#Best Songs of Dilip Kumar and Vyjayanthimala
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Lyrics Jise Tu Kabool Kar Le
Lyrics Jise Tu Kabool Kar Le
Lyrics in English | Jise Tu Kabool Kar Le | Devdas-1955 | Vyjayanthimala, Dilip Kumar Jise Tu Kabool Kar LeWo Ada Kahaan Se LaoonTere Dil Ko Jo Lubha LeWo Sada Kahaan SeLaoonJise Tu Kabool Kar Le…………. Main Wo Phool HoonKe Jis KoGaya Har KoyiMasal KeMeri UmraBeh Gayi HaiMere Aansuon MeDhal Ke Main Wo Phool HoonKe Jis KoGaya Har KoyiMasal KeMeri UmraBeh Gayi HaiMere Aansuon MeDhal Ke Jo Bahaar…
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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.
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importantlovecolor · 4 years ago
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Chandramukhi Serial Full Story
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Chandramukhi Serial Full Story Episode
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Watch FIR tv serial full episodes videos online! FIR, a Tv show aired on SAB Tv is a comedy show with amusing & entertaining comedy and is being broadcast Monday to Friday – Hindishows.com. The plot of 'Chandramukhi' revolves around a woman who suffers from a mental disorder affecting a family and a psychiatrist who risks his life to save hers. Readmore 03 /6 'Santosh Subramaniam' - 2008.
Chandra Mukhi is a 1993 Hindi-language Indian feature film directed by Debaloy Dey starring Sridevi, Salman Khan, Mohnish Behl and Pran in lead roles. Chandra Mukhi Film poster Directed byDebaloy Dey Produced byBubby Kent Written byAnwar Khan Story bySalman Khan StarringSridevi Salman Khan Pran Gulshan Grover Mohnish Behl Puneet Issar Music byAnand-Milind Edited byMukhtar Ahmed Release date 22 October 1993 Running time 152 minutes CountryIndia LanguageHindi.
Chandramukhi is one of the pivotal characters in the 1917 Bengali novel Devdas by Sarat Chandra Chattopadhyay. Her character was inspired by the Hindu mystical singer Meera, who devoted her life to Lord Krishna; similarly Chandramukhi devoted her life to Devdas.
ChandramukhiDevdas characterCreated bySarat Chandra ChattopadhyayPortrayed byChandrabati Devi Vyjayanthimala Madhuri Dixit Kalki Koechlin Anwara For more 'Performers'In-universe informationAliasChandrikaNicknameLeniRaceIndian peopleGenderFemaleOccupationTawaif CourtesanSpouseDevdas MukherjeeReligionHindu
Chandramukhi is one of the pivotal characters in the 1917 Bengali novelDevdas by Sarat Chandra Chattopadhyay. Her character was inspired by the Hindumystical singer Meera, who devoted her life to Lord Krishna; similarly Chandramukhi devoted her life to Devdas.[1] Chandramukhi is portrayed as a hooker with a heart of gold in the novel and its film adaptations.[2] Chandramukhi means 'moon faced' or 'as beautiful as the moon' in Sanskrit.[3]
In the novel[edit]
Chandramukhi is a courtesan who lives in Calcutta also known as Kolkata. She is considered the most beautiful and richest prostitute in the area of Chitpur.[4] She is first introduced to Devdas by Chunnilal, who returns to Calcutta heartbroken after the marriage of Parvathi 'Paro'. Devdas, disgusted over Chandramukhi's profession insults her and leaves her kotha. Chandramukhi, impressed by Devdas's attitude, later falls in love with him after realizing his steadfast love for Paro. She leaves her profession for Devdas and convinces him to marry her; he, however, has to reluctantly reject her offer as he has devoted his life to Paro. In return, Chandramukhi does not force him to be with her but waits patiently for him. Subsequently, she also moves to Ashthajhari village, where she lives in a muddy house located at the bank of a river and helps the needy. After some struggle, she meets with Devdas again, who now accepts her love.
In the film[edit]
Chandrabati Devi as Chandramukhi and Pramathesh Barua as Devdas in the 1935 Bengali filmDevdas
In most of the film adaptations of Devdas, the story of Chandramukhi is similar to the novel. Ibm lotus notes mac. However, in most of the films her humanitarian work in helping the needy is not depicted. Unlike in the novel, a scene in which Chandramukhi and Parvathi meet was added in Bimal Roy's 1955 version when Paro, played by Suchitra Sen riding in a human rickshaw, comes across Chandramukhi, played by Vyjayanthimala, who just stares at Paro without a single word being exchanged between them.[5] The meeting scene of Paro and Chandramukhi in the 1955 version was still regarded as one of the memorable scene in Bollywood with the background music adding the impact to the scene.[6] In the 2002 version, the director, Sanjay Leela Bhansali, extended the interaction between Paro and Chandramukhi, also showing them dancing together to the hit song 'Dola Re Dola'.[7]
Performers[edit]
YearTitleEssayed byLanguageOther castNotesDevdasParo1928DevdasNiharbala / Miss ParulSilentPhani SharmaTarakbala1935DevdasChandrabati DeviBengaliP.C. BaruaJamuna Baruah1936DevdasT. R. RajakumariHindiK.L. SaigalJamuna Baruah1937DevdasMohiniAssamesePhani SharmaZubeida1953DevadasuLalithaTelugu, TamilAkkineni Nageswara RaoSavitri–1955DevdasVyjayanthimalaHindiDilip KumarSuchitra Sen1955Good Bye My LoverMolly LimMalayS. Roomai NoorChang Lai LaiMalaysian film; also known as Selamat Tinggal, Kekasihku[8]1965DevdasNayyar SultanaUrduHabib TaalishShamim AraPakistani film1974DevadasuJayanthiTeluguGhattamaneni KrishnaVijaya Nirmala1979DevdasSupriya ChoudhuryBengaliSoumitra ChatterjeeSumitra Mukherjeealso known as Debdas1982DevdasAnwaraBengaliBulbul AhmedKabori SarwarBangladeshi film1989DevadasRamya KrishnanMalayalamVenu NagavallyParvathy2002DevdasIndrani HalderBengaliPrasenjit ChatterjeeArpita Pal2002DevdasMadhuri DixitHindiShah Rukh KhanAishwarya Rai2009Dev.DKalki KoechlinHindiAbhay DeolMahi GillA modern-day take on Devdas2010DevdasMeeraUrduNadeem ShahZara ShaikhPakistani film2013DevdasMoushumiBengaliShakib KhanApu BiswasBangladeshi film2017DeviShataf FigarBengaliPaoli DamShubh Mukherjeemodern-day take on Devdas genderbent versions of characters2017 – presentDev DDSanjay SuriHindiAsheema VardaanAkhil Kapoorweb series modern-day take on Devdas genderbent versions of characters2018Daas DevAditi Rao HydariHindiRahul BhattRicha Chaddamodern-day take on Devdas
Social impact[edit]
Chandramukhi is one of the first characters in an Indian novel to deal with prostitution.[9] She was often depicted as a prostitute with a heart of gold.[10] The character of Chandramukhi had paved the way for other portrayals of prostitutes in films like Sadhna, Pyaasa and Pakeezah.[11] Actresses such as Nargis, Suraiya and Bina Rai refused to enact the role of a prostitute in the 1955 film of Devdas, which later went to Vyjayanthimala.[12]
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Legacy[edit]
Chandramukhi was well-received in India by critics. In 2006, Rediff listed Chandramukhi in their list of 'Bollywood's Best Tawaif'.[13]Nikhat Kazmi of The Times of India also ranked Chandramukhi at #5 in his list 'Tart with a heart', saying that 'The egotistical Paro may have given her boy friend the goby, but self-sacricficing Chandramukhi was willing to put everything on hold — her livelihood too — for her lover'.[14]
Chandramukhi Serial Full Story Episode
Awards[edit]
Riverbed nightmare pathfinder. There are many actresses who have portrayed Chandramukhi in film adaptations of Devdas. The first notable award was won by Vyjayanthimala in 1956 when she won the Filmfare Awards, known as Bollywood's Oscar,[15] in the Supporting Actress category. However, she was also the first person to decline the award, as she thought that her role was not a supporting one but was of equal importance and parallel to that of Parvathy in the 1955 version.[16] Other actresses who played Chandramukhi in Hindi versions of the novel have also won this award.[13]
The following are awards and nominations received by actresses who have played the role of Chandramukhi in film:
YearFilmNomineeAwardResultNoteRef.1957DevdasVyjayanthimalaFilmfare Award for Best Supporting ActressWonShe refused to accept the award as she thought that Chandramukhi and Parvathi were parallel roles and not a main and a supporting role[17] [18] [19] [20] [21]2002DevdasMadhuri DixitFilmfare Award for Best Supporting ActressScreen Award for Best Supporting ActressZee Cine Award for Best Actor – FemaleNominatedIIFA Award for Best Actress2010Dev.DKalki KoechlinFilmfare Award for Best Supporting ActressWonStardust Award for Breakthrough Performance – FemaleNominated2013DevdasMoushumiBangladesh National Film Award for Best ActressWonMeril-Prothom Alo Award for Best Film Actress (people’s choice)Nom[22]
See also[edit]
Chandramukhi (2005) Tamil film
References[edit]
^Guha, Srejara (2002). Devdas: a novel. Penguin Books. p. 9. ISBN978-0-14-302926-7. Retrieved 17 February 2012.
^Vidya Pradhan (21 Jan 2008). 'Heart of gold, speckled with sin'. The Hindu. Retrieved 16 Feb 2012.
^Ghose, Anindita (August 2006). 'Of Names of Women in Hindi Cinema: An Exploration in Semantics'(PDF). e-Social Sciences. p. 11. Archived from the original(PDF) on 2011-04-10. Retrieved 16 Feb 2012. Madhuri Dixit in ‘Devdas’ (2002) is Chandramukhi which means ‘moon faced’.
^Shubha Tiwari (2005). Indian fiction in English translation. New Delhi Atlantic Publication. p. 151. ISBN978-81-269-0450-1. Retrieved 2012-02-16.
^Corey K. Creekmur (13 December 2001). 'The Devdas Phenomenon'. University of Iowa. Archived from the original on 13 January 2012. Retrieved 18 February 2012.
^Vijay Lokapally (20 February 2009). 'Devdas (1955)'. The Hindu. Retrieved 7 March 2012.
^'Fighting Queens'. Outlook (magazine). 13 December 2001. Retrieved 18 February 2012.
^Allan Koay (2 Apr 2007). 'A new era'. The Star (Malaysia). Archived from the original on 2012-07-11. Retrieved 22 Feb 2012.
^Lindsay J. Proudfoot, M. M. Roche (2005). (Dis)placing empire: renegotiating British colonial geographies. Ashgate Publishing Limited. p. 160. ISBN0-7546-4213-5. Retrieved 18 February 2012.
^Sumita S. Chakravarty (1993). National identity in Indian popular cinema, 1947-1987. Harward Academic Publication. p. 271. ISBN978-0-292-71156-3. Retrieved 18 February 2012.
^Meghnad Desai (2004). Nehru's hero Dilip Kumar in the life of India. Lotus Collection, Roli Books. p. 95. ISBN978-81-7436-311-4. Retrieved 18 February 2012.
^Lata Khubchandani (5 Jul 2002). ''I did not approve of Vyjayanthimala as Chandramukhi''. Rediff. Retrieved 18 Feb 2012.
^ abDinesh Raheja (30 Oct 2006). 'Bollywood's top tawaifs'. Rediff. Retrieved 18 Feb 2012.
^Nikhat Kazmi (16 January 2006). 'Tart with a heart'. The Times of India. Retrieved 20 March 2011.
^Mishra, Vijay, Bollywood Cinema: A Critical Genealogy(PDF), Victoria University of Wellington, p. 9, archived from the original(PDF) on 2012-09-24, retrieved 2012-02-18
^Sheela Bhatt (22 Jun 2012). 'A star spangled evening'. Mumbai, Maharashtra: Rediff. Retrieved 18 Feb 2012.
^'Vyjayanthimala'. Upperstall. Retrieved 16 Feb 2012.
^'The Winners – 1956'. Indiatimes. Archived from the original on 2012-07-14. Retrieved 2012-02-16.
^Subhash K. Jha (2003-02-22). 'Shah Rukh, Ash, Ajay Devgan's rich haul'. Rediff. Retrieved 2012-02-16.
^Raymond Ronamai. 'The winners of the 55th Filmfare Awards are..'Oneindia.in. Retrieved 2012-02-16.
^Bollywood Hungama News Network (2010-01-16). 'Nominations for Max Stardust Awards 2010'. Bollywood Hungama. Retrieved 2012-02-16.[permanent dead link]
^'মেরিল—প্রথম আলো পুরস্কার ২০১৩' [Meril Prothom Alo Award, 2013]. Prothom Alo (in Bengali). April 17, 2014.
External links[edit]
Chandramukhi on IMDb
Chandramukhi Serial Full Story Zee Tv
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Chandramukhi_(character)&oldid=992321596'
Chandra MukhiDirected byDebaloy DeyProduced byBubby KentWritten byAnwar KhanStory bySalman KhanStarringSridevi Salman Khan Pran Gulshan Grover Mohnish Behl Puneet IssarMusic byAnand-MilindEdited byMukhtar Ahmed
Release date
Running time
152 minutesCountryIndiaLanguageHindi
Chandra Mukhi is a 1993Hindi-languageIndianfeature filmdirected by Debaloy Dey starring Sridevi, Salman Khan, Mohnish Behl and Pran in lead roles.[1][2][3][4][5]
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Summary[edit]
Chandra Mukhi tells the story of Chandra Mukhi (Sridevi), a princess of a heavenly kingdom, who comes down to earth in search of her lost magical leaf. A boy named Raja (Salman Khan) gets the same magical leaf and the adventure starts.
Cast[edit]
Sri Devi as Chandra Mukhi
Salman Khan as Raja Rai
Pran as Rai (Raja's grandfather)
Gulshan Grover as Madan (Raja's Uncle)
Mohnish Behl as Tony
Puneet Issar as Zhola
Tinnu Anand as Santala
Kunika as Lily
Maya Alagh as Chandra Mukhi's mom
Asha Sachdev as Kamini Rai
Tej Sapru as Ghunga
Shiva Rindani as Bob
Avtaar Gill as Yakeemo
Rana Jung Bahadur as Ved
Kim Yashpal as special appearance in song (deleted song)
Soundtrack[edit]
No.TitleSinger(s)Length1.'Aa Paas Aa To Zara'S. P. Balasubrahmanyam, Kavita Krishnamurthy05:022.'Tune Pakdi Kalai'Renu Mukherjee04:033.'Chha Raha Hai Pyaar Ka Nasha'Kumar Sanu, Alisha Chinai06:554.'Maine Pilayee Ke Tune Pilayee'S. P. Balasubrahmanyam04:175.'Mere Honthon Pe Ek Kahani'Anand (Anand-Milind, Kavita Krishnamurthy08:396.'Tere Dil Ki Baat Main Janoo'Kumar Sanu, Alka Yagnik05:207.'Teri Hi Aarzoo Hai'S. P. Balasubrahmanyam, Kavita Krishnamurthy05:548.'Ding dong bell Ding dong bell Apna hai Main' (Deleted song)
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References[edit]
^'Salman Khan's films you might have missed watching'. The Times of India. Retrieved 9 July 2020.
^'rediff.com: Sridevi-Salman Khan, Shah Rukh Khan'. Rediff.com. Retrieved 9 July 2020.
^Poonacha, Sahitya P (15 April 2020). 'What made Salman Khan fear Sridevi alone [Throwback]'. International Business Times, India Edition. Retrieved 9 July 2020.
^'Watch: When Salman Khan Introduced Sridevi as 'The Ultimate Superstar''. News18. 28 February 2018. Retrieved 9 July 2020.
^Bhatnagar, Rohit (2 December 2016). 'Salman Khan to cast Sridevi?'. The Asian Age. Retrieved 9 July 2020.
External links[edit]
Chandra Mukhi on IMDb
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Chandra_Mukhi&oldid=990186770'
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filmstruck · 7 years ago
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Love After Death: MADHUMATI (’58) by R. Emmet Sweeney
Bimal Roy’s MADHUMATI was the highest grossing Indian film of 1958, a swirling gothic romance with ghosts, reincarnation, doppelgangers and a love that would not die. Known previously for his neorealist influenced DO BIGHA ZAMIN (’53) and DEVDAS (’55), which were hits with critics but not at the box office, MADHUMATI was a departure into the supernatural and a more populist mode of filmmaking for Roy (the story was written by the famed Bengali writer/director Ritwik Ghatak, of THE CLOUD-CAPPED STAR, [’60]). The film is pumped full of smoke and fog and spectral superimpositions – the most realistic thing about it are the folk-influenced songs written by Salil Chowdhury, some of which remain popular today. The film contains moments of exquisite mystery, such as the off-screen singing of the enigmatic Madhumati (Vyjayanthimala), as well as tedium, like the overly long comedy breaks given to the normally reliable Johnny Walker. It is clearly straining to please everyone, which it succeeded at in 1958, and the expressionist highs it reaches certainly should make it better known in the U.S.
MADHUMATI begins on a dark country road during a rainstorm, when the car transporting Devinder (Dilip Kumar) and his colleague is blocked by a landslide. They seek shelter at an old broken-down mansion, where Devinder first hears the distant song of a woman. Assaulted by visions, he begins to remember one of his past lives, which he lived as Anand, a new manager of a timber company at war with the local village. Anand is sympathetic to the villagers’ plight, and falls in love with Madhumati, the daughter of the village healer. The owner of the company is Raja Ugranarain, a moustache-twirling baddie played with smarmy enthusiasm by legendary character actor Pran. Raja also has set his eyes on Madhumati, and through an intricately orchestrated trap lures her into his clutches.
Madhumati disappears, but lives on, kind of, in the person of Madhavi, a dead ringer for Madhumati who Anand meets by chance. After she discovers a sketch Anand drew of his love, she believes his tragic tale, and agrees to help him snare Raja in a trap of his own. The movie ends back in the present day with Devinder meeting yet another Madhumati lookalike of his own. It’s a dizzying film of romantic obsession and identity swapping that just so happened to come out the same year as Hitchcock’s VERTIGO (’58). There must have been something in the air…
Just like in DEVDAS, Dilip Kumar plays his characters as aloof – his Anand walking through the timber grounds, looking toward a faraway place. He’s always averting his gaze or doing bits of business with his hands, tapping on a notebook or his sketchpad. It’s clear he wishes he were elsewhere – like drawing landscapes or the portrait of Madhumati he sketches on a break. This aloofness turns to total disconnection when Madhumati disappears, what was once a kind of distanced cool becomes edgy and desperate.
Vyjayanthimala has a demanding task in portraying three different characters – two reincarnations and one doppelganger. So, they are similar characters but slightly askew, reacting differently in different contexts. Madhumati seems to emerge directly out of the land, first appearing in a plume of smoke in one of Devinder’s meetings. Her musical sequences emerge out of the forest – the composer Salil Chowdhury told The Quint that he was inspired by “Indian folk music,” specifically “the distinctive tea garden folk music of Assam.” The best-selling soundtrack of 1958, its tunes still resonate today with “Suhana safar aur yeh mausam haseen” still used for dandiya raas dance functions.
Madhavi is more urban, associated with city spaces – she always appears inside, and Vyjayanthimala plays her with more of a stiff, proper posture. With Radha, Devinder’s love who is only glanced near the end of the feature, Vyjayanthimala is a beatific source of light. This final sequence, providing a long delayed happy ending, was not in the original treatment written by Ritwik Ghatak, and its sickly sweet sentimentalism is out of step with the rest of the film’s gloomy romanticism.
Bimal Roy intended to shoot most of the feature on location in Ranikhet, Nainital, though circumstances made that impossible. Assistant director Debu Sen told Mid-Day that the film’s smoky look was achieved with “great difficulty.” He continues, “Since there were no monitors, the negatives needed to be developed to see what had been shot. After a six-week schedule��the reels were developed. Much to the chagrin of the crew, most of the footage was foggy.”
Unable to return to Ranikhet, they built a set. Debu Sen recalled, “We chose a location, a dam near Igatpuri. Our art direction team, led by Sudhendu Roy, created fake pine trees. We dug up the earth and planted them in. Dada [Roy’s nickname] knew exactly where to place the camera and that’s how we matched up the film to the location in Nainital.”
The outdoor cinematography by Dilip Gupta is remarkable, capturing the dappled rays latticing through the leaves. The version streaming on FilmStruck comes from an old release print exhibiting plenty of damage, but these are the best elements available on so many Bollywood classics. Encouragingly, Bimal Roy’s daughter Rinki Roy Bhattacharya is working on preserving his legacy, including restoring the film prints of MADHUMATI, which are now “lying in a totally messed up condition at the National Archives, Pune,” according to a First Post article. Hopefully, this is the first of many restorations in store, following up on PYAASA (’57), which now exists in a good looking restoration. But it will take time and plenty of money. For now, this FilmStruck stream is the best we have.
MADHUMATI is a desperately romantic film, and works because of this intensity. Using the simplest of tools, like a cross-cut or superimposition, Bimal Roy is able to fold time so a momentary love is expanded into an immortal romance, one set to recur throughout history. But it will go through various iterations – tragic and comic and super sentimental – over the course of the film, trying on tones until it finds one that fits. I prefer the central gothic romance, which peaks in a ghostly apparition floating in the clouds, trying to salve the wounds of her tortured earthbound lover. But if that doesn’t suit you, return to the present with Devinder, where a more traditional love abides. MADHUMATI tries so hard to be a crowd pleaser that it loses narrative focus, but it is peppered with uncanny images that will linger with you into next week.
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bollywoodirect · 8 years ago
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Remembering OP Nayyar on his 91st birth anniversary. Omkar Prasad Nayyar (16 January 1926 – 28 January 2007) was an Indian film music composer, singer-songwriter, music producer, and musician. He won the 1958 Filmfare Award for Best Music Director (for Naya Daur). Nayyar worked extensively with singers Geeta Dutt, Asha Bhosle and Mohammed Rafi but not with leading Bollywood female singer Lata Mangeshkar. However, Mangeshkar's song Ek To Balam Teri Yaad Satayein (from the 1958 film Aji Bas Shukriya) was used in the 1973 Hindi film Taxi Driver, for which Nayyar was music director. According to music and film expert Rajesh Subramanian, "Aap Ke Haseen Rukh" (from Baharen Phir Bhi Aayengi) was planned with full orchestration but many of the musicians were late for the recording. After a disagreement with Mohammed Rafi, Nayyar began working with singer Mahendra Kapoor. Kapoor performed Nayyar's songs "Badal Jaaye Agar Maali" and "Chaman Hotaa Nahi Khaali" in Bahaaren Phir Bhi Aayengi. Based on a Bengali language work by Rabindranath Tagore, Nayyar composed "Chal Akelaa, Chal Akelaa" (sung by Mukesh in 1969 film Sambandh). Nayyar co-produced songs with Shamshad Begum (including "Kajra Mohabbatwala"), and after Madhubala's 1969 death Vyjayanthimala, Mala Sinha, Padmini, Asha Parekh and Sharmila Tagore lip-synced several Nayyar-Bhosle songs. Nayyar and Bhosle parted ways in 1974, and he then worked with Dilraj Kaur, Alka Yagnik, Krishna Kale, Vani Jayaram and Kavita Krishanmurthy. Majrooh Sultanpuri and Sahir Ludhianvi wrote the lyrics for some of Nayyar's earlier songs, including "Naya Daur". Nayyar also worked with developing lyricists such as Jan Nisar Akhtar, Qamar Jalalabadi, S. H. Bihari and Ahmed Wasi. He began the tradition of assigning full, three-minute songs to comedians. Om Prakash sang Nayyar's "Churi Bane Kanta Bane" in Jaali Note, and Johnny Walker sang "Aye Dil Hai Mushkil Jeena Yahaan" in CID, "Jaane Kahan Mera Jigar Gaya Jee" in Mr. & Mrs. 55, "Main Bambaika Baaboo, Naam Meraa Anjaanaa" in Naya Daur and "Bajewala" in Basant. In addition to songs for Asha Bhosle and Geeta Dutt's, Thandi Thandi Hawaa, Nayyar wrote "Yeh Desh Hai Veer Jawaanonkaa" (featuring Dilip Kumar and Ajit) for Naya Daur (1957). The song earned him the 1958 Filmfare Best Music Director Award. The last Nayyar song performed by Bhosle was "Chain Se Humko Kabhi". Intended for Pran Jaye Par Vachan Na Jaye (1973), disappeared in the film's final cut but won Bhosle the 1975 Filmfare Award for Best Female Playback Singer. Nayyar was more active during the 1960s than he was in the following decade, and did not compose music for younger actors such as Rajesh Khanna and Amitabh Bachchan. His films included Dilip Kumar, Raj Kapoor, Dev Anand, Guru Dutt, Dharmendra, Shammi Kapoor, Joy Mukherjee, Biswajit, Feroz Khan, Bharat Bhushan, Asha Parekh, Mumtaz, Sharmila Tagore, Madhubala, Rajshree, Rekha, Ameeta and Shyama. In addition to Hindi films, Nayyar composed for Neerajanam in Telugu. He made a brief comeback during the 1990s with Mangni and Nishchay in 1992 and Zid in 1994.
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lazyupdates · 6 years ago
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Ask any director who he’s been influenced by and Vijay Anand’s name will feature notably in that list. Because the filmmaker was not just a textbook of cinema. He was an entire curriculum. Not limited by any genre or stymied by his own sensibilities he could flit through comedy, thriller, drama, musical and even masala fare with ease. His directorial excellence was as much about his deft camera work as it was about his nuanced characters. Waheeda Rehman in Guide, despite playing an adulteress, went on to become an iconic symbol of rebellion. Vyjayanthimala went notches further as a dancer after she kept pace with his trailing camera in Jewel Thief. Shammi Kapoor became India’s answer to Elvis Presley as he matched Anand’s vision of a rockstar in Teesri Manzil. So did Mumtaz drape her sexuality in homely cotton sarees to give her best performance in Tere Mere Sapne…
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Anand’s songs too outlived his times, most being the pride of satellite TV. Love awakening against a rising sun in Tere mere sapne ab ek rang hai. Dreams lettered in Pal pal dil ke paas… Love scaling heights in Dil ka bhanwar… Vijay Anand’s creative picturisations took the story forward. “My camera listens to the song and moves with it,” he once said. Long shots, lush backdrops and sharp intercutting brought out the poetry in the prose.
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Yet Anand’s life was not confined to the boundaries of fame. He was essentially a seeker, his quest leading him to somewhere finding the ultimate answers with guru UG Krishnamurthy. It was also this philosophical side that helped him tide an ebbing career and health. For someone who could almost predict the period of his death, the shenanigans of fate were no threats. Today, Anand’s genius lives on in the cinematic jargon. In fact, Sriram Raghavan’s Johnny Gaddar, a noir thriller, paid a subtle tribute to the master in a scene where his blockbuster Johny Mera Naam played… Memories of an unforgettable man and an extraordinary filmmaker in the words of wife Sushma Anand… THE MAKER Goldie’s (Vijay Anand’s pet name) childhood was spent in Gurdaspur in Punjab. A fair child with blonde curls, he was naughty. Hence, his father called him ‘Goldilocks’. With time, locks nikalgaye, ‘Goldie’ rehgaya! Goldie lost his mother when he was seven. He, along with his two older sisters (they were a family of nine siblings), came to live with Chetan saab (Anand, filmmaker) and Uma bhabhi (Anand) at their ‘shack’ in Juhu. Chetan saab was older to Dev saab (Anand, actor/filmmaker) by 10 years, who in turn was older to Goldie by 10. Uma bhabhi was like a mother to Goldie and had a great influence on him. She urged him to write, given his sharp imagination. Goldie often said, “I owe everything to Bhabhi.”
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While Goldie was studying in St Xaviers College in Mumbai, he directed several plays, including the play Rehearsal. It was a takeoff on Hamlet and the catch phrase ‘to be or not to be’. Just out of college, Goldie wrote the script of Navketan’s Taxi Driver (1954), with Uma bhabhi, which Chetan saab directed. He had also written the script of Nau Do Gyarah (1957) and wanted to direct it but didn’t have the courage to tell Dev saab about it. Once when Dev saab was going to Mahableshwar, he asked Goldie for the script to read it on the way. Goldie refused saying he’d narrate it himself. He hopped in the car and narrated the story through the journey. On reaching Mahableshwar, Dev saab called his office and said, “Navektan’s next production will be directed by Vijay Anand. Make an announcement!” From then Goldie’s career as a director took off.
Kala Bazaar (1960) was one film where all the three brothers worked together. Dev saab produced it. Goldie wrote and directed it. Chetan saab acted in it. During his college days, Goldie would see tickets being sold in black at theatres including Metro, Liberty and Empire… That gave birth to this concept. He even included real shots of the premiere of Mehboob Khan’s Mother India with actors including Dilip Kumar, Nargis Geeta Dutt, Guru Dutt, Raaj Kumar and Rajendra Kumar.
Amarjeet, who was a publicist and Goldie’s friend, lived in Chetan saab’s shack with Goldie. Once, Goldie fell sick. Amarjeet nursed him with affection. He’d serve him soup, press his legs, check the temperature… Goldie promised him a directorial assignment. Goldie wrote a detailed script of Hum Dono (1961, had Dev Anand in a double role) with everything marked…. entry, exit, camera placement… so that Amarjeet wouldn’t face difficulty while directing. But yet Amarjeet couldn’t do it. Finally, Goldie directed the film but gave Amarjeet the credit that he’d promised him.
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Nutan was one of Goldie’s favourite actresses and suited perfectly in the comedy Tere Ghar Ke Saamne (1963). Dil ka bhanwar had a beautifully filmed song. It was shot in the Qutub Minar to get the feel of Delhi. The duo (Dev-Nutan) climbs up as friends but when they come down, they’re lovers. The song Ek ghar banaaonga had camera tricks – Nutan is seen in the glass of whiskey. Guide (1965) was Navketan’s first film in colour. Based on RK Narayan’s novel The Guide, Tad Danielewski was directing the English version for writer Pearl S Buck. Chetan saab was to shoot the same scenes for the Hindi version He found it frustrating. So when he got a financier for Haqeeqat (1964) he quit. Goldie accepted it on the condition that he’d rewrite the script as a subject like blatant adultery would not be accepted by Indian audiences. Guide became a classic because it excelled in photography (Fali Mistry), acting (Dev Anand-Waheeda Rehman), music (SD Burman), editing (Vijay Anand and Babu Shiekh)… The song Tere Mere Sapne was shot in the early light in Udapiur. It was an emotional mood where Dev saab builds hope in a dejected Waheeda Rehman. Aaj phir jeene ki tamanna hai was filmed in the Chittorgarh Fort in Rajasthan. Her playing with the straw showed her light-heartedness. When she throws the matki singing dil woh chala it spoke of shedding the past and new beginnings. The finest compliment for Goldie came from RK Narayan who said, “The film is more beautiful than my book.” Goldie went on to direct the spy thriller Jewel Thief (1967). For the legendary Hothon pe aisi baat filmed on Vyjayanthimala, three to four cameras were put up including a trolley camera. Later, Dev saab was to do Nasir Hussain’s thriller Teesri Manzil (1966). When he couldn’t, Shammi Kapoor was roped in. Initially, Shammiji came at his own time. But he realised that this man comes at 9 am with a ready script and his cameras are placed beforehand. He too began coming on time. Shammiji and Goldie struck a great rapport. Aaja aaja and Oh haseena zulfonwali will always be remembered for their energy, Shammiji playing a musician in the film. O mere sona re is my favourite because through the song Goldie played interestingly with Shammiji’s briefcase. Later, Johny Mera Naam (1970), an entertainer, further proved Goldie’s versatility. In Pal bhar ke liye… Goldie played with the windows, where the persistent lover (Dev saab) finally woos the heroine (Hema Malini).
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A film that remained close to Goldie’s heart was Tere Mere Sapne (1971, based on AJ Cronin’s The Citadel). He was hurt that the ‘sensitive’ film was not a commercial success. It was the story of human relationships amidst materialism. Goldie met doctors to understand the authentic body language for his doctor protagonist (Dev Anand). The songs were unique too. Mumtaz sings Radha ne maala japi when she accepts the hero’s marriage proposal. Hey maine kasam li was filmed on Dev saab and Mumtaz on a bicycle. Jeevan ki bagiya was shot in close-ups and established their intimacy. But the less heard Mera antar ek mandir, a song, which hinted at conceiving a baby, was Goldie favourite. Goldie liked Nutan and Waheeda for their expressive eyes. He found Nanda to be a fine artiste as much as he liked Asha Parekh for her naughtiness. But in Mumtaz, he saw a great dancer and actress. Basically, he liked simplicity in a woman.
My favourite in Blackmail (1973) is Mile mile do badan. It’s the first time that the couple (Dharmendra-Raakhee) have come together. They’re hiding among the wood pile in the jungle even as dogs are sent to hunt them. The danger and intimacy makes the song beautiful. Pal pal dil ke saath is romantic because of the dreamy picturistaion. He directed some more films like Chhupa Rustom (1973), Ram Balram (1980) and Rajput (1982) but didn’t meet with much success. He also happened to act Kora Kagaz(1974) and Main Tulsi Tere Aangan ki (1978), which were huge hits. Goldie was proud of his later films Hum Rahe Na Hum (1984), a relationship saga that featured him with Rehana Sultan and Shabana Azmi and Jaana Na Dil Se Door with newcomers. Sadly, he couldn’t release them and that left him dejected. He’d say, “Perhaps, my time is over.”
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THE MAN Goldie and I got married in 1978 during the shoot of Ram Balram. We cared for each other to the extent that we wanted to get married. He liked my simplicity. I understood his temperament. He rarely lost his cool. I was the one who’d lose my temper. I was crazier. I’d deliberately do things to annoy him. Sometimes, he manaoed (cajoled) me, sometimes I manoed him. Yes, women did throw themselves at him. But I never felt jealous or insecure. Rather, I’d tease him, “Main dekh rahi hoon! Maze karo! Enjoy yourself.” He rarely complimented me but when he did it made me happy. He liked me in sarees and sometimes picked up sarees and pieces of jewellery for me.
We loved to travel. Our best holiday was in Hampstead in London just after our marriage. There were theatres across the road. We shopped a lot. Once when we were in Europe, he quietly slipped out. “Yeh lene gaya tha,” he said later showing me a sweater he had bought for me.
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He had a passion for ballroom dancing, waltz and fox trot. As a youngster, he’d travel from Chetan saab’s shack to a school in Colaba to learn waltz. He did a dance with Bindu in Chupa Rustom. The song Joh main hota ek toota tara was filmed on the bonnet of a car. He also loved shirts. He’d pick a dozen at a time. He was fond of watches and cologne and had grown fond of horses when he was working with Kalyanji Anandji.
Chetan saab’s shot division was superb. But Chetan saab changed things on the set, he was spontaneous. While Goldie went fully prepared. That’s why actors understood they couldn’t fool with him. They understood he meant business.
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Goldie liked Guru Dutt’s realism, Raj Kapoor’s glamour and the existentialism in the works of Satyajit Ray. Meghe Dhaka Tara (1960) by Ritwik Ghatak was his favourite. But as a filmmaker he didn’t want to make realistic movies. He’d say, “This is a media for entertainment!” Goldie was not fond of drinks and nursed a peg throughout the evening. Rather, he was interested in spirituality and astronomy. He had read all religious books – the Gita, the Bible, the Upanishads, the Koran… He became a disciple of Osho Rajneesh but reached a dead end when he couldn’t find answers. Then he met UG Krishnamurthy (spiritual guru) in whom he found solace. UG once said, “If anyone, anywhere has understood me, it’s Goldie.” Instead of revolting, he accepted life as it came. He was against pretence. He never missed his past glory. He’d say it was a closed chapter. He didn’t want to write his biography. He believed, “Joh hoga so hogaya. My work will speak for itself.”
Towards the end he had developed a heart problem. Vaibhav had assisted him in Jaana Na Hum Se Door and then went off to attend a filmmaking course at the Lee Strasburg Institute in New York. Vaibhav returned in January 2004. Goldie passed away in February 2004. In fact, having some knowledge of astrology Goldie had predicted that February 2004 was a bad month for him. His only regret was that he couldn’t do much for our son Vaibhav, who’s inherited his sensibilities. After he passed away you do tend to get isolated. But it’s fine. I’ve taken to singing – something I was always interested in. And in my circle of friends I often sing Tere mere sapne ab ek rang hai…
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YOU MUST KNOW…
Taxi Driver was inspired by Hollywood’s noir movement
Nau Do Gyarah was an urban thriller/road film with elements borrowed from Frank Capra’s It Happened One Night (1934).
Vijay Anand filmed Aaja panchi akela hai in a constricted space (a room and a toilet!) in Nau Do Gyarah. The film’s other hits were Hum hain rahi pyar ke and Aankhon mein kya ji.
Rhim jhim ke tarane (Kala Bazar) is remembered for Dev Anand and Waheeda Rehman under an umbrella!
In Tere Ghar Ke Saamne, Anand used camera tricks where Dev Anand imagines Nutan inside his drink! Then Dev’s aide puts an ice cube into the glass causing Nutan to shiver!
Hum Dono with Sahir Ludhianvi’s lyrics and Jaidev’s music gave the immortal gems Allah tero naam and Abhi na jaao choddh kar.
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Aaj phir jeene ki tamanna hai (Guide) had Waheeda dancing along the ledge of the temple while Tere mere sapne was canned in just three shots.
RD Burman’s rock n roll inspired score in Teesri Manzil gave Shammi Kapoor his rockstar image.
Jewel Thief’s Hothon pe aisi baat had Vyjayanthimala gliding through an entire stanza in one take.
Johny Mera Naam had Hema Malini riding on a cable T-bar on Dev Aand’s lap
The great music and picturisation of Anand’s films can largely be credited to composer SD Burman, lyricist Shailendra and cinematographer Fali Mistry who translated his vision.
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khaalidsamad-blog · 8 years ago
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Gunga jumna 1961 Starring: Dilip Kumar, Vyjayanthimala, Nasir Khan, leela chitnis Rating: **** One of the greats of the 1960s. This movie boats good music, great direction and cinematography, excellent music, and some of the best performances ever. Dilip kumar and vyjayanthimala give their career best according to me. Dilip has never been more lovable and human and vyjayanthimala gives a powerhouse performance. Vyjayanthimalas death scene is arguable the best in Indian cinema. Based on mother India from a brothers perspective. Songs are wonderful and vyjayanthimala dances whenever given the chance. Dilip and vyjayanthimala are a treat to watch they chemist rivals that or raj-nargis. If you love village or dacait movie the give This a shot.
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bollywoodproduct · 3 years ago
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Lyrics Maang Ke Saath Tumhaara
Lyrics Maang Ke Saath Tumhaara
Lyrics in English | Maang Ke Saath Tumhaara | Naya Daur-1957 | Mohammed Rafi, Asha Bhosle Maang Ke Saath Tumhaara MaineMaang Liya SansaarMaang Ke Saath Tumhaara MaineMaang Liya SansaarMaang Ke Saath Tumhaara MaineMaang Liya SansaarMaang Ke Saath Tumhaara………… O…Aa…O…Aa…Dil KaheDildaar MilaHum KahenHamen Pyaar MilaDil KaheDildaar MilaHum KahenHamen Pyaar Mila Pyar MilaHamen Yaar MilaIk Naya…
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bollywoodproduct · 3 years ago
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Lyrics Uden Jab Jab Zulfen Teri
Lyrics Uden Jab Jab Zulfen Teri
Lyrics in English | Uden Jab Jab Zulfen Teri | Naya Daur-1957 | Mohammed Rafi, Asha Bhosle Ho….Uden Jab Jab Zulfen TeriHo Uden Jab Jab Zulfen TeriHo O O…Uden Jab Jab Zulfen TeriHo Uden Jab Jab Zulfen TeriKanwariyon KaDil MachleKanwariyon KaDil Machle Jind Meriye O Jab Aise Chikne Chehre (2)To Kaise NaNajar FisleTo Kaise NaNajar Phisle Jind Meriye………. Ho….Rut Pyar Karan Ki Aayee (2)Ho O O…Rut…
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khaalidsamad-blog · 8 years ago
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Madhumati 1958 Starring: Dilip Kumar, Vyjayanthimala, Pran, Johnny Walker Rating ***** I rarely give movies a perfect score but this movie deserves a perfect score. Everything works for this movie from brilliant direction, the mesmerizing performances, the stirring music and the scenic cinematography. Dilip kumar and vyjayanthimala are a treat to watch on screen. They had many hits together and I believe this was their best. Dilip looks dashing and Sophisticated and vyjayanthimala excels in all three roles, my favorite being that of madhumati. She brings something enchanting to the naïve village belle. Johnny walker is perfect as the comic relief. The direction is brilliant and we expect nothing less from bimal Roy. Lata mangeshkar outdoes herself with the soul stirring "aaja re pardesi", the frolicking "zulmi sang aankh ladi" and "ghadi ghadi mora dil". My personal favorite song is the duet "dil tadap tadap". Pran as the villain does a great job at being sinister. The man who play madhumati's father also does well. Last but not least the cinematography is stunning. I'm not sure where this movie was shot but the hilly forest backdrop adds mystery. Oh and to top it off vyjayanthimala dances. It doesn't get better than this, one cannot ask for more. Highly highly recommended!!!
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