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musicverse11 · 1 month ago

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KS Chithra on the Digital Stage: A Modern Legacy

KS Chithra, often hailed as the “Nightingale of South India,” is a name that resonates far beyond the borders of her home country. Her voice, with its distinct texture and soul-stirring quality, has a unique ability to transcend language and culture, touching hearts around the world. For over four decades, Chithra has enchanted audiences with her versatility, from classical Indian music to popular film tracks, solidifying her status as a musical icon. This article delves into Chithra’s extraordinary journey from her humble beginnings in the world of Carnatic music to her global influence as one of the most beloved playback singers in Indian cinema.

Early Life and the Foundation of Classical Training

Born in 1963 in Thiruvananthapuram, Kerala, KS Chithra’s musical inclination was apparent from a young age. Her father, Krishnan Nair, who was also musically inclined, recognized her talent early on and encouraged her to pursue music. She trained under the guidance of K. Omanakutty, a renowned Carnatic music vocalist, where her foundational skills in classical music were established. Her deep understanding of classical techniques and discipline would later give her an edge as a playback singer, enabling her to adapt effortlessly across various musical styles and languages.

Chithra’s classical background, especially in Carnatic music, proved to be her bedrock as she entered the world of playback singing. Her training allowed her to express complex emotions and nuances that captivated both critics and audiences. This classical grounding also enabled her to approach different music genres with ease, whether singing for Tamil, Telugu, Malayalam, or Hindi films, which would eventually become a significant part of her musical identity.

Breaking Into Playback Singing and Initial Successes

Chithra’s entry into playback singing happened in the late 1970s when she lent her voice for Malayalam cinema. However, it was her collaboration with legendary music director Ilaiyaraaja in the 1980s that became a turning point in her career. Ilaiyaraaja, known for his unique approach to blending classical Indian music with modern sounds, immediately recognized her potential. The duo produced some of the most memorable songs in South Indian cinema, establishing Chithra as a prominent voice.

Songs like “Paadariyen Padippariyen” from the Tamil movie Sindhu Bhairavi highlighted her impressive vocal range and emotional depth, making her a household name. Her unique ability to modulate her voice, deliver intricate notes with precision, and evoke emotion even in complex compositions set her apart. With each song, she not only won over fans but also garnered praise from critics who saw her as a breath of fresh air in Indian cinema. Chithra quickly rose to prominence, winning her first National Film Award for Best Female Playback Singer, a significant milestone in a career that would see many more accolades.

The Journey Beyond Language and Region

What truly sets KS Chithra apart is her versatility and adaptability. While she initially gained fame in Malayalam and Tamil cinema, her reach extended to other regional film industries, including Telugu, Kannada, and even Bollywood. Chithra’s ability to sing flawlessly in various Indian languages helped her connect with a broader audience across the nation. Her voice has become a unifying factor in a country that celebrates diversity in language and culture.

Chithra’s voice effortlessly adapts to different musical contexts. In Telugu cinema, she became a favored voice for romantic and emotional songs, capturing the nuances of Telugu literature and sentiment. Her song “Yamaho Nee Yama” from the film Sitara and “Nuvvostanante Nenoddantana” from Varsham became instant classics, cementing her status as a beloved playback singer in the Telugu industry. In Bollywood, too, her song “Kehna Hi Kya” from Bombay remains an iconic track, showcasing her range and artistry. Each time Chithra steps into a new language or genre, she brings with her the same commitment and grace, earning admiration from fans of diverse linguistic backgrounds.

The Role of Emotion in Chithra’s Singing

One of the most remarkable aspects of Chithra’s singing is her ability to convey deep emotion. Her voice carries a natural warmth and sincerity that draws listeners in, making them feel the emotions conveyed in her songs. This emotional depth is perhaps one of the reasons why she has resonated so deeply with audiences over the years. Whether it’s a devotional track, a love song, or a soulful melody, Chithra’s voice reaches into the hearts of her listeners, creating an almost spiritual connection.

Songs like “Aathangara Marame” from the movie Kizhakku Cheemayile or “Oru Poovinnkinavu” from Thenmavin Kombath are great examples of her ability to evoke strong emotions. She uses her voice as an instrument to express joy, sorrow, longing, and love, often within a single song. This emotional versatility is a rare quality that has allowed her to build a deep bond with her audience, one that goes beyond mere admiration and enters the realm of personal connection.

Global Recognition and Enduring Legacy

KS Chithra’s fame is not limited to Indian shores. Her music has reached audiences worldwide, particularly among the Indian diaspora, where her songs bring a sense of nostalgia and cultural connection. She has performed in prestigious venues around the globe, including the Royal Albert Hall in London, and has been invited to music festivals internationally, where she represents Indian music on a global stage. This international recognition highlights her status as a cultural ambassador, bridging India’s rich musical heritage with the world.

With over 25,000 songs recorded in multiple languages and more than six National Film Awards, Chithra’s achievements speak volumes about her dedication and talent. Her contributions to Indian cinema and music have earned her the title of “Isai Kuyil” (the Nightingale of Music), a testament to her enduring legacy.

Conclusion

KS Chithra’s journey is one that transcends boundaries, both geographically and musically. From her classical roots in Carnatic music to becoming a beloved playback singer in the Indian film industry, she has carved out a legacy that will continue to inspire future generations. Her ability to bridge different genres and languages, while maintaining emotional authenticity, has made her a true icon of Indian music. KS Chithra’s voice is not just music; it is an experience that continues to resonate with millions around the world, reaffirming her place as a timeless symbol of India’s rich musical heritage.

To celebrate KS Chithra’s legacy, we invite you to share your favorite songs and memories associated with her music. Have you experienced her music in a particular moment that stayed with you? Comment below with your story, and let’s create a space to honor this living legend and the memories her songs continue to evoke across generations.

#music industry updates #music

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bollywoodproduct · 4 years ago

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Lyrics Nigaahen Milaane Ko Jee Chahta Hai

Lyrics in English | Nigaahen Milaane Ko Jee Chahta Hai | Dil Hi To Hai (1963) | Asha Bhosle Haan Raaz Ki Baat HaiMehfil Me KahenYa Na KahenBas Gaya Hai KoyeeIs Dil Me KahenYa Na KahenKahen Ya Na KahenNigaahen Milaane Ko JeeChahta HaiNigaahen Milaane Ko JeeChahta HaiHo Nigaahen Milaane KoJee Chahta HaiDil-O-Jaan Lutaane KoJee Chahta HaiDil-O-Jaan Lutaane Lutaane KoJee Chahta Hai (2)…………. Wo…

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ofhunter290 · 4 years ago

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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)

Let us know how you like this article. Like it and Rate it below.

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200 Greatest Hard Rock Love Songs and Rock Ballads

Shalimar 1978 Songs Pk Songs

200 Greatest Classic Bollywood Songs

The repertoire of classics in the Hindi film industry is incomparable. This article showcases a list of best classic Bollywood songs..

100 Greatest Bollywood Dance Songs For New Year Parties

The vibe Bollywood music brings onto the dance floor is like no other. The lines below showcase a list of the best Bollywood dance songs for New Year parties.

Shalimar 1978 Songs Pk Subban

Top 100 Bollywood Dance Songs For Freshers’ Parties

Music and dance is the essence of a freshers’ party. Students like to have a good time dancing to the tunes of different songs at a freshers’ bash.

Post Your Comment

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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shankarjaikishanfansassnintl · 4 years ago

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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.

#cinema #classic cinema #shankar jaikishan #dev anand #dilip kmar #nargis #prithvirajkapoor #rajkapoor #shailendra #hasrat jaipuri

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houseofcocoweb-blog · 5 years ago

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Top 10 Successful Short Story Writers in India

1.Rabindranath Tagore:Rabindranath Tagore (born May 7, 1861) was the first non-European laureate to win the Nobel Prize. Best known as a poet, he was a man with a great number of talents. He was a nationalist who gave up his knighthood to protest British policies in colonial India after the Jallianwala Bagh massacre. He was a painter and a songwriter too. One of these rare talents were short stories too. He wrote them in Bengali, English and Hindi. He even translated various famous English stories in Bengali and Hindi.

His famous short stories are: Sompotti Somorpon, Kabuliwallah (The Fruitseller from Kabul), Ghare Baire (The Home and the World), Jogajog (Relationships), Nastanirh (The Broken Nest), Shesher Kobita (The Last Poem or Farewell Song), Gora, Char Oddhay, Bou Thakuranir Haat, Malancha and Chokher bali are some of his excellent works in short stories.

Premchand: Munshi Premchand (born July 31, 1880), is one of the most renowned names in Hindi Literature. His original name was Dhanpat Rai. He was a novelist, a dramatist and mainly a short story writer. His translations into Hindi are still relevant. Munshi Ji was a teacher by profession but was still writing in Urdu language. He also wrote tiny stories. He was very patriotic and his works in Urdu depicted the conditions of the nationalist movement going on in colonial India. His thought-provoking short stories were realistic on one hand and poignant on the other. His short stories always carried some sort of social message while side by side entertaining the readers. His depiction of plight of girls and women in the 19th century is picturesque and hits the readers to create awareness about the status of women. He was later elected as Progressive Writers' Association in Lucknow.

His famous short stories are: Adeeb Ki Izat, Duniya ka Sabse Anmol Ratan, Bade Bhai Sahab, Beti ka Dhan, Saut, Sajjanata ka dand, Panch Parameshvar and Pariksha.

His famous short stories are: The timeless beastly tales and other stories, From Heaven Lake: Travels Through Sinkiang and Tibet, Arion and the Dolphin (for children)

R. K. Narayan: Rasipuram Krishnaswami Iyer Narayanaswami (born October 10, 1906) was an Indian writer who was renowned as a man of simplicity. His writing was as simple as his life was. He had been nominated for Nobel prize for literature several times. The compassionate humanism of each of his short and tiny stories. Swami was one of his best characters which was even adapted as a series on Doordarshan. Rasipuram Krishnaswami Iyer Narayanaswami won various awards and honors for his works. These include, Sahitya Akademi Award for The Guide in 1958 and Padma Bhushan in 1964.

His famous short stories are: Gods, Demons and Others, The Grandmother's Tale and Selected Stories, A Horse and Two Goats and Other Stories, Malgudi Days (book), Under the Banyan Tree and Other Stories and The World of Malgudi.

Ruskin Bond: Ruskin Bond (born May 19, 1934) is a great Indian writer of British descent. He has authored many great children's stories and was awarded Sahitya Akademi award to honor his work of literature. His famous character is Rusty who was involved in various mischievous activities since his birth.

His famous short stories are: The sensualist, The night train at Deoli, The cherry tree, The tiger in the tunnel, Time stops at shamli, Sussana's 7 husbands, Delhi is not far, The room in the roof, Death of the trees, The blue umbrella, A flight of pigeons, When darkness falls.

Mahadevi Verma: Mahadevi Verma (Born March 26, 1907) was in true sense the modern Meera as Mahadevi Verma was greatly influenced by Buddhism and she was deeply aesthetic. Her poetry is marked by a constant pain, the pain of separation from her beloved, the supreme being.She brought Chhayavaad generation back to its position when romanticism was at its peak. She received Jnanpith award in the year 1982.

Her famous short stories and prose are: Ateet Ke chalchitra, Kshanda, Mera Parivaar, Path ke Saathi, Sahityakaar ki Asatha, Sambhashan, Sankalpita, Shrinkhla ki kadiya, Smriti Ki Rekhayen

Khushwant Singh: Khushwant Singh (Born Feb 02, 1915) was an Indian novelist, a lawyer and a journalist. He was a man of rare intellect and possessed many hidden talents. He was a graduate of St. Stephen's College, Delhi and King's College London.He was the editor of many reputed newspapers and magazines like, The Illustrated Weekly of India, The National Herald and the Hindustan Times.

His famous short stories' collections are: The Mark of Vishnu and Other Stories, The Voice of God and Other Stories, A Bride for the Sahib and Other Stories, Black Jasmine, The Collected Stories.

Mulk Raj Anand: Mulk Raj Anand (Born Dec 12, 1905) was the first Indian writer in English to be in the light in the international scene. He can be considered a pioneer in anglo-Indian fiction and the first to depict the masses and their plight. He highlighted many social evils prevailing in the society of that time. He himself was born in a coppersmith family but being an avid learner, he went to Cambridge for higher studies.

His famous short stories' collections are: The Lost Child and Other Stories, The Barber's Trade Union and Other Stories, The Tractor and the Corn Goddess and Other Stories, Reflections on the Golden Bed, The Power of Darkness and Other Stories Lajwanti and Other Stories, Between Tears and Laughter, Selected Short Stories of Mulk Raj Anand, Tales Told by an Idiot: Selected Short Stories.

Jhumpa Lahiri: Jhumpa Lahiri(Born July 11, 1967) is a Pulitzer prize winning writer known for works of fiction like Interpreter of maladies, The Namesake, Unaccustomed Earth and The Lowland. She is famous for the pondering thought she spends on each and every character and the mesmerizing emotional connection with them.

Her famous short stories' collections are: Interpreter of maladies, the namesake

Vikram Seth: Vikram Seth (Born June 20, 1952) is an Indian novelist, poet, travel writer best known for his epic novel 'A Suitable Boy'. For more than three decades he has been writing and getting the due appreciation from critics. He graduated from Corpus Christi College, Oxford and did his master's in economics from Stanford University, U.S.A. The novel 'The Golden Gate' published in 1986 made him one of the most highly acclaimed novelists of his time and the book won him plenty of accolade from readers as well as critics.

Anita Desai: Anita Desai(Born June 24, 1937) is one of the most notable contemporary Indian fiction writers in English. She was born to a Bengali father and how many pages is 1000 words a German mother. She grew up in Delhi, receiving her education first at Queen Mary's School and later at Miranda House, one of Delhi University's most prestigious colleges. At the early age of seven, she published her first novel,Cry, the Peacock, in 1963. Desai since then published novels, short stories, and children's literature.

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dweemeister · 6 years ago

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2018 Movie Odyssey Award for Best Original Song (final round)

TAGGING: @cokwong, @dansmonarbre, @dog-of-ulthar, @emilylime5, @fredsbarandgrill, @halfwaythruthedark, @ideallaedi, @introspectivemeltdown, @itsjustangc, @loveless422, @maximiliani, @memetoilet, @mindo80, @monkeysmadeofcheese, @myluckyerror, @nazur, @phendranaedge, @plus-low-overthrow, @saucy-witch, @shadesofhappy, @somequeerdistortion, @stephdgray, @themusicmoviesportsguy, @umgeschrieben, @underblackwings, @yellanimal

Also TAGGING older followers/friends/supporters who I really haven’t been in touch with lately, have done the final before, or are on the inactive side. And also some newcomers who have been supporting the blog a lot: @astorytellertothestars, @babeltwo, @celibatemachine, @classwarhooligan, @dakotarosie, @emergencyhugs, @haveyoubeentobahia, @ineedanumbrella, @jayb3, @justtheguest, @mundi41, @nudehearth, @sadisticsunglasses, @shootingstarvenator, @thenarddog, @thethirdman8, @thewolfofelectricavenue, and @voicetalentbrendan!

And now the grand finale. For those of you who have never seen this before, I have an Oscar-like ceremony on my blog celebrating all the movies of that year’s Movie Odyssey (all the movies I saw for the first time in their entirety) at the year’s end. For the last four years, I have asked family and friends to help out with the Best Original Song category - because in all other categories, you'd be forced to watch entire movies to decide it. This is a musical thank-you to all of you, who have contributed, in your ways, to support the Movie Odyssey and me. Please do not feel like you have to do this; there are no hard feelings if you do not participate, and you have my thanks either way. But if you are, I hope you enjoy this 2018 edition!

This final round has the largest chronological spread we have ever covered: eighty-eight years. Songs in English, German (making its debut), Hindi, Japanese are all involved. A Vietnamese-language song made its debut for MOABOS, but was eliminated in the preliminary.

INSTRUCTIONS Please rank (#1-16) your choices in order. The top ten songs will receive nominations. Be warned, there is a new tabulation method for this year's final (described in the "read more" at the bottom). There is no minimum or maximum amount of songs you can rank, but because of the nature of this new tabulation system, it is highly recommended to rank as many songs as possible, rather than only one or two. Those who rank fewer songs run a greater risk of their ballots being discarded as I am counting the ballots. Again, this is all described in the "read more". Why not implement at a minimum number of songs to rank? Well, I believe in giving you folks as much freedom as possible.

Please consider to the best of your ability: how musically interesting the song is, its lyrics, context within the film (if you've seen it - this factor also includes integration into the film's score), choreography/dance direction (if applicable; not many song-and-dance numbers this year), and the song's cultural impact/life outside the film (if applicable, and by far the least important factor). Imperfect audio and video quality may not be used against any song, as this disadvantages older and non-English language songs. You may absolutely send in comments and reactions with your rankings - it’s always fun to read reactions to individual songs, and it usually makes the process (for everyone) more enjoyable!

The submission deadline is Sunday, December 31 at 6 PM Pacific Time / 4 PM Hawai'i / 5 PM Alaska / 8 PM Central / 10 PM Eastern. If you're across the Atlantic, that's New Year's Day at 2 AM GMT / 3 AM CET / 4 AM EET / 7:30 AM IST. There will be no deadline extensions.

And now the sixteen finalists in this category, for your listening pleasure (contextual blurbs are provided, and I hope they are informative; if links do not work there are most likely alternatives across the Internet but please inform me if that does not apply to you):

“Bless Your Beautiful Hide”, music by Gene de Paul, lyrics by Johnny Mercer, Seven Brides for Seven Brothers (1954)

Performed by Howard Keel

The opener to Seven Brides; its melody is used as the main orchestral theme throughout (most memorably in the barn dance scene). Oregonian backwoodsman Adam Pontipee (Keel) has little experience with society (let alone women), as he looks for a bride to take care of him and his six brothers in this satirical musical of gendered misbehavior - which pokes fun of, never endorses, said misbehavior.

“'Bout Time”, music and lyrics by Richard M. Sherman and Robert B. Sherman, The One and Only, Genuine, Original Family Band (1968)

Performed by John Davidson and Lesley Ann Warren

In this Disney musical, Joe Carder (Davidson) has convinced the Bower family to move to Dakota Territory. Joe is suitor to Alice Bower (Warren), their relationship complicated by her grandfather's politics. This song takes place on the first day in their new hometown, and before her first day at work at the schoolhouse.

“Candle on the Water”, music and lyrics by Al Kasha and Joel Hirschhorn, Pete's Dragon (1977)

Performed by Helen Reddy

Nominated for the Academy Award for Best Original Song

Nora (Reddy) has just tucked Pete in, not before describing the story of her long-lost fiancé (missing sea for over a year) to him. After being scolded by her father for clinging onto the past, Nora goes up to the lighthouse balcony to sing this.

“Chaar Kadam”, music by Shantanu Moitra, lyrics by Swanand Kirkire, PK (2014, India)

Performed by Sushant Singh Rajput (dubbed by Shaan) and Anushka Sharma (dubbed by Shreya Ghoshal)

Lyrics in Hindi (song ends at 16:20)

In Bruges in Belgium, an Indian Hindu woman named Jaggu (Sharma) has met a Pakistani Muslim, Sarfaraz (Rajput) - both are students. This is their love duet before her family objects due to nationalistic and (especially) religious reasons. Don't worry about the dude at the end - he's the one who got them together.

“Charade”, music by Henry Mancini, lyrics by Johnny Mercer, Charade (1963)

Performed by orchestra and chorus; conducted by Mancini

Used as main theme throughout this romantic comedy/mystery/suspense film. This song is more famous for its instrumental version without lyrics.

“Falling in Love Again (Can't Help It)”, music and German lyrics by Friedrich Hollaender, English lyrics by Sammy Lerner, The Blue Angel (1930, Germany)

Performed by Marlene Dietrich

(English-language version... excuse the badly-edited video) / (German original)

A college prep school professor is angry at his students for passing around photos of cabaret singer, Lola Lola (Dietrich), in class. In hopes to catch the boys at the club, he goes to the cabaret and is overcome with lust for Lola after seeing her perform this song. Their relationship will become toxic, based on his groveling and humiliations.

“Gunfight at the O.K. Corral”, music by Dimitri Tiomkin, lyrics by Ned Washington, Gunfight at the O.K. Corral (1957)

Performed by Frankie Laine (the above was re-recorded in the 1980s when Laine was in his mid-70s, so those familiar with Laine's voice will notice it sounds weaker)

Played in the opening credits, with additional verses sung during montage scenes across the film. Used as main orchestral theme in the film's score. This version of the song contains additional lyrics that can't be found online.

“Hooray for Hollywood”, music by Richard A. Whiting, lyrics by Johnny Mercer, Hollywood Hotel (1937)

Performed by Johnnie Davis, Frances Langford, and Benny Goodman and His Orchestra

Considered an unofficial anthem of Hollywood. Usually played at least once in every Oscars ceremony and other movie awards ceremonies worldwide.

Small town saxophonist Ronnie Bowers (Dick Powell) has just won a contract with a major Hollywood studio. His friends and former employer, Benny Goodman, arrive at the airport to send him off. The lyrics are meant to satirize what people do to become famous as actors.

“Hum Aapki Aankhon Mein”, music by Sachin Dev Burman, lyrics by Sahir Ludhianvi, Pyaasa (1957, India)

Performed by Guru Dutt (dubbed by Mohammad Rafi) and Mala Sinha (dubbed by Geeta Dutt)

Lyrics in Hindi

Broke poet Vijay (Guru Dutt) encounters his university ex, Meena (Sinha), who is now married to a hotshot publisher who won't publish Vijay's work. Vijay then has a flashback, and within that flashback is this foggy fantasy song-and-dance sequence. Flashback-ception?

“It's Not Easy”, music and lyrics by Al Kasha and Joel Hirschhorn, Pete's Dragon (1977)

Performed by Sean Marshall and Helen Reddy

Pete (Marshall) and his dragon, Elliott, are on the run from his abusive foster family. The lighthouse keeper and his daughter, Nora (Reddy), take Pete in. Nora has not met Elliott yet, and believes that he is Pete's imaginary friend.

"Love Is a Many-Splendored Thing", music by Sammy Fain, lyrics by Paul Francis Webster, Love Is a Many-Splendored Thing (1955)

Non-film version performed by Nat King Cole; film version performed by chorus (and is unavailable)

Used as main orchestral theme throughout this romantic drama's score; version with lyrics sung by chorus first appear at the end of the film.

"Mystery of Love", music and lyrics by Sufjan Stevens, Call Me by Your Name (2017)

Performed by Stevens

(single version) / (use in film; song isn't played in its entirety)

This song appears as the film's main characters, Elio and Oliver, take one of their many day trips in this Italian summer.

“Rain”, music by Shin'ichi Nakajima, Saori Fujisaki, and Satoshi Fukase, lyrics by Saori Fujisaki and Satoshi Fukase, Mary and the Witch's Flower (2017, Japan)

Performed by Sekai no Owari

Lyrics in Japanese (rough translations)

Appears in the end credits; this song is not referenced in this anime fantasy's score (but like the score, there's a prominent and unusual use of a dulcimer).

“Shallow”, music and lyrics by Mark Ronson, Lady Gaga, Anthony Rossomando, and Andrew Wyatt, A Star Is Born (2018)

Performed by Lady Gaga and Bradley Cooper

Aspiring singer-songwriter Ally (Lady Gaga) has fallen for declining artist Jackson Maine (Cooper). At one of his concerts, he begins to put music to a song she sung to him in a parking lot, inviting her onstage.

“This Is Me”, music and lyrics by Justin Paul and Benj Pasek, The Greatest Showman (2017)

Performed by Keala Settle and company

After being shunned from a dinner including P.T. Barnum’s wealthy sponsors for his circus, the circus "freaks" sing this ballad which eventually becomes a montage, refusing to put up with those harass and put them down.

“You're the One That I Want”, music and lyrics by John Farrar, Grease (1978)

Performed by John Travolta and Olivia Newton-John

At the post-graduation high school carnival, greaser and bad boy Danny Zuko (Travolta) is stunned to see his relatively restrained, somewhat prudish, girlfriend, Sandy (Newton-John), committing to change herself for him to win him over.

Well, have at it! And thanks for your time and consideration! You may submit your responses in any way, as long as they come in before the deadline. I am free to answer any questions about anything you have about the process. The 2018 Movie Odyssey has been a rewarding one, and I have been glad to share it with you.

TABULATION Like the preliminary... a respondent’s first choice receives 10 points, the second choice receives 9, the third choice receives 8, etc. HOWEVER, the points system is used only for tiebreaker purposes.

The way the winner will be decided is through a process called instant-runoff voting (IRV; the Academy Awards uses this method to choose a Best Picture winner, visually represented here - you should really watch this video if the below doesn't make sense... which it probably won't):

All #1 picks from all voters are tabulated. A song needs more than half of all aggregate votes to win (50% of all votes plus one... i.e. if there are thirty respondents, sixteen #1 votes are needed to win on the first count).

If there is no winner after the first count (as is most likely), the song(s) with the fewest #1 votes or points is/are eliminated. Then, we look at the ballots of those who voted for the last-placed song(s). Their votes then go to the highest-remaining (non-eliminated) song on their ballot.

This process (in #2) repeats until one song has secured 50% plus one of all votes. We keep eliminating nominees and transfer votes to the highest-ranked, non-eliminated song on each ballot. NOTE: It is possible after several rounds of counting that respondents who did not entirely fill in their ballots will have wasted their votes at the end of the process. For example, if a person voted the second-to-last place song as their #1, ranked no other songs, and the count has exceeded two rounds, their ballot is discarded (lowering the vote threshold needed to win), and they have no say in which song ultimately is the winner.

A song wins when it reaches more than fifty percent of all #1 and re-distributed votes.

Tiebreakers: 1) first song to receive 50% plus one of all #1 and transferred votes; 2) total points earned; 3) total #1 votes; 4) placement on my ballot; 5) placement on my sister’s ballot; 6) tie declared

Previous years’ results for reference: 2013 final 2014 final (input from family and friends began this year) 2015 final 2016 prelim / final 2017 prelim / final

#2018 Movie Odyssey Awards

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bollywoodirect · 4 years ago

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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.

#kumkum #Zaibunnissa #guru dutt #Kabhi Aar Kabhi Paar Laga Teer-E-Nazar #aar paar (1954)#pyasa (1957)

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coolproductreviewsus · 4 years ago

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Jiya Jale: The Stories of Songs

Price: [price_with_discount] (as of [price_update_date] – Details)

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The legendary lyricist, poet and filmmaker tells us of the art and stories behind the making of his best songs—some of the finest and most popular of Hindi Cinema—from 1963 to the present.

A legend of Hindi cinema, Gulzar is among the Subcontinent’s finest poets and lyricists, whose songs have touched millions. He…

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#books on indian languages #Jale #Jiya #Songs #Stories

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headlinehindi · 4 years ago

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बर्थडे स्पेशल: गीतकार गुलज़ार के बेहतरीन गाने उन्होंने बॉलीवुड में गीतकार के रूप में 1963 में फिल्म 'बंदिनी' से शुरुआत की थी| #gulzar #bandini #happybirthdaygulzar #bestsongs http://www.headlinehindi.com/entertainment-news-hindi/birthday-special-best-songs-of-lyricist-gulzar/?feed_id=6759&_unique_id=5f3ba18438b51

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bollywoodproduct · 4 years ago

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Lyrics Nadi Naare Na Jao Shyam

Lyrics in English | Nadi Naare Na Jao Shyam | Mujhe Jeene Do (1963) | Lata Mangeshkar Nadi Naare HayeNadi Naare Na Jao ShyamPaiyyan ParoonNadi Naare Na Jao ShyamPaiyyan ParoonPaiyyan Paroon ShyamPaiyyan ParoonPaiyyan Paroon ShyamPaiyyan ParoonNadi Naare Na Jaao ShyamPaiyyan Paroon………… Nadi NaareJo Jao ToJaibe KaroNadi NaareJo Jao ToNadi Naare HayeNadi Naare ShyamNadi NaareJo Jao ToJaibe Karo…

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#A to Z Black and White Songs #A to Z Bollywood Songs #A to Z Hindi Retro Romantic Songs #A to Z Hindi Songs #A to Z Song Lyrics #A to Z Songs #All Time Best Songs Composed by Jaidev #Antakshari Songs from N #Asha Bhosle Songs #Best Black and White Songs of 60s #Best Hindi Songs of 1963 #Best of Black and White Hindi Songs #Best Solo Songs of Asha Bhosle #Best Songs of 1963 #Best Songs of Sahir Ludhiyanvi #Best Songs of Waheeda Rehman #Black and White Hindi Songs #Black and White Romantic Songs #Bollywood Songs 1963 #Hindi Song Lyrics Starting from N #Lyrics Starting from N #Romantic Songs of Asha Bhosle #Solo Songs of Asha Bhosle #Songs Composed by Jaidev #Songs from Mujhe Jeene Do (1963)#Songs Starting from "N"#Songs Written by Sahir Ludhiyanvi #Sunil Dutt Songs #Top 25 Songs Composed by Jaidev #Waheeda Rehman Songs

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liveindiatimes · 5 years ago

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

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

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

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

Nutan in Bandini.

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

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

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

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

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

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

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

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

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

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

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

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

Author tweets @mniveditatweets

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urduclassic · 11 years ago

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Gulzar

Sampooran Singh Kalra (born 18 August 1934), known popularly by his pen name Gulzar, is an Indian poet, lyricist and director.[1] He primarily writes in Hindustani (Hindi-Urdu) and Punjabi; besides several dialects of Hindi such as Braj Bhasha, Khariboli, Haryanvi and Marwari. Gulzar was awarded the Padma Bhushan in 2004 for his contribution to the arts and the Sahitya Akademi Award in 2002. He has won a number of National Film Awards and 20 Filmfare Awards. At the 81st Academy Awards, he won the Academy Award for Best Original Song for "Jai Ho" (shared with A.R.Rahman), for the film Slumdog Millionaire. On 31 January 2010, the same song won him a Grammy Award in the category of Grammy Award for Best Song Written for a Motion Picture, Television or Other Visual Media.

Gulzar's poetry is partly published in three compilations: Chand Pukhraaj Ka, Raat Pashminey Ki and Pandrah Paanch Pachattar (15-05-75). His short stories are published in Raavi-paar (also known as Dustkhat in Pakistan) and Dhuan (smoke). As a lyricist, Gulzar is best known for his association with the music directors Rahul Dev Burman, A. R. Rahman and Vishal Bhardwaj. He has also worked with other leading Bollywood music directors including Sachin Dev Burman, Salil Chowdhury, Shankar Jaikishan, Hemant Kumar, Laxmikant-Pyarelal, Madan Mohan, Rajesh Roshan, Anu Malik, and Shankar–Ehsaan–Loy. Along with lyrics, he has also contributed in many films as script, story and dialogue writer. Films directed by him have also won numerous awards and have been critically acclaimed. He also had worked on small screen by creating series Mirza Ghalib and Tahreer Munshi Premchand ki among others. He wrote lyrics for several Doordarshan serials including Hello Zindagi, Potli Baba ki and Jungle Book.

Early life

Gulzar was born in a Kalra Arora Sikh family, to Makhan Singh Kalra and Sujan Kaur, in Dina, Jhelum District, British India, in what is now Pakistan. Before becoming an established writer, Sampooran worked in Mumbai as a car mechanic in a garage.[2] His father rebuked him from becoming a writer saying "As a writer you will have to depend on your brothers".[3] He took the pen name Gulzar Deenvi after becoming an author.

Career

Gulzar is best known in India as a lyricist for songs that form an integral part of Bollywood. He began his career under the directors Bimal Roy and Hrishikesh Mukherjee. His book Ravi Paar has a narrative of Bimal Roy and the agony of creation. Gulzar started his career as a songwriter with the music director Sachin Dev Burman for the movie Bandini (1963).[4] Shailendra who has penned rest of the songs of the movie urged Gulzar to write the song "Mora Gora Ang Layle". This was picturised on Nutan. Gulzar's most successful songs as a lyricist came out from his association with Sachin Dev Burman's son Rahul Dev Burman, whom he described as the anchor in his life.[5]Gulzar has had award-winning associations with the music directors Salil Chowdhury (Anand, Mere Apne), Madan Mohan (Mausam) and more recently with Vishal Bhardwaj (Maachis, Omkara, Kaminey), A. R. Rahman (Dil Se.., Guru, Slumdog Millionaire, Raavan) and Shankar–Ehsaan–Loy (Bunty aur Babli).

Gulzar was a song writer or dialogue writer for several Doordarshan programmes for kids such as Jungle Book, Alice in Wonderland, Guchche and Potli Baba Ki with Vishal Bhardwaj. He has more recently written and narrated for the children's audiobook series Karadi Tales.[6] For the peace campaign (Aman ki Asha) jointly started by India's and Pakistan's leading media houses, he wrote the anthem "Nazar Main Rehte Ho", which was recorded by Shankar Mahadevan and Rahat Fateh Ali Khan.[7]Gulzar has written ghazals for Ghazal Maestro Jagjit Singh's albumbs "Marasim" and "Koi Baat Chale". Both these albums were a great success.

As director

After writing dialogues and screenplay for films like Aashirwad, Anand, Khamoshi and more, Gulzar directed his first film Mere Apne(1971). The film was a remake of Tapan Sinha's Bengali film Apanjan(1969). Meena Kumari played the lead role of Anandi Devi, an old widow caught in between the local fights of unemployed & tormented youngsters. Anandi Devi's death in one of the fights makes them realize the futility of violence. The film was rated "Above Average" at the Box Office.[8] He then directed Parichay and Koshish. Parichay was based on a Bengali novel, Rangeen Uttarain by Raj Kumar Maitra[9] and inspired from the Hollywood film The Sound of Music. Written by Gulzar, Koshish told a story full of struggle of a deaf-dumb couple. Sanjeev Kumar won National Film Award for Best Actor for his performance in it.[10] Year 1973 saw his another directorial venture named Achanak. Inspired by the real-life sensational 1958 murder case KM Nanavati v State of Maharashtra,[11] the story writer K.A. Abbas earned a Filmfare nomination for Best Story.

Gulzar's Aandhi, based on the Hindi novel "Kaali Aandhi" by Kamleshwar, told a story of a couple separated against the backdrop of politics. Along with various wins and nominations, the film also won Filmfare Critics Award for Best Movie. Although believed to be based on the life of Ex-Indian Prime Minister Indira Gandhi, the film was based on life of Tarkeshwari Sinha.[12] However in the 1975's emergency, the film was banned from theatres.[9] Inspired from Sharat Chandra Chattopadhyay's Pandit Mashay was his next film Khushboo. Mausam that won National Award for 2nd Best Feature Film,[13] Filmfare Best Movie and Filmfare Best Director awards, along with other six Filmfare nominations was loosely based on the story "Weather", from the novel, The Judas Tree, by A.J. Cronin. Sharmila Tagore for her roles of Chanda and Kajli received The Silver Lotus Award at the 23rd National Film Festival. In his 1982's film Angoor, Gulzar took the story of Shakespeare's play The Comedy of Errors.

None of the Gulzar's film were "Blockbuster Hits" on the Indian Box Office. His films told stories of human relationships entangled in social issues. Libaas was a story of extra-marital affair of an urban couple. Due to its objectionable subject the film never got released in India.[14] Mausam pictured a story of a father who tries to improve the life of his prostitute-daughter. In Maachis, a young Punjabi boy pick up to terrorism to fight the situations only to realize its temporary nature. Hu Tu Tu dealt with corruption in India and how a man decides to fight it.[15]Gulzar uses "flashback" in the narration of his stories very effectively (Aandhi, Mausam, Ijaazat, Machis, Hu Tu Tu). He also has mutual partnerships with various actors and other crew. The Gulzar - Sanjeev Kumar partnership resulted in few fine films (Koshish, Aandhi, Mausam, Angoor, Namkeen) which represent Sanjeev Kumar's finest work as an actor.[16] Actors like Jeetendra (Parichay, Khushboo, Kinara), Vinod Khanna (Achanak, Meera, Lekin) and Hema Malini (Khushboo, Kinara, Meera) worked with Gulzar to gain respectability as artists and delivered some of their best and most introspective work in films.[16] With his situational lyrics and quality music composed by various famous Bollywood musicians in Gulzar's films, his songs have always been the key point. R D Burman composed songs for almost all the movies directed by him in the 1970s and the 1980s (Parichay, Khushboo, Aandhi, Angoor, Ijaazat, Libaas). Many of their popular songs were sung by Kishore Kumar, Lata Mangeshkar and Asha Bhosle. These include "Musafir Hoon Yaron" (Parichay), "Tere Bina Zindagi Se Koi" (Aandhi), and "Mera Kuch Samaan" (Ijaazat). Gulzar says,

"Music has a natural place in our lives. Right from the shloka you recite in your morning puja and the milkman who comes whistling on his cycle, to the fakir singing as he begs for alms and your mother humming around the kitchen...Music fills our spaces naturally. It will always be dear to us." [16]

Although an Urdu writer, Gulzar's directorial venture shows inspiration from various Bengali writers. In 1988, he directed an eponymous television serial Mirza Ghalib starring Naseeruddin Shah, shown on Indian television channel Doordarshan. About the serial he says,

"...My TV serial on poet `Ghalib' was based on history, though the earlier movie version treated him as a myth."[12]

As Poet

Gulzar has vast knowledge of Urdu Poetry. He is creator of a new type of stanza named as Triveni. Few examples of which are, 01-

"... ज़मीं भी उसकी,ज़मी की नेमतें उसकी,

ये सब उसी का है,घर भी,ये घर के बंदे भी,

खुदा से कहिये,कभी वो भी अपने घर आयें!"

02-

"...मां ने जिस चांद सी दुल्हन की दुआ दी थी मुझे,

आज की रात वह फ़ुटपाथ से देखा मैंने,

रात भर रोटी नज़र आया है वो चांद मुझे!"

#Vishal Bhardwaj #Sachin Dev Burman #Potli Baba Ki #Jhelum District #India #Gulzar #Academy Award #A. R. Rahman

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gethealthy18-blog · 5 years ago

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What Your Favorite Bollywood Stars Were Like As Kids

New Post has been published on https://healingawerness.com/getting-healthy/getting-healthy-women/what-your-favorite-bollywood-stars-were-like-as-kids/

What Your Favorite Bollywood Stars Were Like As Kids

What Your Favorite Bollywood Stars Were Like As Kids Niharika Nayak Hyderabd040-395603080 December 23, 2019

Bollywood stars are dreamy! Aren’t they? But have you ever wondered what your favorite Bollywood celebrities looked like as children? The handsome hunk hero and the diva heroine were all tiny little munchkins back in their childhood. Have you ever wondered what their lives were like growing up? Which was the first film they acted in? Well, look no further. We’ve got just the right list for all you filmi buffs out there. Read on to take a walk through your favorite stars’ childhood. Warning: Tonnes of lethal cuteness ahead!

1. Aamir Khan

_aamirkhan / Instagram

Aamir Khan was born to Tahir Hussain, a filmmaker, and Zeenat Hussain on 14 March 1965 in the city of Bombay. A few of his family members were also heavily involved in the Hindi film industry, including his late uncle, filmmaker Nasir Hussain. As a child performer, Aamir showed up on screen in two small roles. At eight years old, he acted in a profoundly well-known song in the Nasir Hussain-directed film Yaadon Ki Baaraat (1973). The next year, he depicted the young version of Mahendra Sandhu’s character in his dad’s creation Madhosh (1974).

2. Hrithik Roshan

hrithikwouldbeperfection / Instagram

Hrithik Roshan was born on 10th January 1974 in Bombay, India, to Rakesh and Pinky Roshan. His dad is an outstanding filmmaker and a successful actor in the Bollywood film industry. He originally showed up in the 1980 Hindi film Aasha as a kid on-screen character, where he assumed a minor job. He had showed up in a few other motion pictures too. It was during his young years that he settled on his choice to turn into a full-time actor. Be that as it may, his dad needed him to concentrate on his examinations.

3. Sanjay Dutt

duttsanjay / Instagram

Sanjay Balraj Dutt was born into a Punjabi family in Bombay. His folks were noted actor Sunil Dutt and actress Nargis. Priya Dutt and Namrata Dutt are his sisters. Dutt was very attached to his mother Nargis but sadly she passed away in 1981, a few weeks prior to his Bollywood debut. Her passing is referred to as the instigator of his drug abuse. As a child artist Dutt portrayed a qawali artist in the 1972 film Reshma Aur Shera, which featured his dad.

4. Sridevi

sridevi.kapoorfc / Instagram

Sridevi was born and brought up in a small town called Sivakasi in Tamil Nadu. She was born on 13 August 1963 to her Tamil-Telugu parents, Ayyapan and Rajeshwari. Her dad was an attorney from Sivakasi, Tamil Nadu while her mother was a homemaker from Tirupati, Andhra Pradesh. Sridevi began her career as a child actress at a young age of four in the Tamil film Kandan Karunai (1967). Her trajectory only went up from there and her remarkable acting skills won her a lot of attention as well as film roles. Sridevi made her introduction in the Telugu film industry with the 1970 film Maa Nanna Nirdoshi. Then going by the name, Baby Sridevi, her talent and acting skills in the Malayalam movie Poompatta (1971) won her the Kerala State Film Award for Best Child Artist.

5. Shahid Kapoor

keku_rajawat / Instagram

Shahid Kapoor was born in New Delhi on 25 February 1981 to actor Pankaj Kapur and actress Neelima Azeem. Sadly, his parents separated from each other when he was just three years of age. Subsequently, his father moved to Mumbai and married actress Supriya Pathak while Shahid lived in Delhi with his mom and maternal grandparents. His grandparents were columnists for the Russian magazine Sputnik, and Kapoor was especially attached to his granddad. His dad, then a struggling actor in Mumbai, would visit Kapoor just once every year on his birthday. When Kapoor was 10, his mom moved the family to Mumbai to begin working as an actress. In Mumbai, Azeem proceeded to wed the actor Rajesh Khattar and eventually gave Shahid a sibling, Ishaan Khattar. Kapoor lived with his mom and stepfather until they separated in 2001.

6. Bobby Deol

iambobbydeol / Instagram

Deol was naturally born to a Jatt family as the second child of actor Dharmendra and his first wife Parkash Kaur. He has three siblings from his father’s first marriage, including Sunny Deol and two sisters. His father later married South Indian film actress, Hema Malini after which he got two half-sisters, Esha Deol (actress) and Ahana Deol. Bobby first gained attention after acting with his father Dharmendra in the film Dharam Veer in 1977.

7. Tabu

Indian Express

Tabassum Fatima Hashmi was born to Jamal Hashmi and Rizwana in a Hyderabadi Muslim family. She was only a child when her parents got separated. Her mom was a teacher and her maternal grandparents were retired teachers who ran a school. Her granddad, Mohammed Ahsan, was a professor of Mathematics, and her grandmother was a teacher of English Literature. The actress is also related to veteran actress, Shabana Azmi. Tabassum “Tabu” Hashmi first appeared in the film Bazaar in 1980, and later in the film Hum Naujawan (1985) at fourteen years of age; she played Dev Anand’s child in the film.

What did you think of this list? Were you surprised by your favorite childhood actors’ names appearing on this list? Let us know your thoughts in the comment section below.

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bollywoodpapa · 5 years ago

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16 Bollywood Celebs Who Died Of Due To Massive Heart Attack

New Post has been published on https://www.bollywoodpapa.com/16-bollywood-celebs-who-died-of-due-to-massive-heart-attack-2/

16 Bollywood Celebs Who Died Of Due To Massive Heart Attack

Today we are going to introduce you to Bollywood actors who may have been happily spending a good time with their loved ones one day before leaving this world. All the artists involved in this list have lost their lives in the heart attack. Take a look:

1. Inder Kumar

Bollywood and TV actor Inder Kumar, known for his role in Salman Khan’s film ‘Wanted’, passed away on 28 July, at 2 am due to a heart attack at his residence in Mumbai. He was 44 years old. The actor reportedly suffered a heart attack at his residence in Four Bungalows in Andheri, Mumbai. The fatal attack occurred at 2 am.

Inder has been a famous model during the 90’s and has featured in many hit songs. He has acted in more than 20 Bollywood films. He rose to fame with Salman Khan’s film ‘Wanted’. Some of his films are ‘Khiladiyon Ka Khiladi’, ‘Agnipath’, ‘Tumko Na Bhool Payenge’.

2.Reema Lagoo

Famous Bollywood and Television actress Reema Lagoo, who was lastly working on Star Plus’ hit show “Naamkaran” passed away on May 18 morning due to cardiac arrest. She was 59. She was best known for playing the on-screen mother to protagonists in hit films like ‘Maine Pyar Kiya’, ‘Hum Aapke Hain Koun’, ‘Kuch Kuch Hota Hai’ and ‘Hum Saath-Saath Hain’.

3. Om Puri

Veteran actor Om Puri has passed away after a massive heart attack on January 6. The actor was 66. The Padma Shri-winning actor died of a heart attack at his home in Mumbai. Puri was awarded an honorary OBE for his contribution to the British film industry in 2004. He was known for his performances in critically acclaimed films like “Ardh Satya” and “Paar” and the satirical “Jaane Bhi Do Yaaro”.

4. Razzak Khan

Veteran actor Razzak Khan who was famous for playing the role of Golden Bhai in the popular comedy show “Comedy Nights With Kapil” is passed away on 1 June 2016. He suffered a massive heart attack and rushed to Holy Family hospital in Bandra, where doctors declared him dead on arrival. Khan has acted in more than 90 films and was noted for supporting and comic roles.

5. Aarthi Agarwal

Actress Aarthi Agarwal made her debut at the age of 16, with “Paagalpan”. On June 6, 2015, Agarwal was pronounced dead in Atlantic City, New Jersey. Agarwal, who had undergone a liposuction surgery six weeks prior, had severe breathing problems before her death. Her manager stated the cause of her death was cardiac arrest.

6. Abir Goswami

An Indian film and television actor, Abir Goswami, who worked in television serials like “Kkusum”, “Yahan Main Ghar Ghar Kheli”, “Pyaar Ka Dard Hai Meetha Meetha Pyaara Pyaara”. Goswami died on 31 May 2013 at the age of 37 due to cardiac arrest when he was running on a treadmill.

He worked in films like ‘Lakshya’, ‘Khakee’, ‘Ugly’, ‘The Legend of Bhagat Singh’, etc.

7. Sudha Shivpuri

Veteran actress, Sudha Shivpuri, more popular for playing the role of ‘Baa’ in Ekta Kapoor’s longest-running TV show ‘ Kyunki Saas Bhi Kabhi Bahu Thi’ died on May 20th morning. She was 79. According to reports, the actress had not been keeping well since 2013. She also suffered a heart attack in December 2013 for which she was in the hospital for 6 months.

She made her film debut with Basu Chatterjee’s Swami in 1977 and went on to act in films like Insaaf Ka Tarazu, Hamari Bahu Alka, Sawan Ko Aane Do, Sun Meri Laila, Burning Train, Vidhaata and Maya Memsaab. In 2003 she acted in the Hindi film “Pinjar”, based on Amrita Pritam’s famous partition novel.

8. Vivek Shauq

Vivek Shauq is not only a good comedian but also a good actor, writer, and singer too. Along with films he was seen in shows like “Ulta Pulta” and “Flop Show’ alongside famous comedian Jaspal Bhatti. He suffered a heart attack on 3 January and was admitted to Jupiter Hospital in Thane. On 10 January 2011 Shauq died from septicemia at the age of 47.

He still remembers for his role in films like ‘Aitraaz’, ’36 China Town’, ‘Dil Hai Tumara’, ‘Gadar: Ek Prem Katha’, ‘Tango Charlie’ etc.

9. Navin Nischol

Navin Nischol, a first gold medalist from the Film and Television Institute of India, say goodbye to the world in 2011. He worked in many TV shows like “Dekh Bhai Dekh”, “Daal Mein Kala”, “Waqt Ki Raftaar”, “Aashirwad” etc. Nischol died of a heart attack on 19 March 2011 en route from Mumbai to Pune. He was 64 years old.

10. Farooq Sheikh

An Indian actor, philanthropist, and a popular television presenter, Farooq Sheikh act in several notable films such as “Shatranj Ke Khiladi”, “Yeh Jawaani Hai Deewani” , “Chashme Buddoor”. He has been the host of the very popular TV show “Jeena Issi ka Naam hai” in which he interviewed many Bollywood celebrities. Farooq died of a heart attack on 27 December 2013 in Dubai, where he was on holiday with his family.

11. Rajesh Vivek

He is best known to Hindi film audiences for his role as Guran in “Lagaan” as a postmaster in “Swades”. He had also played the role of Vyasa in the popular Indian series “Mahabharat”. He was roped in for an ad series of Cadbury 5 star as the father of the two sons. Rajesh died on 14 January 2016 at the age of 66 due to a massive heart attack while shooting for a film at Hyderabad.

12. Deven Verma

One of Bollywood’s best comedian Deven Verma who was working in some of the most memorable movies of Bollywood like ‘Dil To Pagal Hai, Ishq’, ‘Kya Kehna’, ‘Dil’, ‘Andaz Apna Apna’ etc. He passed away on 2 December 2014 in Pune following a heart attack and kidney failure. He is still considered one of Bollywood’s best comedians.

13. Zohra Sehgal

Bollywood’s sweetheart actress, dancer, and choreographer, Zohra Sehgal was full of zeal and enthusiasm. In her career-span of over 60 years she acted in numerous movies but her role in films like “Hum Dil De Chuke Sanam”, “Veer Zara”, “Saawariya”,” Cheeni Kum” is remembered till now. She said her final goodbye on 10 July 2014, aged 102, after suffering cardiac arrest. She is still remembered in our memories.

14. Dev Anand

Dev Anand, regarded as one of the influential actors in the history of Indian cinema. Padma Bhushan and the Dadasaheb Phalke awarded Dev Anand spanned more than 65 years with acting in 114 Hindi films and did two English films. Anand died in his hotel room in London at the age of 88 on 4 December 2011 of a cardiac arrest.

15. Suchitra Sen

One of the finest actresses of Indian cinema, Suchitra Sen was also the first Bengali actress to receive an international award in Moscow in 1963. Suchitra Sen was admitted to the hospital on 24 December 2013 and was diagnosed with a lung infection. She died at 8.25 am on 17 January 2014, due to a heart attack.

16. Vinod Mehra

Vinod Mehra started out as a child actor in the late 1950s before starting his film career as an adult in 1971. He acted in over 100 films through to his death at the age of 45 in 1990. Mehra died of a heart attack on 30 October 1990. He was only 45 years of age. Vinod Mehra’s son Rohan Mehra is making his debut in Nikhil Advani’s “Baazaar”.

#New Other

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