55 with its scintillating score by OP Nayyar was no exception. Here we go through the songs of the film, each one a masterpiece! Add to it Guru Dutt’s incredible song picturization skills and you have some of the most memorable musical moments of Hindi cinema!

Mr and Mrs 55: The Stills…from the film, courtesy Guru Dutt’s son, the late Arun Dutt…

How A Buffalo Changed Waheeda Rehman’s Destiny!’ narrates quite an interesting story.. The end of the post makes it it even more interesting and memorable: “Missamma (Missiamma in Tamil) was remade later in Hindi as Miss Mary (1957) with Meena Kumari and Gemini Ganesan, proving to be extremely successful at the box-office. Oh, and what about the song that Guru Dutt and Abrar Alvi saw from Rojulu Marayi? Here it is! Leave alone being Waheeda Rehman’s stepping stone to stardom, it also proved to be the inspiration for SD Burman’s hit composition Dekhne Mein Bhola Hai Dil Ka Salona from the film Bambai Ka Babu (1960)! [That should link us to the same songs linkage that we had covered in the post Happy Birthday, Waheeda ji, in February 2015 edition of our blog carnival.]

A Shamshad Begum song from Namoona 1949.Dancer? – is on the look out for the dance in the song Tam Tam Se Jhanko Na Raniji — Namoona-1949 – Shamshad Begum –C Ramchandra . The film had Kishore Shahu, Kamini Kaushal, and Dev Ananad in the lead roles.

Class struggle in Bollywood films – Here is quick background of the film
The full film is available on YouTube @  https://www.youtube.com/watch?v=Zi4vJQC-QJU. Minai has written about Zohra Segal’s Shankar-Style Choreography in Neecha Nagar (Hindi, 1946). The two dances posted by Minai are around 3 and 14:40 minutes and look clearer to me in the film. From a review by Dustedoff, it seems Satyajit Ray saw the film and wanted to be an assistant director to Chetan Anand… Surprisingly it is omitted from ‘a listing of ten top Hindi films on class struggle, workers’ rights and unions’ in the article ‘Lal Salaam On Screen’ ” .

Similar songs different music directorsManasyna – Jayasimha – NTR – Savitri – Showkar Janaki. The Hindi remake of the film has Man Soona Tere Bin Hoye Re– JAI SINGH(1959) – Lata- Usha Mangeshkar – Ramesh Naidu

Aziz Mian Sings Qawwali- Mira Bhajan – Aziz Mian sings Ae Ri Main To Premdiwani Mera Dard Na Jaane Koi in devotional Qawwali style.

Namrata Joshi in her article The Plough & The Gun notes that ‘not many films have focused on the 1965 war. Upkar has more than made up for that lapse. ‘ ….What we have, besides Upkar, is an odd mention. Like in J. Om Prakash’s Aakraman (1975). The film was a romance set during the 1971 war, a father—Ashok Kumar—recollecting the death of his son in the 1965 war. Prem Pujari (1970) starts “near Khem Karan sector”, then goes all over the world and finally settles there again in the end. A “The finale of Prem Pujari has some tank battles (the hallmark of the 1965 war) as they happened in and around the Khem Karan sector but clever editing couldn’t still mask the fact that in fact Indian tanks had been disguised as Pakistani ones. Yes I can differentiate a Centurion from a Sherman from a Patton,” With India having fought a war recently and another looming large ahead, the message of “peace” certainly didn’t go down well with the audience even though Prem Pujari had some brilliant music by S.D. Burman and lyrics by Neeraj. …Beyond the films, there has been a serial of the late 1980s, Param Veer Chakra, produced and directed by Chetan Anand, that had two episodes on the PVC winners of the 1965 war. The 1965 war had only two PVC winners–both posthumous. – Lt Col A.B. Tarapore died while leading his Poona Horse Regiment in tank battles while Company Havaldar Major Abdul Hamid knocked out tanks with his RCL gun before being blown up by Pakistani tanks. Hamid was portrayed by Naseeruddin Shah and Aslam Khan played Lt Col Tarapore in the serial.

Before we take up songs referred to by our fiends this month, we take up:

Multiple Versions Songs (21): Male solo and Duet or Chorus (Part II)Multiple Versions Songs (20): Male Solo and Duet or Chorus’ received an overwhelming feedback from the SoY fraternity. This (guest) article is a sequel to that post, arising out of the comments and responses of the readers to his last article.

Now we move over songs remembered by our friends in this month –

Samir Dholakia

Duniya Mein Nahin Koi Yaar – Amber (1952) – Ghulam Mohammad Lata Mangeshkar, Mohammad Rafi

Tharaiye Hosh Me Aaalu To Chale Jaiyega – Mohabbat Isko Kehte Hain “Mohammad Rafi & Ssuamn Kalyanpura – :Khayyam-” [and…. Along wit the song he also remembers the days of 1970s, when had just graduated to purchasing the record-player, and were at records buying spree.]

Main hansoo ke ispe roun hai ajeeb ye nazaara , wherein Sadanand Kamath presents one of Chitragupta’s rare sad songs in Kishore Kumar’s voice from an incomplete film MAA (1960s)

• Sadanana Kamath presents Chupke chupke raat din aansoo bahaana yaad hai on the occasion of the 64th death anniversary of Maulana Hasrat Mohani,. The version selected here is not the one rendered by Ghulam Ali but the one composed and sung by Jagjit Singh which is not as popular as that of Ghulam Ali version. The pathos in the ghazal has been well captured in a song sequence picturised on Farooque Shaikh (in the role of Hasarat Mohani) and Dipti Naval (in the role of his beloved and later his wife) as a background song in the TV serial ‘Kahakashan’ (1992). Here is an alternate audio .

Bhagvan Thavrani

Tumhi Ne Dil Mera – Air Mail (1960) – Mohammad Rafi , Suman Kalyanpur – Sardul Kwatra / Anand Bakshi – it’s almost a replica of O P NAYYAR….The film name itself sounds so anonymous!

Dard Ki Aye Raat Guzar Jaa – Baghi – Lata Mangeshkar – Madan Mohan. – A rare Lata – Madan Mohan immortal gem…only mandolin in the interludes…and marvellous words…

In the end we take up (our customary) very special songs / articles on Mohammad Rafi –

Rafi’s Peppy Songs: dil meN chhupaa ke pyaar kaa toofaan le chale… – Aan – Naushad

Rafi’s Peppy Songs: Voh aaye baiThe khaaye peeye khiske… – Ek Shriman Ek Shrimati (1969) –  Kalyanji Anandji

Dil Deke Dekho (1959) may have many things to remember for different people . We pick up three of Mohammad Rafi songs, said to have been inspired from western songs. Well, be that as it may, the songs have an air – tanks to music director – Usha Kahanna- and the singer – Mohammad Rafi n- Pyar ki Kasam hai, – from : Ivory Joe Hunter’s 1956 hit ‘Since I met you baby‘!; Dil Deke Dekho – from ‘Sugar in the morning‘ by The McGuire Sisters and such a lilting O Meri Neeta from Paul Anka’s “Diana” .

We continue our pursuit of the golden period of Hindi Film Music …….