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

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

We first pay our tributes to Basu Chatterjee who passed away recently:

Basu Chatterjee (1927-2020): A pictorial tribute to ace filmmaker – Basu Chatterjee made his directorial debut with Sara Akash in 1969. He went on to helm films like Us Paar, Chhoti Si Baat, Chitchor, Rajnigandha, Piya Ka Ghar, Khatta Meetha , Chakravyuha, Baton Baton Mein, Priyatama, Man Pasand, Hamari Bahu Alka, Shaukeen and Chameli Ki Shaadi among more.

The star and the everyman in Basu Chatterjje’s film – Nildeep Paul – ‘Na Jaane Kyun Hota Hai Ye Zindagi ke Saath wonderfully encapsulates the new idiom of stardom that Basu Chatterjee introduced in the Hindi cinema.

In Basu Chatterjee’s films, from Rajnigandha to Swami, female characters were written with agency and choiceRagini Daliya – They were opinionated, romantically liberated, dreamers, worriers and empowered – all brought to vivid, wondrous life

The Masters: Basu Chatterjee – Basu Chatterjee joined films as Basu Bhattacharya’s assistant on Teesri Kasam. It took another two years and another film as assistant director (Govind Saraiya’s Saraswatichandra) before Chatterjee decided to take the plunge into direction himself.

We also do take note of Sabiha Khanum, the First Lady of Pakistani Cinema, Passes Away – Khanum dominated the screen in the formative years of the country’s industry in the 1950s and ‘60s

We pick up other tributes and memories:

Silhouette Magazine has been running a special series of articles @ Ray@100, to commemorate the birth centenary of Satyajit Ray.

Hemantayan – Part I is the first part of the tribute to Hemant Kumar on his birth centenary, covering the period of 1920 through 1960, quite painstakingly detailed by Shri N Vankatraman. Dusted Off recalls Ten of my favourite Hemant songs – as a composer . The Song Pedia has lined up Hemant Kumar – The Century-Old Musical Legend  and Hemant Kumar and Lata Mangeshkar – A Contrasting yet Complementary Combo.

Raj Kapoor’s Awara is all the more relevant in the context of India’s migrant crisis – Raj Kapoor was the original showman not only for the style and flair with which he made movies, but because that under that showmanship, he showed us what India really was.

On Raj Kapoor’s 32nd death anniversary, Manoj Kumar talks about working with the showman in Mera Naam Joker – By Roshmila Bhattacharya – Manjoj Muar reminisces of this dialogue

Remembering Sunil Dutt on his 91st birth anniversary

Sunil Dutt poses with the cast of BR Chopra’s Waqt. (Photo Express Archive)

Sunil Dutt’s one-actor movie Yaadein is an oddly apt watch in these isolated times – Yaadein was a movie about a man who returns home from work one day to find that his wife has walked out on him and taken the children with her. The rest of the film is a soliloquy on marriage, parenting, rage, sadness, remorse that even earned a Guinness World Record for fewest actors in a narrative film — one, himself.

The Masters: Yogesh – Unlike contemporaries like Gulzar and writer-lyricists like Javed Akhtar who came after him, Yogesh was relatively low-key. He lived – and died – with dignity. Leaving behind a legacy of verses crafted with great simplicity. 

Mehfil Mein Meri has been running a series on Anil Biswas @ Anil Biswas – The maestro – Part 1, Part 2,and Part 3.

‘Jab Jab Bahar Aayee Aur Phool Muskuraye – Usha Timothy – Usha Timothy’s debuted in 1962 in Durgapuja’ wherein she recited a 60-line hymn.

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

We conclude  Manna Dey birth centenary series with Manna Dey’s Comedy Songs for Other Actors [2].

All episodes relating Manna Dey’s centenary celebrations series can be read / downloaded by clicking on the respective hyperlink.:

Remembering Manna Dey

Manna Dey and Contemporary Lead Actors

Manna Dey’s Comedy Songs

Manna Dey’s comedy Songs for Mehmood

Manna Dey’s comedy songs for Other Actors

June 2020  episode of Fading Memories, Unforgettable Songs takes up the songs from Neeli Anken (162) and Jab Se Tumhe Dekha Hai (1963) in Dattaram – Ham Aap Ki Mehfil Mein Bhule Se Chale Aaye. . Till now we have Dattaram’s songs from 1957 to 1959 in June,2018, and Those from 1960 and 1961 in June, 2019.

We will now take up the articles on other subjects:

Mirza Ghalib: The movie was the perfect marriage of the poet’s words with Suraiya’s voice – At a special screening, then Prime Minister Jawaharlal Nehru told Suraiya, “Tumne Ghalib ki rooh ko zinda kar diya” (You have brought Ghalib’s soul back to life). He wasn’t exaggerating.

Ten of my favourite Bharat Bhushan songs – Bharat Bhushan had acted against top leading ladies of his time and always got songs that went to become rage.

Salaam Bombay! is a haunting exploration of child labour in India– The proceeds from the movie were used to set up Salaam Baalak Trust, an- NGO that works for the welfare of street children.

Pyarelal interview: ‘Music is collaborative’ with no room for ‘I, me, myself’ – Laxmikant-Pyarelal’s soundtracks had an unbelievable range, spread across many genres, moods, styles and situations.

In ‘Mohan Joshi Haazir Ho!’, a crumbling house, a greedy landlord and vexed tenants -Saeed Mirza’s classic from 1984 is a satire about housing and delays in the judicial system.

Lagaan: The Fairy Tale of a Barren Land! – Lagaan is arguably the best fairly tale made on celluloid without recoursing to mythology, or to the absurd or bizarre as happens in a majority of Hindi films…one will not mind believing that this film is a page of history.

Quarantine Qawwali – Dances on the Footpath explores qawwalis in the times of qurantine

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:

Le Lo Chhori Le Lo Gori – Paapi (1953) – S Mohinder – Hasrat Jaipuri

Teri Mehfil Tera Jalwa Dekhk Li – Sohni Mahiwal (1957) – Naushad – Shakeel Badayuni

Taaz Tere Liye Ek Mazar-e-Ulfat Hi Sahi….. Mere Maheboob Kahi Aur Mila Kar Mujhko – Ghazal (1964) – Madan Mohan – Sahir Ludhyanavi

Meri Jaan Tumse Mohabbat Hai Magar Kaise Kahun – Mera Salaam (1980) – Usha Timothy & Mohammed Rafi – Raj Kamal – Kulwant Jan


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 – 5

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 in the present series till now.

As we move along this series it appears that most of the second generation frontline heroes were tried with most of the leading male singers of the mid-50s, before each of them settled for Mohammad Rafi ( barring a few exceptions)as their playback voice, once they succeeded by the advent of 60s. – or they succeeded when they settled for Mohammad Rafi as their playback voice.

With Prem Nath

Prem Nath has played the lead role in many films in 50s before graduating to more successful character roles. We can trace Manna Dey’s association – the indirect one-  with Prem Nath’s lead roles too getting converted to direct play back relationship with Prem Nath’s character roles, starting with Ek Ag Dahakata Raag Hai Jawani (Naujawan (1951 – S D Burman, Sahir LudhyanviI), which is the credit title song.

Naseeb Hoga Mera Maherabaan Kabhi Na Kabhi – 40 days (1959) – With Asha Bhosle – Baabul – Kaifi Azmi

Manna Dey can be considered in a supporting role in this duet, in which the heroine, Shakeela, seems to be on the hunt to search for the hero, Prem Nath.

Phir Tumhari Yaad Aayi Aye Sanam – Rustam Sohrab (1963) – With Mohammad Rafi – Sajjad Hussain – Qamar Jalalabadi

Here too soldier singers apparently express their own emotions, but their General (Prem Nath) lives each word in his own sweet memories.

The duet is documented as one of the best male-male duets in the history of Hindi film music. Rustam Sohrab is also the last film of Sajjad Hussain, rated as one of the most outstanding and path-breaking music directors of the Hindi Film industry.

Naa Chahoon Sona Chandi Na Chahoon Heera Moti Ye Mere Kis Kaam Ke – Bobby (1973) – with Shailendra Singh and Lata Mageshkar – Laxmikant Pyarelal – Vithalbhai Patel

The song was as much a raze as was the character of Jack Braganza, a poor, but self-respecting Goan fisherman, played by Prem Nath on the screen.

In Raj Kapoor’s well-known style, the songs is used as an end-piece as well –

Khul Gayee Padhadi Gulabi Ho Gaya Budhdha Sharabi – Aap Beeti (1978) – with Kishore Kumar – Laxmikant Pyarelal – Anand Bakshi

This is a very light-framed duet, with Kishore Kumar and Manna Dey in their signature jovial moods.

With Pradeep Kumar (a.k.a. Shital Batabyal)

Pradeep Kumar debuted in Hindi films with Anandmath (1952) and then soon had blockbuster successes in Anarkali (1953) and Nagin (1954). He had Hemant Kumar (Anand Math, Nagin) and Talat Mahmood (Anand Math) for his playback. It was only in Raaj Hath, that Manna Dey appeared for the first time in Pradeep Kumar’s career. Even here the songs filmed on Pradeep Kumar had Mukesh – Ye Vaada Karo Chand Ke Samne– and Mohammad Rafi – Aye Bahar Ban Ke Lubha Kar Chakle Gaye – as playback singers. However, the Manna Dey song remains so important landmark in Manna Dey’s career, that we need to take the note of that song here.

Chale Sipahi Dhul Udate Kahan Kidhar Koi Kya Jaane – Raaj Hath (1956) – Shankar Jaikishan – Shailendra

The song is filmed as background song in the film.

It was S D Burman, in Miss India (1957) who chose to use Manna Dey as Pradeep Kumar’s direct lead playback for Pradeep Kumar – and even that can be considered as an exception in S D Burman – Manna Dey professional relationship as music director -singer combination.

Jaoon Main Kahan.. Ye Zamin Ye Jahan Chhod Ke – Miss India (1957) – with Lata Mangeshkar – S D Baurman – Rajendra Krishna

Manna Dey opens the songs with a one-line Hey,,Hey in gay abandon of a spoilt wealthy youth, before pitching in @5.19 with a boisterous Ye Bheegi Bheegi Raatein Ye Ghumad Ghuamd Barsatein

Maalik Ne Haath Diye Kahe Do Do Diye – Miss India (1957) – With Asha Bhosle – S D Burman – Rajendra Krishna

Here Manna Dey comes in to present an inspirational message.

Mehnat Se Mat Dar Bande Himmat Se Kaam Le – Batwara (1961) – with S Balbir – S Madan – Majrooh Sultanpuri

Even as clad in expensive-looking pant-shirt, Pradeep Kumar gets attracted to the charm of labour and joins the team @ 3.48 with Aage Badha Himmat Se Kadam Ek Baat Mard Banke

Ye Din Hai Din Hai Khushi Ke Aaja Re Aaja Mere Saathi Zindagi Ke – Jab Se Tumhe Dekha Hai (1963) – with Suman Kalyanpur – Dattaram – Shailendra

Dattaram has chosen Manna Dey to playback for Pradeep Kumar in this pure romantic song. This is in the same year when game-changer successful film in Praadeep Kumar’s career– Taj Mahall – was to hit the screen, wherein it was Mohammad Rafi who was THE playback voice.

With Sunil Dutt (a.k.a. Balraj Dutt)

Sunil Dutt debuted with Railway Platform (1955) – playback Mohammad Rafi – and then had Manna Dey for playback in an obscure film Kismet Ka Khel (1956), then some more prominent films Sadhna (1958, Mohammad Rafi as playback), Post Box No 999 (Hemant Kumar and Manna Dey),  Insaan Jaag Utha (Mohammad Rafi) and so on. However, all the songs where Sunil Dutt and Manna Dey have – either directly or indirectly – have teamed up, have etched a clear imprint in the annals of Hindi film music.

Keh Do Ji Keh Do Chhupao Na Pyar – Kismet Ka Khel (1956) – with Lata Mangeshkar – Shankar Jaikishan – Hasrat Jaipuri

Shankar Jaikishan have chosen to bank upon Manna Dey to render this playfully romantic duet.

Mere Dil Mein Hai Ek Baat Kaise Bataun Kya Hai – Post Box No. 999 (1958) – with Lata Mangeshkar – Kalyanji Veerji Shah – P L Santoshi

Kalyanji Veerji Shah has chosen Manna Dey for this pure romantic duet and Hemant Kumar for a pensive romanticc duet – Neend Na Mujko Aaye – as playback voices for Sunil Dutt.

Darpan Jhooth Na Bole – Darpan (1970) – Laxmikant Pyarelal – Anand Bakshi

This a background song, which directly reflects the thoughts of the character enacted by Sunil Dutt.

We will end our present episode too with a marching, farewell to the soldiers on way to the war, song  from Usne Kaha Tha (1960). That song is also a landmark song of Manna Dey’s career, would hardly need a mention.

Jaanewale Sipahi Se Poochho Woh Kahan Jaa Raha Hai – Usne Kaha Tha (1960 – Salil Chowdhury – Maqdoom Mohiuddin

The film had two duets films on Sunil Dutt – Dupatta Dhani Odh Ke and Chalte Hi Jaana Jahan Tak Aaj Yeh Rah Chale– wherein Mohammad Rafi playbacks for Sunil Dutt. In Chalate Hi Jaana, Manna Dey has paired with Mohammad Rafi for playback voice to Rajendra Nath.

We thus end one more interesting episode so-near-yet-so-far tale of Manna Dey’s illustrious career. And still, our search is on…..

Carnival of Blogs on Golden Era of Hindi Film Music – June 2014

Welcome to June, 2014 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We begin our carnival with visits to our regular blogs:

Suraiya’s songs by SD Burman

“Since SD Burman made his debut late, his songs for Suraiya are much less compared to, say, Naushad’s, but as was his wont, he had a talent to create something for every singer, which would easily rank among his/her landmark songs, even if we just count Man more hua matwala and Nain deewane, Suraiya’s songs by SD Burman have a place among her greatest songs.”

Songs of Yore completes four years – With a tribute to Juthika Roy

Juthika Roy“Born in 1920, she sang her first song on the radio at the age of 7, which was a Rabindra Sangeet, Aar dekhona, andhaare aamaay dekhate daao. Her first HMV record was of two Bengali songs, which was followed by two Meera bhajans in Hindi in 1935-36. She became synonymous with Meera bhajans and achieved enormous popularity during the 40s through 50s. Kamal Dasgupta composed most of her songs, with whom she also sang a number of duets, including some naats and qawwalis.”

Shri Arunkumar Deshamukh has also guest-written an article on Juthika Roy – Mandir ho har kadam pe pooja ho subah shaam@ atul’s bollywood song a day- with full lyrics. The song presented here is a duet of Juthika Roy with Kamal Dasgupta.

Whilst on the subject of Juthika Roy, let us also enjoy Juthika Roy’s interview on Vividh Bharati, on 25th February 2009 @ Anmol Fankar.

The incredible brother-sister in music: Anil Biswas’s songs for Parul Ghosh

“Her swan song in films was in Aandolan (1951) – Vande Mataramwith Manna Dey and Sudha Malhotra, composed by Pannalal Ghosh. She sang about 100 songs in all in 25 films. She died on August 13, 1977 after prolonged illness in Bombay. The song list (not exhaustive) at Cineplot shows that she sang for most of the top composers of the time, but her most famous songs are by his brother.”

Ten of my favourite Sunil Dutt songs is the collection of solo songs Sunil Dutt sings on the screen. The list does not contains only song from a given film.

Twin Songsare true back-to-back songs, songs that segue into each other with no dialogues or scenes in between. The compilation presents 14 sets of such songs in one go, which one can be listen here too.

Forgotten Melodies (Part 1) – My Favourite Dance Sequences From My Father’s Filmscaptures some of more favoured dance sequences from films in which Tarun Bose has played a role.

Lively songs from Naushad“is devoted to the multitude of lively songs that Naushad composed through the 1940s, 50s and 60s.Lively here does not “mean only songs that celebrate joy or abandon”. It also includes “songs that have a (relatively) lively and attractive pace when compared to slow, brooding songs. Some of his lively songs may actually be sad situations. But the songs may be lively with a relatively fast tempo or with lyrics, expressions or situations that appear cheerful!.” For an uninterrupted listening, do use this playlist.

We now turn to the archives of the other blogs and articles:

4 June was the birthday of Nutan. We recall Nutan’s Biography, and supplement it with Lady Nutan, wherein very interesting aspects of her life have been presented. The article has sourced a good deal of material from Cineplot.

Jaikishan – The Eternal Prince of Hindi Film Music is an exclusive interview with Bhairavi Jaikishan, daughter of famed Jaikishan of Shanker Jaikishan duo. – “Listen to the soulful Rafi number ‘Yaad Na Jaaye Beete Dinonki” from Dil Ek Mandir. And listen to the Spanish ‘original’ Besame Mucho and one is left awestruck! The feel is similar but to the Indian ear – it is the pathos of the SJ-Rafi rendition which touches the heart! This was a typical Jaikishan characteristic.”

Evolution of the Hindi film song (Part 1, Part 2, Part 3, Part 4, Part 5 and Part 6) traces the way Hindi Film Sings evolved. Presented here are some excerpts:

“We saw the late 30s and early 40s responsible for the entry of singers such as GM Durrani, Arun Kumar, Parul Ghosh, Zohra Ambala, Amirbai Karnataki, Rajkumari, Shamshad Begum and Suraiya. Now a newer generation of singers followed them. Among the male singers, Shankar Rao Vyas introduced Manna Dey with Ram Rajya in 1943, Naushad introduced Mohd. Rafi to Hindi films with Pehle Aap in 1944 and Anil Biswas introduced Mukesh in Pehli Nazar in 1945. Of these perhaps the most important talent was undoubtedly Mohd. Rafi.

“While Rafi, Mukesh and Kishore Kumar went on to rule the Hindi Film Industries from the 1950s, there were other male playback singers whose contribution could not be denied – Manna Dey, Talat Mehmood and Hemant Kumar….. Meanwhile the 1940s had also thrown up some of the best female talent in playback singing – Meena Kapoor, Asha Bhosle, Geeta Dutt and of course the one and only Lata Mangeshkar…”

And now, we move over to our regular Mohammad Rafi-related video clips and articles:

Mohammed Rafi – VOA Tribute – Rare interview and his own selection of songs –

The special program is a joint production of the staffers of VOA Urdu Service and the VOA English division. This is based on a rare interview of the legendary Bollywood singer, Mohammad Rafi, recorded during one of his visits to London in 1977 by Subhash Vohra of VOA English, who was then working for the BBC Hindi Service. This program, devoted to the memories of Rafi, also includes his own selection of songs.
You can also listen to very intimate observations of the famed Bollywood personality, Ameen Sayani, who is still adored in South Asia for his masterly music presentation over several decades.

My Abba - A MemoirYasmin Khalid Rafi, daughter-in-law of Mohammed Rafi published her book- Mohammed Rafi – My Abba, A Memoire. In a review of the book on “Outlook”, With A Song on His Lips, Sathya Saran has this to state – “Few sang as Rafi sang, few touched so many as he did. A mellow, melancholy memoir recalls a master we don’t know.”

We have chosen to remain brief and focused in this episode. How would you to react to this style?