#Song from Anuraag (1972)

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Lyrics Raam Kare Babua Hamaar Phulwa Ko

Lyrics Raam Kare Babua Hamaar Phulwa Ko

Lyrics in English | Raam Kare Babua Hamaar Phulwa Ko | Anuraag (1972) | Rajesh Khanna, Ashok Kumar Raam KareBabua HoRaam Kare BabuaHamaar Phulwa KoHamriUmar Lagi JaayeRaam Kare BabuaHamaar Phulwa KoHamriUmar Lagi JaayePatjhar Aaye (2)BasantRut JaayeHo JaayeChampaChameli MuskaayeRaam Kare Babua Ho………… Pyaare MunneTu Bhi IkDil Khus Gulaab HaiAye Gullu GulluTohri Khusbu Ka KahinKoi Jawaab…

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Remembering one of Hindi cinema's revered filmmakers, Shakti Samanta, on his 10th death anniversary today. The man who launched the careers of Sharmila Tagore and Rajesh Khanna, Shakti Samanta demonstrated his ability to gauge audience tastes and made a variety of films ranging from suspense thrillers to musicals, and the melodramas that he is perhaps best remembered for today. Born in Bengal’s Burdwan district, Shakti Samanta studied science at Calcutta University and later joined his uncle’s construction business in Dehradun. After this he went to Dapodi, where he was a school teacher. His desire to act in movies took him to Bombay. When he was offered the opportunity to move to South Africa, he quit his job and took the plunge as an assistant director on Raj Kapoor’s Sunehre Din (1949). He assisted Gyan Mukherjee and Phani Mazumdar at Bombay Talkies before making his directorial debut with Bahu (1955). Samanta launched his own company Shakti Films with Howrah Bridge (1959), the film with the famous club song performed by Helen, “Mera naam chin chin choo.” Singapore (1960) and China Town (1961) continued this series of crime movies with a Far Eastern setting. In the mid-1960s, he started making colour films, notably Sharmila Tagore’s Hindi debut Kashmir Ki Kali (1964), in which she plays a poor flower-seller who falls in love with the wealthy heir Rajiv (Shammi Kapoor). A huge musical hit featuring O P Nayyar’s memorable songs including “Ye chand sa roshan chehera” and “Ishaaron ishaaron mein”, the successful team went on to work together in An Evening In Paris (1967). It gained popularity for Tagore’s appearance in a bikini in the song “Aasman se aaya farishta”, creating a sensation amongst audiences. However, with the musical romance Aradhana (1969), Samanta started the most interesting phase of his career. Starring Rajesh Khanna in a double role as father and son along with S D Burman’s classic score, the film established the template for the 1970s melodrama with its theme of unwed motherhood and sacrificing women. It also established Kishore Kumar as Hindi cinema’s foremost male playback singer. Samanta’s string of hits continued through the 1970s and some of them were made as bilinguals in Hindi and Bengali––Kati Patang (1970), Anuraag (1972), Amanush (1974), Mehbooba (1976), Anand Ashram (1977) and The Great Gambler (1979). But the film that received widespread appreciation was Amar Prem (1971), based on the Bengali film Nishi Padma (1970). The story of the film was adapted from a novel by Bibhutibhushan Bandopadhyay. Samanta repeated Aradhana (1969)’s hit pair of Rajesh Khanna and Sharmila Tagore in the film, and both R D Burman’s music and Ramesh Pant’s dialogues became immortal, especially Khanna’s famous “Pushpa, I hate tears” and Kumar’s rendition of “Chingari koi bhadke” and “Kuchh toh log kahenge”. Apart from his prolific career as director, he also served as President of the Indian Motion Pictures Producers Association for five years, as Chairman of the CBFC for seven years and Chairman of the Satyajit Ray Film and Television Institute, Kolkata for two years. Samanta passed away at his Mumbai residence on 9th April, 2009.

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“I have seen it all, I did it all, I said it all, But I can’t remember it all…”

That’s how our Lifetime Achievement Winner, Moushumi Chatterjee defines her four-decade-old journey. “I don’t consider anyone bad. It’s the situation that makes people do things. You may hurt someone unintentionally. But you must never humiliate anyone,” says the actor who continues to throw up interesting performances. In 2014, she won the Filmfare Award for Best Supporting Actress for the Bengali film Goynar Baksho and now the Filmfare Lifetime Achievement Award 2015. “I wish my father-in-law (the late musician/filmmaker Hemant Kumar) was present to see me receive this honour,” she says. In the recent hit Piku, she impressed with her brazen candour on sexuality. What’s more she was pitted against Amitabh Bachchan, her co-star in Basu Chatterjee’s quaint film Manzil (1979), remembered for its RD Burman number Rimjhim gire saawan. “Amitji possesses the same dedication. His sense of humour is intact,” she says. “Rimjhim gire was shot over two days in natural light and rain… from Colaba, VT to Marine Drive. I remember my eyeliner getting smudged! We kept having coffee to keep ourselves warm,” she reminisces.

Child bride The reluctant star of Tarun Mazumdar’s Ballika Badhu (1965) never imagined that fiction would turn into the truth of her life. “I did Ballika Badhu when I was in the fifth standard. I got married when I was in the tenth,” recalls she. Young Indira (her real name) got engaged to‘guardian and neighbour’ Hemant Kumar’s son, Jayant Mukherjee (Babu). “I fell in love with Babu. He was the first man I came in touch with outside my family. In my dowry, came a dog, a doll’s house and a friend, my girl Friday,” she laughs.

The teen bride had already seen in Bengali films like Parineeta, Anindita and Anand Ashram. She came to Mumbai with husband Babu only to have film offers lined-up for her. Raj Khosla’s Kachche Dhaage was her first film, though Shakti Samanta’s Anuraag, where she played a visually-challenged girl released first in 1973­­­­. The next year saw her team up with Amitabh Bachchan in the thriller Benaam and opposite Rajesh Khanna in Humshakal. Her most notable performance was that of a rape survivor in Manoj Kumar’s Roti Kapada Aur Makaan (1974). “I was pregnant with my first child but Manojji took great care of me. I threw up with all the atta (flour) in my mouth. A duplicate blouse was placed on me, which was later flung aside for the scene.” She claims, “The song Hai hai yeh majboori was to be filmed on me. But I got pregnant. The phrase‘do takiya’ in the song matches my character Tulsi’s language not that of the sophisticated Zeenat Aman’s in the film.”

Her other successful films were Swarg Narak and Angoor with Sanjeev Kumar. The hat-trick of hits Maang Baro Sajna, Ghar Ek Mandir and Pet Pyaar Aur Paap put her in the big league in 1984. Later, she graduated to doing character roles in Ghayal, Ghar Parivaar and Udhaar Ki Zindagi. Ask Moushumi to analyse her appeal and she says self-effacingly, “I’ve a crooked nose. I’m slightly cock-eyed. Perhaps my smile, my laughter charmed. Also, I had a voluptuous figure. I was never skinny. Actually, sex-appeal lies in your face, your eyes. Having a great figure doesn’t matter.” She recalls how the late director Raj Khosla summed her up. “He said, “Moushumi’s childlike, not childish. She can be fun-loving like an eight-year-old and wise like a woman of 80.”

Will break, not bend In an industry, which has not been entirely kind to married actresses, Moushumi finds herself grateful. “Mahesh Bhatt once chided me for being ‘unprofessional’. He joked, ‘Every time your career is doing well, you get pregnant’. I replied, ‘My babies have added to my life’.’You can be a top star, a celebrity or even a queen but ultimately you need a family, a home.” What she does admit to is her ‘will break but not bend’ dictum, which became the reason of her walking out of big projects. “I was not the ambitious kind, who wanted work by hook or crook. I did films on my own terms. I even shot for some big banner films but left them after a few days because my ethics didn’t allow me to continue. I didn’t compromise my sanskar. They thought I was stubborn and crazy.”

Rumours of being ‘uncooperative’ plagued her career. “Some top heroes could not take my behaviour. They’d say, ‘You prefer to talk to the spot boy rather than have a cup of coffee with me. Do you think you’re Vyjayanthimala? I’d say, ‘No, I believe I’m Cleopatra’. Some, noticing my stance, would turn respectful, some indifferent.” She recalls the time when a senior actress gave her some ‘advice’. “She said, ‘Why don’t you open up? You rub them the wrong way. What’s the harm in having dinner with them on outdoors?’” She holds her heroes Vinod Khanna, Rishi Kapoor, Shashi Kapoor, Sanjeev Kumar and Dharmendra in high regard. “Once Dharamji happened to see me at a particular party. He said, ‘Why have you come here? Go home right now!’ Rishi was helpful when I was pregnant and shooting for Zehreela Insaan. While Sanjeev Kumar loved to relax at my house, enjoying non-vegetarian food and watching films.”

My home, my world While showbiz wanted more of her, all she wanted was to rush back home. “I could switch from being Moushumi to Indu very easily. The minute pack-up was announced I wanted to run home to my husband. Even after Payal was born, I’d want to see Babu first.” In fact, the foundation of their bond, she says, was formed in those early years. She was a minor when her first daughter Payal was born. “My gynaecologist told me ‘a kid is having a kid’. When Payal was born, I didn’t have patience. She’d break my toys; I’d want to break hers.” She had Megha at 24 and didn’t work for two years as she was a weak child. “But the moment I thought of returning, I got four offers including Watan Ke Rakhwale, Aag Hi Aag and Ghayal,” says she.

Her ingenuousness remained intact even after motherhood and that’s why perhaps Dharmendra signed her for his production Ghayal. “I wasn’t interested. I suggested other heroines. But he said, ‘Kudiye, none can match your inocence. You can make the audience ghayal with your pain’.” She owes the liberty she enjoyed to her husband. “Babu was well off. He wasn’t living off me. He trusted me. My life has been an open book. Yes, he was possessive about certain things. Like once when I wore a sleeveless blouse, he didn’t like it. He said, ‘Have you forgotten to wear a blouse?’” she laughs.

LINK-UPS & LIES Though she was a married actress, rumours of romantic liaisons didn’t spare her. She was linked to various heroes including the late Vinod Mehra and Farooque Sheikh and distributor Ramesh Sippy. With Vinod Mehra she did around 10 films including Anuraag, Us-Paar, Raftaar, Umar Qaid and Zindagi and that set the grapevine buzzing. “Vinod and Babu were close friends. We lived in the same building. So we often went out together. That gave rise to rumours.” She doesn’t deny her outgoing disposition. “I am a flirt. I can flirt even with a plant, with an animal. In fact, Shabana Azmi once said, ‘Shashi Kapoor and you can flirt with anyone from six to 60,” she titters. But she’s aware of the perils of a friendly disposition. “The way I show my warmth is misconstrued. Babu once told me, ‘You’re a heroine. People view you differently. Be careful’. But he also jokes that even on my death bed I will flirt with the doctor.”

On a serious note she explains, “I never reacted to rumours. Those close to me knew, where I was and with whom. My husband was with me. Yes, I committed mistakes.” She reflects, “I realised Moushumi Chatterjee had many admirers. There were people who said, ‘I love you’ and even those who said, ‘I want to marry you’. I couldn’t push them away or be rude. I gave them enough time and also to myself to understand that they were attracted to me and not in love with me. I respect them. I even respect their spouses who also went through a bad time.” She’s still a ‘romantic’ but her definition of love has changed. “Love is an illusion. It’s at best attraction and attachment. Gradually, you move on to other things, your emotions are channelised into your children, your work…”

Golden time Glamour is short-lived and what lasts is the halo of contentment. “I’ve seen actresses go haywire. I committed a lot of mistakes too. But once I realised them, I took a U turn and never looked back. Your lifestyle is important. If you abuse life, life will abuse you back. Actresses turn lonely because they don’t listen to the voice within.” She insists on being spiritual. “I’m a Hindu but I perform namaz. I visit the church. You can reach God by touching human beings. You come alone and go alone. I take pleasure in simple things, like cooking and being with my children. And of course getting into arguments with husband Jayant. “Babu merely listens, unless I provoke him. We share a great sense of humour. Like when I say, ‘Gala dukh raha hai (my throat is hurting)’, he shoots back, ‘Daba doon (shall I press it)?’”

Moushumi Chatterjee’s best works 

Balika Badhu (1967)

An adolescent Moushumi was about endearing innocence as a child-bride in Tarun Majumdar’s Bengali drama. It was later remade in Hindi with Sachin Pilgaonkar and Rajni Sharma in the lead.

Parineeta (1969)

The many adaptations of Sarat Chandra Chattopadhyay’s Parineeta include Moushumi’s take as a young woman’s unflinching devotion to her childhood sweetheart. This was directed by Ajoy Kar. It featured Samit Bhanja, Bijon Bhattacharya and Khagesh Chakravarti

Anuraag (1972)

A blind girl befriends a terminally ill child. The tragedy turns into a tale of hope and love in the Shakti Samanta directorial.

Kuchhe Dhaage (1973)

Moushumi’s village belle act was the perfect foil to the machismo dripping portrayals of Vinod Khanna and Kabir Bedi. Mere bachpan tu jaa… had an uncanny real-life echo to Moushumi’s own evolution.

    Zehreela Insaan (1974)

Best remembered for the chartbuster O Hansini and Rishi Kapoor’s emotional confusion. Moushumi matched his intensity with her innocence and ease.

Roti Kapda Aur Makaan (1974)

Manoj Kumar’s war cry against corruption featured Moushumi in a ghastly rape sequence. She was apparently pregnant then but carried off the scene with elan.

Benaam (1974)

Both Moushumi and Amitabh Bachchan share great chemistry as a married couple. Their paradise is lost once their son goes missing.

Manzil (1979)

Basu Chatterjee’s Manzil not only gave us the rain-drenched panorama of Mumbai’s bay-line but also the monsoon ode Rimjhim gire sawan filmed on Amitabh Bachchan and Moushumi.

Swayamvar (1980)

Moushumi was all fire and sweet tantrums as Shashi Kapoor’s demanding ladylove in Swayamvar.

Pyaasa Saawan (1981)

Sexy and sentimental, Moushumi played the perfect wife in this melodrama. She won appreciation and sympathy as Jeetendra’s ailing wife here.

Angoor (1982)

Gulzar’s comedy of errors worked on a low-key sense of humour. Moushumi’s distrustful, daft, housewife act was perfect for the character.

Ghayal (1990)

As Sunny Deol’s grief-ridden sister-in-law in Ghayal, she provided a gravitas to her performance.

    Moushumi’s most-loved melodies

·        Sun ri pawan pawan puriya – Anuraag (1973)

·        Tere nainon ke main deep jalaaonga – Anuraag (1973)

·        hansini – Zehreela Insaan (1974)

·        Mehngai maar gayee – Roti Kapda Aur Makaan (1974)

·        Vado karo janam – Sabse Bada Rupaiya (1976)

·        Rimjhim gire sawan – Manzil (1979)

·        Wada nahin karte kisi se –  Prem Bandhan (1979)

·        Mausam pe jawani hai – Do Premee (1980)

·        Yun na rootho – Itni Si Baat (1981)

·        Megha re megha re – Pyaasa Sawan (1981)

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Lyrics Tere Naino Ke Main Deep Jalaunga

Lyrics Tere Naino Ke Main Deep Jalaunga

Lyrics in Hindi | Tere Naino Ke Main Deep Jalaunga | Anuraag (1972) | Moushumi Chatterjee, Vinod Mehra OTere Naino Ke Main DeepJalaungaTere Naino Ke Main DeepJalaungaApni Ankhon Se DuniyaDikhlaungaAchchhaWo Kya HaiIk Mandir HaiUs Mandir MeIk Moorat HaiYe MooratKaisiHoti HaiTeri Soorat JaisiHoti HaiWo Kya HaiIk Mandir Hai……….. Antakshari Songs from “T” Main Kya JaanoonChhanv Hai KyaAur Dhoop…

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Lyrics Neend Churaaye Chain Churaaye

Lyrics Neend Churaaye Chain Churaaye

Lyrics in English | Neend Churaaye Chain Churaaye | Anuraag (1972) | Lata Mangeshkar Neend ChuraayeChain ChuraayeDaaka DaaleTeri BansiNeend ChuraayeChain ChuraayeDaaka DaaleTeri BansiAre Din Dahaade (2)Chori KareRaat Bhar JagaayeDaaka DaaleTeri BansiHo Neend ChuraayeChain ChuraayeDaaka DaaleTeri Bansi………. Antakshari Songs from “N” Man Me LageAise AganJaise ChamkeBijuriya Baadal MeMan Me…

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Remembering Nutan, one of Hindi cinema’s legendary actresses, on her 82nd birth anniversary today.

Nutan Samarth Bahl (born as Nutan Samarth; 4 June 1936 – 21 February 1991), better known as Nutan, was an actress. She appeared in more than 70 Hindi films in a career spanning nearly four decades. Regarded as one of the finest actresses in the history of Hindi cinema, Nutan was noted for playing unconventional parts and her performances often received praise and accolades Nutan holds the record of five wins of the Best Actress award at Filmfare, which was held only by her for over 30 years until it was matched by her niece Kajol in 2011; she is overall the most-awarded actress in the female acting categories at Filmfare, with six awards alongside Jaya Bachchan In 1974, she was awarded the Padma Shri by the Government of India.

Part of the Samarth-Mukherjee family, she is the daughter of film actress Shobhna Samarth and filmmaker Kumarsen Samarth and the granddaughter of actress Rattan Bai. Nutan started her career at the age of 14 in the 1950 film Hamari Beti, directed by her mother Shobhna. She subsequently starred in such films as Nagina and Humlog (both 1951). Her role in Seema (1955) garnered her wider recognition and a Filmfare Award for Best Actress. She sang a song in the film "Chhabili" under the baton of Snehal Bhatkar. This movie featured her in the lead and was released in 1960. She continued playing leading roles through the 1960s until the late 1970s and went on to win the award on four other occasions for her roles in Sujata (1959), Bandini (1963), Milan (1967) and Main Tulsi Tere Aangan Ki (1978). Some of her other films of this period include Anari (1959), Chhalia (1960), Tere Ghar Ke Saamne (1963), Saraswatichandra (1968), Anuraag (1972) and Saudagar (1973). In the 1980s, Nutan started playing character roles and continued working until shortly before her death. She portrayed mostly motherly roles in such films as Saajan Ki Saheli (1981), Meri Jung (1985) and Naam (1986). Her performance in Meri Jung earned her a sixth and last Filmfare Award, this time in the Best Supporting Actress category.

Nutan was married to Rajnish Bahl in 1959 till her death from breast cancer in 1991. Their son, Mohnish Bahl is a well-known character actor in Hindi films and television.

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Remembering Nutan on her 81st birth anniversary. Nutan Samarth Bahl (born as Nutan Samarth; 4 June 1936 – 21 February 1991), better known as Nutan, was an Indian actress. She appeared in more than 70 Hindi films in a career spanning nearly four decades. Regarded as one of the finest actresses in the history of Hindi cinema, Nutan was noted for playing unconventional parts and her performances often received praise and accolades Nutan holds the record of five wins of the Best Actress award at Filmfare, which was held only by her for over 30 years until it was matched by her niece Kajol in 2011; she is overall the most-awarded actress in the female acting categories at Filmfare, with six awards alongside Jaya Bachchan In 1974, she was awarded the Padma Shri by the Government of India. Part of the Samarth-Mukherjee family, she is the daughter of film actress Shobhna Samarth and filmmaker Kumarsen Samarth and the granddaughter of actress Rattan Bai. Nutan started her career at the age of 14 in the 1950 film Hamari Beti, directed by her mother Shobhna. She subsequently starred in such films as Nagina and Humlog (both 1951). Her role in Seema (1955) garnered her wider recognition and a Filmfare Award for Best Actress. She sang a song in the film "Chhabili" under the baton of Snehal Bhatkar. This movie featured her in the lead and was released in 1960. She continued playing leading roles through the 1960s until the late 1970s and went on to win the award on four other occasions for her roles in Sujata (1959), Bandini (1963), Milan (1967) and Main Tulsi Tere Aangan Ki (1978). Some of her other films of this period include Anari (1959), Chhalia (1960), Tere Ghar Ke Saamne (1963), Saraswatichandra (1968), Anuraag (1972) and Saudagar (1973). In the 1980s, Nutan started playing character roles and continued working until shortly before her death. She portrayed mostly motherly roles in such films as Saajan Ki Saheli (1981), Meri Jung (1985) and Naam (1986). Her performance in Meri Jung earned her a sixth and last Filmfare Award, this time in the Best Supporting Actress category. Nutan was married to Rajnish Bahl in 1959 till her death from breast cancer in 1991. Their son, Mohnish Bahl is a well-known character actor in Hindi films and television. Like बॉलीवुड डायरेक्ट Bollywoodirect