#Best Bollywood Songs of 1968

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Krishna Kumar Kunnath KK - Bio, Top 40 Best Bollywood Music

Krishna Kumar Kunnath KK  is most popular Bollywood singer. His soulful voice and ability to inject deep emotion into each song has earned him a place among the greatest singers in country history as we journey through his illustrious career and discover what gives KK is the iconic voice of Indian music.

Best Krishna Kumar Kunnath Bollywood Music Download

Biography and Early life Krishna Kumar Kunnath KK was born on August 23, 1968 in Delhi, India. His original name, Krishna Kumar Kunnath, reflects his Malayali roots, although he spent most of his childhood in bustling Delhi. Keke had always loved music, but did not immediately pursue it as a career. He completed his graduation from Kirorimal College, University of Delhi and also worked in sales for a while. However, his passion for music was undeniable and he soon took a bold step into music. Entering music KK's journey to stardom was not instantaneous. It started with short, jingle-like steps. His big break came in 1994 when he moved to Mumbai, the Bollywood music and film hub of India. KK produced a demo tape that found its way to famous musicians like Lewis Banks, Ranjit Barot and Leslie Lewis, who recognized its potential. His very first jingle was an advertisement for Santojen Sooting, and in the next four years he has sung over 3500 jingles in 11 Indian languages. Mentoring is the beginning of a successful career Leslie Lewis, who gave KK his first chance to sing jingles in Mumbai, had a huge impact on his career. KK is considered Leslie's mentor, having played a key role in guiding his early in his musical career. By singing jingles, Krishna Kumar Kunnath KK. The Development of Bollywood Krishna Kumar Kunnath KK Bollywood playback music career started with a bang in 1999 with the iconic song "Tadap Tadap Ke" from the movie Hum Dil De Chuke Sanam. The intense emotions of the song are captured by K.K. Resonating with the sentiments of the audience, K.K. The famous songs Krishna Kumar Kunnath KK career KK sang many hit songs over the years, captivating audiences with his versatile voice. His famous and memorable songs include: 1. "Tadap Tadp Ke" (Hum Dil De Chuke Sanam): The song that shot him to fame with its poignant lyrics and strong vocals. 2. "Khuda Jaane" (Bachna Aye Haseeno): A romantic ballad that became popular among youngsters. "Dil Kyon Ye Mera Shor Kare" (Kites): A hit song by K.K. 3. "Sach Keh Raha Hai Deewana" (Rehna Hai Tere Dil Mein): An emotional song that perfectly captured the emotions of a heartbroken lover. 4. "Tu Hi Meri Shab Hai" (Gangster): A beautiful song that showcases his ability to sing romantic songs with a soothing voice. 5. "Zara Sa" (Paradise): A catchy and romantic number that became timeless. "What I. It is usable in both languages One reason KK is highly praised is its versatility. He sang in various Indian languages ​​like Hindi, Telugu, Tamil, Kannada and Malayalam, making his an all-India artiste. His ability to sing effortlessly in a variety of genres, from romantic ballads and pop to soulful and rock-inspired songs, sets KK apart from many of his contemporaries. Krishna Kumar Kunnath KK is good at playing live Krishna Kumar Kunnath KK, his stage presence and ability to connect with audiences adds another layer to his already impressive voice. Whether performing at college festivals, concerts, or corporate events, K.K. His live shows usually include a mix of his Bollywood hits, pop songs, and even some lesser known songs, showcasing his love for music and dedication to he will entertain the audience The Pop Music Phase: The Search for Innovation Krishna Kumar Kunnath KK is not just a Bollywood singer; He has also contributed immensely to the Indian pop scene. The Indian pop scene was booming in the 1990s, and K.K. His first solo album Pal, released in 1999, featured hits like "Pal," "Yaron," which became anthems for young people. To this day, these songs are popular, especially when saying goodbye and friendship celebrations. The album K.K. Recognition and awards Over the years, KK has received numerous awards and accolades for his contribution to Indian music. Though he tends to shy away from the limelight and avoids the glitz and glamor of the film industry, his work speaks for itself. He has been nominated for several Filmfare awards and won various other music awards, earning him the respect and admiration of his fans and industry members Influence and Legacy KK’s Bollywood songs has touched the hearts of millions around the world. His songs often evoke feelings of passion, love and desire, making his one of the most relatable and beloved singers in the business. Many aspiring musicians look up to him for his technique, versatility and humble personality. K.K. Conclusion Krishna Kumar Kunnath KK journey from a jingle singer to one of the renowned playback artists of Bollywood is a story of passion, perseverance and raw talent. His soulful voice and ability to bring life to songs has made him famous in India and outside his home. With a consistently inspiring career, KK has left a lasting mark on the Indian music industry, reminding us that true art knows no boundaries. FAQs What is KK's real name? K. K. real name Krishnakumar Kunnath. What was KK's first Bollywood song? His first Bollywood song was "Tadap Tadap Ke" from the movie Hum Dil De Chuke Sanam. In which language did Keke sing? KK has sung in over 11 Indian languages ​​including Hindi, Tamil, Telugu, Kannada and Malayalam. What are some of KK’s most famous songs? His popular songs include "Tadap Tadp Ke", "Khuda Jaane", "Sach Keh Raha Hai Deewana", and "Tu Hi Meri Shab Hai". Has Keke won any major awards for his music? While KK has been nominated for several awards, he has always focused on his music rather than accolades. Read the full article

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Lyrics Main Gaoon Tum So Jao (Happy)

Lyrics Main Gaoon Tum So Jao (Happy)

Main Gaoon Tum So Jao (Happy) – Song contents: Lyrics in EnglishHindi LyricsYouTube VideoSong TriviaMore Lyrics in English | Main Gaoon Tum So Jao (Happy) | Brahmachari-1968 | Shammi Kapoor, Rajshree | Mohammed Rafi La Ra La LaLa Ra La Ra La LaLa Ra La LaLa Ra La Ra La LaMain GaoonTum So JaaoMain GaoonTum So JaaoSukh Sapnon MeKho JaaoMain GaoonTum So JaaoMain GaoonTum So JaaoSukh Sapnon MeKho…

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Asian Horror Cinema Roundup & Thoughts

So, when we set out on this particular film series quest, I had a few limitations to work with: 

They had to be movies that we hadn’t already seen, which meant skipping some of the biggest and most influential titles (Ringu, The Grudge, Dark Water, etc etc.)

I wanted as diverse a selection as I could to mix up multiple countries and time periods

The movies all had to be things I could find streaming online, which cut about half of my initial selections out of the running 

So, with that in mind, this is....definitely not the most thorough or representative list of films! I make no claims that these are the biggest, best, most important, or anything else. But here is everything we watched!

CHINA/HONG KONG Song at Midnight (1937) Dream Home (2010) Rigor Mortis (2013)

INDIA Bees Saal Baad (1962) Raaz (2002) Bhoot (2003) Kaal (2005) Hisss (2010) Pizza (2012)

JAPAN Kwaidan (1965) Goke, Body Snatcher From Hell (1968) Horrors of Malformed Men (1969) The Vampire Doll (1970) Belladonna of Sadness (1973) Blind Woman's Curse (1970) House (1977) Tetsuo: The Iron Man (1989) Battle Royale (2000) One Missed Call (2003) Uzumaki (2000) Cold Fish (2010) Tag (2015) One Cut of the Dead (2017)

KOREA The Uninvited (2003) A Tale of Two Sisters (2003) Hansel and Gretel (2007) Snowpiercer (2013) Gonjiam: Haunted Asylum (2018)

THAILAND The Park (2003) Shutter (2004) Ladda Land (2011) Krasue: Inhuman Kiss (2019) The Medium (2021)

VIETNAM The Housemaid (2016)

Some overall thoughts: 

Japan takes the cake for fucking weird. Which is not a shock to anyone, probably, but it’s very clear that Japan isn’t afraid to get bizarre, and has been doing some super weird shit from the very beginning. 

India doesn’t seem to take itself very seriously in the horror film department, lol. Not all of the movies were Bollywood musicals, although a couple were. But even the non-musicals were all pretty silly. 

Mainland China doesn’t really make horror movies these days as far as I know but Hong Kong sure does and the ones I’ve seen are all brutal. They don’t seem to mind pushing the envelope there one bit. 

South Korea is the same. I have a deep fondness for Korean films, and I think I tend to enjoy them more than Japanese exports because they tend to be more grounded and often politically biting. 

Our next batch of horror movies is going to be a catch-up with new releases since we’re a couple years behind at this point. The hashtag for those will be #horror-new-releases so keep an eye out for that in the upcoming weeks. 

After we get caught up, I’m not sure what we watch next. We’ve discussed a few possible themes, including: 

Remake vs original

Franchise installments

Individual director filmographies

Other foreign countries

Individual monster/mythology trends 

There are so many movies out there, and putting them in themes makes it more fun! Change my mind! 

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55 Years of Sangam (18/06/1964)

Sangam is a 1964 romance film, directed by Raj Kapoor, written by Inder Raj Anand, and produced by Kapoor with Mehboob Studio and Filmistan. The film stars Vyjayanthimala, Raj Kapoor and Rajendra Kumar in the lead roles, with Iftekhar, Raj Mehra, Nana Palsikar, Lalita Pawar, Achala Sachdev, and Hari Shivdasani appearing in supporting roles. The plotline and characterization was loosely inspired by the 1939 Hollywood movie Gone with the wind.

Sangam was Raj Kapoor's first color film, distinguished by its technicolor and epic length (even by Bollywood standards). It is also sometimes considered to be a magnum opus of Raj Kapoor, as one of his best works.

It became a hit in India and is considered a classic today. One of the features of the film that became widely used later on in Bollywood is the use of foreign locales for on-location shooting, such as Venice, Paris, and Switzerland. This started the Bollywood trend of shooting songs sequences abroad (primarily in Switzerland), against the background of "exotic" landscapes.

Overseas, the film released in the Soviet Union in 1964 and Turkey in 1968, as well as Bulgaria, Greece and Hungary. Director Dasari Narayana Rao remade the film in Telugu and Kannada languages as Swapna (1981).

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On Nutan’s 84th birth anniversary, why she remains a luminous star like none other - bollywood

https://liveindiatimes.com/on-nutans-84th-birth-anniversary-why-she-remains-a-luminous-star-like-none-other-bollywood/

In the annals of Hindi films, few actors could blend stardom with acting prowess. Actor Nutan, aunt of Kajol and mother of actor Mohnish Bahl, was one such a star. In her personality, she could present a paradox – playing a deeply orthodox Indian woman in films like Saraswatichandra and yet be disarmingly modern (she sported a swimsuit in Dilli Ka Thug in the 50s). On her birthday today, here’s unraveling this enigma.

Nutan was born to actor and filmmaker couple, Shobhana and Kumarsen Samarth on June 4, 1936. She was the eldest of four siblings including actor Tanuja. Nutan was introduced on the silver screen at the tender age of 14 as an adult in Hamari Beti, produced by her mother. Nutan was a classical Indian beauty – her perfect oval face and slender and tall frame were immediately arresting.

Nutan in Bandini.

Through her career, she appeared in many unconventional roles. The first in this list was Seema (1955), where she was paired with actor Balraj Sahni. The role was a central one; as the story was told from the perspective of her character, Gauri. She played a young orphaned girl, who runs away from her uncle’s home to avoid an ill-treating aunt. Accused of theft, landing in an orphanage and falling in love with a compassionate caretaker, played by Balraj, Nutan was in stellar form. The song Tu Pyar Ka Sagar Hai is still fondly remembered to this day. The role also fetched Nutan her first Filmfare award in Best Actress category.

(Left) Nutan in Dilli ka Thug and in Saraswatichandra.

Her career-defining role would come with Bimal Ray’s Bandini (1963), where she was cast opposite Ashok Kumar and young actor Dharmendra. Playing yet another conflicted character, she essayed the role of complex Kalyani, a woman serving a jail sentence for murder. Kalyani must choose between her compassionate prison doctor Devendra (Dharmendra) and Bikash (Ashok Kumar), a revolutionary from her past. Watch her in the iconic song, Mere Saajan Hai Uss Paar, sung evocatively by Sachin Dev Burman, to understand the myriad emotions that flash across her face.

Bandini is loosely based on a Bengali novel, Tamasi by Jarasandha (Charu Chandra Chakrabarti), a former jail superintendent who fictionalised many of his own experiences in his works.

Nutan in the song Dil Ka Bhawar Kare Pukar from Tere Ghar Ke Samne.

Nutan gave another stellar performance in Bimal Ray’s Sujata (1959), as a lower caste woman who is adopted by a higher caste family. Caught between discrimination and gratitude, she lives with a family that is accepting and loving but makes her acutely aware of their fundamental difference. When love comes, that too throws Sujata into a conundrum. The film was heavily influenced by Dr BR Ambedkar’s fight against untouchability and Rabindranath Tagore’s retelling of the story of Chandalika.

But Nutan was more than intense roles. Through the ’50s and ’60s, she formed a hit pair with Dev Anand, giving us hits like Paying Guest (1957) and Tere Ghar Ke Samne (1963) and films like Manzil (1960) and Baarish (1957). Tune in to retro section on any FM channel and songs like Mana Janab Ne Pukara Nahin and Chhod Do Aanchal Zamana Kya Kahega (both Paying Guest) and Tere Ghar Ke Samne, Dekho Rootha Na Karo, Dil Ka Bhanwar Kare Pukar (Tere Ghar Ke Samne) will still charm you.

Nutan would form a winning combination with actor Sunil Dutt as well – Gauri (1968), Mehrbaan (1967), Milan (1967), Sujata (1959) and Khandan (1965) – will serve as examples. Think of songs like Sawan Ka Mahina (Milan) and Jalte Hain Jiske Liye Teri Aakhon Ke Diye (Sujata) and you will get an idea.

Also read: On Nargis’ 91st birth anniversary, a look at a star who symbolised passion onscreen

The oft-heard statement of how female actors cannot continue their careers post marriage was turned on its head by actors like Nutan, who gave some of her most powerful performances after marriage. At the height of her career in 1959, she married naval officer Rajneesh Bahl, aged only 23.

Films like Bandini, Tere Ghar Ke Samne, Milan, Saraswatichandra and Main Tulsi Tere Aangan Ki – all happened after she had married and was a mother of a child. Nothing about Nutan was conventional anyways – when still in her teens, her mother Shobana had sent her off to a finishing school in Switzerland, La Chatelaine, in 1953. Nutan hailed from an affluent Marathi-speaking family with a passion for cinema.

Nutan won the Filmfare award for best actress no less that five times in her career. Nutan died in February 1991, after battling breast cancer for years.

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EVOLUTION OF WOMEN IN CINEMA

(Seema Faruqi)

Bindu scandalises Asha Parekh in a song from the film Kati Patang (1970)-IMAGE01 A typ­i­cal Bollywood film fea­tures an al­pha male who is most­ly do­ing the right thing, can sing, dance, fight the bad­dies (some­times si­mul­ta­ne­ous­ly) and usu­al­ly gets the girl in the end. It is the last part of this def­i­ni­tion that has changed re­cent­ly in Bollywood films where get­ting the man (or not) where the her­oine is con­cerned, doesn’t ham­per the chan­ces of the film’s suc­cess. With gut­sy mov­ies like Highway and Queen, Bollywood has com­ple­ted 100 years of film­mak­ing as well as 100 years of wom­an-in-films. A trip down the mem­o­ry lane re­veals how wom­en evolved in Bollywood, and at times, out­shone the men in the proc­ess.

In the be­gin­ning, there were noneWhen Dada Saheb Phalke pro­duced the first ev­er Bollywood film Raja Harischandra (1913), his big­gest ob­sta­cle was the un­avail­a­bil­i­ty of fe­male ac­tress­es. Not on­ly did he have to make male ac­tor Anna Salunke dress up as a wom­an, it was such roles that got Salunke his rec­og­ni­tion. Four years lat­er, he be­came the first ac­tor to play a dou­ble role in Bollywood — both the hero and the her­oine in Lanka Dahan. All in all, he played the fe­male lead in five films.

The sassy Helen in the film Caravan (1971) song, Piya tu ab to aaja-IMAGE03

Then en­tered the 14-year old thes­pi­an Kamlabai Gokhale, who was fea­tured in Dada Saheb Phalke’s Mohini Bhasmasur (1913), in which her moth­er Durgabai Kamat played the char­ac­ter of Parvati. These two wom­en were the pio­neer fe­male ac­tress­es in Bollywood and al­though they were a stop-gap at first (their the­a­tre com­pa­ny was clos­ing for six months) they sow­ed in a seed that is still bear­ing fruit. Kamlabai be­came a ce­leb­ri­ty even be­fore she turned 16, and con­tin­ued to work in films till 1980.

Goray rang ka za­ma­na

In the 1920s, cin­e­ma in the sub­con­ti­nent was in its de­vel­op­ing stage, so no lo­cal fam­i­ly was al­low­ing their daugh­ters to act in films. The pro­duc­ers’ prob­lems were solved by trav­el­ling for­eign­ers or the many Baghdadi-Jewish and Anglo-Indian fe­males who had no qualms about be­ing fea­tured in a film.Since those were the days of si­lent films, pro­duc­ers pre­fer­red looks over ev­ery­thing else and searched for gori miss (white lady) and/or hou­ris (fair­ies) from para­dise — a prac­tice that was re­pea­ted in Dhoom 3!Some changed their names and some, like Patience Cooper, didn’t. Ruby Meyers be­came Sulochana, Renee Smith changed her name to Seeta Devi, Susan Solomon be­came Firoza Begum, Iris Gasper was (re)named Sabita Devi, Effie Hippolet changed her name to Indira Devi, Bonnie Bird be­came Lalita Devi, Winnie Stewart was re­chris­tened Manorama and Beryl Claessen be­came Madhuri (yes, this one was the orig­i­nal one!). Even Italian ac­tress Signora Minelli ac­ted in one of the films op­po­site Esther Abrahams aka Pamilla in Madan Theatres’ Pati Bakhti (1922).

The ad­vent of Bharti nari

Durga Khote may be re­mem­bered as Jodhabai in Mughal-i-Azam but her big­gest ach­ieve­ment was be­ing the first high­ly edu­ca­ted, English-speak­ing Brahmin girl to break the ta­boo and en­ter films.She, along with her con­tem­po­rary Devika Rani (daugh­ter of no­ted Indian Surgeon General M.N. Chaudhry) came, saw and con­quered. They weren’t as beau­ti­ful as the gori maims but they fit­ted the char­ac­ters that were writ­ten with a Bharti nari in mind. They used their voi­ces to their ad­vant­age as they could speak dia­logues in Urdu/Hindu, which their pred­e­ces­sors couldn’t.Durga made her de­but through Ayodheycha Raja (1932) and Devika through Karma (1933) and from then on­wards, lo­cal wom­en were giv­en pref­er­ence as the love in­ter­est, the dam­sel in dis­tress or the wom­an be­hind the suc­cess­ful man!There were some ex­cep­tions as well. In the mid-30s, the Wadia Brothers gave India its first khi­la­di and trust me; she wasn’t a bhayya-like Akshay Kumar.She went by the name Fearless Nadia (re­al name Mary Ann Evans) and was the orig­i­nal ac­tion wom­an of Bollywood. She per­formed in a cir­cus be­fore join­ing films and was one of the first ar­tists in India to per­form their own stunts. Her mov­ie Hunterwali re­mains one of the best films pro­duced by Bollywood dur­ing that era.

Evolution of wom­en in Bollywood

From the 1940s to the ear­ly 1970s, wom­en were trea­ted in Bollywood with ex­treme care.

They didn’t kiss open­ly (ex­cept for few like Devika Rani who kissed her hus­band Himanshu Rai in her de­but flick), didn’t wear bi­ki­nis (that was be­fore Sharmila Tagore did so in An Evening in Paris in 1967 or Dimple Kapadia in Bobby in 1973) or do any­thing sin­is­ter since it was the job of the vamp to do that.As good ba­hus, the her­oines were well-versed in bha­jans, looked beau­ti­ful 24x7 and re­solved the prob­lems of the house (or the en­tire vil­lage) de­pend­ing on the sce­nar­io.Premarital sex was a no-no (un­til Sharmila Tagore had a con­sen­su­al li­ai­son in Aradhana) and all those wom­en who did bad things were ei­ther vamps, pros­ti­tutes or ta­waif i.e. cour­te­sans.Mothers were used as sup­port­ing char­ac­ters and they al­most in­var­i­a­bly loved sew­ing clothes so that her son could study and ac­quire a re­spect­a­ble job, where­as the bha­bi kept the house­hold in check and was termed as maa sa­maan in pla­ces where the moth­er was dead.

Mere Paas Maa Hai!

The moth­er did have im­por­tant roles in Bollywood — be it in Mother India (1959) or K. Asif’s mag­num opus Mughal-i-Azam where Shahenshah Akbar (Prithviraj Kapoor) roared ‘Aap maa hain, sirf maa!’However, dur­ing the ’70s, it was Nirupa Roy’s moth­er roles that hel­ped maa be­come the cen­tre of the fil­mi uni­verse — be it Deewar, Trishul, Suhaag, Amar Akbar Anthony to name a few, what­ev­er maa said, hap­pened. In Karz, Durga Khote played the maa who asked the ‘high­er maa’ to send back her dead son (Raj Kiran), and he was re­in­car­na­ted as Rishi Kapoor — no­body says no to a griev­ing moth­er!Who can for­get Shashi Kapoor’s icon­ic re­ply in Deewar when asked by broth­er Amitabh Bachchan “Tumhare paas kya hai?” to which he re­plies “Mere paas maa hai!”

Then there was the ‘oth­er’ wom­an!

Shashi Kala, Helen, Bindu — what comes to mind when you hear their names? Plotting the down­fall of the pro­tag­o­nist, the good ba­hu or some evil deed that will change the course of the film, of course!

Shabana Azmi in Arth They even had songs filmed on them, al­though they usu­al­ly met their fate by the end of the mov­ie. They were dressed in sexy out­fits as per their era (sleeve­less sa­ris in the ’60s, west­ern out­fits in the ’70s and any of the two since the ’80s and be­yond). After Kajol’s suc­cess­ful at­tempt at do­ing the neg­a­tive role in Gupt, lead­ing la­dies in­clud­ing Priyanka Chopra in Aiteraaz, Kareena Kapoor in Fida and Urmila Matondkar in the re­make of Karz, ex­cel­led in roles of a vamp – some even went on­to bag the Filmfare Award for their per­form­an­ces. Had there been a Best Villain Award in the ’50s, the leg­en­dary Waheeda Rehman would sure­ly have bag­ged one for her neg­a­tive role in Raj Khosla’s CID, her de­but film.

Older the in­dus­try, bold­er the roles

Big, bold and beau­ti­ful

People say that Mehboob Khan’s Mother India (1957) changed it all for Bollywood, but it was in fact its ear­li­er ver­sion —Aurat (1940) by the same di­rec­tor that did the trick.The her­oine in both ver­sions Radha — Sardar Akhtar in Aurat, Nargis in Mother India — do what is best for the fam­i­ly and come out un­scath­ed as the quin­tes­sen­tial moth­er. Similarly, films such as Khilona, Insaaf ka Tarazu, Arth and Masoom saw ac­tress­es don the role of the hero and give the per­form­an­ces of a life­time.In Khilona (1970), it was Mumtaz who played a cour­te­san who was tak­en ad­vant­age of (in a fit of mad­ness) by the very man she was nurs­ing; Insaaf ka Tarazu (1980) was about rape vic­tims and their plight, Arth (1982) and Masoom (1983) had Shabana Azmi play­ing a wife who feels cheat­ed in dif­fer­ent as­pects.Till the 1990s, wom­en used to play tor­men­ted souls in films and Juhi Chawla’s Kiran in Darr (1993) was one such ex­am­ple. While some like Hema Malini (Seeta aur Geeta) showed the world that wom­en can fight, some like Sridevi set the stage on fire with their sen­su­ous dan­ces (Kaatay na­hin kat tay from Mr. India).There were a few who came and went af­ter play­ing their re­spec­tive in­nings. Be it Tina Munim (now Mrs. Anil Ambani), Jaya Pradha (now a pol­i­ti­cian and oc­ca­sion­al ac­tress), Manisha Koirala (now gone from the scene) or Shilpa Shetty (now co-own­er of an IPL team), they played their cards right when they had the chance, but didn’t go for our of the box roles.

Except for maybe Ashwariya Rai (now Mrs. Abhishek Bachchan) who played a strong wom­an who went back to her lov­er af­ter get­ting mar­ried in Hum Dil De Chuke Sanam (1999), or a wom­an who de­ceived his for­mer fiancé in Raincoat (2004).

It took a brave at­tempt like Deepa Mehta’s Fire (1996) which hel­ped Bollywood step up and de­liv­er. In the mov­ie, Shabana Azmi (again) and Nandita Das played mar­ried wom­en who be­come in­ti­mate­ly in­volved with each oth­er af­ter be­ing ne­glec­ted by their re­spec­tive spou­ses. The film was criti­cised for its theme but is con­sid­ered icon­ic when it comes to wom­en-ori­en­ted films. On a light­er note, ac­tor Biswajeet is still re­mem­bered for the con­tro­ver­sy sur­round­ing the Kajra Mohabbat Wala song in Kismat (1968) where he dressed as a fe­male, on­ly to be dub­bed as ‘bet­ter-look­ing than his male ver­sion’ by the press!

Highway & Queen push the men away

Emancipation

The ’90s and be­yond saw Madhuri Dixit (Ilzaam, Mrityudand, Gaja Gamini and Lajja), Juhi Chawla (Darrar) and Karishma Kapoor (Fiza) play cen­tral roles in quite a num­ber of films; but they were more pop­u­lar for their non-hero­ic roles. All that changed in 2014 — ex­act­ly 101 years af­ter Bollywood came in­to be­ing. Two di­rec­tors — Imtiaz Ali (Highway) and Vikas Bahl (Queen) as­toun­ded all by do­ing the un­im­a­gin­a­ble. Imtiaz Ali’s film fea­tured one-film old Ali Bhatt who took the view­ers by sur­prise since she gave the per­form­ance of a life­time. Not on­ly was she con­vinc­ing as the dam­sel-in-dis­tress in the first half, she rocked as the girl who trans­formed the bad guy in­to a good one, and al­so faced the man who vio­la­ted her when she was young.

A fort­night lat­er, Queen pro­vi­ded Kangana Ranaut a chance to break away from reg­u­lar roles, and she ex­cel­led as the girl from a con­ser­va­tive fam­i­ly who goes on her Honeymoon alone, and re­turns as a free wom­an. Both the ac­tress­es set the bar high with their in­cred­i­ble per­form­an­ces and it will be tough for oth­ers to fol­low now. There are many ac­tress­es with the ca­pa­bil­i­ty to do out-of-the-box roles but they re­al­ize their po­ten­tial on­ly when young­er ac­tress­es have tak­en their place.

Waheeda Rehman plays the  vamp in CID-IMAGE04

The wom­en in Bollywood are evolv­ing at the mo­ment, and at 100, they have giv­en hun­dreds of per­form­an­ces that have made Bollywood what it is to­day. Yes they ha­ven’t made an ‘ex­clu­sive’ en­try in the 100-crore club but if di­rec­tors like Sanjay Leela Bhansali, Imtiaz Ali and oth­ers con­tin­ue to make wom­en-cen­tric films, who knows the 100-crore club might be in their reach.

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Lyrics Dil Ke Jharokhe Me

Lyrics Dil Ke Jharokhe Me

Dil Ke Jharokhe Me – Song contents: Lyrics in EnglishHindi LyricsYouTube VideoSong TriviaMore Lyrics in English | Dil Ke Jharokhe Me | Brahmachari-1968 | Shammi Kapoor, Rajshree | Mohammed Rafi Dil Ke Jharokhe MeTujh Ho Bitha KarYaadon Ko Teri MainDulhan Bana KarRakhunga Main Dil Ke PaasMat Ho Meri Jaan Udaas Dil Ke Jharokhe MeTujh Ho Bitha KarYaadon Ko Teri MainDulhan Bana KarRakhunga Main…

[regionalkaraoke]

5 Brilliant RD ‘Pancham’ Burman Compositions That We Keep Coming Back To

customized karaoke songs He is known for innumerable accomplishments and by innumerable names- the man who, with his global taste in music, completely and single-handedly transformed the Indian film music industry.

Yes, you guessed it! We’re talking about RD Burman.

RD Burman, fondly known in the creative circles of India as Pancham Da, was an unstoppable force from the 60s to the 90s. Born on June 27, 1989, to legendary Bollywood composer SD Burman, Rahul Dev Burman is said to have earned the nickname of ‘Pancham’, coined by veteran actor Ashok Kumar, when he saw that the baby Rahul cried only in the 5th (panch) note of music notation. In his career spanning 30 years, he has composed musical scores for a total of 331 films. He took the tradition of musical genius passed on by his father and carried it to international heights.

Today, we remember some of Pancham Da’s most enduring classics, a list of select songs that have permanently occupied the top spots in our classical playlists.

1. Dilbar Mere Kab Tak (Satte Pe Satta): ‘Dilbar Mere’, like all the songs of the movie ‘Satte Pe Satta’ was a super hit. The song that picturizes the emerging and growing love and affection between the characters of Amitabh Bachchan and Hema Malini, is made more majestic by the melting voice of Kishore Kumar against a backdrop of a gorgeous countryside view.

2. Jaane Do Na (Saagar): The ‘Jaane Do Na’ song from Saagar is an epitome of intelligent music composition. The song holds itself perfectly even with simple lyrics with just its superb score. This was the magic of Pancham.

3. Jab Hum Jawan (Betaab): The cute love saga depicted in the film ‘Betaab’ starring Sunny Deol and Amrita Singh was aptly picturized by Burman in its music score and songs. ‘Jab Hum Jawaan Honge’ was such a powerful song that the lyrics became a poignant foreshadow of the ultimate fate of the characters.

4. Kitna Pyara Vaada (Caravan): The best evidence of the singular genius of Burman was his ability to create amazing songs that blended various genres. No wonder he pioneered the revolution in Bollywood music through his art. He perfectly exemplified his superior skills in combining tribal folk with contemporary music to create the soundtrack of ‘Caravan’, a story about a rich girl (Asha Parekh) who runs into and gets involved with a band of performing gypsies while escaping trouble.

5. Kitne Bhi Tu Karle (Sanam Teri Kasam): It was the legendary Pancham Da, who scored the phenomenal soundtrack of ‘Sanam Teri Kasam’, starring Reena Roy and Kamal Haasan. Especially the title track ‘Sanam Teri Kasam’ voiced individually by both Asha Bhosle and Kishore Kumar, was such a massive hit, that it single-handedly lifted the career of actor Reena Roy.

It is said that RD Burman was truly, a music man. It is said that he experimented with different musical sounds produced from methods such as rubbing sandpaper and knocking bamboo sticks together. He blew into beer bottles to produce the opening beats of “Mehbooba, Mehbooba”. Similarly, he used cups and saucers to create the tinkling sound for the song “Chura Liya Hai” from the film Yaadon Ki Baaraat (1973). For Satte Pe Satta (1982), he made the singer Annette Pinto gargle to produce a background sound. He also rubbed a comb on a rough surface to produce a whooshing sound in the song “Meri Samne Wali Khidki Mein” from the film Padosan (1968).

Unfortunately, the great genius died when he was just 54 years old. The world may have lost him in body, but his soul continues to live on…through the amazing and heartfelt songs he composed, and through the Hindi Film Music Industry today, as he was a big factor in shaping it into what it is today.

P.S. Are you inspired to reincarnate these songs in your own unique way? Buy professional-quality karaoke bundle of RD Burman’s most popular and evergreen songs.

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[bollywoodirect]

Happy Birthday Wishes to India's popular pop, jazz and playback singer Usha Uthup, who turned 70 today. Usha Uthup (born 7 November 1947) is an Indian pop, filmi, jazz, and playback singer who sang songs in the late 1960s, 1970s and 1980s. Darling, which she recorded with Rekha Bhardwaj for the film 7 Khoon Maaf, won the Filmfare Award for Best Female Playback Singer in 2012. Usha Uthup started singing in a small nightclub in Chennai called as Nine Gems in the basement of the erstwhile Safire theatre complex on Mount Road, when she was 20, wearing a saree and leg callipers. Her performance was so well received that the owner of the nightclub asked her to stay on for a week. After her first night club gig, she began singing in Calcutta at night clubs such as "Trincas". She met her future husband Uthup in Trincas. At about the same time, she also sang at "Talk of the Town", now known as "Not Just Jazz by the Bay" in Bombay (now Mumbai). After Trincas, her next engagement took her to Delhi where she sang at the Oberoi hotels. By happenstance, a film crew belonging to Navketan unit and Shashi Kapoor visited the nightclub and they offered her a chance to sing movie playback. As a result, she started her Bollywood career with Ivory-Merchant's Bombay Talkies (1970) in which she sang an English number under Shanker-Jaikishan and then Hare Rama Hare Krishna. Originally, she was supposed to sing Dum Maro Dum along with Asha Bhosle for Hare Rama Hare Krishna. However, as a result of internal politicking on the part of other singers, she lost that chance but ended up singing an English verse. In 1968, she recorded covers of two pop songs in English, "Jambalaya" and The Kingston Trio's "Greenback Dollar", on an EP, Love Story, and "Scotch and Soda", another Kingston Trio song, which sold very well in the Indian market. She also spent some time in London during this early period. She was a frequent visitor to Vernon Corea's BBC office at the Langham in London and was interviewed on London Sounds Eastern on BBC Radio London. Usha visited Nairobi as part of an Indian festival. She was so popular that she was invited to stay on. Singing and quite often nationalistic songs in Swahili made her extremely popular and the then President Jomo Kenyatta made her an Honorary Citizen of Kenya. She sang the famous song "Malaika" (angel) with Fadhili Williams who was the original singer. She produced a record "live in Nairobi" with a local band Fellini Five. Uthup sang several songs in the 1970s and 1980s for music directors R D Burman and Bappi Lahiri. She also reprised some of R.D. Burman songs that were sung by others such as Mehbooba Mehbooba and Dum Maro Dum and popularised them to a distinct end. Uthup also sang for a two-volume collection of children's rhymes "Karadi Rhymes", which are "Indian Rhymes for Indian Kids", brought out by Karadi Tales. The rhymes reflect the Indian ethos through the Sa-re-ga-ma, mangoes, Indian rivers, the train experiences, Indian festivals, indigenous trees, Cricket, Indian foods like bhelpuri and sambhar, Indian attire like the dhoti, sari, bindi and bangles and even some folk tales. With each rhyme set to an Indian raga, and sung in her characteristic voice with a feisty tempo, Usha creates the atmosphere for children and, surprisingly, even adults to sing along and dance to the toe-tapping beats. She appeared as a judge on a singing reality show Bharat Ki Shaan: Singing Star – Season 2 (2012), aired on DD National channel, along with Ismail Darbar. She is the judge in the Season 3 of the show as well. She also appeared as a chief guest for Marathi singing reality show . She entertained the audience with Marathi songs. Like बॉलीवुड डायरेक्ट Bollywoodirect

[creativesistersstudio]

One of the classic evergreen bollywood song #aajkalteremerepyaar 💫 I m checking some of the very old n legendary songs these days This song from Movie Brahmachari (1968) originally sung by Mohammed Rafi and Suman Kalyanpur, Lyrics by Shailendra, Music Direction: Shankar Jaikishan. This song also won Filmfare award in 1968 for best music direction. #spreetymusic #creativesistersstudio #bollywoodsongs #bollywoodmusic #mohammedrafi #sumankalyanpur #arijitsingh #nehakakkar #gururandhawa #palakmuchhal #shreyaghoshal #atifaslam #tiktok #shahrukhkhan #salmankhan #akshaykumar #amitabhbachchan #indiansingers #oldbollywoodsongs #bollywoodclassics (at London, United Kingdom) https://www.instagram.com/p/BojsICsgOP_/?utm_source=ig_tumblr_share&igshid=7x30rhfu5hd2

[bollywoodtower-blog]

Hema Malini Biography: Bollywood Tower Exclusive

Hema Malini Biography: Hema Malini is an Indian Film Actress and active politician. She did her debut in Hindi films with Sapno Ke Saudagar in 1968. Before her debut, she worked in two Tamil films as a dancer. She is known as the dream girl of Bollywood. Hema Malini is one of the few actresses who used to charge more than a hero for a movie. She is one of the most beautiful divas of her time. There was a time when she was proposed by the top star of that time that includes Dharmendra, Jitendra and Sanjeev Kumar. After a successful career in Hindi Films, she also worked in TV. She hosted, produced and directed many TV shows. As a host and judge, she hosted Rangoli in 1989 and Dancing Queen in 2008-09. Apart from TV and Hindi films, she also played a successful inning in Politics. She was elected as Member of Parliament from Rajya Sabha(Upper house of Parliament) in 2003. In 2014 Loksabha election, she won the election of MP from UP. Now she is the member of Lok Sabha. Also, Read-Sanjay Dutt had more than 308 girlfriends My score is still less than 10: Ranbir Kapoor She also honoured with Padma Shri in 2000 for her contribution in Hindi Cinema. Filmfare also honoured her with the Life Time Achievement award for her contribution to Hindi Cinema. Bollywood Tower brought some interesting fact which you might never be heard off. You are reading Hema Malini Biography on Bollywood Tower. Name- Hema Malini Chakravarty Nationality-Indian Profession-Actress, Politician DOB- 16 October 1948 Horoscope- Libra Religion- Hinduism Address-  43, Shakunt Plot No. 17, Jaihind  Society, 12th Road, JVPD Juhu, Pin-40049 Mumbai, India Height- 5'6" Weight- 60 Kilogram Figure Measurement- 35432-35 Body Appearance- Not Available Hair Colour- Black Eye Colour- Dark Brown Debut movie – Sapano Ka Saudagar (1968) Favourite Film-Sholey Favourite Director- Not Available Hit Movie-  Sholey, Sapano Ka Saudagar Favourite Actor- Dharmendra Favourite Actress- Aishwarya Rai Love Affairs- Jeetendra, Actor Favourite Song- Ye Dosti ham... First Crush- Dharmendra Marriage- Dharmendra Favourite Books- Not Available Favourite Author-  Not Available Hobbies- Reading Books, Hindi Songs Favourite Musician- Not Available Inspiration-  Not Available Best phase- Not Available The biggest hit in her career-  Sholey Fees per film- Not Available You are reading Hema Malini Biography on Bollywood Tower. Some more interesting fact of Hema Malini's personal and professional life She does not but she drinks occasionally. Also Read, Urvashi Rautela Interesting fact of her personal and professional Life. She was proposed by Dharmendra, Jitendra and Sanjeev Kumar at the same time for marriage. She almost married to Jitendra but it was stopped by some friends of Dharmendra. Later she married to Dharmendra. You are reading Hema Malini Biography on Bollywood Tower. She decided to stop her study after 12th to start her career in Acting. She got the sobriquet of Dreamgirl after the release of her movie Dream Girl in 1977. What do you think about Hema Malini Successful career in Hindi Films, TV and politics? Share your opinion in the comment section. Also, Read- Jacqueline Fernandez some Interesting fact of her personal and professional Life You can follow us on twitter and facebook page to get all the update from B-town. Check out Daily Box office update table in the sidebar of every news. People who love Bollywood news Keep visiting Bollywood Tower. Read the full article

[like2in]

From Ek Do Teen in Baaghi 2 to Tumhari Sulu’’s Hawa Hawai 2.0, a look at Bollywood’s obsession with remixes

From Ek Do Teen in Baaghi 2 to Tumhari Sulu’’s Hawa Hawai 2.0, a look at Bollywood’s obsession with remixes - The last couple of years seem to have witnessed a surge in the number of recreations of popular songs from the ’80s and the ’90s. One way to look at this trend is that they introduce today’s generation to the hit tracks of the bygone era. On the other side, many of those who grew up on those songs back then, believe they should be retained in their original form. Interestingly, one common factor of the updated versions of those old songs in the past two years is Tanishk Bagchi. While he is one of most sought-after musicians to give a new spin to the hit tracks, we also have Gourav-Roshin, who have recreated Laxmikant-Pyarelal’s Ek Do Teen from Tezaab (1988) for Baaghi 2. This time around, Jacqueline Fernandez steps into Madhuri Dixit’s dancing shoes. Here’s looking at some of the other recreated tracks in the recent times... GAZAB KA HAI DIN — QAYAMAT SE QAYAMAT TAK (1988)NEW VERSION: DIL JUUNGLEE (2018) A favourite of every ’80s and ’90s kid, this song embodies sheer romance. Aamir Khan and Juhi Chawla were the perfect representatives of innocent teenage love in this soulful number. Everyone will remember how they got lost in the woods and kissed thereafter. Tanishk Bagchi recreated it for Taapsee Pannu and Saqib Saleem’s Dil Juunglee, which released recently. It was rendered by Jubin Nautiyal and Prakriti Kakar. HAWA HAWAI — MR INDIA (1987)NEW VERSION: TUMHARI SULU (2017) The original song is a classic in every way — whether it is Sridevi’s expressions or the peppy beats. Tanishk created a jazzier version for Vidya Balan-starrer Tumhari Sulu, which was appreciated by Sridevi. The song suited Vidya’s confident, jugaadu and unique approach towards life. Shashaa Tirupati provided the added vocals in this version. RAAT BAAKI — NAMAK HALAAL (1982)NEW VERSION: ITTEFAQ (2017) Jubin Nautiyal and Nikhita Gandhi crooned the new version of Raat Baaki called Ittefaq Se. The music was again remixed by Tanishk, who also worked on the lyrics with Groot. It resonated with listeners who said it was the best remade song of 2017. TU CHEEZ BADI HAI MAST MAST — MOHRA (1994)NEW VERSION: MACHINE (2017) The original song is kind of a classic. Every ’90s kid will tell you that Raveena Tandon’s oomph and Paresh Rawal’s act with those glares are inimitable. However, Tanishk made some alterations to the song, originally composed by Viju Shah. Neha Kakkar lent the vocals to the new version with additional lyrics by Shabbir Ahmed. Listeners loved the trippy vibe brought by Neha’s voice. Machine also had a remixed version of Padosan’s (1968) iconic number Ek Chatur Naar composed by RD Burman. GULABI AANKHEN — THE TRAIN (1970)NEW VERSION: NOOR (2017) The revisited version was sung by Tulsi Kumar and Amaal Mallik. All of us know that Gulabi Aankhen, featuring Rajesh Khanna and Nanda, is one of the biggest hits of late singer Mohammad Rafi. Sadly, the new song failed to register any impact. HUMMA HUMMA — BOMBAY (1995)NEW VERSION: OK! JAANU AR Rahman brought a new version of the song that featured singers like Jubin, Tanishk, Badshah, Shashaa and others. While Aditya Roy Kapur and Shraddha Kapoor’s chemistry sizzled, the song failed to impress lovers of the original. We are sure many purists would be fuming seeing these experiments with their favourite songs. There is no denying that some of the remakes have worked well. But considering the kind of news and hype the recreation of an old classic generates, such songs are great for publicity as well. TAMMA TAMMA — THANEDAAR (1990)NEW VERSION: BADRINATH KI DULHANIA (2017) Fans will remember Sanjay Dutt and Madhuri Dixit dancing energetically to Bappi Lahiri and Anuradha Paudwal’s vocals in the song that itself was a lift from Mory Kante’s Tamma Tamma Lobe. In Tanishk’s Tamma Tamma Again, also a chartbuster, we saw some additional rap by Badshah. CHALTI HAI KYA 9 SE 12 — JUDWAANEW VERSION: JUDWAA 2 Anu Malik, the original composer of the song recreated his two chartbusters Oonchi Hai Building and Chalti Hai Kya for the reboot of the ’90s superhit film Judwaa. He sang the song with Neha Kakkar. Needless to say, both the new versions trended and won listeners over with their funky tunes. From Ek Do Teen in Baaghi 2 to Tumhari Sulu’’s Hawa Hawai 2.0, a look at Bollywood’s obsession with remixes Read the full article

[newsekaaina-blog]

List of Bollywood comedy Films

Top 10 Hindi Comedy Movies Free Download (List of Bollywood comedy Films)Hello my dear Fun Loving Friends! Are you searching for funny Bollywood movies to watch? Do you want to delight and happy your mood by watching Hindi comedy full movies? Top 10 Hindi Comedy Movies Free Download (List of Bollywood comedy Films)Comedy movies are a great mood-lifter. Below, find a list of more than 10 awesome Hindi comedy movies ever made in the history of Indian cinema, Bollywood. The collection is sorted by the year in which they were released, accompanied by clips and links to the full-length version of the movie. Enjoy!

1. Chalti Ka Naam Gaadi (1958)

Directed by: Satyen Bose

Starring: Kishore Kumar, Madhubala, Ashok Kumar, Snoop Kumar

Runtime: 173 mins

The romantic comedy category may have officially made its way into Indian cinema through this film. Chalti Ka Naam Gaadi is the story of three brothers who keep trying to avoid women at all costs. Played by the real-life brother trio, Ashok, Anoop, and Kishore Kumar come together to bring one of the most classic Hindi comedy movies of all-time.The songs are also great, and the fun never stops throughout we are presenting Top 10 Hindi Comedy Movies Free Download List of Bollywood .Top 10 Hindi Comedy Movies Free Download (List of Bollywood comedy Films)

Top 10 Hindi Comedy Movies Free Download (List of Bollywood comedy Films)

Video: Even the songs are comical – Hum The Woh Thi

Video: Watch Chalti Ka Naam Gaadi the Full Movie

2. Half Ticket (1962)

Directed by: Kalidas

Starring: Kishore Kumar, Madhubala, Pran

Runtime: 168 mins

If you’re not easily swayed by just any comedy, think again with this one. You’ll be swept off your feet after watching Half Ticket. In fact, calling this one hell of a fantastic movie would be an understatement. Watch for the best, very notable scene from this movie featuring Kishore Kumar’s father being called to the board of director’s house for a dinner party. This movie is a must-watch right now. Top 10 Hindi Comedy Movies Free Download (List of Bollywood comedy Films)

Video: Watch a Scene from Half Ticket

3. Padosan (1968)

Directed by: Jyoti Swaroop

Starring: Sunil Dutt, Saira Banu, Kishore Kumar, Mehmood

Runtime: 157 mins

This light-hearted comedy movie is a must-watch. The story revolves around Bhola (Sunil Dutt) and his lady love Bindu (Saira Banu). It’s one of the best Bollywood movies, filled with great performances and songs—namely Vidyapathi (Kishore Kumar)’s performance and the famous song, Meri Pyaari Bindu. I particularly adore Mahmood’s role as a Tamilian. Many people have disregarded this movie because they believe it shows a Tamilian in bad taste. However I am Tamilian, and I didn’t find that this movie mocked the South Indian culture at all. The key is to take in the movie in the right spirit. Top 10 Hindi Comedy Movies Free Download (List of Bollywood comedy Films)

Video: Watch a Scene from Padosan

Video: Watch Padosan the Full Movie

4. Bombay to Goa (1972)

Directed by: S. Ramanathan

Starring: Mehmood, Aruna Irani, Amitabh Bachchan

Runtime: 132 mins

This is a remake of the Tamil movie, Madras to Pondicherry. Excellent music and funny scenes are strewn across the movie. The funny Tamil boy Amma Pakoda’s act is an over-the-top comedy scene. I had such a great time watching this. Hop on to the exciting journey from Bombay to Goa!

Video: Watch a Scene from Bombay to Goa

Video: Watch Bombay to Goa the Full Movie

5. Chupke Chupke (1975)

Directed by: Hrishikesh Mukherjee

Starring: Dharmendra, Sharmila Tagore, Amitabh Bachchan, Jaya Bachchan, Om Prakash, Asrani, Lily Chakraborty, Usha Kiran, David Abraham Cheulkar

Runtime: 127 mins

This movie is Dharmendra at its best. Chupke Chupke, directed by Hrishikesh Mukherjee is a classic comedy movie. Each and every character is written excellently—watching it just once won’t satisfy you. If you haven’t watched this yet, then you’re missing out on something very special. I have stopped counting how much times I have seen this one.

Video: Watch Chupke Chupke the Full Movie

6. Chhoti Si Baat (1975)

Directed by: Basu Chatterjee

Starring: Amol Palekar, Vidya Sinha, Ashok Kumar, Asrani

Runtime: 123 mins

A romantic comedy movie that showcases Amol Palekar in a unique role. Chhoti Si Baat is the story of a young, shy person (who’s not suave at all) wanting to impress a girl with his simple methods. Despite his best efforts, he goes unnoticed. So he then seeks out the help of a retired general who has his own techniques and understands the psychology of girls. Whether he’ll (Arun, played by Amol) get his love or not forms the rest of the film.

Video: Watch a Scene from Chhoti Si Baat

7. Gol Maal (1979)

Directed by: Hrishikesh Mukherjee

Starring: Amol Palekar, Utpal Dutt, Bindiya Goswami

Runtime: 144 mins

Ram Prasad (Amol Palekar) is a recent college graduate desperately looking for a high-paying job. In turn, he pays a visit to Bhavani Shankar (Utpal Dutt), the man of traditional values and believes that men who are mustache-less and who play sports lack maturity and character. Ram makes sure that he follows these requirements. The movie revolves around the confusion that happens when Bhavani Shankar sees him Ram Prasad moustache-less in a hockey match. This is an all-time great for Utpal Dutt’s work—a real masterpiece.

Video: Watch a Scene from Gol Maal

Video: Watch Gol Maal the Full Movie

8. Chashme Buddoor (1981)

Directed by: Sai Paranjape

Starring: Farooq Shaikh, Deepti Naval, Saeed Jaffrey

Runtime: 145 mins

This is a romantic comedy movie with effortless comedic performances by Farooq Shaikh and company. The first part of the story is about Siddharth (Farooq Shaikh), who is extremely studious, falling in love with Neha (Deepti Naval), while Omi (Rakesh Bedi) and Jomo (Ravi Baswani) are just interested in chasing girls. The second part is the attempt to stage the fake kidnapping of Neha, which turns into a real kidnapping by a dreaded gang.

Video: Watch Chashme Buddoor Full Movie

9. Satte Pe Satta (1982)

Directed by: Raj N. Sippy

Starring: Amitabh Bachchan, Hema Malini, Ranjeeta Kaur

Runtime: 160 mins

Satte Pe Satta is the story of seven brothers living in a farmhouse. This movie contains many hilarious scenes, unforgettable music, and a great script. The video below here shows the funniest scene of the movie where Amitabh Bachchan is down few pegs and then the trademark dialogue “Daru Peene Se Liver Kharab Hota hai” occurs.

Video: Watch a Scene from Satte Pe Satta

Video: Watch Satte Pe Satta the Full Movie

10. Angoor (1982)

Directed by: Gulzar

Starring: Sanjeev Kumar, Moushumi Chatterjee, Deven Verma

Runtime: 141 mins

This is based on Shakespeare’s play “The Comedy of Errors” and, oh, you won’tstop laughing. Angoor is the story of two pairs of identical twins and the confusion all around. One pair is played by Sanjeev Kumar (both characters named Ashok) and the other pair by Deven Verma (both characters named Bahadur). Funny down to the last minute. With more than enough reasons to do a remake; Shahrukh Khan, Tusshar Kapoor, and Kareena will feature in the remake for Sanjeev Kapoor, Deven Verma, and Moushumi Chatterjee, respectively.

[asksabhaniblog]

Kalyanji Anandji's best recognition came long after they retired! The internationally acclaimed group Black Eyed Peas included tunes (with full credit to Kalyanji-Anandji) from two of their biggest hits (Yeh mera dil from Don and Ae naujawan from Apradh) in their song Don’t phunk with my heart. This song won a Grammy Award and Anandji was felicitated by BMI (Broadcast Music, Inc) on behalf of the duo in 2006, several years after their retirement! This perhaps is a recognition of the evergreen appeal of Kalyanji-Anandji’s music not only to the younger generation but also to a substantial international population. Several of their hits were remade in multiple languages, remixed, and featured in advertisements on TV.

BIRTHDAY GREETINGS to Anandji Virji Shah, Bollywood's renowned music director and one half of the incredible music director duo Kalyanji Anandji, who turned 85 today. Born in Kundrodi, Gujrat Anandji Virji Shah (born 2 March 1933) formed the Kalyanji-Anandji duo with his elder brother Kalyanji in 1953.His father was a business man who migrated from Gujrat to Mumbai to run a grocery shop.Both the brothers composed some of Bollywood's most memorable chart topping numbers from the 60s right up till the 90s.Kalyanji-Anandji's Bollywood entry was feted as a major turning point in the industry. A time when big music directors like Naushad, Hemant Kumar, Madan Mohan, S.D. Burman and Shankar Jaikishan ruled the industry, gaining a strong foothold was difficult, but Kalyanji-Anandji swept a million hearts in spite of the tough competition.The duo’s first major success came with Manmohan Desai’s “Chhaliya” in 1960.Two decisive scores, Himalay Ki God Mein and Jab Jab Phool Khile, established them as composers to reckon with.After this there was no looking back and they scored hits after hits for films like Dil bhi tera hum bhi terey (1960), Bluff master (1963), Dulha dulhan (1964), raaz (1967), Upkaar (1967) , 'Purab Aur Pachhim', 'Johny Mera Naam' etc. In 1965, they won their first Filmfare award for “Saraswathi Chandra”.Their success continued unabated through the 1970’s with films like Haseena maan jaayegi (1968) Apraadhi (1972), Blackmail (1973), Zanjeer (1973), Haath ki safaai(1974), Kora kaagaz (1974, they won their second Filmfare award for this film), rafoochakkar (1975), Dharmaatma (1975), Hera pheri (1976), Muqaddar ka sikander (1978), Don (1978) and Qurbani (1980). By the mid 1980’s their success began to wane a bit, with only a couple of hits like Jaanbaaz (1984) and Tridev (1989).Kalyanji Anandji composed music for over 250 films in a career spanning over 3 decades and had innumerable hits to their credit.Their last film as composer duo was Ulfat ki nayeen manzilain (1994). During the Golden era of film music in the 1950’s and 1960’s, they composed tuneful, soulful melodies, apt to the setting and era, Then when R D Burman arrived big time with Teesri manzil in 1968, they went with the flow of time and gave some of the greatest disco or otherwise western numbers. Who can forget their songs like Too kya jaaney wafaa (Haath ki safaai), Ye mera dil, pyaar ka deewaana (Don-original!), Laila main laila (Qurbani), Oh ya Allah (Muqaddar ka sikander), all of which had either the beats or orchestration heavily westernized? That apart the duo also gave quite a few folk numbers like Main to bhool chali babul ka des (Saraswathi Chandra), salaam-e-ishq meri jaan (Muqaddar ka sikander), khaike paan banaaras waala etc. Though they did not delve into pure or semi classical, their songs of 1950’s and 60’s were definitely based on classical or folk melodies.Kalyanji–Anandji's variety-studded music is complete with some of the topmost songs of all singers and genres. Both Kalyanji and Anandji worked as music composers for over 250 films, 17 of which were golden jubilees and 39 silver. Kalyanji and Anandji started an orchestral group called Kalyanji Virji and Party which organised musical shows in Mumbai and outside.This was the first attempt made for holding live musical shows in India.They were also responsible for presenting the Hindi film industry with some of its brightest singing stars. Kalyanji Anandji discovered raw musical talents such as Udit Narayan, Alka Yagnik, Kumar Sanu, Sadhna Sargam and Sunidhi Chauhan and gave them their first break. They also helped introduce or gave career defining breaks to lyricists like Anand Bakshi, Gulshan Bawra, Anjaan, Verma Malik and M G Hashmat.Kalyanji breathed his last in November 2000 but his younger brother Anandji has gamely carried on their legacy, through shows and the various charitable activities espoused by them through the years.He is a recipient of the civilian honour of Padma Shri (1992).

[writemarcus]

ELEANOR BURGESS  (Special Recognition)     The Niceties

Zoe, a black student at a liberal arts college, is called into her white professor’s office to discuss her paper about slavery’s effect on the American Revolution. What begins as a polite clash between fellow liberals explodes into an urgent debate about race, history, power, and the things we don’t say.    eleanorburgess.com

LINDSAY JOELLE (Special Recognition)     A Small History of Amal by Amal, Age 7

On the day of the 2006 Mumbai train bombings, Amal, a seven-year-old boy in a public hospital, lives a smaller history. He meets doctors, patients, and a food service worker with dreams of Bollywood. He writes a letter to the Prime Minister, and falls in love for the first time. But when the hospital struggles beyond capacity to treat the survivors, Amal gets lost in the shuffle. Now, it’ll take an explorer’s heart and a little Bollywood magic to defeat the god of death.    lindsayjoelle.com

AMONTAINE AURORE     Don’t Call it a Riot!It is 1968, and Reed, a member of Seattle’s Black Panther Party must juggle the demands of a new marriage and being six months pregnant, yet still finds time to fight for liberation and dream of creating a better world. When her best friend, Marti, moves in, there is yet one more thing on her plate. Reed has no clue of the forces at work that will eventually destroy the Party, nor the ones that threaten her own happy home. It will take twenty-nine years before she will finally discover the betrayal that was at the root of a dream deferred.  

newplayexchange.org/users/13403/amontaine-aurore

BENJAMIN BENNE     Q u e r e n c i a: an imagined autobiography about forbidden fruits

Milo’s favorite fruit are bananas; also, he just turned 13 and is grappling with his sexual identity. If that weren’t complicated enough, his estranged aunt has just been released from jail and the gym class bully has picked him as the new target. Having never left his neighborhood in L.A., he dreams about what it would be like to escape…but in the mean time, at least he has his neighbor Zoe, who has sworn to be his BFF with a drop of blood. And, in their world, blood is supposed to be the strongest bond.    newplayexchange.org/users/5676/benjamin-benne

KARI BENTLEY-QUINN     The Worst Mother in the World

New mom Nina has a healthy baby boy, a loving husband…and is struggling with terrifying nightmares and anxiety attacks. Her therapist, Bonnie, is trying to help her discover how she can be a better mother to her infant son. In the meantime, Bonnie’s estranged daughter, Mary, arrives home with some life changing news. When Nina and Mary become friends, Bonnie’s professional and personal life gets a lot more complicated.     newplayexchange.org/users/737/kari-bentley-quinn

ANGELICA CHERI     BERTA, BERTA

After committing an unforgivable crime, Leroy retreats to his long lost lover Berta’s house to take refuge and make amends. Their electrifying reunion swells from an agitated argument about the past to an impassioned plot to escape fate and start a new life. The play is inspired by the prison chain gang song “Berta, Berta” that originated on Parchman Farm, Mississippi State Penitentiary. It is an imaginary origin story. angelicacheri.com/berta-berta/.

GINA FEMIA     Annie and the Fat Man

Annie is anorexic and Tiny is obese. They’re best friends, Brooklynites through and through. When they each embark on new romantic relationships, will their relationship break or strengthen?   newplayexchange.org/plays/45949/annie-and-fat-man

WILLIAM GLICK     The Bigot

When Simon Levinson accuses his father of bigotry, he must confront a series of larger challenges, including the polarization of American politics, the rise of a controversial Presidential candidate, and how to make his boyfriend love him. Taking place over the course of the Obama years, the play explores what we gain and lose as society makes progress and asks the question, “Who in this play is actually ‘The Bigot?'”    williamglick.com (E-mail: wglick1@gmail.com)

MARY ELIZABETH HAMILTON     One of the Women

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CANDRICE JONES     Crackbaby

Crackbaby is a satirical critique of the Public Education School System of the United States of America and the Reagan Administration’s War on Drugs. Theoretically, the play questions the politics of visibility as well as the danger of accepting a version of a single story narrative (the crackbaby myth). Taking place from the early to late 90’s, Crackbaby follows the journey of Emarytus Brown from kindergarden to eighth grade. The granddaughter of a drug dealer and master of Black Panther rhetoric, with each grade Emarytus learns a new lesson eventually shedding her innocence.   newplayexchange.org/users/8068/candrice-jones

CARSON KREITZER     CAPITAL CRIME!

CAPITAL CRIME! is set in New York in the Gilded Age, the time of highest levels of income inequality in this country… until now. This is a tale of lust, murder, greed, unfettered capitalism, and the consumption of young girls. A play with songs, in Brecht-meets-Riot Grrrl fashion.    newplayexchange.org/users/12896/carson-kreitzer

ERIC REYES LOO     Death and Cockroaches

When Eric moves home to take care of his dying father, he runs from his sadness right into a Wall of Dicks. An irreverently honest story, told from the POV of a playwright in his own play.     newplayexchange.org/plays/74749/death-and-cockroaches

BRIAN DANIEL OGLESBY     Small Steps

When Skip Powers realizes that no one will ever love him, he volunteers to go to Mars — and the Principal of NASA says, “Yeah, sure. You’ll do.” Skip is super gay and isn’t really a participant in the gene pool, so it just makes sense to send him millions of miles on the the spaceship Atlantis on a mission that will, in all likelihood, kill him. And after crappy experiences on gay hookup apps, he’s more than prepared for the training with the Abstinence Coach — but a little less prepared when the Love of His Life tries to keep him on earth. This play about what it means to attempt to live your life in the pursuit of great things spans a million years and fifty-five million miles.     newplayexchange.org/users/2354/briandaniel-oglesby

STACY AMMA OSEI-KUFFOUR     HANG MAN

newplayexchange.org/users/5348/stacy-amma-osei-kuffour

ALICE PENCAVEL     PIE SHOP PLAY

Agnes and Kitty — the pie shop sisters — have big dreams. But when the pipes in their shop burst, leaking toxic unknowns that rob them of coherent speech, they are forced to contend with the bleak reality that their past still haunts them, divides them, and contagiously invokes havoc on any who work in the name of pie.     newplayexchange.org/users/9645/alice-pencavel

GREGORY RAMOS     Cuentos de Josefina (Josephine’s Tales)

A heartfelt memory tale that follows the story of young Josefina and her brother Ignacio’s journey from Mexico to the United States after the Mexican revolution. The play explores what it means to leave one land in search of another, and the value in maintaining ties to our past. Based on true Mexican family tales, Cuentos de Josefina (Josephine’s Tales) weaves together a series of stories that can be told with various theatrical devices, including story theatre, movement, music, shadow and puppetry.    gregoryramos.com/

DENEEN REYNOLDS-KNOTT     BATON

BATON, introduces Ava and Tim, a black couple on a date interrupted by news of unrest in Baltimore after Freddie Gray’s funeral. Ava and Tim grapple with differing feelings about the case. Ava reveals a past engagement to a white cop, detonating a night of accusations, interrogations and confessions.  newplayexchange.org/users/13496/deneen-reynolds-knott

RITI SACHDEVA     The Rug Dealer When Raba Zacharai suddenly passes away, his daughter Shiraz inherits the Persian rug shop he built in New Haven on leaving Iran in 1979. As an unexpected love affair develops with a dangerously beautiful customer and her mother’s secret longing to return to Iran after decades of exile grows more urgent, Shiraz must negotiate the costly business of carpets, family, duty, and love.   newplayexchange.org/users/630/riti-sachdeva

MARCUS SCOTT     Tumbleweed

Tumbleweed is a slice-of-life American comedy-drama following a cosmopolitan interracial family and their pre-teen black sheep Willow, off-putting natural hair combined with both her family’s open acceptance of it and lack of maintenance causes controversy. Tensions stir even more so when they get a visit from the patriarch’s estranged no-nonsense mother, a former affiliate of the Black Panther party. The play explores beauty standards both in and out of the black community, ethnic relations, the mixed race family, coming of age, interracial marriage and parenting, relationships, womanist identity and the visibility of black men in the family dynamic.    writemarcus.tumblr.com

CHERRY LOU SY     paper swag

paper swag is about two teen boys who go to Stuyvesant High School looking for what to write about in their college application essay. As they go through their daily lives, they discover that their mothers’ journeys are a big part of who they are.     howlround.com/authors/cherry-lou-sy

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Lyrics Parde Me Rehne Do

Lyrics Parde Me Rehne Do

Parde Me Rehne Do | Shikar-1968 | Lyrics in English | Asha Parekh, Dharmendra Parde Me Rehne DoParda Na UthaoParde Me Rehne DoParda Na UthaoPadra Jo Uth Gaya To BhedKhul JaayegaAllaah Meri Tauba (2)Allaah Meri Tauba (2)Parde Me Rehne DoParda Na UthaoParde Me Rehne DoParda Na UthaoPadra Jo Uth Gaya To BhedKhul JaayegaAllaah Meri Tauba (2)Allaah Meri Tauba (2)……….. Mere Padre Me Laakh Jalwe…