#Best Hindi Songs of 1959

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Lyrics Jalte Hain Jis Ke Liye

Lyrics Jalte Hain Jis Ke Liye

Jalte Hain Jis Ke Liye – Song contents: Lyrics in EnglishHindi LyricsYouTube VideoSong TriviaMore Lyrics in English | Jalte Hain Jis Ke Liye | Sujata-1959 | Sunil Dutt, Nutan Humm..Jalte Hain Jis Ke LiyeTeri Aankhon Ke DiyeDhoondh Laaya Hoon WahiGeet Main Tere Liye Jalte Hain Jis Ke Liye (2)Teri Aankhon Ke DiyeDhoondh Laaya Hoon WahiGeet Main Tere LiyeJalte Hain Jis Ke Liye……….. Antakshari…

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Shalimar 1978 Songs Pk

Shalimar 1978 Songs Pk Songs

Shalimar 1978 Songs Pk Subban

Shalimar 1978 Songs Pk Song

This will remove all the songs from your queue. Are you sure you want to continue? Clear currently playing song. One Two Cha Cha Cha(From 'Shalimar') Lyrics. Old songs indeed have an unmatchable aura from the rest of the songs. These songs, with the combination of meaningful lyrics and melodious tunes, helped in creating a great hype for their film. While some songs are famous by their title, some are famous by the cast that performs in the songs. SUBSCRIBE for the best Bollywood videos, movies, scenes and songs, all in ONE channel: On the run from the police, S.S. Kumar, a thief, comes across a private invitation to. About Us Shalamar Hospital is committed in the delivery of its tripartite mission of exemplary patient care, high-impact research and education. Over the last 44 years, Shalamar Hospital has evolved into a premier tertiary care medical facility with 500.

Category :Bollywood Songs

A number of songs about turmoil in relationships have been made in Hindi films. It’s not easy to get back to normal after a split with the one you love. This article showcases a detailed perspective of the best Bollywood Breakup songs and Heartbreak songs.

Parting ways with the one you love is never easy. Not every love story has a happy ending. The sentiments associated with a breakup have been expressed colloquially in Hindi films. Since its early days the Hindi film industry has depicted varied emotions centrifugal to lovers parting ways. Emotional turmoil is an aspect that has been thoughtfully captured through songs in Hindi films. Since the black and white era, songs about breakup and heartache have been exceedingly popular. Songs about lovers parting ways are exceedingly popular with Bollywood aficionados. People are able to relate with lyrics in breakup songs, and that’s why these songs are close to the heart of many.

Listeners are able to connect with emotions and feelings conveyed through breakup songs. Heartache and breakups is a bitter slice of reality that is painful, and it’s this pain that is expressed poetically through Bollywood breakup songs. The Hindi film industry is known for its high caliber lyricists. Lyricist’s give new life and meaning to songs with words. Lyrical melodies in Bollywood songs have charmed audiences in different decades. The warmth of emotion that oozes forth in Bollywood breakup songs has mesmerized audiences belonging to different age groups.

Breakup songs and heartbreak songs are popular with both youngsters and the older generation. While youngsters relate to present day songs, the older generation loves listening to sad songs from the decades gone by. The sentiments expressed through breakup songs in Hindi films have touched hearts. Emotive lyrics in breakup songs bring back memories of the past. Listening to songs about breakups or heartbreak help you deal with life as it comes. While opinions differ in regard with whether listening to breakup songs impact a person positively or negatively, the truth of the matter is lyrics in songs about heartbreak can only make you stronger and move forward for a better life.

The lines below showcase a comprehensive list of the best Bollywood breakup songs.

100 Greatest Bollywood Breakup Songs and Heartbreak Songs

Tadap Tadap Ke- Hum Dil De Chuke Sanam (1999)

Jag Soona Soona Lage- Om Shanti Om (2007)

Tanahayee- Dil Chahta Hai- (2001)

Jeena Yahan Marna Yahan- Mera Naam Joker (1970)

Bin Tere- I Hate Love Stories- (2010)

Yeh Duniya Yeh Mehfil- Heer Ranjha (1970)

Kabira- Yeh Jawaani Hai Deewani- (2013)

Tum hi Ho- Aashiqui 2 (2013)

Saathi Re Tere Bina Bhi Kya Jeena- Muqaddar Ka Sikandar (1978)

Tu Jaane Na- Ajab Prem Ki Ghazab Kahani- (2009)

Jaane Tu Meri Kya Hai- Jaane Tu… Ya Jaane Na (2008)

Agar Tum Saath Ho- Tamasha (2015)

Teri Meri- Bodyguard (2011)

Tujhe Bhula Diya- Anjaana Anjaani- (2010)

Mora Piya- Raajneeti (2010)

Tere Bin- Bas Ek Pal (2006)

Pyaar Hai Ya Sazaa- Salaam-e-Ishq (2006)

Bhula Dena- Aashiqui 2 (2013)

Jab Rulana Hi Tha- Aggar (2007)

Tujhe Yaad Na Meri Aaye- Kuch Kuch Hota Hai (1998)

Pardesi Pardesi Jaana Nahin- Raja Hindustani (1996)

Tujhe Sochta Hoon- Jannat 2 (2012)

Woh Lamhe Woh Baaten- Zaher (2005)

Chaha Hai Tujhko- Mann (1999)

Tune Jo Na Kaha- New York (2009)

Dil Ke Armaan Aanshuo Main Beh Gaye- Nikaah (1982)

Sunn Raha Hai- Aashiqui 2 (2013)

Hasi- Hamari Adhuri Kahani- (2015)

Tere Liye- Veer Zaara (2004)

Zindagi Ka Safar- Safar (1970)

Laal Ishq- Goliyon Ki Rasleela…Ramleela (2013)

Hone So Batuyaan- Fitoor (2016)

Tere Naam- Tere Naam (2003)

Manchala- Hasee Tooh Phasee (2014)

Kaise Main Kahon Tujhse- Rehna Hai Tere Dil Main (2001)

Ae Dil Hai Mushkil- Ae Dil Hai Mushkil (2016)

Ab Tere Bin- Aashiqui (1989)

Lambi Judaai- Hero (1983)

Main Shayar Badnaam- Namak Haram (1973)

Alvida- D- Day (2013)

Main Tenu Samjhawan- Humpty Sharma Ki Dulhania (2014)

Chingari Koi Bhadake- Amar Prem (1971)

Re Piya- Aaja Nachle (2007)

Koi Yeh Kaise Bataye- Arth (1983)

Tere Bina Zindagi Se Koi- Aandhi (1975)

Din Dhal Jaaye Haaye- Guide (1965)

Hum Bekhudi Mein Tumko Pukare- Kala Pani (1958)

Jiye Toh Jiye Kaise- Saajan (1991)

Pyar Manga Hai Tumhi Se- College Girl (1978)

Waqt Ne Kiya Kya Hansi Sitam- (Kaagaz Ke Phool) (1959)

Mera Kuchh Saaman- Ijaazat (1988)

Dooriyan- Love Aaj Kal(2009)

Justjoo Jiski Thi Usko- Umrao Jaan (1981)

Teri Galiyon Mein Na Rakhenge- Hawas (1971)

Poochoo Na Kaise Maine- Meri Surat Teri Aankhen (1963)

Abhi Mujh Mein Kahin- Agneepath (2012)

Laayi Ve Ne Gayi, Tey Nibhayi Vi Na Gayi- Chalte Chalte (2003)

Bhare Naina- Ra. One (2011)

Do Pal- Veer Zaara (2004)

Yun Hasraton Ke Daag- Adalat (1958)

Zindagi Mein Koi Kabhi Aaye Na Rabba- Musafir (2004)

Dil De Diya Hai- Masti (2004)

Priya Priya- Dil (1990)

Toote Huye Khwabon Me- Madhumati (1958)

Hum Bewfa Hargiz Na Thay- Shalimar (1978)

Jiyien Kyun- Dum Maaro Dum (2011)

Aaoge Jab Tum Sajna- Jab We Met (2007)

Teri Yaad Aati Hain- Saudagar (1991)

Jeena Jeena- Badlapur (2015)

Jeeta Tha Jiske Liye- Dilwale (1994)

Dil Mera Churaya Kyon- Akele Hum Akele Tum (1995)

Who Shaam Kuchj Ajeeb Thi- Khamoshi (1969)

Mujhe Teri Mohabbat Ka Sahara- Aap Aye Bahaar Aye (1971)

Tu Pyaar Hain Kisi Aur Ka- Dil Hai Ki Maanta Nahi (1991)

Zindagi Ke Safar Mein Guzar Jaate- Aap Ki Kasam (1974)

Jaane Kahan Gaye Who Din- Mera Naam Joker (1970)

Koi Hota Jisko Apna- Mere Apne (1971)

Kya Hua Tera Wada- Hum Kisise Kam Naheen (1977)

Shikaayat Hain- Jism (2003)

Sach Keh Raha Hai Deewana- Rehnna Hai Tere Dil Mein (2011)

Aur Is Dil Mein Kya Rakha Hai- Imaandaar (1987)

Chod Gaya Balam- Barsaat (1949)

Banake Kyun Bigada Re- Zanjeer (1973)

Chupana Bhi Nahi Aata- Baazigar (1993)

Mere Toote Huye Dil Se- Chhalia (1960)

Mere Dushman Tu Meri Dosti Ko Tarse- Aaye Din Bahaar Ki (1966)

Mere Piya- Tere Mere Sapne (1996)

Toh Phir Aao- Awarapan (2007)

Shisha Ho Ya Dil Ho- Aasha (1980)

Awaarapan Banjarapan- Jism (2003)

Dil Lagane Ki Do Na Saza- Anmol (1993)

Achha Sila Diya Tune Mere Pyaar Ka- Sanam Bewafa (1993)

Yeh Safar- 1942: A Love Story- (1994)

Mera Yaar Mila Dey Saaiyaan- Saathiya (2002)

Koi Jab Tumhara Hriday Tod De- Purab Aur Paschim (1970)

Aye Ajnabi Tu Bhi Kabhi- Dil Se (1998)

Hum Thay Jin Ke Saharay- Safar (1970)

Ab Naam Mohabbat Ke Ilzaam Yeh Aaya Hain- Ghulam (1998)

Tota Tota Sajan Se Kehna- First Love Letter (1991)

Rula Ke Gaya Sapna Mera- Jewal Thief (1967)

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tumbou

Oh my God Tujhey Bhula Diya is my all time favourite. It hits the cord straight of my heart. It's lyrics has so much reality in it. Zindagi Kay safar main guzar jaatay is another reality based song that brings tears

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biju

Music has become an integral part pf our daily life. If you listen music, you would not feel any pain.

Shalimar 1978 Songs Pk Song

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[dweemeister]

Kaagaz Ke Phool (1959, India)

Almost a quarter of the way through the twenty-first century, globalization has pierced the remotest corners of the planet. The examples academics and politicians cite demonstrating this globalization are almost always economic, but the most profound examples are cultural. Once known only in South Asia, Indian cinema has burst onto a global stage. Its stars and its most popular directors seem larger than life. Reading on some of modern Bollywood’s (Hindi-language cinema) personalities, I find few of their biographies compelling beyond their unquestionable status as South Asian and international celebrities – I won’t name names here because that is for another time. That is partly a result of not watching enough Bollywood films. It is also because I am making unconscious comparisons between those modern actors to actor-director Guru Dutt. Dutt was a tragic romantic – off- and on-screen – to the point where those personas can become indistinguishable.

As an actor, Dutt can be as charming a romantic male lead as anyone, as well as lend a film the dramatic gravitas it needs. As a director, he refined his sweeping visuals and theatrical flairs over time. That artistic development culminated with Pyaasa (1957) and his final directorial effort, Kaagaz Ke Phool (“Paper Flowers” in English). The latter film is the subject of this piece. Both films elevate themselves to a cinematic altitude few movies anywhere, anytime ever accomplish. They are, for lack of a better word, operatic* – in aesthetic, emotion, storytelling, tone. In Kaagaz Ke Phool, Dutt once again lays bare his artistic soul in what will be his final directed work.

An old man enters a film studio’s empty soundstage, climbs onto the rafters, and gazes wistfully at the darkened workspace below. We learn that this is Suresh Sinha (Dutt), a film director whose illustrious past exists only in old film stock. The film is told in flashback, transporting to a time when his marriage to Bina (Veena) is endangered – the parents-in-law disdain his film work as disreputable to their social class – and he is embarking upon an ambitious production of Devdas (a Bengali romance novel that is among the most adapted pieces of Indian literature to film, the stage, and television). He is having difficulty finding someone to play Paro, the female lead. Due to this conflict, Bima has also forbidden their teenage daughter, Pammi (Kumari Naaz), from seeing Suresh. Pammi is sent to a boarding school far from Delhi (where Bima and her parents reside) and further from Mumbai (where Suresh works), without any sufficient explanations of the spousal strife.

One rainy evening, Suresh generously provides his coat to a woman, Shanti (an excellent Waheeda Rehman). The next day, Shanti arrives at the film studio looking to return the coat. Not knowing anything about film production, she accidentally steps in front of the camera while it is rolling – angering the crew who are tiring of yet another production mishap. Later, while viewing the day’s rushes, Suresh casts Shanti as Paro after witnessing her accidental, but remarkable, screen presence. She achieves cinematic stardom; Suresh and Shanti become intimate. When the tabloid gossip eventually reaches Mumbai and Pammi’s boarding school, it leads to the ruin of all.

What did you expect from an operatic film – a happy ending?

Also starring in the film are Johnny Walker (as Suresh’s brother-in-law, “Rocky”) and Minoo Mumtaz (as a veterinarian). Walker and Mumtaz’s roles are vestigial to Kaagaz Ke Phool. Their romantic subplot is rife with the potential for suggestive humor (she is a horse doctor), but the screenplay never justifies their inclusion in the film.

Shot on CinemaScope lens licensed by 20th Century Fox to Dutt’s production company, Kaagaz Ke Phool is Dutt’s only film shot in letterboxed widescreen. From the onset of his directorial career and his close collaboration with cinematographer V.K. Murthy, Dutt exemplifies an awesome command of tonal transition and control. Murthy’s dollying cameras intensify emotion upon approach: anguish, contempt, sober realization. These techniques render these emotions painfully personal, eliminating the necessity of a few lines of dialogue or supplemental motion from the actor. The effect can be uncomfortable to those who have not fully suspended their disbelief in the plot or the songs that are sung at the time. But to the viewers that have accepted that Dutt’s films exist in a reality where songs about infatuation, love, loss, and regret are sung spontaneously (and where revelations are heard in stillness), this is part of the appeal. Dutt and Murthy’s lighting also assists in directing the narrative and setting mood: a lashing rainstorm signaling a chance meeting that seals the protagonists’ fates, the uncharacteristically film noir atmosphere of the soundstage paints moviemaking as unglamorous, and a beam of light during a love melody evokes unspoken attraction. That final example represents the pinnacle of Dutt and Murthy’s teamwork (more on this later).

As brilliant as his films (including this) may be, Dutt suffered during mightily during Kaagaz Ke Phool’s production. In writings about Dutt, one invariably encounters individuals who believe Dutt’s life confirms that suffering leads to great art. Though I think it best to retire that aphorism so as not to romanticize pain, I believe that the reverse is true with Guru Dutt – his later directing career contributed to his personal tribulations. In some ways, that suffering informed his approach to what I consider an informal semiautobiographical trilogy of his films: Mr. & Mrs. ’55 (1955), Pyaasa, and Kaagaz Ke Phool. Dutt directed and starred in each of these films. In each film he plays an artist (a cartoonist, poet, and film director, respectively); with each successive film his character begins with a greater reputation, only to fall further than the last. The three Dutt protagonists encounter hardship that do not discriminate by caste, professional success, or wealth.

For Dutt’s Suresh, he is unable to consummate his love for Shanti because the specters of his failed marriage haunt him still. He never speaks to his de facto ex, but marital disappointment lingers. Why does he bother visiting his stuffy in-laws when he knows they will never change their opinions about him? Abrar Alvi’s (the other films in the aforementioned informal Dutt-directed trilogy, 1962’s Sahib Bibi Aur Ghulam) screenplay is silent on the matter. Also factoring into Suresh’s hesitation is his daughter, Pammi. Pammi is young, looks up to both her parents, and cannot fathom a parent being torn from her life. Her reaction to learning about Shanti implies that neither of her parents have ever truly talked to her about their separation. Pammi does not appear to blame herself, but it seems that her parents – intent on protecting their child, perhaps speaking to her not as a soon-to-be young adult – are loath to maturely talk about the other. In a sense, Pammi has never mourned her parents’ marriage as we see her deny the tabloid reports about Suresh’s affair and express anger towards her father when she learns the truth.

When Suresh’s film after Devdas flops, his film career is in tatters. But Shanti’s popularity is ascendant, creating a dynamic reminiscent of A Star is Born. In a faint reference to Devdas, Kaagaz Ke Phool’s final act contains anxieties about falling into lower classes. If Kaagaz Ke Phool is contemporaneous to its release date, one could also interpret this as concerns about falling within India’s caste system (reformist India in the late 1950s was dipping its toes into criminalizing caste discrimination, which remains prevalent). Suresh’s fall is stratospheric and, in his caste-conscious, masculine pride, he rejects Shanti’s overtures to help him rebuild his life and film career. This tragedy deepens because Shanti’s offer is in response to the contractual exploitation she is enduring. We do not see what becomes of Shanti after her last encounter with Suresh, but his final scenes remind me, again, of opera: the male lead summoning the strength to sing (non-diegetically in Suresh’s case) his parting, epitaphic thoughts moments before the curtain lowers.

Suresh’s and Shanti’s respective suffering was preventable. Whether love may have assuaged his self-pity and alcoholism and her professional disputes is debatable, but one suspects it only could have helped.

Composer S.D. Burman (Pyaasa, 1965’s Guide) and lyricist Kaifi Azmi (1970’s Herr Raanjha, 1974’s Garm Hava) compose seven songs for Kaagaz Ke Phool – all of which elevate the dramatics, but none are as poetic as numbers in previous Dutt films. Comments on two of the most effective songs follow; I did not find myself nearly as moved by the others.

“Dekhi Zamane Ki Yaari” (roughly, “I Have Seen How Deeply Friendship Lies”) appears just after the opening credits, as an older Suresh ascends the soundstage’s stairs to look down on his former domain. The song starts with and is later backed by organ (this is an educated guess, as many classic Indian films could benefit with extensive audio restorations as trying to figure out their orchestrations can be difficult) and is sung non-diegetically by Mohammed Rafi (dubbing for Dutt). A beautiful dissolve during this number smooths the transition into the flashback that will frame the entire film. That technique, combined with “Dekhi Zamane Ki Yaari”, prepares the audience for what could be a somber recollection. However, this is only the first half of a bifurcated song. The melodic and thematic ideas of “Dekhi Zamane Ki Yaari” are completed in the film’s final minutes, “Bichhde Sabhi Baari Baari” (“They All Fall Apart, One by One”; considered by some as a separate song). Together, the musical and narrative arc of this song/these songs form the film’s soul. For such an important musical number, it may have been ideal to incorporate it more into the film’s score, but now I am being picky.

Just over the one-hour mark, “Waqt Ne Kiya Haseen Sitam” (“Time Has Inflicted Such Sweet Cruelty On Us”; non-diegetically sung by Shanti, dubbed by Geeta Dutt, Guru’s wife) heralds the film’s second act – Suresh and Shanti’s simultaneous realization of their unspoken love, and how they are changed irrevocably for having met each other. Murthy’s floating cameras and that piercing beam of light are revelatory. A double exposure during this sequence shows the two characters walking toward each other as their inhibitions stay in place, a breathtaking mise en scène (the arrangement of a set and placement of actors to empower a narrative/visual idea) foreshadowing the rest of the film.

Dutt’s perfectionist approach to Kaagaz Ke Phool fueled a public perception that the film was an indulgent vanity exercise with a tragic ending no one could stomach viewing. Paralleling Suresh and Shanti’s romantic interest in each other in this film, the Indian tabloids were printing stories claiming that Dutt was intimate with co-star Waheeda Rehman and cheating on Geeta Dutt. These factors – perhaps some more than others (I’m not versed on what Bollywood celebrity culture was like in the 1950s, and Pyaasa’s tragic ending didn’t stop audiences from flocking to that film) – led to Kaagaz Ke Phool’s bombing at the box office. Blowing an unfixable financial hole into his production company, Guru Dutt, a man who, “couldn’t digest failure,” never directed another film. Like the character he portrays here, Dutt became an alcoholic and succumbed to depression in the wake of this film’s release. Having dedicated himself entirely to his films, he interpreted any professional failure as a personal failure.

Kaagaz Ke Phool haunts from its opening seconds. Beyond his home country, Dutt would not live to see his final directorial effort become a landmark Bollywood film and his international reputation growing still as cinematic globalization marches forth. Dutt’s most visually refined films, including Kaagaz Ke Phool, are films of subtraction. The cinematography and music make less movement and dialogue preferable. Kaagaz Ke Phool is a film defined about actions that are not taken and scenes that are never shown. The result is not narrative emptiness, but a receptacle of Dutt’s empathy and regrets. Exploring these once-discarded, partially biographic ideas is not for faint hearts.

My rating: 9/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* I use this adjective not to reference operatic music, but as an intangible feeling that courses over me when watching a film. Examples of what I would consider to be operatic cinema include: Crouching Tiger, Hidden Dragon (2000, Taiwan); Greed (1924); The Red Shoes (1948); and The Wind (1928). Some level of melodrama and emotional unpackaging is necessary, but the film need not be large in scope or have musical elements for me to consider it “operatic”.

[bollywoodirect]

RIP Kumkum

Kumkum was a popular Hindi film actress of the 1950s and1960s. Born Zaibunnissa at Hussainabad in Bihar in 1934, she has acted in nearly 115 films in her career.

Kumkum was discovered by Guru Dutt and her first onscreen appearance was for the song "Kabhi Aar Kabhi Paar Laga Teer-E-Nazar" in Aar-Paar (1954). Later Kumkum was seen in a small role in Pyasa (1957).

She is best known for her roles in films - Mother India (1957), Naya Daur (1957), Ujala (1959), Kali Topi Lal Rumal (1959), Kohinoor (1960), Son Of India (1962), Ganga Ki Lahren (1964), Shreeman Funtoosh (1965), Ek Sapera Ek Lutera (1965), Raja Aur Runk (1968), Ankhen (1968), Geet (1970) and Lalkar (1972).

Kumkum was a trained Kathak dancer and she has several classical pieces picturized on her and some non-classical hits. In the beautiful classical song "Madhuban Mein Radhika Naache Re" from Kohinoor, Kumkum entranced the audience with a graceful kathak performance. Kumkum is a delight to watch in the song "Madhuban Mein Radhika", so lovely, so skilled a dancer, so graceful and yet energetic.

Kumkum also acted in Bhojpuri films. Her first film in Bhojpuri cinema was Ganga Maiyya Tohe Piyari Chadhaibo (1963).

Kumkum continued her career in Hindi films till the 1970s before she got married and moved to Saudi Arabia. In later years Kumkum came back to India.

[sareesinthewind]

Photo 1: Parasakthy and Sundha 1961 in Colombo Photo 2: Parasakthy and Sundha in the 80s in Chennai Photo 3: Sundha  as a BBC newsreader 1982 in London Photo 4: Sundha interviewing a young Mathematics prodigy from Tamil Nadu from Radio Ceylon studios 60s in Colombo Photo 5: Sundha was also a talented photographer, and this is one of the photos he took and cheekily edited on his film camera Photo 6: Sundha performing in one of the radio dramas, Radio Ceylon 1950s Photo 7&8: Front and back cover of ‘Mana Osai - Reminiscences of a Broadcaster’ a book about Sundha Paraskathy Sydney, Australia *note that uncle refers to Parasakthy’s husband, the late Sundharalingam. In 1948, uncle, as a young boy,  had listened to the running commentary of Mahatma Gandhi’s funeral procession. Back then in Jaffna nobody had a radio at home,  so the school principal hired one for the kids to be able to listen to Gandhi’s tributes. Uncle said that he and many of the children cried. Uncle was so amazed at how something happening in a distant land could move people in his village in Chavakacheri.  In his wonderment at how this was possible,  his dream to one day become a radio announcer was born.  Sri Lanka started broadcasting in 1923, three years after Europe started the BBC. The transmitter was built using equipment from a captured German submarine. Colombo Radio, later known as Radio Ceylon, started broadcasting in English first and later added Sinhhalese and Tamil . As the station’s popularity grew in India,  Hindi was introduced, which also catered  for the Hindi-speaking businessmen in Colombo. While uncle was studying at Jaffna Central college, he stayed in a hostel and would listen to the 9pm All India Radio news on the public radio installed in Subramanian Park while the other students would be engrossed in their studies. At the age of 21,  uncle started working in Colombo,  having skipped his university entrance exam to earn money. There he found himself working in the office next to Radio Ceylon.  One of his colleagues was a radio drama artist and invited uncle to join him. Uncle fell in love with the stage and soon became popular for his theatrical talents.  When a vacancy opened up for a news reader, he applied and was appointed to the job.  By the fifties, radio had become a big craze in Jaffna, but very few people could afford a radio and our parents also didn’t want us to get distracted by listening to film songs and dramas.   Even if we could afford a radio,  my family didn’t have electricity. We had a simple life and education was our main focus. Uncle’s family also didn’t have electricity and had to go to a neighbour's house to listen to his broadcasts.  While at Radio Ceylon, he was seconded for a ministerial post as press officer with the option of returning to his job as a news announcer when he wished to do so. 

His duties included reading the papers and giving the minister a summary of daily events as well as interpreting speeches from Sinhala to English or Tamil. He also accompanied different Sinhalese ministers on their trips, bearing witness to their acts incitement of discrimination against the Tamils. He would often come home and tell me how sad he felt. His next job was as a simultaneous interpreter in parliament, a service provided for the Members of Parliament . Most of the Members spoke only Sinhalese or English and uncle worked as the Tamil translator.  

Because parliament only sat for a few days a year, uncle had a lot of free time, which he filled by voicing jingles for advertising companies and performing in radio plays .

The stage was like a second home for him. He had so much confidence in all three languages. In 1969, he and another interpreter were selected to do the simultaneous interpreting for the Apollo 11 moon landing on July 20.  These Sinhalese and Tamil interpretations, which were done non stop for three days,  were broadcast by Radio Ceylon all around the country and region, capturing that awe-inspiring moment in history.  The US Embassy in Colombo trained the team, which included Tamil and Sinhala scientists, for about a week, so that they were familiar with the technical terms. They also had to go through a simulated landing. Uncle found the American English difficult, but managed to successfully complete the task. Though Sinhala chauvinism escalated  well before the eighties, we never imagined  it would eventuate in the pogroms and violence that followed, culminating in the atrocities of 2009. 

When the Sinhala Only Bill was passed in 56, uncle had to read it out as news on Radio Ceylon and had to cover stories of its implementation. Uncle was also a news reader during the 58 ethnic riots and the 76 and 78 pogroms. 

Uncle's time at Radio Ceylon, his time in parliament and our years in India, the UK and Australia as a refugee during which time he yearned to return to our country of birth, had a profound effect on him. His resulting grief stayed with him right until his last days in Australia. In 1959, I graduated with a BA in Arts from Peradeniya University. My family never thought I would get a place in the university, as it was a difficult entrance exam. In those days, the  results were announced in the English newspapers. But in our home, we only read Tamil newspapers. My father's friend saw the results and sent the paper to our home, with my name underlined, through another friend. I also had the option of entering a Teachers Training College to study teacher training, which required a less competitive mark than university studies. My school principal, the late Miss Thambiah, however encouraged me to enrol in university and promised me that I would have a job back at our school, Vembadi Girls’ High School, when I had finished my degree.

In Jaffna, education was mainly segregated into male and female schools. In certain schools, at the higher levels there was mixed education. So university was where I first met men, outside my immediate family. It was also the first time I met Sinhalese students. There were about fifty Tamil students and two or three hundred Sinhalese students. We enjoyed  our single rooms and ate in a dining hall with fork and spoon. We were served a lot of beef and so I became a vegetarian. University is where I tasted cheese for the first time. Our education was free, and our living expenses were minimal. Those of us who remember the days of no ethnic divide,  will remember university as a wonderful experience. Those days we had the best of everything in Sri Lanka - free education and free medical services. Everything was good, till the politicians  of the majority community poisoned the minds of the  people against the minorities living in the country. I think that now it's too late for change. The poison has sunk in too deep.   After my studies, I returned to Jaffna and started teaching at my high school. I was so happy and I had many dreams of helping my siblings, who were excelling in their studies. But a marriage proposal to uncle came my way in 1961 and though I had a lot of ambitions and wasn’t keen on it, it was my parents wish and so I obliged.  After our wedding, I joined uncle in Colombo where we had a comfortable life, like most middle class families. I got a job at the Muslim Ladies College in  Bambalapitya Colombo. Teaching in a multicultural environment was another unforgettable experience.  Our move to Chennai in 1980 was not my decision and nor was I in favour of it. Our only daughter Subhadra had just sat for her OL exam and was keen to continue her bharathanatyam studies, while we wanted her to attend university. It came as a rude shock when one morning in January 1980  uncle asked me to sign my retirement papers. He explained there was an option for lady teachers to retire after twenty years of service, which i had just completed, and I could avail myself of that facility. He said I could go to Chennai to educate  Subhadra in the Fine Arts (music and dance), while at the same time help her to get a degree in Arts/Science. My school principal refused to endorse the papers as  I was in the process of  being appointed as  principal of the newly built  Colombo Hindu Ladies College. I was appalled!  Who would throw away everything so good? I was in a dilemma but my husband solved it for me. He said “a decision has been made, let us not go back on it”. He said that Tamils couldn’t live in Sri Lanka in peace anymore and that political unrest was  simmering.  He said that he no longer wanted to live like a fugitive in his country of birth ‘his தாய் நாடு’ and that after translating the venomous speeches of the Sinhalese Members in parliament, he had spent many years of sleepless nights. He said that at least in Tamil Nadu we would feel a sense of familiarity and could continue to be part of the Tamil culture and language.  He reminded me that we had to seek refuge in a Muslim friend’s house during the 1977 pogrom and that our daughter had no chance of entering university with the government’s standardisation policy which penalised Tamil students. So in Jan 1980 I retired and we left for Madras, our home for the next twenty years. There were only three other Tamil families from Sri Lanka who had settled down in Chennai after the first pogrom in 1958 and they all welcomed us graciously. Mr and Mrs Sivapathasundaram had made Adyar their home, the suburb which would become our home too.  Mr Sivapathasundaram  was a  renowned  broadcaster at Radio Ceylon and a popular Tamil writer on par with Indian writers.  He was the one who gave the name Thamilosai to BBC Tamil Radio. We realised theirs was a life of struggle even after spending nearly three decades in Tamil Nadu. Our years in Chennai were also tough, and those who came to visit us were shocked to see how we were living in a single room annex. In 1982, we received a surprise phone call from the BBC asking uncle if he would come and work as the Tamil radio producer for one year, while  Mr Shankaramoorthy, the then producer, took one year of medical leave.  In uncle’s previous trips to the UK he had acted in some of the BCC Thamilosai’s radio dramas and so they were familiar with his talents.  Subha had entered Stella Marie’s College, so we put her in the college hostel and set off on our year long UK adventure.   We could have stayed on after our contract was over by taking part in radio programmes, however uncle said that he wanted to listen to carnatic music and hear Tamil in his ears - காதிலே தமிழும் பாட்டும் கேட்கவேணும் ! So after our stay in the UK was over, we flew straight to Colombo, with the hope of settling back there.  After about 10 days of visiting our families  in Jaffna, uncle, again said that he felt something bad was going to happen and he wanted to get back to Chennai.  I again didn’t want to leave. I missed our family and they missed us.  We had nobody in Chennai.  Uncle however insisted that we had to return to see our daughter Subha and once again said “I don’t want to be a second class citizen in my own country”. We arrived back in Chennai in May 1983. In July when the pogrom against the Tamils started in Colombo, those who had money, got on planes and arrived at our doorstep. Over the following six months, at least a hundred Tamils made their way to our home straight from the airport.  We helped them find temporary accommodation to begin with, then a  home and a school for their children. We became local guardians to hundreds of children, as this was a government requirement. There were number of challenges we faced as guardians - illness - exam failures - two missing students - but we were thankful we could help them.  Those who could afford to sent their children to other foreign countries. Thanks to the BBC, we had a telephone, which became so useful for the many Eelam Tamils who would line up outside and inside our home to use it. One night, we had more than 20 people sleep in our tiny annex. Those nights were tough, but what were we to do? Uncle, who looked to life’s positives, would often tell us that he was grateful that we got out in time and didn’t have to go through the trauma of watching our people being massacred. He was even more thankful that we were in a position to be able to help those that did escape.  After hearing of the massacres and the burnings of the 83 pogrom, the people of Tamll Nadu became sympathetic to our cause and opened up their homes for rent. MGR, was the Chief Minister at the time, and said all Eelam Tamils could be accepted into schools in Tamil Nadu. For those who didn’t have money and escaped the island by boat, they were kept in refugee camps in Tamil Nadu, and their plight was and still is an incredibly sad one. Many are still there with very little protection or hope for a better future. We were the lucky few and though we never returned to live in our country, we have a lot to be thankful for.  In the years that followed, uncle became BCC’s Thamilosai correspondent for Tamilnadu, which allowed us to continue living in the India and provided us with a permanent income. Thanks To BBC, we were also able to get a visa to visit our daughter in Australia.  After uncle passed away in Australia after a tragic accident in 2001, I did not want to go back to India and all my family members had left Sri Lanka by then. I stayed on with my daughter's family as a refugee for 12 long years. It was a period of struggle and great uncertainty, thanks to the Australian government.  I was finally granted Australian Citizenship in 2017.  END In 1999 Dr Maunaguru, a close friend, turned audio recordings by uncle about his life into a book titled ‘Mana Osai -Reminiscences of a Broadcaster‘.  Uncle was not keen on the book idea, but he agreed on one condition that the book when published  would be distributed free - he said everyone has a story to tell so it's not fair to make money off it.  Aunty’s grandson Senthan is now also a radio broadcaster and co-hosts the popular podcast Stuck in Between.  

[shankarjaikishanfansassnintl]

51 fascinating facts about Bollywood from the age of Classic Cinema

resented by Chandrakant Pednekar

Perhaps you’ve heard some of these before, perhaps not. We’ve found some really interesting facts about Bollywood since the very beginning, for your nostalgic pleasure.1. THE GOLDEN AGE OF INDIAN CINEMA DAWNED IN 1947 WITH INDIAN INDEPENDENCE. THE PERIOD BETWEEN 1947 AND 1961 IS CALLED ‘THE GOLDEN AGE’ BECAUSE IT USHERED IN NEW IDEAS AND VALUES WITHOUT IGNORING THE BASIC CHARACTERISTICS OF INDIAN CINEMA, A SPLENDID COMBINATION OF THE OLD AND NEW, WHICH ALSO PASSED INTO THE 21ST CENTURY AND HAS CONTINUES TO THIS DAY.2. More and more films began to be made with every passing year. In the process, landmark moments and films began to be created and linked with those years. 1949 was one such revolutionary year that gave rise to several landmark films. The topmost among them being Andaz (1949), the first big-budget love triangle starring Dilip Kumar, Raj Kapoor and Nargis.3. Mahal directed by Kamal Amrohi and released in 1949 was the first suspense thriller made in India. Originally planned with singer/actress Suraiya, the film finally went to Madhubala who became a star with the haunting song ‘Aayega aayega aayega anewala aayega…’, along with its playback singer Lata Mangeshkar. Lata reinforced her position in 1949 with R.K Films – ‘Barsaat’, which revolutionized the world of film music with the entry of the musical duo – Shankar Jaikishan.4. Mohd. Rafi emerged as a prominent male playback singer in 1949 with another Madhubala starrer Dulari with the hit number “Suhani raat dhal chuki…”. The last year of 1940s proved to be a watershed year for film music, as it prominently gave rise to the playback system wherein professional singers sang for the actors on screen who just had to move their lips without worrying about the ‘sur’ and ‘taal’ of the songs.5. Raj Kapoor’s Awara (1951) not only signaled a change in the grammar of film-making but also brought India prominently on the world map. He grabbed the script of Awara from under the nose of the legendary Mehboob Khan and launched it on a big scale. With “Ghar aaya mera pardesi…” shot on a massive set, Awara became the mother of all dream-sequences.6. Bimal Roy started his career in Calcutta and introduced Bengali Literature to Hindi Cinema and transformed the latter in many ways. Greatly influenced by the neo-realist Italian films and other post-war films he saw at India’s first international film festival in 1952, Bimal Roy’s Do Bigha Zameen (1953) remains a landmark film that has influenced several films including Lagaan (2001). One can find echoes of “Hariyala sawan shol bajata aaya…” from Do Bigha Zameen in “Ghanan ghanan ghir aayee…” from Lagaan.7. Debonair Dev Anand used to model himself on the lines of famous Hollywood star, Gregory Peck. During the making of Taxi Driver (1954), Dev Anand proposed marriage to his heroine, Kalpana Kartik. Both walked across to the registrar of marriages during a shooting break. Both signed the register and came back to resume work. Hardly anybody was aware that they were now husband and wife. Kalpana Kartik decided to quit films after marriage but not before doing 2 more films with her husband Dev – House No. 44 (1955) and Nau Do Gyarah (1957).8. Saratchandra’s Devdas has always been a favourite with film makers. The silent version was made in 1927 by Naresh Mitra with Phani Burma in the lead. P.C.Barua made it in 1935 with himself in the Bengali version and with K.L.Saigal in the Hindi version. Bimal Roy directed his version with Dilip Kumar in 1955 while Sanjay Leela Bhansali had his own interpretation of the novel in 2002 with Shahrukh Khan.9. Chandramukhi’s role in Bimal Roy’s Devdas (1955) was rejected by Nargis, Bina Rai and Suraiya. Vyjayanthimala, who finally did the role refused to accept Filmfare’s Best Supporting Actress Award for Devdas, stating that her role was as important as Paro’s. Years later, Reena Roy too, rejected Filmfare’s Best Supporting Actress trophy for Apnapan (1978), citing that her role was leading and not supporting.10. Truly Chaplin in form, content and treatment, Raj Kapoor’s Shree 420 (1955) remains his most socially significant comedy to date. It was a tremendous hit in India and overseas, especially in Russia, Egypt, Middle-East etc. “Ichak dana…” and “Mera joota hai japani…’ were rewritten in the languages of various countries and sung as local songs.11. V. Shantaram’s Do Aankhen Barah Haath (1957) was inspired by the story of an ‘Open Prison’ experiment in Satara. The film portrays a young jail warden, Adinath, who rehabilitates six deadly prisoners released on parole into persons of virtue. During the shooting of the film, V. Shantaram battled with a bull and hurt his eyes and affected his vision. During the period of temporary blindness, he visualized some unseen colours of life which resulted into the making of his colourful Navrang (1959).12. Dilip Kumar initially refused to be part of Naya Daur (1957) but then, his friend Ashok Kumar, who heard and loved the story, convinced him to accept it. Madhubala was the female lead in this movie but when B.R. Chopra decided to shoot the movie in Bhopal, Madhubala’s father, Ataullah Khan, refused to let her go citing personal reasons. Finally, Madhubala had to be replaced with Vyjayantimala who entered a new phase of her career with the super hit – Naya Daur.13. Guru Dutt wanted Dilip Kumar to play the leading role in Pyaasa (1957). The Tragedy King declined because he thought this role was similar to his Devdas (1955). So, Guru Dutt himself decided to play the role. Similarly, Madhubala and Nargis were his first choices for the leading ladies, which were eventually played by Mala Sinha and Waheeda Rehman. Pyaasa went on to become a cult film in the history of Indian cinema.14. Mehboob Khan’s Mother India (1957), was the colour remake of his own Aurat (1940) which featured his wife Sardar Akhtar. Aurat was inspired from Pearl S. Buck’s novel “The Mother”. Nargis got the role of her lifetime in Mother India which fetched her the Best Actress Award at the Karlovy Vary festival. Mother India was nominated for the Oscar as the best foreign film but it lost to Fellini’s Nights of Caberia (1957) by a single vote.15. Kishore Kumar apparently made Chalti Ka Nam Gaadi (1958), hoping it would fail commercially. He wanted to show losses in his income, to avoid paying a huge tax to the authorities. So he made two films – Lukochuri (Bengali) and Chalti Ka Nam Gaadi, and waited eagerly for them to collapse. However, both went on to become box-office successes. Kumar was so disgusted with this that he gifted Chalti Ka Nam Gaadi and all its rights to his secretary Anoop Sharma, who retained the copyright.16. Anari (1959), directed by Hrishikesh Mukherjee, brought together the sublimity of Raj Kapoor’s pairing with the timeless Nutan, celebrating the rich-poor divide through a story that saluted Raj Kapoor’s own Shree 420 (1955). Incidentally, Raj Kapoor’s brother Shashi Kapoor also starred in a film called Anari directed by Asit Sen in 1975. Later, Raj Kapoor’s grand-daughter Karisma Kapoor did another Anari in 1993 with the southern star Venkatesh.17. India’s first CinemaScope film Kaagaz Ke Phool (1959) was directed by Guru Dutt who also played the lead in the film. Apparently, Guru Dutt was so upset by the poor (box office) response to his film, that he thereafter never took credit as ‘Director’ for any of his later films such as Chaudhvin Ka Chand (1960), or Sahib, Bibi aur Ghulam (1962) even though they retain the unmistakable stamp of his direction. Though Kaagaz Ke Phool was a disaster in its time, it was later resurrected as a cult classic.18. Hrishikesh Mukherjee’s Anuradha (1960) was a movie much ahead of its time and featured debutante Leela Naidu in the title role with Balraj Sahani. A relative of the national leader Sarojini Naidu, Leela Naidu, was crowned Femina Miss India in 1954, and was featured in Vogue along with Maharani Gayatri Devi in the list of ‘World’s Ten Most Beautiful Women’. The film’s classical-based music was composed by Sitar maestro Pt. Ravi Shankar.19. K. Asif’s Mughal – E – Azam (1960) was actually planned in the 1940s. The political tensions surrounding India’s partition and independence in 1947 stalled the film’s production. Shortly after The Partition, financer Shiraz Ali migrated to Pakistan, leaving Asif without finance. Subsequently, the film’s lead Chandramohan suffered a heart attack and died in 1949. Ali had previously suggested the name of business tycoon Shapoorji Pallonji for financing the film. Pallonji did not know anything regarding the production of films, but he took a keen interest in the project and agreed to produce it due to his strong interest in Akbar’s history. Thus, began the saga of the magnum opus – Mughal–E–Azam!20. The Song “Pyar kiya to darna kiya…”, from Mughal – E – Azam (1960) has an unusual history to it. Naushad rejected 2 sets of lyrics made by Badayuni. Late in the night, Naushad remembered a folk song from Eastern Uttar Pradesh with the lyrics going as “Prem kiya, kya chori kari hai…”. The song was converted into a ghazal and subsequently recorded. As there was no technology to provide for the reverberation of sound heard in the song, Naushad had Lata Mangeshkar sing the song in a studio bathroom.21. A female-centric movie, based on a Bengali novel by Jarasandha, Bandini (1963) is the last directorial venture of Bimal Roy, a master of realism and regarded by many as his crowning achievement. Bimal Roy persuaded Nutan, who had given a magnificent performance in his Sujata (1959), to come out of her post-nuptial retirement and play the strictly raised, poetry-loving village girl, ‘Kalyani’. He convinced her to do Bandini, which went on to sweep all the top awards then, and is still considered a landmark movie of all time.22. Dosti (1964), a non star-cast film directed by Satyen Bose was made under the Rajshri banner and was biggest surprise hit of the year. The film focuses on the friendship between two boys, one blind and the other a cripple. Despite being released with Sangam, a blockbuster hit, Dosti was amongst the top ten grossers of 1964. It stands as a landmark in the career of Laxmikant-Pyarelal as this won them their first Filmfare Award and also made them popular in the film industry. Incidentally, R. D. Burman has played the harmonica throughout the film, which Ramu (one of the characters) plays throughout the film.23. Initially, Dilip Kumar was approached by Raj Kapoor to play the role of ‘Gopal Verma’ in Sangam (1964). Dilip Kumar agreed to play either one of the two male roles, with the condition that he was given the right to edit the final copy of the film. Since Raj Kapoor could not accept Dilip Kumar’s condition, he then approached Dev Anand for the role. The latter also declined the role citing date problems which ultimately went to Rajendra Kumar. Sangam ranked as the second highest grossing film of the decade.24. Brij Katyal’s script for Jab Jab Phool Khile (1965) was turned down by three top Producers. However, Director Suraj Prakash felt it was a beautiful story and accepted it, which went on to become his greatest hit. To prepare for his role as ‘Raja’, Shashi Kapoor would spend days with the boatmen in Kashmir to study their lifestyle. Sometimes, he would have meals with them. The original climax from the script had Raj beating up the bad guys. However, Suraj Prakash rejected it, and after watching Love in the Afternoon (1957), settled with Rita (Nanda) leaving everything behind to go back to Kashmir with Raja. Incidentally, Jab Jab Phool Khile (1965) got remade 3 decades later as Raja Hindustani (1996).25. B.R. CHOPRA HAD ORIGINALLY PLANNED WAQT (1965) WITH PRITHVIRAJ KAPOOR AND HIS THREE SONS, RAJ KAPOOR, SHAMMI KAPOOR AND SHASHI KAPOOR. EVENTUALLY, ONLY SHASHI KAPOOR WAS CAST, ALONG WITH RAJ KUMAR & SUNIL DUTT AS HIS ELDER BROTHERS, WHILE BALRAJ SAHANI PLAYED THE FATHER. WAQT PIONEERED THE IDEA OF A MULTI-STAR CAST IN INDIAN CINEMA AND RE-INTRODUCED THE LOST AND REUNITE FORMULA, ORIGINALLY MADE POPULAR IN KISMET (1943). WAQT ALSO SHOWCASES SOME OF THE TOP DIALOGUES SPOKEN BY RAAJ KUMAR LIKE “JINKE APNE GHAR SHEESHAY KE HON, WOH DOOSRON PAR PATTHAR NAHI PHENKA KARTE” AND “JAANI, YEH BACHCHON KE KHELNE KI CHEEZ NAHI, HAATH KAT JAYE TOH KHOON NIKAL AATA HAI”.26. Guide (1965) was made in two versions – an English version in collaboration with Pearl S. Buck and directed by Ted Danielewski and the Hindi version directed by Dev Anand’s younger brother Vijay Anand. It had never happened anywhere in the annals of cinema that the same story was filmed twice from two different perspectives with the same actor, one immediately after the other. Another striking feature about Guide is the Song ‘Kaaton se kheench ke ye aanchal…’ which begins from the ‘Antara’ instead of the ‘Mukhda’, a rare innovation unlike most Hindustani compositions.27. Teesri Manzil (1966) produced by Nasir Hussain & directed by Vijay Anand was originally planned with Dev Anand in the lead. Due to some reasons he could not do it & Shammi Kapoor replaced him in the film. However, Shammi Kapoor was not happy with Nasir Hussain’s choice of the music Director, R. D. Burman. He wanted Shankar Jaikishan to score the music but agreed to give Pancham a hearing. A nervous Pancham was ready with all the six tunes. The moment he heard Pancham sing “O Haseena Zulfonwali” and “Aaja Aaja Main Hoon Pyar Tera”, he jumped out of sheer joy & gave his approval for Teesri Manzil that soon revolutionised the world of Hindi Film Music.28. AROUND THE WORLD (1967) WAS INDIA’S FIRST FILM TO BE RELEASED IN 70 MM AND WAS EXTENSIVELY SHOT ALL AROUND THE WORLD. THE MAJOR OF THE FILM WAS SHOT ON A CRUISE SHIP. IT FEATURED RAJ KAPOOR AS AN INDIAN WHO TRAVELED AROUND THE WORLD IN 8 DOLLARS. V.SHANTARAM’S DAUGHTER RAJSHREE PLAYED THE ROMANTIC LEAD IN THE FILM. SHE MET HER FUTURE HUSBAND, AMERICAN STUDENT GREG CHAPMAN IN AMERICA DURING THE SHOOTING OF AROUND THE WORLD AND MARRIED HIM AS PER HINDU MARRIAGE RITUALS THAT LASTED 5 DAYS AND WAS ATTENDED BY 15,000 GUESTS.29. JEWEL THIEF (1967), WILL ALWAYS BE REMEMBERED AS ONE OF THE BEST CRIME THRILLERS OF INDIAN CINEMA. WHILE DEV ANAND AND ASHOK KUMAR VIED WITH EACH OTHER FOR THE TITLE OF JEWEL THIEF, THE GIRLS DID TOO. VYJAYANTHIMALA WAS ROPED IN TO PLAY THE MAIN HEROINE AS SAIRA BANU, THE ORIGINAL CHOICE COULD NOT DO THE FILM BECAUSE OF HER MARRIAGE WITH DILIP KUMAR. THE FILM ALSO FEATURED FOUR BOND GIRL-LIKE ACTRESSES PORTRAYED BY TANUJA, HELEN, FARYAL AND ANJU MAHENDRU. A SEQUEL OF JEWEL THIEF WAS RELEASED IN 1996, NAMED RETURN OF JEWEL THIEF WITH DEV ANAND AND ASHOK KUMAR PLAYING THEIR ORIGINAL ROLES.30. Prime Minister Lal Bahadur Shastri praised his earlier film Shaheed (1965) and enthused Manoj Kumar to make a film on the ‘Jai Jawaan Jai Kissan’ slogan. The slogan helped Manoj Kumar’s official debut as a Director for Upkar (1967), where he believably played both a Jawan and a Kisan. A huge hit, Upkar made Manoj Kumar an authority on screen patriotism. Manoj Kumar started his Mr. Bharat persona and his brand of patriotism & fearless courage with this film. The script for Upkar (1967) was written in less than 24 hours on the train journey between Delhi and Mumbai.31. THE TRAGEDY KING DILIP KUMAR HAD TO TAKE PSYCHIATRIC ADVICE AFTER PLAYING MELANCHOLIC ROLES LIKE DEVDAS (1955). IT WAS SUGGESTED THAT HE PLAY ROLES WITH LIGHTER SHADES AND THE RESULT WAS AZAAD (1955) & KOHINOOR (1960). AN OPPORTUNITY TO PLAY LIGHTER ROLES AGAIN AROSE FOR HIM WITH RAM AUR SHYAM (1967), WHEREIN DILIP KUMAR PLAYED A DOUBLE ROLE. INTERESTINGLY, VYJAYANTHIMALA, WHO WAS TO PLAY ONE OF THE HEROINES, WAS REPLACED WITH WAHEEDA REHMAN. MALA SINHA, WHO WAS APPROACHED FOR THE OTHER LEAD, REJECTED IT PAVING THE WAY FOR MUMTAZ, WHO ROSE TO THE TOP LEAGUE AFTER DOING RAM AUR SHYAM.32. WHILE REHEARSING FOR ‘BABUL KI DUAYEN…’ FROM NEEL KAMAL (1968), RAFI SAAB WAS CONTINUOUSLY CRYING. THE MUSIC DIRECTOR RAVI WAS PUZZLED AND WENT TO MR. HAMID, (MOHD. RAFI’S BROTHER IN LAW AND SECRETARY) & ASKED HIM THE REASON FOR HIS OUTBURST. HAMID SAAB REVEALED THAT JUST A DAY BEFORE, HIS DAUGHTER HAD GOT ENGAGED AND RAFI SAAB BECAME EMOTIONAL AS THE SONG ALSO SUITED THE REAL LIFE SITUATION. THIS INSPIRATIONAL SONG WENT ON TO WIN A NATIONAL AWARD FOR MOHD. RAFI.33. KISHORE KUMAR’S PERFORMANCE IN PADOSAN (1968) WHERE HE BECOMES SUNIL DUTT’S VOICE TO WOO SAIRA BANU WAS A PRECURSOR TO HIS BECOMING A FULL-TIME PLAYBACK SINGER. THE VERY NEXT YEAR, SHAKTI SAMANTA OFFERED HIM TO SING FOR NEWCOMER RAJESH KHANNA IN ARADHANA (1969) AND THE REST IS HISTORY. BEFORE, ARADHANA, KISHORE KUMAR HAD ONLY SUNG FOR HIMSELF AND OCCASIONALLY FOR DEV ANAND, WITH THE EXCEPTION OF PADOSAN, AS THE STORY DEMANDED IT. ARADHANA WAS A MUSICAL BLOCKBUSTER AND KISHORE KUMAR WAS HERE TO STAY, IN THE NEW ROLE OF A PLAYBACK SINGER, RIGHT UNTIL HIS DEATH IN OCTOBER 1987.34. While recording the soundtrack of the film Aradhana (1969), S.D.Burman took ill after composing the two Rafi duets. The responsibility of finishing the soundtrack fell on his son R.D. Burman, who took charge and decided to use Kishore Kumar to record the solos, as Rafi was away on a tour abroad. The sizzling song from Aradhana – “Roop tera mastana…” – made Bollywood history as the first song picturised in one shot without a single cut. Aradhana went on to win Filmfare’s best film award while Sharmila Tagore won her first Best Actress trophy.35. DO RAASTE (1969), A FILM DIRECTED BY RAJ KHOSLA, EMPHASIZES THE SANCTITY OF THE JOINT FAMILY AND THE SUPREMACY OF RELATIONS THAT ARE STRONGER THAN TIES OF BLOOD. RAJESH KHANNA APPEARED UNSHAVEN THROUGHOUT THIS MOVIE BECAUSE HE WAS SIMULTANEOUSLY SHOOTING FOR ITTEFAQ (1969) WHICH REQUIRED HIM TO BE UNSHAVEN. RAJESH KHANNA CREATED HAVOC AT THE BOX OFFICE WITH ARADHANA AND DO RAASTE. WHAT’S MORE IN BOMBAY, THE TWO FILMS HAD THEIR MAIN THEATRES RIGHT ACROSS THE ROAD FROM ONE ANOTHER, ARADHANA AT OPERA HOUSE AND DO RAASTE AT ROXY.36. THE CHARACTER OF ANAND (1970) WAS INSPIRED BY RAJ KAPOOR, WHO USED TO ADDRESS HRISHIKESH MUKHERJEE AS “BABU MOSHAY”. HRISHIDA INFORMED WRITER GULZAR TO OPEN THE MOVIE IN SUCH A WAY THAT THE AUDIENCE KNOWS IN THE FIRST SCENE ITSELF THAT ‘ANAND’ (RAJESH KHANNA) IS DEAD. HE DID NOT WANT THE AUDIENCE TO BE IN A STATE OF SUSPENSE TILL THE END AND KEEP GUESSING WHETHER ‘ANAND’ WILL SURVIVE OR NOT. BY DOING THAT HRISHIKESH MUKHERJEE WANTED TO CONCENTRATE ON HOW ‘ANAND’ WANTS TO LIVE LIFE TO THE FULLEST AND MAKE THE BEST OF THE TIME HE HAS. THE MOVIE WENT ON TO BECOME A ‘SUPER HIT’ AND MADE THE CHARACTER OF ‘ANAND’, IMMORTAL.37. JOHNY MERA NAAM (1970) DIRECTED BY VIJAY ANAND IS CONSIDERED A DEV ANAND CLASSIC. IT ALSO BECAME DREAM-GIRL HEMA MALINI’S FIRST SUPERHIT. THOUGH THE MOVIE DEALT WITH THE SIMPLE “LOST AND FOUND” THEME, WHAT STOOD APART WAS ITS BRILLIANT TREATMENT BY DIRECTOR VIJAY ANAND. VARIOUS TRACKS WERE INTELLIGENTLY INTEGRATED IN THE MOVIE INCLUDING THE TRIPLE ROLES OF COMEDIAN I.S. JOHAR. THE SONG “HUSN KE LAKHON RANG…” PICTURISED ON PADMA KHANNA WAS CONSIDERED SO BOLD THAT IT FACED A LOT OF CENSOR PROBLEMS. THE FILM WENT ON TO BECOME A CULT MOVIE, AND THE HIGHEST GROSSER OF 1970.38. MERA NAAM JOKER (1970) IS THE SECOND HINDI FILM TO HAVE TWO INTERVALS, THE FIRST ONE BEING SANGAM (1964). THE MAGNUM OPUS OF RAJ KAPOOR, MERA NAAM JOKER WAS DIVIDED INTO 3 CHAPTERS, EACH DEPICTING A DIFFERENT PHASE IN A JOKER’S LIFE, PLAYED BY RAJ KAPOOR. SIX YEARS IN THE MAKING, MERA NAAM JOKER TURNED OUT TO BE MUCH AHEAD OF ITS TIME WAS NOT A COMMERCIAL SUCCESS. HOWEVER, IT ACQUIRED CULT STATUS LATER AND IT IS NOW REGARDED AS A LANDMARK FILM OF INDIAN CINEMA.39. FROM ITS OPENING MONTAGE OF A YOUNG VILLAGE GIRL, WATCHING HER INDIFFERENT HUSBAND BRING HOME ANOTHER WIFE, TO THE FINAL MOMENTS, WHEN THE WOMAN IN HER TWILIGHT YEARS, IS TAKEN AWAY BY HER FOSTER-SON AMONGST THE FESTIVITIES OF DURGA PUJA, SHAKTI SAMANTA’S AMAR PREM (1971) IS A GLORIOUS HOMAGE TO WOMANHOOD. A MASTERPIECE DEALING WITH 2 PARALLEL TRACKS, ONE OF THE PLATONIC RELATIONSHIP THAT PUSHPA (SHARMILA TAGORE) SHARES WITH ANAND BABU (RAJESH KHANNA) AND THE OTHER OF PUSHPA’S RELATIONSHIP WITH A MOTHERLESS CHILD, AMAR AND PREM, TOUCHED THE EMOTIONAL CHORDS OF THE AUDIENCE TO THE FULLEST. IT IS STILL REMEMBERED FOR R.D.BURMAN’S MELODIOUS MUSIC AS MUCH AS IT IS REMEMBERED FOR RAJESH KHANNA’S FAMOUS DIALOGUE “PUSHPA, I HATE TEARS”.40. THE STORY FOR HARE RAMA HARE KRISHNA (1971) ACTUALLY CAME TO DEV ANAND’S MIND WHEN HE SAW HIPPIES AND THEIR FALLEN VALUES IN KATHMANDU, NEPAL. HE WANTED TO CAST MUMTAZ AS HIS NEPALI GIRLFRIEND AND ZAHEEDA, HIS CO-STAR OF PREM PUJARI, IN THE SISTER’S ROLE. ZAHEEDA DECLINED AND INSISTED ON PLAYING MUMTAZ’S PART. SHE ULTIMATELY LOST THE ROLE TO SENSUOUS ZEENAT AMAN WHO HIT BIG TIME WITH THIS FILM. THIS MUSICAL FAMILY DRAMA HAS AN ANTI-DRUG MESSAGE AND ALSO DEPICTS PROBLEMS ASSOCIATED WITH WESTERNIZATION SUCH AS DIVORCE AND ALIENATION.41. KAMAL AMROHI’S PAKEEZAH WAS LAUNCHED IN 1958 BUT TOOK 14 YEARS TO COMPLETE. IT WAS LAUNCHED IN BLACK-AND-WHITE, BUT WHEN COLOUR CAME IN VOGUE, AMROHI SCRAPPED THE PORTIONS ALREADY SHOT AND DECIDED TO START AGAIN. LATER, CINEMASCOPE CAME INTO VOGUE, AND AMROHI ACQUIRED A CINEMASCOPE LENS FROM MGM AND SCRAPPED THE PLAIN COLOUR PORTIONS TOO. FINALLY, IT WAS RELEASED IN 1972, JUST A FEW WEEKS BEFORE MEENA KUMARI’S DEATH. THE FILM HAD A SLOW START AT THE BOX-OFFICE BUT WENT ON TO BECOME A MAJOR HIT AS IT TURNED OUT TO BE THE SWAN SONG OF THE LEGENDARY MEENA KUMARI. LATE GHULAM MOHAMMED’S MUSIC IN PAKEEZAH CAUGHT THE FANCY OF THE ENTIRE NATION.42. SEETA AUR GEETA (1972) WAS THE FEMALE VERSION OF RAM AUR SHYAM (1967) BUT WITH A DIFFERENCE. DIRECTOR RAMESH SIPPY HAD HIS OWN UNIQUE INTERPRETATION OF IDENTICAL TWINS WHICH HE PRESENTED TO THE AUDIENCE INTERESTINGLY. INITIALLY, MUMTAZ WAS OFFERED THE DOUBLE ROLES OF ‘SEETA’ AND ‘GEETA’ BUT SHE COULD NOT DO THE FILM. SO IT WAS OFFERED TO HEMA MALINI WHO LAPPED UP THE OPPORTUNITY AND ZOOMED TO THE TOP SPOT WITH ITS GRAND SUCCESS. IT NOT ONLY EARNED HER THE FIRST FILMFARE AWARD BUT TILL DATE REMAINS THE BEST FILM OF HER CAREER.43. BOBBY (1973) A FILM DIRECTED BY RAJ KAPOOR WAS VERY POPULAR AND WIDELY IMITATED. IT ALSO REPRESENTED THE FILM DÉBUT FOR DIMPLE KAPADIA AND THE FIRST LEADING ROLE FOR RAJ KAPOOR’S SON, RISHI KAPOOR. THE MOVIE IS KNOWN TO BE A TREND-SETTER IN ITS OWN RIGHT WHICH INTRODUCED THE GENRE OF TEENAGE ROMANCE WITH A RICH-VS-POOR CLASH AS A BACKDROP. THE FILM BECAME A BLOCKBUSTER AND WAS THE TOP GROSSER OF 1973. INCIDENTALLY, DIMPLE KAPADIA MARRIED SUPERSTAR RAJESH KHANNA BEFORE THE RELEASE OF BOBBY AND WAVED GOOD-BYE TO FILMS FOR ALMOST A DECADE.44. YASH CHOPRA BRANCHED OUT FROM HIS BROTHER B.R. CHOPRA’S PRODUCTION HOUSE, B.R. FILMS TO START HIS OWN COMPANY YASH RAJ FILMS IN 1973 AND LAUNCHED DAAG: A POEM OF LOVE. HE SIGNED THE REIGNING SUPERSTAR RAJESH KHANNA ALONG WITH THE BENGAL TIGERESS- SHARMILA TAGORE AND RAKHEE. A LOVE TRIANGLE WITH A DIFFERENCE DAAG: A POEM OF LOVE SHOWCASED THE INTRICACIES OF HUMAN RELATIONSHIPS WHICH WERE TO BECOME YASH CHOPRA’S FORTE IN SUBSEQUENT FILMS. AN ADAPTATION OF THE NOVEL “THE MAYOR OF CASTERBRIDGE”, THE FILM ALSO HAD INTERESTING SITUATIONS FOR LAXMIKANT- PYARELAL’S SUPERHIT MUSIC.45. JUST AS THE ESTABLISHED FILM-MAKER RAJ KAPOOR ADOPTED A MODERN APPROACH FOR BOBBY (1973), SO ALSO NASIR HUSSAIN, THE MAKER OF MUSICAL LOVE STORIES DID AN ABOUT TURN WITH THE MULTI-STARRER LOST-AND-FOUND DRAMA, YAADON KI BAARAT (1973). DESPITE, ITS ACTION ORIENTED THEME, THIS MOVIE IS STILL REMEMBERED FOR ITS UNFORGETTABLE MUSIC BY R. D. BURMAN, ESPECIALLY THE EVERGREEN ROMANTIC “CHURA LIYA HAI…” WHICH IS STILL THE MOST FAVOURITE SONG OF THE REMIX ARTISTES. THIS MOVIE ALSO FEATURES AAMIR KHAN IN THE TITLE SONG AS THE YOUNGEST KID.46. AMITABH WAS THE FIFTH CHOICE AFTER DEV ANAND, RAJ KUMAR, DHARMENDRA AND RAJESH KHANNA FOR THE LEAD ROLE IN ZANJEER (1973). DEV WANTED THE ACTOR TO BE ALLOWED TO SING A COUPLE OF SONGS AND ASKED PRAKASH TO DIRECT UNDER HIS NAVKETAN BANNER. DHARMENDRA COULD NOT FIT INTO SCHEDULE. RAJESH FEARED THE ROLE MIGHT TELL UPON HIS ROMANTIC IMAGE. IT WAS PRAN WHO SUGGESTED MEHRA TO SEE BOMBAY TO GOA (1972). THE FILM HAD A FIGHT SCENE, AND THE MOMENT PRAKASH SAW THE FIGHT SCENE, HE SCREAMED “MIL GAYA!!”. THE MOVIE CHANGED THE TREND FROM ROMANTIC FILMS TO ACTION FILMS AND PIONEERED AMITABH’S NEW IMAGE OF A BROODING YET EXPLOSIVE PERSON WHO FIGHTS BACK WHEN CORNERED.47. AFTER ZANJEER (1973) WAS DECLARED A HIT, AMITABH AND JAYA GOT MARRIED. BY THE TIME, THE CRITICALLY ACCLAIMED ABHIMAAN (1973) RELEASED, THE REEL-LIFE COUPLE HAD BECOME HUSBAND AND WIFE IN REAL LIFE TOO. ABHIMAAN (1973), DIRECTED BY HRISHIKESH MUKHERJEE WAS ORIGINALLY NAMED AS RAAG RAGINI. ABHIMAAN WAS EVEN POPULAR IN SRI LANKA AND WAS SCREENED CONTINUOUSLY FOR TWO YEARS IN THE SAME MOVIE THEATER, NEW OLYMPIA, COLOMBO.48. THE FILM NAYA DIN NAYI RAAT (1974) WAS KNOWN FOR SANJEEV KUMAR’S NINE-ROLE EPIC PERFORMANCE, WHICH WAS EARLIER PLAYED BY SIVAJI GANESAN IN NAVARATHIRI (1964)(TAMIL) AND BY AKKINENI NAGESWARA RAO IN NAVARATHRI (1966)(TELUGU). THIS FILM HAD ENHANCED SANJEEV KUMAR’S STATUS AND REPUTATION AS AN ACTOR IN HINDI CINEMA. YEARS LATER, KAMAL HAASAN APPEARED IN TEN DISTINCT ROLES IN DASAVATHAARAM (2008), MAKING IT THE FIRST TIME THAT AN ACTOR HAS APPEARED IN SO MANY ROLES IN WORLD CINEMA. A YEAR LATER, THIS RECORD WAS BROKEN BY PRIYANKA CHOPRA, WHEN SHE ESSAYED TWELVE DIFFERENT CHARACTERS IN WHATS’S YOUR RAASHEE? (2009), EACH CHARACTER, REPRESENTATIVE OF A ZODIAC SIGN.49. SHYAM BENEGAL IS RIGHTLY CALLED THE FATHER OF NEW WAVE CINEMA IN THE SEVENTIES. WHILE MRINAL SEN KICK-STARTED THE MOVEMENT IN 1969 WITH BHUVAN SHOME, BENEGAL PUT IT FIRMLY ON TRACKS WITH HIS DIRECTORIAL DEBUT ANKUR (1974). HE TOOK FORWARD THE FEUDAL FABLE OF SATYAJIT RAY’S PATHER PANCHALI (1955) OR BIMAL ROY’S DO BIGHA ZAMEEN (1953) IN HIS OWN STYLE. TILL THIS DAY, SHYAM BENEGAL HAS’NT STOPPED MAKING SOCIALLY RELEVANT FILMS THAT TOUCH A CHORD IN THE HUMAN HEART. SHABANA AZMI MADE HER DEBUT IN ANKUR IN A ROLE ORIGINALLY OFFERED TO VETERAN WAHEEDA REHMAN. HER PERFORMANCE WAS SO MESMERIZING THAT EVEN SATYAJIT RAY COMMENTED, “IN TWO HIGH-PITCHED SCENES SHE PULLS OUT ALL STOPS AND FIRMLY ESTABLISHES HERSELF AS ONE OF OUR FINEST DRAMATIC ACTRESSES.”50. WHILE UPKAR (1967) WAS INSPIRED BY LAL BAHADUR SHASTRI’S SLOGAN “JAI JAWAN JAI KISAN”, MANOJ KUMAR’S ROTI KAPDA AUR MAKAN (1974) WAS INSPIRED BY INDIRA GANDHI’S “GARIBI HATAO” SLOGAN. THE BASIC IDEA FOR THE FILM ALSO STEMMED FROM A RECITAL MANOJ KUMAR HAD HEARD AT A SCHOOL FUNCTION WHILE THE SCENE WHERE HE THROWS HIS DEGREE IN HIS FATHER’S FUNERAL PYRE WAS INSPIRED FROM A NEWSPAPER REPORT IN 1972. MANOJ KUMAR DEFTLY HANDLED THE ENSEMBLE CAST BALANCING THE STRONG SOCIAL UNDERCURRENTS WITH THE NECESSARY COMMERCIAL ELEMENTS. IT CONTINUES TO BE TOPICAL EVEN AFTER 38 YEARS OF ITS RELEASE.51. THE CHARACTER OF GABBAR SINGH IN THIS ACTION ADVENTURE FILM – SHOLAY (1975) WAS MODELED ON A REAL-LIFE DACOIT OF THE SAME NAME WHO MENACED THE VILLAGES AROUND GWALIOR IN THE 1950S. ANY POLICEMAN CAPTURED BY THE REAL GABBAR SINGH, HAD HIS EARS AND NOSE CUT OFF, AND WAS THEN RELEASED AS AN OBJECT LESSON TO OTHER POLICEMEN. INITIALLY, THE PRODUCERS APPROACHED DANNY DENZONGPA FOR THE ROLE OF THE BANDIT CHIEF, BUT HE WAS COMMITTED TO FEROZ KHAN’S DHARMATMA (1975), HENCE CHARACTER ACTOR JAYANT’S SON AMJAD KHAN WAS ROPED IN. HE PREPARED HIMSELF FOR THE PART BY READING A BOOK TITLED ‘ABAR ABHISHAPTA CHAMBAL’, WHICH TOLD OF THE EXPLOITS OF CHAMBAL DACOITS. AMJAD KHAN PLAYED THE ROLE SO CONVINCINGLY THAT HE MADE THE CHARACTER OF GABBAR SINGH IMMORTAL.

[anotherescsite]

Favourite Things: France

France is the last country on the list. I subconsciously left them to last with Italy because they have provided the best spread of Eurovision music across their history in the song contest. Five Eurovision winners; 1957, 1959, 1962, 1969 and 1977 and while their history has low finishes were last only once in 2014. 

France is one of those nations that has kept close to the story line with a very consistent line of romantic ballads and pleasant odes to love. But there are people out there should also focus on the progressive moments of French music between 1990 and 1994 where there was experimentation with African, Hindi and Creole vibes.  Most of those entries kept them in the top 5. But their luck dried up after that and a slow slide towards the tail of the scoreboard began. there were few glimmers of light (2001, 2002, 2009, 2016), but many poor showing of Eurovision followed.

Un Jour, Un Enfant - Frida Boccara

France had many great Eurovision entries and I could not decide on an entry as a favourite, so I am going to give you two. The first is this one by Frida Boccara which was one of the four songs that won the contest in 1969. I believe it would be rated as the favourite of the four by many people. I like it because it is enjoyable in many dimensions and if you listen to each on their own, they are still excellent.

Frida’s performance is very stationary and gives her the ability to sing in the most wonderful, expressive way that highlights her story. Her voice is powerful and commands your attention through the song. The music is an accompaniment; it never overwhelms the lyrics and Frida. The strings of the song scream traditional France and it really is a pleasant ride. 

But I love it because it has the ability to capture your breath in anticipation of what is coming and hold it for three minutes as you listen to the unfolding valleys and peaks of this musical journey. I know it won’t be to everyone’s taste, but listen to it just as a favour to me. Let the music take you to it’s happy place.

Je nai que mon âme - Natasha St Pier

Don’t look at the dress and the haircut. This was one of the favourites of the 2001 Eurovision Song Contest because France had gone back to their roots with a classical French format of song that stood out amongst the crowd. It was beaten my three songs; Estonia (harmonies and choreography), Denmark (home entry favour?), and Greece (traditional-modern and popular).to come fourth.   

The song is a delicate flower that blooms through the song. Natasha’s vocals and the music start quietly, and it builds and it builds until it comes to a conclusion with a great ‘hey-yeah’. I like the predominate sound of the acoustic guitar through the song and it’s ability to make it sound like a much more personal song for it is a personal story. While it is delicate, it does have some power too. Natasha shows off her abilities in a well executed musical performance. 

[magicalsublimecycle]

Mukesh Hindi Song

https://play.google.com/store/apps/details?id=com.obliviontech.mukeshhitsongs

Music is the name of entertainment and joy, if you talk about old Hindi music there is nothing beyond this application named "Mukesh Hit Songs ". In 1974 Mukesh Chand Mathur received National Film Award for best Male Playback Singer for Song Kai Baaar Yuhi Dekha Hai from Film Rajanigandha in 1974 and after gets Filmfare Awards for Songs SAB KUCH HUMNY in movie ANARI in 1959 and SABSE BADA NADAAN WAHI HAI in Film PEHCHAN in 1970, JAI BOLO BEIMAAN KI in movie BAIMAAN in 1972. He sung not to much songs but he is Quality singer. So, We tried to help you out. We build this app "Mukesh Hit Songs" which is very easy to use. Easy to explore and stream Old Hindi Video Songs, You just need to click what you want to watch just like Asha Bhosle Old romantic songs, Asha Bhosle Old sad songs .. etc. Note:- If you enjoyed this app then review it with 5 stars and leave your precious comment. Don't forget to share it. Your smile is our reward. Declaimer:- "OblivionTech" providing you best entertaining platform. We are trying to facilitate you to find you desired data as well as best video quality. All content in "Mukesh Hindi Song" is free on public domain. We don’t host any of these videos Files. All rights reserved to the content's respective owners. If you are owner of any type of data in this application just E-mail us we will feedback you within 7 working days and remove your data. #Mukesh_Hit_Songs_Hindi_Songs #Mukesh_Hit_Songs #Mukesh_HIndi_Songs #Mukesh_Top_Old_Songs #Mukesh_Old_Songs #Mukesh_Top_Hit_Songs #Mukesh_Songs #Old_Hindi_Songs #Hindi_Songs Mukesh Hit Songs - Hindi Songs Mukesh Hit Songs Mukesh HIndi Songs Mukesh Top Old Songs Mukesh Old Songs

[rmaappsmubeen1]

Mukesh Hindi Song

https://play.google.com/store/apps/details?id=com.obliviontech.mukeshhitsongs

Music is the name of entertainment and joy, if you talk about old Hindi music there is nothing beyond this application named "Mukesh Hit Songs ". In 1974 Mukesh Chand Mathur received National Film Award for best Male Playback Singer for Song Kai Baaar Yuhi Dekha Hai from Film Rajanigandha in 1974 and after gets Filmfare Awards for Songs SAB KUCH HUMNY in movie ANARI in 1959 and SABSE BADA NADAAN WAHI HAI in Film PEHCHAN in 1970, JAI BOLO BEIMAAN KI in movie BAIMAAN in 1972. He sung not to much songs but he is Quality singer. So, We tried to help you out. We build this app "Mukesh Hit Songs" which is very easy to use. Easy to explore and stream Old Hindi Video Songs, You just need to click what you want to watch just like Asha Bhosle Old romantic songs, Asha Bhosle Old sad songs .. etc. Note:- If you enjoyed this app then review it with 5 stars and leave your precious comment. Don't forget to share it. Your smile is our reward. Declaimer:- "OblivionTech" providing you best entertaining platform. We are trying to facilitate you to find you desired data as well as best video quality. All content in "Mukesh Hindi Song" is free on public domain. We don’t host any of these videos Files. All rights reserved to the content's respective owners. If you are owner of any type of data in this application just E-mail us we will feedback you within 7 working days and remove your data. Mukesh Hit Songs - Hindi Songs Mukesh Hit Songs Mukesh HIndi Songs Mukesh Top Old Songs Mukesh Old Songs

[bollywoodproduct]

Lyrics Tere Pyar Ka Aasra Chaahta Hoon

Lyrics Tere Pyar Ka Aasra Chaahta Hoon

Lyrics in English | Tere Pyar Ka Aasra Chaahta Hoon | Dhool Ka Phool (1959) Tere Pyar KaAasra Chaahta HoonTere Pyar KaAasra Chaahta HoonWafa Kar Raha HoonWafa Chaahta HoonTere Pyar KaAasra Chaahta HoonWafa Kar Raha HoonWafa Chaahta HoonHaseeno Se Ehd-EWafa Chaahte HoHaseeno Se Ehd-EWafa Chaahte HoBade Naasamajh HoYe Kya Chaahte HoBade Naasamajh Ho……….. Antakshari Songs from “T” Tere Narm…

[dweemeister]

2020 Movie Odyssey Award for Best Original Song (final results)

TAGGING for the last time for 2020′s MOABOS: @addaellis​​; @birdsongvelvet​​; @cokwong; @emilylime5; @halfwaythruthedark; @idontknowmuchaboutmovies​​; @introspectivemeltdown; @maximiliani; @memetoilet; @monkeysmadeofcheese; @myluckyerror; @shootingstarvenator; @plus-low-overthrow​; @themusicmoviesportsguy; @theybecomestories; @umgeschrieben​; @underblackwings; @voicetalentbrendan​; and @yellanimal! I know some of you did not complete the final round, but you have been tagged in appreciation anyways.

I post this in full realization of how dark this day has been. It’s been a painful several hours in a deeply wounded country - a country that, for the first time in in a long time, has failed to secure a peaceful transfer of power. May this day not be an indication of what this new year may bring.

And now to the subject of this post.

I expected this final round to be a complete blowout for a certain song, based on my own personal predictions before MOABOS began and from eyeballing the point totals (which no longer decide the winner and placements for the final). That song did win, but with a razor-thin margin, preventing what might have been the biggest upset in the Movie Odyssey for Best Original Song’s history. I would’ve preferred the upset to the actual winner, but I am nevertheless very happy with the result.

31 respondents chimed in, slightly down by two from last year (my fault... but what a turnout!). The first set of standings you see are based on the points-based system that the preliminary round is based on. The final was formerly decided this way until too many one choice-one vote respondents skewed the process.

STANDINGS ON POINTS (USED ONLY AS A SECONDARY TIEBREAKER... the actual final result is the list below this one). Using the old method, the count would’ve looked like this (“Song”, Film title (points) / #1 votes).:

"Can’t Help Falling in Love”, Blue Hawaii (163) / 8

“Theme from New York, New York”, New York, New York (149) / 2

“(Do You Know What It Means to Miss) New Orleans”, New Orleans (134) / 3

“Farewell to Storyville”, New Orleans (124.5) / 3

“Is There Still Anything That Love Can Do?”, Weathering with You (116) / 3

“Dekhi Zamaane Ki Yaari / Bichhde Sabhi Baari Baari”, Kaagaz Ke Phool (111.5) / 1

“Waqt Ne Kiya Kya Haseen Sitam”, Kaagaz Ke Phool (114.5) / 3

“Happy Endings”, New York, New York (104.5) / 1

“Blue Shadows on the Trail”, Melody Time (103.5)

“You Make Me Feel So Young”, Three Little Girls in Blue (103) / 1

“Angela”, Aaron Loves Angela (92) / 2

"Please Don’t Stop Loving Me”, Frankie and Johnny (92)

“Here They Come (From All Over the World)”, The T.A.M.I. Show (74) / 2

“Moonlight Swim”, Blue Hawaii (64) / 1

“Personality”, Road to Utopia (60.5)

"Exsultate Justi”, Empire of the Sun (49) / 1

That’s a sizeable lead on points AND in #1 votes for “Can’t Help Falling in Love”. What did the actual results yield?

THE OFFICIAL TABULATION FOLLOWS.

We used a single transferable vote (which is explained visually here). With 31 votes, a song needed 50% + 1 vote of all #1 and transferred votes to be declared a winner. Thus, a song needed 16 votes to win. One ballot was discarded midway through the count due to that person only voting for one song, but the magic number remained 16. The top ten songs became nominees; the bottom six are considered honorable mentions:

2020 Movie Odyssey Award for Best Original Song (FINAL STANDINGS)

"Can’t Help Falling in Love”, Blue Hawaii (1961)

“Waqt Ne Kiya Kya Haseen Sitam”, Kaagaz Ke Phool (1959, India)

“(Do You Know What It Means to Miss) New Orleans”, New Orleans (1947)

“Dekhi Zamaane Ki Yaari / Bichhde Sabhi Baari Baari”, Kaagaz Ke Phool

“Is There Still Anything That Love Can Do?”, Weathering with You (2019, Japan)

“Farewell to Storyville”, New Orleans

“Theme from New York, New York”, New York, New York (1977)

“Angela”, Aaron Loves Angela (1975)

“Here They Come (From All Over the World)”, The T.A.M.I. Show (1964)

“Happy Endings”, New York, New York

“You Make Me Feel So Young”, Three Little Girls in Blue (1946)

“Moonlight Swim”, Blue Hawaii

“Exsultate Justi”, Empire of the Sun (1987)

“Blue Shadows on the Trail”, Melody Time (1948)

“Please Don’t Stop Loving Me”, Frankie and Johnny (1966)

“Personality”, Road to Utopia (1945)

Composed by Hugo Peretti, Luigi Creatore, and George David Weiss, your winner is “Can’t Help Falling in Love”. Ever since its debut in the film, it has been covered often by artists in various genres of music. And because of its ubiquity, it was also the song that perhaps came into this year’s MOABOS with the highest expectations of taking it all (aside from “Theme from New York, New York”). But spare a thought for “Waqt Ne Kiya Kya Haseen Sitam” (along with Dekhi Zamaane Ki Yaari”, they jointly become the . It is one of the most spellbinding moments in all of Hindi cinema, a lovelorn anthem of classic Bollywood that has transcended its origins.

I also wanted to give a final shout-out to both songs from New Orleans (1947). Louis Armstrong and Billie Holiday - two giants of American jazz - should have been the stars in that movie, but, because of the limited opportunities for black actors at that time, they are not. Armstrong has been part of MOABOS before, and I imagine we haven’t see the last of him. But for Billie Holiday, New Orleans was her only credited appearance in a feature film. This year’s MOABOS richly benefitted from her unique voice and musicality.

“Can’t Help Falling in Love” joins these past winners:

2019: “I WIsh I Didn’t Love You So” from The Perils of Pauline (1947)

2018: “Love Is a Many-Splendored Thing” from Love Is a Many-Splendored Thing (1955)

2017: “Remember Me (Recuérdame)” from Coco (2017)

2016: “Stayin’ Alive” from Saturday Night Fever (1977)

2015: “Amhrán Na Farraige” from Song of the Sea (2014)

2014: “Rainbow Connection” from The Muppet Movie (1979)

2013: “The Gold Diggers’ Song (We’re In the Money)” from Gold Diggers of 1933 (1933)

I thank all of you for participating in 2020′s Movie Odyssey Award for Best Original Song. In a year defined by disruption and disease, I was happy to continue this small (and yes, time-consuming for everyone) end-of-year tradition with all of you. It is a privilege to share my love of classic films and musical tastes here on tumblr and elsewhere, and I hope all of you found some new films or music that caught your attention. With the end of this pandemic closer than ever before, I hope all of you stay safe as we navigate this year together.

The 2021 Movie Odyssey began several days ago. Another year of cinematic discovery beckons, and perhaps many of you might share some of that joy of discovery with me. Hope to see you here for a 2021 edition of MOABOS. Tabulation details are beneath.

31 ballots were submitted; sixteen #1 votes and transferred votes needed to win

2ND COUNT: One vote for “Exsultate Justi” is transferred to “New Orleans”:

3RD COUNT: One vote for “Moonlight Swim” to “Can’t Help Falling in Love”:

4TH COUNT: One vote for “You Make Me Feel So Young” to “Dekhi Zamaane Ki Yaari”:

5TH COUNT: One vote for “Happy Endings” to “Dekhi Zamaane Ki Yaari”:

6TH COUNT: Two votes for “Here They Come (From All Over the World)” to “Dekhi Zamaane Ki Yaari”:

7TH COUNT: One ballot was discarded. One vote for “Angela” to “Is There Still Anything That Love Can Do?” 30 ballots remain; 16 to win.

8TH COUNT: One for for “New York, New York” to “Waqt Ne Kiya Kya Haseen Sitam”. The other went to “Can’t Help Falling in Love”:

9TH COUNT: Three votes for “Farewell to Storyville” were transferred. One went to “Can’t Help Falling in Love”, another to “Waqt Ne Kiya Kya Haseen Sitam”, and the last one to “New Orleans”:

10th COUNT: Four votes for “Is There Still Anything That Love Can Do?” were transferred. Three went to “Can’t Help Falling in Love. The fourth vote went to “Waqt Ne Kiya Kya Haseen Sitam”.

11TH COUNT: Five votes for “Dekhi Zamaane Ki Yaari” were transferred. Four of those went to “Waqt Ne Kiya Kya Haseen Sitam”; the other went to “New Orleans”:

12TH COUNT: Six votes for “New Orleans” were transferred. Four went to “Waqt Ne Kiya Kya Haseen Sitam”. Two went to “Can’t Help Falling in Love”.

“Can’t Help Falling in Love” clinched victory on the 13th and final count by a margin of 16 votes to 14 for “Waqt Ne Kiya Kya Haseen Sitam”.

[bollywoodirect]

Wishing yesteryear Hindi film actress Kumkum a very Happy 86th Birthday today. Kumkum was a popular Hindi film actress of the 1950s and1960s. Born Zaibunnissa at Hussainabad in Bihar in 1934, she has acted in nearly 115 films in her career. Kumkum was discovered by Guru Dutt and her first onscreen appearance was for the song "Kabhi Aar Kabhi Paar Laga Teer-E-Nazar" in Aar-Paar (1954). Later Kumkum was seen in a small role in Pyasa (1957). She is best known for her roles in films - Mother India (1957), Naya Daur (1957), Ujala (1959), Kali Topi Lal Rumal (1959), Kohinoor (1960), Son Of India (1962), Ganga Ki Lahren (1964), Shreeman Funtoosh (1965), Ek Sapera Ek Lutera (1965), Raja Aur Runk (1968), Ankhen (1968), Geet (1970) and Lalkar (1972). Kumkum was a trained Kathak dancer and she has several classical pieces picturized on her and some non-classical hits. In the beautiful classical song "Madhuban Mein Radhika Naache Re" from Kohinoor, Kumkum entranced the audience with a graceful kathak performance. Kumkum is a delight to watch in the song "Madhuban Mein Radhika", so lovely, so skilled a dancer, so graceful and yet energetic. Kumkum also acted in Bhojpuri films. Her first film in Bhojpuri cinema was Ganga Maiyya Tohe Piyari Chadhaibo (1963). Kumkum continued her career in Hindi films till the 1970s before she got married and moved to Saudi Arabia.In later years Kumkum came back to India. She is living a happy retired life in Mumbai.

[shankarjaikishanfansassnintl]

The brief but magical association of KISHORE KUMAR & SHANKAR-JAIKISHEN…

Feature courtesy

https://myviewsonbollywood.wordpress.com/2018/06/12/the-brief-but-magical-association-of-kishore-kumar-shankar-jaikishen/

By

Sharada Iyer

The very mention of their names immediately brings to our mind the evergreen super-hit song ‘Zindagi ek safar hai suhana…’ from the film ANDAZ. From the opening prelude to the yodelling to the fast-paced beats – everything about the song became unforgettable! Added to that superstar Rajesh Khanna’s charismatic screen presence turned this song not only into one of the most loved songs of Hindi cinema but also became one of the biggest hits of the careers of  Rajesh Khanna, Kishore Kumar and Shankar-Jaikishen.

ANDAZ (1971): ‘Zindagi ek safar hai suhana…’

Shankar-Jaikishen (SJ): The music director duo who revolutionized the very definition of Hindi film music with their path-breaking music and tunes…

Kishore Kumar: The genius actor-singer who created his own path and carved a place in the Hindi film music scene which people cannot even dream of achieving…  

Both the singer as well as the music director duo reached dizzying heights of popularity during the years they were active. And yet when we look back it is sad that three of the most loved and cherished musical geniuses of our industry hardly got much opportunity to work together during their long and illustrious careers …

Interestingly they even made their debut around the same time –

Shankar-Jaikishen’s debut film as independent music directors was R K Films’ Barsaat which released in 1949…

Kishore Kumar’s debut film as an actor and a playback singer (sang for Dev Anand) was Ziddi which released in 1948…

Shankar Jaikishen somehow always worked with heroes like Raj Kapoor, Shammi Kapoor, Rajendra Kumar, Dilip Kumar, Biswajit, Joy Mukjerjee, Shashi Kapoor, Sunil Dutt for whom Kishore Kumar never got the opportunity to playback. When they worked for Dev Anand they used Mohammed Rafi except for one instance-‘Dooriyan nazdeekiyan ban gayee…’ a Kishore Kumar-Asha Bhonsle duet that turned out to be the biggest hit of the film:

DUNIYA (1968): ‘Dooriyan nazdeekiyan ban gayi…’

It was around the late forties that the triumvirate of Raj Kapoor, Dev Anand and Dilip Kumar entered the industry, became great stars creating a special niche for themselves and also had their own favourite playback singers singing for them. While Rafi became the voice of Dilip Kumar with Talat Mehmood also contributing in some songs, Mukesh was the voice of Raj Kapoor with Manna Dey singing for him at times. In case of Dev Anand, both Rafi and Kishore Kumar’s voices were used.and hence Kishore Kumar between 1948 and 1968 sang only for himself when he acted or did playback for Dev Anand.

NEW DELHI, KROREPATI, BEGUNAAH, RANGOLI and SHARARAT are the five films for which Shankar-Jaikishen worked with Kishore Kumar where he acted and sang his own songs and what beautiful music they created:

Here is a gem from the 1962 film RANGOLI. What an absolutely haunting song- simple, hummable and so melodious

RANGOLI (1962): ‘Choti si yeh duniya pehchaane raaste hain…’

Interestingly both the above song and ‘Zindagi ek safar…’ from ANDAZ had other singers singing their version but really do people even remember that? For when Kishore Kumar sings, such is the magic and resonance in his voice that the other versions pale in comparison.

A fun-filled Kishore-Lata duet-‘Ik nazar kisine dekha aur ban gaya afsana…’

A soulful solo-‘Rangoli sajaao re…’

Listen to this superb song from NEW DELHI. The simple orchestration, the yodelling, the subtle variations in the song all go to make this a masterpiece!

NEW DELHI (1956): ‘Nakhrewaali…’

NEW DELHI (1956): ‘Milte hi nazr aap mere dil mein aa gaye…’

While Kishore Kumar enjoyed immense popularity as an actor-singer during the fifties and early sixties, he had to undergo a long period of struggle to be considered as a playback singer for other heroes. In fact there are rare instances when other singers like Mohammed Rafi and Manna Dey sang for him.

SHARARAT (1957): ‘Hum matwaale naujawan…’

After giving him such a wonderful solo, wonder why did Shankar-Jaikishen settle for Rafi to sing ‘Ajab hai dastaan meri yeh zindagi…’!!! What made them think that Kishore would not have delivered that song brilliantly in his own way?

SHARARAT (1959)

BEZUBAAN (1957)

Only audio of this song is available

To achieve his dream of becoming a playback singer, Kishore Kumar had to become an actor and act for almost 20 years before giving up acting to become full-fledged singer. This phase coincided with the coming of a new star Rajesh Khanna in the horizon and Kishore Kumar became a voice to reckon with for all the actors after 1968.

In 1968 Shankar-Jaikishen gave music in the Dharmendra-Hema Malini starrer TUM HASEEN MAIN JAWAAN. Kishore Kumar got to sing only one song and that too a comical one in the film- ‘Munne ki amma yeh to bata…’. The song did become popular with the masses:

THE FATEFUL YEAR OF 1971:

This year was important for this combination in more ways than one. Not only did they team up to give several super-hits unfortunately, it was also the last year they worked as a team together  for Jaikishen from the duo passed away due to cirrhosis of liver.

Apart from the blockbuster song ‘Zindagi ek safar hai suhana…’, the Kishore-SJ combo gave us some of these superb songs also in 1971 :

SOLOS:

LAL PATTHAR (1971): ‘Geet gaata hoon main…’

KAL AAJ AUR KAL (1971) : ‘Bhanware ki gunjan…’

DUETS:

KAL AAJ aur KAL: ‘Aap yahan aaye kisliye…’

This film which launched Raj Kapoor’s son Randhir Kapoor had superb music by Shankar Jaikishen and Kishore Kumar became Randhir’s voice and all songs were super-hit. There were two more lovely duets in the film- ‘Tik tik tik tik…,’ ‘Jab hum honge saath saal ke…’

NAGINA: ‘Tere mere pyar ka andaz hai nirala…’

MAIN SUNDAR HOON: ‘Mujhko thand lag rahi hai mujhse door tu naja…’

The song ‘Naach meri jaan…’ from the same film had Kishore Kumar and Jaikishen making a brief appearance at the beginning of the song…

SEEMA: ‘Waqt thoda sa abhi kuch aur guzar jaane de…’

First in 1966, lyricist Shailendra passed away. On Septemnber 12, 1971, Jaikishen passed away. The team of SJ was hit very badly. Though Shankar did try to keep the flag flying by continuing to compose under the name of Shankar-Jaikishen as per their agreement, but the magic had started fading away.

POST 1971:

Films like JANGAL MEIN MANGAL, AANKHON AANKHON MEIN and DIL DAULAT DUNIYA released in 1972. Probably the music for some of the songs had already been scored by the two together and kept in their music bank. Here are some brilliant songs from these films:

JANGAL MEIN MANGAL: ‘Tum kitni khoobsurat hoy eh mere dil se pucho…’

Here is a rare Rafi-Kishore duet from the film JANGAL MEIN MANGAL picturized on Kiran Kumar and his friends which included  a weird looking Pran: ‘Ae Bagh ki kaliyon sharam karo sharam karo…’

AANKHON AAKHON MEIN: ‘Aankhon aankhon mein baat…’ with Asha

Another duet from the same film:

‘Do baatein pyar bhari kar loon…’with Asha

The Rajesh Khanna-Kishore combo came together again for this film after Andaz but the results were certainly not anywhere near their best. There were a couple of solos and duets by Kishore Kumar:

DIL DAULAT DUNIYA: ‘Saath mein pyara saathi ho…’

Soon offers reduced though Shankar did manage to come up with a few aces with Kishore Kumar:

DO JHOOT (1975): ‘Chalo bhool jaayen jahan ko yahan do ghadi…’

‘Chatri na khol ud jayegi…’

AAJ KI TAAZA KHABAR (1974) : ‘ Mujhe meri biwi se bachao …’

I end this musical blog with this lovely solo from RESHAM KI DORI picturized on Dharmendra.

RESHAM KI DORI (1975): ‘Chamka pasina banke angina…’

There is no doubt that this talented and unique singer-music director combination would have definitely created a different kind of euphoria for whenever they did come together and whatever little work they did together, they created magic. Whether it was industry politics or just destiny which kept them apart, fans remain grateful for the precious and priceless legacy left behind by them…

[magicalsublimecycle]

Mukesh Hindi Song

https://play.google.com/store/apps/details?id=com.obliviontech.mukeshhitsongs

Music is the name of entertainment and joy, if you talk about old Hindi music there is nothing beyond this application named "Mukesh Hit Songs ". In 1974 Mukesh Chand Mathur received National Film Award for best Male Playback Singer for Song Kai Baaar Yuhi Dekha Hai from Film Rajanigandha in 1974 and after gets Filmfare Awards for Songs SAB KUCH HUMNY in movie ANARI in 1959 and SABSE BADA NADAAN WAHI HAI in Film PEHCHAN in 1970, JAI BOLO BEIMAAN KI in movie BAIMAAN in 1972. He sung not to much songs but he is Quality singer. So, We tried to help you out. We build this app "Mukesh Hit Songs" which is very easy to use. Easy to explore and stream Old Hindi Video Songs, You just need to click what you want to watch just like Asha Bhosle Old romantic songs, Asha Bhosle Old sad songs .. etc. Note:- If you enjoyed this app then review it with 5 stars and leave your precious comment. Don't forget to share it. Your smile is our reward. Declaimer:- "OblivionTech" providing you best entertaining platform. We are trying to facilitate you to find you desired data as well as best video quality. All content in "Mukesh Hindi Song" is free on public domain. We don’t host any of these videos Files. All rights reserved to the content's respective owners. If you are owner of any type of data in this application just E-mail us we will feedback you within 7 working days and remove your data. #Mukesh_Hit_Songs_Hindi_Songs #Mukesh_Hit_Songs #Mukesh_HIndi_Songs #Mukesh_Top_Old_Songs #Mukesh_Old_Songs #Mukesh_Top_Hit_Songs #Mukesh_Songs #Old_Hindi_Songs #Hindi_Songs Mukesh Hit Songs - Hindi Songs Mukesh Hit Songs Mukesh HIndi Songs Mukesh Top Old Songs Mukesh Old Songs

[liveindiatimes]

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.

Author tweets @mniveditatweets

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[rmaappsmubeen1]

Mukesh Hindi Song

https://play.google.com/store/apps/details?id=com.obliviontech.mukeshhitsongs

Music is the name of entertainment and joy, if you talk about old Hindi music there is nothing beyond this application named "Mukesh Hit Songs ". In 1974 Mukesh Chand Mathur received National Film Award for best Male Playback Singer for Song Kai Baaar Yuhi Dekha Hai from Film Rajanigandha in 1974 and after gets Filmfare Awards for Songs SAB KUCH HUMNY in movie ANARI in 1959 and SABSE BADA NADAAN WAHI HAI in Film PEHCHAN in 1970, JAI BOLO BEIMAAN KI in movie BAIMAAN in 1972. He sung not to much songs but he is Quality singer. So, We tried to help you out. We build this app "Mukesh Hit Songs" which is very easy to use. Easy to explore and stream Old Hindi Video Songs, You just need to click what you want to watch just like Asha Bhosle Old romantic songs, Asha Bhosle Old sad songs .. etc. Note:- If you enjoyed this app then review it with 5 stars and leave your precious comment. Don't forget to share it. Your smile is our reward. Declaimer:- "OblivionTech" providing you best entertaining platform. We are trying to facilitate you to find you desired data as well as best video quality. All content in "Mukesh Hindi Song" is free on public domain. We don’t host any of these videos Files. All rights reserved to the content's respective owners. If you are owner of any type of data in this application just E-mail us we will feedback you within 7 working days and remove your data. #Mukesh_Hit_Songs_Hindi_Songs #Mukesh_Hit_Songs #Mukesh_HIndi_Songs #Mukesh_Top_Old_Songs #Mukesh_Old_Songs #Mukesh_Top_Hit_Songs #Mukesh_Songs #Old_Hindi_Songs #Hindi_Songs Mukesh Hit Songs - Hindi Songs Mukesh Hit Songs Mukesh HIndi Songs Mukesh Top Old Songs Mukesh Old Songs