#Bollywood Songs of 1956

[hotvintagepoll]

Propaganda

Madhubala (Mughal-e-Azam, Barsaat Ki Raat, Mr. & Mrs. '55)—The Venus of India; heart-throb of all who saw her; responsible for the sexual awakening of every single desi lesbian I know (including me!) And my god, she is breathtakingly beautiful. Look at the subtle grace with which she moves, and that smile - the kind of radiant smile that can make you laugh with sheer delight, or cry because of its hidden pain. Those wild curls! That Cupid's bow! The way she tilts back her head and smiles at you with mischief dancing in her eyes! She has a way of looking at the camera that makes you feel she's sharing a private joke just with you; it's something about that quizzical twist of the lips and eyebrows. As an actress, she is inimitable; she seems to effortlessly inhabit roles ranging from a heart-broken courtesan to a laughter-loving socialite. Fun fact : she's had quite the fan following in Greece! Stelios Kazantidis even wrote a song as a tribute to her.

Ingrid Bergman (Gaslight, Casablanca, Notorious)—Where do I even begin with Ingrid Bergman? I fell in love with her with her astounding performance in the 1956 version of Anastasia -- the best Anastasia movie in large part due to her wonderful and touching performance. She's got this amazing, fascinating intensity to her in whatever role she's in. She commits 100%, and she's got this light in whatever she's in that's stunning. She's utterly convincing no matter what she plays, from an amnesiac possible lost princess, from a nun, from a woman taking her revenge on the town that wronged her, to light romantic comedy. She's never missed in any role I've seen her in! Also she became quite the MILF.

This is round 5 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Madhubala:

An icon of Bollywood, who was well known for her beauty and has continued to inspire performances and songs into the 21st century. She was at times described as "the number one beauty of the Indian screen" and "the biggest star in the world".

SHE IS EVERYTHING AHHH. JUST LOOK AT HER SMILE-

She's been nicknamed the Marilyn Monroe of India and was one of the highest paid actresses in the Hindi film industry (the term Bollywood did not exist yet) during the 1950s. Also an extremely talented dancer and singer

SHE'S JUST SO STUNNING, like seeing her eyes IMMEDIATELY CAPTIVATES YOU, THE DANCING, THE BEAUTY!!!!!!!!! She worked in Bollywood for over 20 years and passed away at a sad early age of 36, BUT THE IMPACT SHE HAD WAS UNMATCHED!!!!!

That sassy sideways glance she does always has me WEAK AT THE KNEES. And when she's making silly faces at the camera to mimic someone ahhhh my gay little heart <3

Ingrid Bergman:

God, she's fantastic. She's both beautiful and a compelling actor who's more than capable of putting the whole movie on her shoulders if necessary. It's worth noting that while her beauty is conventional, she was seen as refreshingly "natural" with more eyebrows and less makeup than many other leading ladies of the time. She's well known for her role in Casablanca, but in Notorious, Spellbound, (both available on archive.org ) and Gaslight (1944) she shows how immensely capable she is.

I mean...she's Ingrid Bergman. I feel like that should be enough, you know? She's physically beautiful (her eyes!) but watching her is like a transcendent experience. Her voice, her expressions... beautiful woman, beautiful actor.

I'm a gay man but even I understand her appeal. I'll watch any movie she shows up in. Gorgeous woman.

Just try and watch her movies without sighing wistfully, then get back to me!

Choosing 1-3 movies where Bergman was at her hottest was agony because, of course, she was always at her hottest. Not just because she was beautiful but because she was absolutely willing to go up against the bs women in Hollywood were constantly dealing with. When exiled from Hollywood for having an affair with Roberto Rossellini, not only did she refuse to apologize at any point, but she went on to say that Hollywood's films had grown stagnant and boring to her. Though she said she appreciated her time working there, she wanted to try new, different techniques (hence starring in Italian neorealist films, working on stage, and acting under directors like Ingmar Bergman). She was not afraid to chase after her artistic ideals and go outside the box regardless of what society had to say about it. From her first movie to her last she killed it. There's so much more to say about Bergman's career and life, but I've already written five million words so I'll stop at that.

ion words so I'll stop at that.

One of the most incredible actors I've ever seen on film. Her facial expressions are so intricate and poignant that I cannot look away. I'm either ace or straight, but damn she made me question that.

SEVEN TIME OSCAR NOMINEE QUEEN. Girl also PULLED, having affairs with famously hot men Gary Cooper and Gregory Peck IN ADDITION to her three marriages...sexy

She has a very natural beauty to her, and she's from Sweden!

She left Hollywood and only became more beautiful. You could drown in her eyes. She can look innocent AND like she's seen it all. She is effortlessly elegant. She's played Joan of Arc (automatically hot) AND was in the movie that coined gaslight as a term. And where would we be without that!

She was known for being a breath of fresh air on the movie scene at the time with her windswept hair, dreamy smile and soulful eyes. I have loved her in every movie I have seen her in - she was just magnetic!

Where do I even start. There's a neighborly quality to this beautiful, talented actress that makes her hotness one of a kind and her looks impossible to forget

With a career spanning five decades, Bergman is often regarded as one of the most influential screen figures in cinematic history. Known for her naturally luminous beauty, Bergman spoke five languages – Swedish, English, German, Italian and French – and acted in each.

She's hot, don't get me wrong, but I've always found her very approachable, like she could easily be a member of my friend group

A lot of the time hotness in a movie is just about words and framing. "You're the most beautiful person here" [vaseline lens] well I sure hope so because that's who you cast. But when, in Casablanca, they call Ingrid Bergman the most beautiful woman in the world... they were not fucking lying. And such a dynamite actor too!! I'd only seen Casablanca up until last year, and there she's confined to love interest. But in Gaslight she was maybe one of the most incredible actors I've ever seen!!!! Goddddd shes so fucking hot and cool.

[bollywoodirect]

Remembering Raj Khosla on his 99th birth anniversary (31/05/1925).

Raj Khosla was one of the top directors in Hindi films from the 1950s to the 1980s. He was popularly known as a 'women's director' because he showcased actresses at their best capabilities. Khosla is that rare filmmaker in Hindi cinema who handled different genres of films with equal ease while adding his own individual stamp to each of his films. Along with Guru Dutt and Vijay Anand, he was responsible for elevating song picturizations in Hindi cinema during the 1950s and 60s.

Born on May 31, 1925, Khosla initially entered the film industry with hopes of becoming a playback singer. Struggling to make it as a singer, he joined Guru Dutt as an assistant director with Baazi (1951).

In 1954, Khosla got his first break with Milap, starring Dev Anand and Geeta Bali. The film failed to create a significant impact, but Khosla's second film, produced by his mentor Guru Dutt, C.I.D. (1956), propelled him into the big league. C.I.D. was a polished crime thriller that highlighted Khosla's stylish shot-taking and innovative song picturization, elements he inherited from Guru Dutt.

As he continued to make films, Raj Khosla altered his film styles at times and added his unique touch to each genre. Never wanting to play it safe, Khosla made films that were widely different. He explored a variety of styles, including crime thrillers like C.I.D. and Kala Pani, musicals like Ek Musafir Ek Hasina, suspense thrillers like Woh Kaun Thi?, Mera Saaya, Anita, melodramas like Do Badan and Do Raaste, and dacoit dramas like Mera Gaon Mera Desh.

Films like Prem Kahani (1975), featuring the then hottest pair of the day, Rajesh Khanna and Mumtaz, and another smash hit, Main Tulsi Tere Aangan Ki (1978), made Raj Khosla one of the most revered directors in Bollywood. He was a director who understood women and their sentiments very well. Khosla worked with eminent actors like Amitabh Bachchan, Zeenat Aman, and Shatrughan Sinha. He passed away in 1991. The last years of this director were not much attached to the film industry.

Raj Khosla was awarded the Filmfare Best Movie Award for 'Main Tulsi Tere Aangan Ki' in 1978.

[blogtozone]

Aankhon hi Aankhon Mein Piano Notes | C.I.D.

Aankhon hi Aankhon Mein Piano Notes

Notes :-  Aankhon hi aankhon mein ishara ho gaya A4 A4 G4# A4 A4 A4 A4 G4# G4# G4 G4 F4# Baithe baithe jeene ka sahara ho gaya F4# F4# G4 F4# E4 E4 C4# E4 G4# A4 C5# B4 A4 G4# F4# E4 F4# Aankhon hi aankhon mein ishara ho gaya A4 A4 G4# A4 A4 A4 A4 G4# G4# G4 G4 F4# Baithe baithe jeene ka sahara ho gaya F4# F4# G4 F4# E4 E4 C4# E4 G4# A4 C5# B4 A4 G4# F4# E4 F4# Aankhon hi aankhon mein A4 A4 G4# A4 A4 A4 Gaate ho geet kyun dil pe kyun haath hai C5# D5 E5 B4 C5# D5 B4 C5# D5 C5# B4 G4# B4 A4 Khoye ho kis liye aisi kya baat hai C5# D5 E5 B4 C5# D5 B4 C5# D5 C5# B4 G4# B4 A4 Ye haal kab se tumhara ho gaya A4 A4 F4# G4# G4# E4 E4 E4 C5# B4 A4 Aankhon hi aankhon mein ishara ho gaya A4 A4 G4# A4 A4 A4 A4 G4# G4# G4 G4 F4# Baithe baithe jeene ka sahara ho gaya F4# F4# G4 F4# E4 E4 C4# E4 G4# A4 C5# B4 A4 G4# F4# E4 F4# Aankhon hi aankhon mein ishara ho gaya A4 A4 G4# A4 A4 A4 A4 G4# G4# G4 G4 F4# Baithe baithe jeene ka sahara ho gaya F4# F4# G4 F4# E4 E4 C4# E4 G4# A4 C5# B4 A4 G4# F4# E4 F4# Aankhon hi aankhon mein A4 A4 G4# A4 A4 A4

About Song :-

"Aankhon Hi Aankhon Mein" is a popular Hindi song from the 1956 Bollywood film "C.I.D." The film "C.I.D." was directed by Raj Khosla and featured Dev Anand, Shakila, Waheeda Rehman, and Johnny Walker in lead roles. The song "Aankhon Hi Aankhon Mein" is one of the film's memorable musical compositions. Here is some information about the song: Song Title: Aankhon Hi Aankhon Mein Film: C.I.D. Year: 1956 Singers: Mohammed Rafi and Geeta Dutt Music Director: O. P. Nayyar Lyricist: Majrooh Sultanpuri Duration: The song is approximately 3 minutes and 38 seconds long. The song is a romantic duet between the characters played by Dev Anand and Shakila in the film. It features playful and flirtatious lyrics that express the blossoming romance between the two characters. The music for the song was composed by O. P. Nayyar, and the lyrics were penned by Majrooh Sultanpuri. Mohammed Rafi and Geeta Dutt lent their melodious voices to bring this delightful song to life. "Aankhon Hi Aankhon Mein" is known for its catchy tune and memorable lyrics, making it a timeless classic in the world of Hindi film music. It has been cherished by fans of Bollywood music for decades and remains a popular choice for retro music enthusiasts. Read the full article

[bollywoodproduct]

Lyrics Sur Na Saje Kya Gaoon Main

Lyrics Sur Na Saje Kya Gaoon Main

Lyrics in English | Sur Na Saje Kya Gaoon Main | Basant Bahar (1956) | Manna Dey Sur Na SajeKya Gaoon MainSur Na SajeKya Gaoon MainSur Ke BinaJeewan SoonaSur Ke BinaJeewan SoonaSur Na SajeKya Gaoon MainSur Na Saje………. Dono JahaanMujhse RootheDono JahaanMujhse RootheTere BinaYe Geet Bhi JhootheTere BinaYe Geet Bhi JhootheSur Na SajeKya Gaoon MainSur Ke BinaJeewan SoonaSur Ke BinaJeewan SoonaSur…

[waheedarehman-infinitelylovable]

"Jatha Kahan Hai Deewane" - stills from the lost song from "C.I.D." (1956) featuring Waheeda Rehman and Dev Anand

When you watch "C.I.D." (1956/Dir. Raj Khosla), you can feel very well just how the first scene in which the Police Inspector (Dev Anand) and Kamini (Waheeda Rehman) meet builds up to a song sequence, and then there is...nothing!

This article tries to put some light on the affair and includes the original song by OP Nayyar (music) and Majrooh Sultanpuri (text), sung by Geeta Dutt, and also the song video from "Bombay Velvet" which presents a contemporary version:

 http://upperstall.com/features/when-fifi-was-a-four-letter-word

 There are, however, other theories of what happened: either the song was cut because why would a clever Police Inspector even accept a drink from such a shady dame in the first place? He admittedly looks a bit stupid when he gets trapped so easily...

The other theory is much more profane: according to Shyam Kapoor (Producer Guru Dutt's assistant), the film had gotten too long and so higher taxes were due. Result: cut a song, save the money :D Needless to say this theory seems to be less popular than the other two.

[ashbolse]

[wordsmithic]

Indian tunes in Hellenic music

Hellenic Indian remakes of songs from the time of flowering of Indian cinema (Bollywood) in Hellas became classics by one of the leading voices of Hellenic popular-folk song, as Stelios Kazantzidis.

The song Μαντουμπάλα (Madhubala) became very loved and a music center with the same name opened in Athens. Madhubala was a very famous Indian film actress, film producer and playback singer who worked in Indian films.

Over 100 remakes of old Bollywood songs have been found in Hellenic music of the 50's and 60's. The adaptation was easy because of shared rhythms and similar sounds (as those produced with the local Hellenic lute).

On January 24, 2021 in the Hellenic TV show “Salt of the Earth” the music band LAIKINDIA (meaning “folkIndia”) presented a selection of “Hindi style songs”.

The band “Laikindia” consists of: Kinjal Vora from India (vocals), Violette Boulanger from France (violin-vocals), Eva Mylona from Greece (accordion-vocals), Salvatore Conticello from Italy (lute-vocals) and Maro Panagi from Greece (percussion). The guest of the band is the singer of Rebetiko Anatoli Margiola from Greece.

You can listen to some of those songs by Laikindia by clicking here .

Timestamps:

1:04:32 Ulfat ka saaz chhedo / Αυτή η νύχτα μένει From the movie Aurat (1953)

1:11:40 Man Dole / Ποιος σου είπε κούκλα μου From the movie Νaagin (1954)

1:19:40 Aa Jao Tadapte Hai armaan / Μαντουμπάλα From the movie Awara (1951)

1:27:45 Umango Ko Sakhi / Νυφούλα σε στολίζουνε From the movie Amar (1955)

1:33:09 Char Aaya Mera Pardesi / Είσαι η Ζωή μου From the movie Awara (1951)

1:39:10 Ae Chand Kal Jo Aana / Πριν μου φύγεις γλυκιά μου From the movie Devta (1956)

1:44:45 Duniya Wallon Se Door / Όσο αξίζεις εσύ From the movie Ujala (1959)

Indian films (mostly Northern productions) have been a sensation in Hellas for many decades now, from old releases to the most recent ones, including those on Netflix.

Following, the cover of the book “REVELATION OF HINDI-STYLE SONGS IN GREECE“ by Eleni Abadzi and Manolis Taoulas. You can download it in English or Greek here.

India and Hellas continue to have a strong cultural bond, not only through their centuries-old trade and media but also through cultural organizations such as the Indian Society for Greek and Roman Studies and the Hellenic-Indian Society for Culture & Development.

[hunterwp54]

Hindi Movies Mujhse Dosti Karoge Full Movie Youtube Part 1

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Jaane walon zara - sudhir kumar sushil kumar - dosti - video dailymotion.

[bowietracks]

Bowie’s John, I'm Only Dancing music video by Mick Rock was – according to music journo Lester Bangs – ‘the very moment the modern idea of a video was born’. But was it? The Beatles had produced two music videos five years before for the double A-Side single Strawberry Fields Forever / Penny Lane (1967), two non-album tracks from the Sgt. Pepper's Lonely Hearts Club Band (1967) sessions. Indeed, the Beatles had recorded clips for TV use before this, and then there was A Hard Day's Night (1964), which in turn had inspired the creation of The Monkees in 1966, their ‘music videos’ cut into their TV shows. And Elvis, beginning with the film Love Me Tender (1956), and before that Hollywood musicals and Bollywood’s Hindi filmi songs from the 1930s onwards… music videos as a discrete genre fold into TV performances, TV show stagings and films. Famously when the Beatles were filming Strawberry Fields Forever / Penny Lane (1967), Lennon was heard wandering around singing ‘Hey, Hey, We’re The Monkees’! But, as an emergent genre, the Beatles’ Strawberry Fields Forever / Penny Lane looks like a safe bet… However, John, I'm Only Dancing wasn’t Bowie’s first music video – it was his tenth! Back in ’67 (the same year the Beatles’ are making theirs), Bowie had made the Love You till Tuesday film, consisting of nine music videos, as character driven scenarios. And the first video recorded was on 26 January, some days before the Strawberry Fields Forever shoot on 30-31 January. Of course, Bowie’s film was never released (intended more to be a calling card for a record deal), while the Beatles’ video were debuted on March 11, on US TV’s American Bandstand. And talking of Bowie’s music videos not being broadcast, nor was John, I'm Only Dancing. On August 19, 1972, Mick Rock directed 30 minutes of 16mm silent film at London’s Rainbow Theatre during the rehearsals for the show that evening (some more of the footage is available here, with details of how it is in the hands of collectors). Apparently the video was a last minute decision by Bowie and his manager, and they had a meagre £200 budget, including the fee for a cameraman. Bowie and The Spiders were filmed miming to the song played on the Rainbow Theatre's record player (meaning lip-synch problems at editing stage). Now, the Rainbow Theatre gigs on 19 and 20 August signalled the reboot of the Ziggy tour which had begun at the beginning of the year. Bowie was now becoming a star, and he upgraded the show. Bigger venues and more complex performances.  For the Rainbow Theatre kick-off not only were there costume changes and video projections, but also mime, from his old friend Lindsay Kemp. And Rock also filmed some of this too – no clowns here, it’s those weird and wonderful gothic, sexual, vampiric dance images featured in the music video. And it is thought that this is why the video was never screened on Top of the Pops. The song featured three times in late September, early October 1972 – twice with the in-house dance troupe, once with a video. But not the video. Rather, the BBC shot its own, consisting of a load of bikers riding around London! Was it the images of Mick Rock’s film though that got it ‘banned’? Pegg writes ‘a likelier reason it was Tony Defries’s demand for a £250 fee’ (143). So, is Lester right in any way at all? Let’s leave that question hanging…

Song written by David Bowie. Recorded 26 June 1972. Video directed by Mick Rock. Filmed 19 August 1972. Unbroadcast. Available on Best of Bowie DVD (2002)

[lushscreamqueen]

ROCKY JONES-MANHUNT IN SPACE – 1956 for THE SCHLOCKY HORROR PICTURE SHOW

Opening: Hello, good evening and welcome. You look great. But enough about you!. Let talk about Pirates... Arr! When a band of interstellar pirates, headquartered on a hidden planet, threatens the space-ways, and only the Space Rangers can save the day. Richard Crane, and Scotty Beckett star in this feature-length science fiction adventure from loving repackaged from the early TV series "Rocky Jones, Space Ranger. He’s always so cool, he’s always right, and he never fails! What a guy. So sit back, graba space stick and enjoy The delights of Rocky Jones Manhunt in Space.

Break: All that cheese and not a cracker in sight. Perhaps one of these nice chap can sell you some. And then after the ad break. More Rocky Jones-Manhunt in Space on the SCHLOCKY HORROR PICTURE SHOW!

MIDDLE: So LONG before television was learning to do “Clip Shows” and call them Flashback or encore performances TV executives had learned to repackage a “3 part serial from 1953” as a fully fledged 1955 motion picture called Manhunt in Space and send it off to the cinema. Rocky Jones, Space Ranger was a syndicated science fiction television serial originally broadcast in 1954. The show lasted for only two seasons and, though syndicated sporadically, dropped into obscurity. But because it was recorded on film rather than being broadcast live as were most other TV space operas of the day, it has survived in reasonably good condition. The film format also allowed more elaborate special effects and sets, exterior scenes and much better continuity. Indeed, many of the effects that became standard sci-fi fare, such as the forward view screen and automatically opening doors were seen first on Rocky Jones. They may have been plywood but they were NEW plywood. In this film Rocky and crew's spaceship must defeat "space pirates." Of course the writers Carl K. Hittleman who also Wrote Jesse James Meets Frankenstein's Daughter and Marianne Mosner from Lassie and Shazam, couldn't just refer to them as pirates; in fact nearly everything in this show with a name is prefaced by the word "space" just to make it clear where it's being used. This early 1950's Space Opera is complete with a hero by the name of Rocky Jones, played by veteran movie and television actor Richard Crane later to be known as DICK Crane. Poor Dick was not at all typecast when he left Rocky Jones to play Commando Cody Sky Marshall of the Universe, while simultaneously, appearring in the Lone Ranger as Billy. He eventually settled into the world of medicore guest appearances on shows like Perry Mason, General Electric Theatre, 77 Sunset Strip,Wagon train and Lassie. But back in the 50’s, Rocky Jones is the quintessential action hero – brave, strong, handsome, highly moral, and always ready to defend his beliefs with action. To women he was irresistible but like bollywood there was no kissing or physical displays from Rocky. That kind of comraderie was strictly for the compulsary annoying sidekick’s Ranger Winky played by Scotty Beckett, who for most of his acting carreer before was know as Child Uncredited and after this just as Uncreditied. It seems Rocky Jones stole his childhood and in a twist Michael Jackson couldn’t get away with, sidekick number two was 10 year old Bobby played by Robert Lyden . Fortunately for us Robert left the acting profession in 1957 after playing Creighton Chaney. Not so the case with the lovely Sally Mansfield aka Vena Ray, Naviatrix and Rocky’s love interest in that wholesome 1950’s hubba hubba mini skirted but non sexual way. She moved onto the upbeat world of the Gene Autry Show , Mchales Navy and the Andy Griffith show.

And what would a Space Opera be with an elderly and brilliant Professor Newton, Played almost to perfection by Maurice Cass, who in spite of being a genius, makes just enough miscalculations to get them into real trouble. Maurice had bit parts in Over 50 films before Rocky Jones Plucked him from Obscurity before plunging him back into obscurity. Blondie Goes to college, Enemy Agents meet Emery Queen and Charley Aunts to name too many.

Surpisingly the Director Hollingsworth Morse is actually quite a big name in Hollywood. Fall Guy, Dukes of Hazard, Isis, Marcus Welby MD, Shazam, H.R. Pufen stuff and the Lone Ranger are just a few of the 69 TV shows he directed For a complete list please send a 10 note with a self address envelope to the address at the end of this film and I’ll see what I can do.

Closing : So for those of you who fell asleep, Vena is stranded in space by wicked pirates! Rocky makes the Orbit Jet invisible with Professor Newton’s latest doohickey! Winky sings a song! Rocky & Winky track the pirates to their secret base -- it’s no surprise that

they turn out to be employed by the naughty Cleolanta, who’s still so hot for Rocky that you can almost see her thighs quiver whenever his name is mentioned.Played superbly by Patty Parsons, another of those shy acrtesses’ who choose to use the name“uncredited”.If it wasn’t for the costumes and vanilla bondage, this could have been long Friday night for me. I don’t get out much at my age. And what was with the actors pressing buttons and pushing levers that don’t exist; that was just a blank wall. I don’t even have eyes and I could see that. And if Rocky Jones tells you to "go knit a sweater" (and she actually does!) when they have a disagreement! All I can say in closing is Hooray for emancipation and join me next week as we sift through the chaff of the Public domain to find that ine germ that is good enough to be shown on THE SCHLOCKY HORROR PICTURE SHOW. “Toodles”

by Lushscreamqueen 26th May 2009

[bollywoodirect]

Remembering Raj Khosla on his birth anniversary. Raj Khosla was one of the top directors in Hindi films from the 1950s to the 1980s. Raj Khosla was popular as a 'women's director' because he showcased actresses at their best capabilities. Khosla is that rare filmmaker in Hindi cinema who saddled different genres of films with equal ease while adding his own individual stamp to each of his films. He, along with Guru Dutt and Vijay Anand, was also responsible for song picturizations being taken to a new high in the Hindi cinema of the 1950s and 60s. Born on May 31, 1925, Khosla initially entered the film industry with hopes of making it as a playback singer. Struggling to make it as a singer, he joined Guru Dutt instead as an assistant director with Baazi (1951). In 1954, Khosla got his first break with Milap, starring Dev Anand and Geeta Bali. The film failed to create uproar but Khosla's second film produced for him by mentor Guru Dutt; C.I.D. (1956) propelled him into the big league. C.I.D. was a polished crime thriller that highlighted Raj Khosla's stylish shot taking and innovative song picturisation, something passed down from Guru Dutt. From here onwards even as he continued to make films, Raj Khosla altered his film's styles at times and added his own touch to each of the genres. Never wanting to play safe Raj Khosla made some films, which were widely different. Raj Khosla explored a variety of styles be it crime thrillers like C.I.D., Kala Pani, musicals like Ek Musafir Ek Hasina, suspense thrillers like Woh Kaun Thi?, Mera Saaya, Anita, melodramas like Do Badan, Do Raaste and dacoit dramas like Mera Gaon Mera Desh. Films like Prem Kahani (1975) featured the then hottest pair of the day Rajesh Khanna and Mumtaz and later another smash hit film Main Tulsi Tere Aangan Ki (1978) made Raj Khosla one of the most revered directors of Bollywood. Khosla was a director who understood women and their sentiments very well. Raj Khosla worked with eminent actors like Amitabh Bachchan, Zeenat Aman, and Shatrughan Sinha. Raj Khosla expired in 1991. The last years of this director were not much attached to the Film industry. Raj Khosla has been awarded the Filmfare Best Movie Award for 'Main Tulsi Tere Aangan Ki' in 1978.

[blogtozone]

Aye Dil Mujhe Bata De Piano Notes | Bhai Bhai

Aye Dil Mujhe Bata De Piano Notes

Notes :-  Aye dil mujhe bata de, Tu kispe aa gaya hai A3 D4 D4 D4D4 E4 F4#, D4 F4# F4# F4# F4# G4 E4 Woh kaun hai jo aakar, Khwaabon pe chha gaya hai E4 F4# C4# C4# E4 E4 F4# E4 F4# A4, E4 F4# G4 F4# E4 C4# E4 D4 Aye dil mujhe bata de, Tu kispe aa gaya hai A3 D4 D4 D4D4 E4 F4#, D4 F4# F4# F4# F4# G4 E4 Woh kaun hai jo aakar, Khwaabon pe chha gaya hai E4 F4# C4# C4# E4 E4 F4# E4 F4# A4, E4 F4# G4 F4# E4 C4# E4 D4 Music A3 F4# E4 D4, A3 F4# E4 D4, A3 F4# E4 D4 E4 A3 E4 D4 C4#, A3 E4 D4 C4#, A3 E4 D4 C4# D4 F4# G4 A4 G4 A4, B4 A4 G4 B4 A4 B4, C5# B4 A4 C5# B4 C5#, E5 D5 C5# D5 Masti bhara tarana, Kyun raat ga rahi hai A4 D5 D5 D5 D5 E5 C5#, A4 C5# C5# C5# C5# D5 B4 Aankhon mein neend aakar, Kyun door ja rahi hai G4 B4 B4 B4 B4 C5# B4 A4 G4, G4 A4 B4 B4 A4 G4 A4 Music A4 D5 C5#, B4 A4 C5# B4, A4 G4 B4 A4 B4 C5# D5 Masti bhara tarana, Kyun raat ga rahi hai A4 D5 D5 D5 D5 E5 C5#, A4 C5# C5# C5# C5# D5 B4 Aankhon mein neend aakar, Kyun door ja rahi hai G4 B4 B4 B4 B4 C5# B4 A4 G4, G4 A4 B4 B4 A4 G4 A4 Dil mein koyi sitamgar, Armaan jaga gaya hai A3 D4 D4 D4D4 E4 F4#, D4 F4# F4# F4# F4# G4 E4 Woh kaun hai jo aakar, Khwaabon pe chha gaya hai E4 F4# C4# C4# E4 E4 F4# E4 F4# A4, E4 F4# G4 F4# E4 C4# E4 D4 Aye dil mujhe bata de, Tu kispe aa gaya hai A3 D4 D4 D4D4 E4 F4#, D4 F4# F4# F4# F4# G4 E4 Woh kaun hai jo aakar, Khwaabon pe chha gaya hai E4 F4# C4# C4# E4 E4 F4# E4 F4# A4, E4 F4# G4 F4# E4 C4# E4 D4

About Song :-

"Aye Dil Mujhe Bata De" is a classic Hindi song from the 1956 Bollywood film "Bhai Bhai." The film was directed by M.V. Raman and starred Ashok Kumar, Kishore Kumar, and Nimmi in lead roles. The song is known for its melodious and romantic composition. Here is some information about the song "Aye Dil Mujhe Bata De" from "Bhai Bhai": Singer: Geeta Dutt Music: Madan Mohan Lyrics: Rajendra Krishan Summary of the Song: "Aye Dil Mujhe Bata De" is a melodious and romantic song that expresses the feelings of love and longing. The lyrics convey the desire of the heart to confess its love to the beloved. Geeta Dutt's soulful rendition adds depth and emotion to the song. The music, composed by Madan Mohan, is characterized by its gentle and melodious tune. Significance: The song "Aye Dil Mujhe Bata De" is considered a classic of its time and is remembered for its timeless melody. It contributed to the film's appeal and is often associated with the era of classic Hindi cinema. Music Video: The music video of "Aye Dil Mujhe Bata De" features Nimmi and Ashok Kumar and beautifully captures the romantic mood of the song. It showcases their on-screen chemistry and the emotions of love. "Aye Dil Mujhe Bata De" remains a cherished song among fans of vintage Bollywood music and is often included in compilations of classic Hindi film songs. It continues to be celebrated for its melodious composition and heartfelt lyrics. Read the full article

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Lyrics Nirbal Se Ladaayi Balwaan Ki

Lyrics Nirbal Se Ladaayi Balwaan Ki

English and Hindi Lyrics of song Nirbal Se Ladaayi Balwaan Ki from Toofan Aur Deeya (1956). Lyrics in English | Nirbal Se Ladaayi Balwaan Ki | Toofan Aur Deeya-1956 | Manna Dey Nirbal Se LadaayiBalwaan KiNirbal Se LadaayiBalwan KiYe Kahaani HaiDiye Ki Aur Toofan KiYe Kahaani HaiDiye Ki Aur Toofan Ki……… Ik Raat AdhiyaariThi Dishaayen Kaari KaariMand Mand PawanTha Chal Raha Andhiyaare Ko…

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Chandramukhi Serial Full Story

Chandramukhi Serial Full Story Episode

Chandramukhi Serial Full Story Zee Tv

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]

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]

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)

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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On Nargis’ 91st birth anniversary, a look at a star who symbolised passion onscreen - bollywood

https://liveindiatimes.com/on-nargis-91st-birth-anniversary-a-look-at-a-star-who-symbolised-passion-onscreen-bollywood/

It is during rare moments in Hindi cinema when women are allowed sexual agency, with the filmmakers largely showing them as objects of desire. One actor who turned this reductive portrayal on its head was Fatima Rashid, better known as Nargis. On her birthday today, a look at her momentous life and career.

Nargis was born on June 1, 1929 in Calcutta (now Kolkata) to Jaddan Bai — who was an institution in herself in the music and film world in 1930s and 1940s — and Abdul Rashid, said to be a prosperous Hindu from Punjab who converted to Islam. Aged only 5, she made her film debut as a child artist in Talash-e-Haq. She was given the screen name Baby Nargis. Then, in 1942, at the age of 14, Nargis appeared in a film called Tamanna as an adult.

She would continue to work in Hindi films and earn popularity after appearing in films like Mela with Dilip Kumar and Nur Jahan. Her true legacy, however, would be carved out only after her association with legendary actor and filmmaker Raj Kapoor. Their first film was Aag (1948). They went on to work in 16 films together, six of which were produced by Raj Kapoor himself.

Nargis with Raj Kapoor in Awaara.

Their six films under RK Films banner include Aag (1948), Barsaat (1949), Awaara (1951), Aah (1953) and Shree 420 (1955). In Jagte Raho (1956) Nargis had a cameo. Their notable film, which was not produced by Raj Kapoor, was Chori Chori (1956). Aag flopped at the box office, Aah did average business but the rest of the four films did roaring business with Awaara and Shree 420 going down as two of the most iconic Hindi films of all times.

To a legion of fans of Hindi films, the memories of these two stars live on in the songs they featured in – Jiya beqarar hai, Barsat mein humse mile (Barsat); Ghar aaya mera pardesi, Dam bhar jo udhar munh phere (Awaara); Pyar ha ikraar hua, Ichak dana beechak dana, Sham gayi raat aayi (Shree 420); and Aa ja sanam madhur chandni mein, Pancchi banoon udti phiroon, Yeh raat bheegi bheegi (Chori Chori) – all of which are fresh in collective imagination.

Nargis in Awaara.

Watch these songs to know what passion felt like, what love could do and how desire manifested itself on the silver screen. This is particularly noteworthy given how conservative we were as a society then. Such passionate love is unmatched even today. Nargis was anything but a coy beloved – these songs show how she formed the boisterous, joyful, intense beloved to the more staid and restrained Raj Kapoor. A consummate artist that she was, it wouldn’t be hard for her to portray the de-sexualised heroine too. Her portrayal as virtuous Vidya (Shree 420) and Jagte Raho can serve as examples.

Also read: Salman Khan pays tribute to Wajid Khan who began, ended career with him: ‘Will always love, respect, remember you’

However, it was with Mehboob Khan’s Mother India that Nargis’ true legacy would be cast in stone. Playing a young bride who soon becomes a widow and goes on to bring up her two sons – played by Sunil Dutt and Rajendra Kumar – Nargis was a tour-de-force. The film not only showed the injustices society throws at those on the sidelines (in this case a young widow), it also showed Nargis as a strong and virtuous Indian woman, with a mind of her own, who kills her own son, when he goes rogue.

Nargis’ personal life has been of immense interest to cine-going audience in India. She was in a long relationship with the already married Raj Kapoor. She reportedly asked him to end his marriage but he refused to divorce his wife to marry her. Soon after, Nargis ended the relationship. Her Mother India co-star Sunil Dutt proposed to her and she agreed. Together, they remain one of the most loved couples of Bollywood. Nargis’ end came in 1981 after a long battle against pancreatic cancer.

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He would have been 100 today: Satyajit Ray

The doors of the airy top floor flat at Bishop Lefroy Road is unlikely to be kept ajar – like every year on May 2 – for people to still come in just for a visit or a floral tribute in front of his photo frame. This had been the practice at the Ray household since Satyajit Ray, the ultimate maestro of Indian cinema passed away nearly 30 years ago, but it’s’different this year. The world has changed…and it’s in a state of paranoia now. As Indian cinema is mourning the loss of two of it’s favourite sons in Irrfan Khan and Rishi Kapoor, the never-ending lockdown due to the coronavirus pandemic would deter the cinephiles of Kolkata to visit their annual pilgrimage on what would have been Ray’s 100th birthday. The thought of Ray completing a century already may sound a little incredulous – and suddenly makes him all that more remote an icon like say, Rabindranath Tagore, the Nobel laureate bard whose birthday is celebrated as a social event around the state of West Bengal. Ray, who was a Brahmo (a Hindu reformist faith introduced by Maharshi Debendra Nath Tagore, the iconic poet’s father) and a quintessential Renaissance man, was never really known to like the fuss about his birthdays – while he often used to check in at a central Kolkata hotel to work in solitude on his upcoming film scripts. It was almost a privilege to grow up in Kolkata in the mid-Eighties – as it was unanimously hailed then as the cerebral film capital of India. Bollywood was always the hub of Indian cinema and shaped it’s history, but the City of Joy boasted of the holy trinity of Ray, Mrinal Sen and Ritwik Ghatak – who pursued their excellence in realistic films from the usually derelict studios and with shoestring budgets. It’s not for nothing that ‘Manik da,’ as he was popular as in the Indian film industry, is hailed as the director of directors in the Indian film ministry even after 30 years of his death. His versatility in various creative aspects of filmmaking – right from writing own screenplays, music direction, design of costumes and posters are part of folklore – not to speak of the fact that his work in children’s literature enjoy the bestsellers’ tag even to this day. https://youtu.be/AgXPStRWmsY

The Ray Filmography Pather Panchali (Song of the Road) 1955 Aparajito (The Unvanquished) 1956 Paras Pathar (The Philosopher’s Stone) 1958 Jalshaghar (The Music Room) 1958 Apur Sansar (The World of Apu) 1959 Devi (The Goddess) 1960 Teen Kanya (Three Daughters) 1961 Kanchenjungha 1962 Abhijan (The Expedition) 1962 Mahanagar (The Big City) 1963 Charulata (The Lonely Wife) 1964 Kapurush-O-Mahapurush (The Coward and the Holy Man) 1965 Nayak (The Hero) 1966 Chiriakhana (The Zoo) 1967 Goopy Gyne Bagha Byne (The Adventures of Goopy and Bagha) 1968 Aranyer Dinratri (Days and Nights in the Forest) 1969 Pratidwandi (The Adversary) 1970 Seemabaddha (The Company Limited) 1971 Ashani Sanket (Distant Thunder) 1973 Sonar Kella (The Golden Fortress) 1974 Jana Aranya (The Middle Man) 1975 Shatranj Ke Khiladi (The Chess Players) 1977 Joy Baba Felunath (The Elephant God) 1978 Hirak Rajar Deshe (The Kingdom of Diamonds) 1980 Ghare Baire (The Home and the World) 1984 Ganashatru (An Enemy of the People) 1987 Shakha Prasakha (Branches of a Tree) 1990 Agantuk (The Stranger) 1991 Documentary Rabindranath (1961) Sikkim (1971) The Inner Eye (1972) Bala (1975) Sukumar Roy (1987) Short film Two (1964) Pikoo (1980) Sadgati (Deliverance) 1981 Major awards won by Ray 1958: Padmashree, India 1965: Padmabhushan, India 1967: Magsaysay Award, Philippines 1971: Star of Yugoslavia 1973: Doctor of Letters, Delhi University 1974: D.Litt, Royal College of Arts, London 1976: Padma Vibhushan, India 1978: D.Litt, Oxford University, Special Award, Berlin Film Festival; Deshikottam, Visva Bharati University, India 1979: Special Award, Moscow Film Festival 1980: D.Litt, Burdwan University; D.Litt, Jadavpur University 1981: Doctorate, Benaras Hindu University, India; D.Litt, North Bengal University, India 1982: Hommage a’ Satyajit Ray, Cannes Film Festival; Viyasagar Award, Government of West Bengal 1983: Fellowship, British Film Institute 1985: D.Litt, Calcutta University; Dadasaheb Phalke Award, India; Soviet Land Nehru Award, Soviet Union 1986: Fellowship, Sangeet Natak Academy, India 1987: Legion d’ Honneur, France; D.Litt, Rabindra Bharati University, India 1992: Academy Award for Lifetime Achievement, USA Akira Kurosawa Award for Lifetime Achievement Award, San Francisco International Film Festival Bharat Ratna, India Read the full article