#Songs Composed by Sanjay Leela Bhansali

[techygeeks]

The Eternal Melodies of Guzaarish: A Ruh Radio Tribute

When we talk about music that lingers in the soul, Sanjay Leela Bhansali's Guzaarish (2010) stands tall as an emblem of emotional depth and musical brilliance. The film, starring Hrithik Roshan and Aishwarya Rai Bachchan, delves into themes of love, resilience, and the dignity of choice. Its music, composed by Bhansali himself, with lyrics penned by Vibhu Puri and A. M. Turaz, is a rich tapestry of melody and poetry that has enchanted listeners for over a decade. On Ruh Radio, 1440 AM, we often find ourselves revisiting these timeless tracks, and today, we invite you to reflect on their legacy.

1. "Tera Zikr"

This hauntingly beautiful ballad, sung by Shail Hada, is the heart of Guzaarish. With its minimalist arrangement and tender lyrics, it embodies the essence of unspoken emotions. At Ruh Radio, we see this song as the perfect companion for quiet, introspective evenings.

2. "Udi"

Performed by Sunidhi Chauhan, "Udi" is an upbeat contrast to the film’s somber undertone. Its flamenco-inspired beats celebrate freedom and life, making it a regular feature in our "Spirited Sounds" segment. Listeners of 1440 AM have often called in to share how this song uplifts their mood.

3. "Sau Gram Zindagi"

With Kunal Ganjawala's evocative voice, this track is a poignant ode to the fleeting nature of life. At Ruh Radio, we use this piece to spark conversations about gratitude and living in the moment.

4. "Jaane Kiske Khwaab"

This melancholic melody, sung by KK, is an anthem of yearning and unfulfilled dreams. Its orchestral arrangement blends seamlessly with the emotional depth of its lyrics, often stirring reflective discussions on our station.

5. "Sharminda Hoon"

Rashid Khan’s soulful rendition of "Sharminda Hoon" echoes themes of regret and redemption. On Ruh Radio’s late-night shows, this track resonates with listeners who seek solace in music.

6. "Chand Ki Katori"

Rendered by Harshdeep Kaur, this lullaby-like composition feels like a warm embrace. Its soothing quality is why we include it in our "Ruh Ki Sargam" segment, dedicated to soulful melodies.

7. "Daayein Baayein"

K.K.'s expressive voice captures the bittersweet struggles of life in this playful yet profound track. Its placement in Guzaarish adds layers to Ethan's character, and it has become a listener favorite on our station.

The Ruh Radio Connection

At 1440 AM, we believe that music is more than just entertainment—it's a reflection of the human spirit. The songs of Guzaarish perfectly encapsulate this philosophy, offering a blend of profound emotions and timeless compositions. By revisiting these tracks, we celebrate not just a cinematic masterpiece but also the universal power of music to heal, inspire, and connect.

So, whether you're tuning in during your morning commute or relaxing at home, let the magic of Guzaarish fill the airwaves. Remember, Ruh Radio is here to bring you closer to the songs that speak to your soul.

[desimoviereviews]

Bajirao Mastani: The Plight of the Cheating Husband

Follow me on Instagram: @thatguyanesejournalist

Let’s talk about Sanjay Leela Bhansali’s Bajirao Mastani.

Bajirao is a Hindu Peshwa (minister to the king of the Maratha empire) who falls in love with Mastani, a Muslim warrior princess, while married to his wife Kashibai. The movie centers around Bajirao and Mastani’s interfaith relationship and the opposition against it from Bajirao’s conservative Hindu family.

I would like to start off this post by saying I support polygamy/polyamory, just not in the way it’s presented here. Let’s call it like it is: Bajirao and Mastani’s relationship would be cute as hell if he wasn’t cheating on his wife. I’d like to give Mastani the benefit of the doubt and say she initially didn’t know Bajirao was married, but I don’t think that would’ve stopped her since she still accepted his condition that Kashi will always remain his first wife.

One thing I admire the film for doing is creating sympathy for Kashibai, especially in her and Bajirao’s last scene together in her bedchambers (one of my favorite scenes in the film). She didn’t ask for much, but ended up expecting very little from her husband in the loyalty department.

I’ll be honest, though, I adored Mastani’s character. She was strong and independent, even fighting side-by-side with Bajirao in the war. She wanted a man, but didn’t necessarily need one. While I don’t agree with her going all the way to Pune for him, Mastani clearly showed that she’s determined to get what she wants and will find multiple methods to achieve it.

Plot aside, I absolutely loved the movie. Not only were there two strong female characters that I felt were well-developed as the movie went on, but the dialogue is on a different level of poetic and impactful at the same time. It makes you cry (or was it just me?) when mixed with the grand visuals and subtle but emotionally moving acting performances. Here are some of my favorite lines/moments:

“I cherish your every offering, be it an anklet or a son.” - Mastani

“Perhaps you forget that idols in temples are often adorned in green and saffron sheets cover the purest Sufi tombs. Where is the thought of color and religion then?” - Mastani

The scene where Mastani fights people in Mastani Mahal, holding her son in one hand and a sword in the other (makes me think of the Goddess Durga)

The entire ending where Bajirao is fighting his inner demons in the river (one of the most visually meaningful/cinematic scenes I’ve seen)

To me, there are no misses on the soundtrack, which was composed by Bhansali and Sanchit Balhara. In fact, I had a hard time curating the song suggestion list but I decided to pick the songs I ended up drifting towards.

Mohe Rang Do Laal (it gives me "Kaahe Chhed Mohe" vibes, Deepika's dance in this song is very graceful imo)

Aaj Ibaadat

Aayat

The movie is 158 minutes long (2 hours and 38 minutes). Stream it here, grab a snack, and enjoy!

If you like (or don’t like) this format of blog posts, let me know in the comments!

[musicverse11]

Shreya Ghoshal’s Global Impact: Taking Indian Music to the World

Shreya Ghoshal is a name that resonates with every music lover, not just in India but worldwide. With her soulful voice and an ability to deliver emotions through her singing, Shreya has become one of the most celebrated playback singers in Indian music. From being a small-town girl with dreams of making it big to becoming a global icon, her journey is nothing short of inspiring. This article delves into the incredible evolution of Shreya Ghoshal, exploring the milestones, challenges, and triumphs that have defined her remarkable career.

The Early Years: A Prodigy in the Making

Born on March 12, 1984, in Berhampore, West Bengal, Shreya was destined for musical greatness. Her family recognized her talent early on, and by the age of four, she was already being trained in classical music. Growing up in Rawatbhata, Rajasthan, she imbibed a love for traditional Indian music, which would later become the foundation of her versatile singing style.

Shreya’s parents played a pivotal role in nurturing her talent. Her mother often practiced with her, while her father, an engineer by profession, ensured she had the best training. She studied under her first guru, Mahesh Chandra Sharma, where she honed her classical skills and competed in numerous local competitions.

The Turning Point: Reality TV Success

Shreya’s life changed forever when she participated in the television reality show Sa Re Ga Ma Pa at the age of 16. Her soulful renditions on the show caught the attention of filmmaker Sanjay Leela Bhansali, who was looking for a fresh voice for his upcoming movie Devdas. Her performance on the show was so impactful that Bhansali personally reached out to her and offered her the opportunity to be the voice of Paro.

This was a defining moment for Shreya. The songs from Devdas, including “Bairi Piya,” “Dola Re Dola,” and “Silsila Ye Chahat Ka,” catapulted her to instant fame. She not only won the National Film Award for Best Female Playback Singer but also proved her mettle as a versatile and emotive singer. The film’s soundtrack remains iconic to this day, with Shreya’s voice as one of its standout features.

Establishing Herself in Bollywood

Post-Devdas, Shreya became a household name, and there was no looking back. She worked with some of the most prominent music directors, including A.R. Rahman, Pritam, and Vishal-Shekhar. Her ability to adapt to various musical styles, whether it was a classical piece or a contemporary track, made her a favorite among composers.

Songs like “Jaadu Hai Nasha Hai” (Jism), “Teri Ore” (Singh Is Kinng), “Piyu Bole” (Parineeta), and “Sun Saathiya” (ABCD 2) further established her as a versatile artist capable of delivering hits across genres. Whether it was romantic ballads, peppy dance numbers, or soulful ghazals, Shreya’s voice became synonymous with perfection.

Conquering Regional and Global Music

One of Shreya’s unique qualities is her ability to sing in multiple languages. Over the years, she has sung in more than 20 Indian languages, including Bengali, Tamil, Telugu, Kannada, Marathi, and Malayalam. Her linguistic versatility has endeared her to audiences across India, making her one of the most sought-after playback singers in the industry.

Her global appeal was recognized when the state of Ohio, USA, declared June 26 as Shreya Ghoshal Day in 2010. This acknowledgment was not just a testament to her talent but also to her role in representing Indian music on the global stage.

Adapting to Changing Trends

As the music industry evolved with the advent of streaming platforms and independent music, Shreya adapted seamlessly. While she continues to dominate as a playback singer, she has also ventured into independent music projects. Her singles, such as “Tere Bina” and “Angana Morey,” showcase her versatility and willingness to explore new territories.

Shreya’s live performances have also become a significant aspect of her career. Her concerts, both in India and abroad, are known for their energy, emotion, and connection with the audience. These performances allow her fans to experience her magic in a more personal and intimate setting.

Accolades and Legacy

Shreya Ghoshal’s illustrious career is adorned with numerous accolades, including four National Film Awards, seven Filmfare Awards, and several state awards. She has consistently been featured in Forbes India’s Celebrity 100 list, highlighting her influence in the entertainment industry.

However, her most significant achievement lies in the hearts of her fans. Her voice has been a constant companion for millions, accompanying them through moments of joy, love, heartbreak, and nostalgia.

Conclusion: An Enduring Icon

Shreya Ghoshal evolution from a small-town girl to a global music icon is a story of talent, perseverance, and passion. Her ability to adapt to changing times while staying true to her classical roots has made her a timeless figure in the world of music.

Even after two decades in the industry, Shreya continues to inspire young musicians and bring joy to her listeners. Her journey is a testament to the fact that with talent, hard work, and dedication, dreams can indeed come true.

To experience the magic of Shreya Ghoshal’s voice, explore her discography on platforms like Spotify, Apple Music, and YouTube. Follow her on social media to stay updated on her latest projects, and don’t miss the chance to attend her live performances for an unforgettable experience. Let her music inspire and accompany you on your journey through life.

[lyricsolution-com]

EK BAAR DEKH LIJIYE LYRICS - Heeramandi

Ek Baar Dekh Lijiye (एक बार देख लीजिये) Lyrics from Heeramandi is brand new english song sung by Kalpana Gandharva while this latest song is featuring Taha Shah, Sharmin Segal. Ek Baar Dekh Lijiye song lyrics are penned down by A.M Turaz while music composed by Sanjay Leela Bhansali and video has been directed by Sanjay Leela Bhansali.

[songs345]

Songs

 Here you will find the lyrics of the popular song – “Aazadi ” from the Movie / Album – “Heeramandi”. The Music Director is “Sanjay Leela Bhansali”. The song soundtrack was composed by the famous lyricist “A M Turazl” and was released on “04-29-2024” in the beautiful voices of “Archana Gore, Aditi Prabhudesai, Aditi Paul, Dipti Rege, Pragati Joshi”. The song's music video features some amazing and talented actors/actresses “Manisha Koirala, Sonakshi Sinha, Aditi Rao Hydari, Richa Chadha, Sanjeeda Sheikh, Sharmin. It was released under the “Bhansali Productions Music”.

[blogtozone]

Aaj Main Upar Piano Notes | Khamoshi: The Musical

Aaj Main Upar Piano Notes

Notes :-  Aaj main upar, Aasmaan neeche C5# B4 A4 G4# A4 A4, C5# B4 A4 G4# A4 A4 Aaj main aage, Zamaana hai peechhe.. E4 F4# G4 A4 G4 F4#, D4 D4 F4# D4 E4 A4 A4 C5# Aaj main upar, Aasmaan neeche C5# B4 A4 G4# A4 A4, C5# B4 A4 G4# A4 A4 Aaj main aage, Zamaana hai peechhe.. E4 F4# G4 A4 G4 F4#, D4 D4 F4# D4 E4 A4 A4 A4 B4 A4 G4# Tell me o khuda, music F4# F4# C5# F4# F4#, D4 E4 F4# A4 F4# Ab main kya karoon, music F4# F4# D5 F4# F4#, D4 E4 F4# A4 F4# Chaloon seedhi ki ulti chaloon F4# G4# A4 B4 B4 B4 C5# B4 A4 G4# A4 A4 C5# Aaj main upar, Aasmaan neeche C5# B4 A4 G4# A4 A4, C5# B4 A4 G4# A4 A4 Yunhi bin baat ke, Chhalke jaaye hansi A4 C5# C5# D5 E5 C5#, A4 C5# C5# D5 E5 C5# Dole jab hawa, Laage gudugudi C5# D5# D5# C5# B4, B4 B4 B4 A4 G4# A4 G4# Yunhi bin baat ke, Chhalke jaaye hansi A4 C5# C5# D5 E5 C5#, A4 C5# C5# D5 E5 C5# Dole jab hawa, Laage gudugudi C5# D5# D5# C5# B4, B4 B4 B4 A4 G4# A4 G4# Sambhaloon gir padoon, music F4# F4# C5# F4# F4#, D4 E4 F4# A4 F4# Tauba kya karoon, music F4# F4# D5 F4# F4#, D4 E4 F4# A4 F4# Chaloon seedhe ki ulti chaloon F4# G4# A4 B4 B4 B4 C5# B4 A4 G4# A4 A4 C5# Aaj main upar, Aasmaan neeche C5# B4 A4 G4# A4 A4, C5# B4 A4 G4# A4 A4

About Song :-

"Aaj Main Upar" is a popular Hindi song from the Bollywood movie "Khamoshi: The Musical," which was released in 1996. The film was directed by Sanjay Leela Bhansali and starred Manisha Koirala, Nana Patekar, Salman Khan, and Seema Biswas in lead roles. The music for the film was composed by Jatin-Lalit, and the lyrics for this particular song were written by Majrooh Sultanpuri. Here are some details about the song "Aaj Main Upar": Song Title: Aaj Main Upar Singers: Kavita Krishnamurthy and Kumar Sanu Music: Jatin-Lalit Lyrics: Majrooh Sultanpuri Film: Khamoshi: The Musical (1996) Actors: Manisha Koirala, Nana Patekar, Salman Khan, and others Plot: "Aaj Main Upar" is a cheerful and uplifting song featured in the film. The song is picturized on the character played by Manisha Koirala and celebrates life and joy. It has a lively and festive atmosphere. The song is known for its catchy composition by Jatin-Lalit and the spirited vocal performances by Kavita Krishnamurthy and Kumar Sanu. It stands out for its celebratory and feel-good vibes. "Khamoshi: The Musical" is a drama film that explores themes of love, family, and relationships. The film received positive reviews for its music, performances, and storytelling. "Aaj Main Upar" remains a popular and memorable track in the world of Bollywood music. It is often appreciated for its music, lyrics, and the lively picturization in the film. Read the full article

[thescribbleddiaries]

A Spectacle of Royal Romance: Bajirao Mastani

Bajirao Mastani is a historical romance film from Bollywood, released in 2015. Directed by Sanjay Leela Bhansali, the film depicts the legendary love story of Maratha warrior Peshwa Bajirao and his second wife, Mastani. This essay will focus on the key aspects of the film, including its historical backdrop, visual grandeur, powerful performances, and cultural impact.

Firstly, Bajirao Mastani is set in the 18th century and presents a captivating glimpse into the historical context of the Maratha Empire, highlighting the bravery and political strategies of Peshwa Bajirao. The film draws heavily from historical accounts, beautifully showcasing the vibrant costumes, authentic sets, and the overall atmosphere of that era. The screenplay balances the historical events with the love story of Bajirao and Mastani, creating a compelling and engaging narrative.

Secondly, the visual grandeur of Bajirao Mastani is a testament to the director's artistic vision. Sanjay Leela Bhansali, known for his visually stunning films, has spared no effort in creating a visually breathtaking cinematic experience. The film showcases grand sets, intricately designed costumes, and elaborate choreography. The use of vibrant colors, detailed craftsmanship, and extravagant dance sequences adds an opulent touch to the film, mesmerizing the viewers with its visual splendor.

Furthermore, the performances in Bajirao Mastani are remarkable, with Ranveer Singh, Priyanka Chopra, and Deepika Padukone delivering stellar performances. Ranveer Singh shines as Peshwa Bajirao, capturing his charisma, valour, and vulnerability with great depth. Deepika Padukone brings grace and strength to her role as Mastani, effortlessly portraying her love, resilience, and resilience. Priyanka Chopra, in the role of Kashibai, Bajirao's first wife, delivers a remarkable performance, showcasing a range of emotions and complexities.

Lastly, Bajirao Mastani has had a significant cultural impact, both within India and internationally. The film was praised not only for its cinematic brilliance but also for its portrayal of a historical love story that was relatively unknown to a wider audience. It received critical acclaim and numerous awards, including several National Film Awards. The music of the film, composed by Sanjay Leela Bhansali himself, was a commercial success, with songs like "Deewani Mastani" becoming popular chartbusters.

In conclusion, Bajirao Mastani is a cinematic masterpiece that combines history, visual grandeur, powerful performances, and cultural impact. It transports the viewers to the 18th century Maratha Empire, providing an insight into the historical events while beautifully weaving a heart-wrenching love story. Sanjay Leela Bhansali's artistic vision, along with the impeccable performances of the cast, creates a mesmerizing cinematic experience. The film's cultural impact and critical acclaim further solidify its status as a remarkable Bollywood film.

[bollywoodproduct]

Lyrics Binte Dil

Lyrics in English | Binte Dil Misiriya Me | Padmaavat-2018 | Ranveer Singh Binte DilMisiriya MeBinte DilMisiriya MeBinte DilMisiriya MeBinte DilMisiriya MePesh Hai KulluShabaab Khidmat-E-Aali JanaabPesh Hai KulluShabaab Khidmat-E-Aali JanaabAatish KadaAdaayon SeAatish KadaAdaayon SeJal Uthega Aap KeDee-Da-E-Tar Ka HijaabBinte DilMisiriya MeBinte DilMisiriya Me………. Antakshari Songs from…

[shankarjaikishanfansassnintl]

51 fascinating facts about Bollywood from the age of Classic Cinema

resented by Chandrakant Pednekar

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

[salmankhanholics]

★ Prabhudheva: Even I am cool, but Salman Khan sir is cooler!

Dec 9, 2019

Prabhudheva on his equation with the actor, with whom he has signed a third fi lm even before release of new Dabangg The successful duo of Salman Khan and Prabhudheva, who had earlier collaborated onWanted, which resurrected the former’s career after a dry spell, are back for the second time to carry forward one of Bollywood’s most successful franchises, Dabangg. With less than two weeks to go before the third instalment unfolds, the 46-year-old director admits he is nervous. After 25 years in showbiz? “Yeah, the only thing that has changed in all these years is that from the outside, I look composed, but inside it’s still the same,” he laughs. What changes has he noted in Salman since they first worked together? “There are changes in him as an actor; he knows everything about the film and not just story and screenplay. But personally, he is still the same,” Prabhu shares. And has the equation between them changed? “There is huge respect for each other,” he says, adding that their contrasting personalities make their combination work. Talking about Dabangg, the story and the characters come with certain preconceived notions and attitude. How did his distinctive style gel with what was on the template? “I don’t know how, but it mixed well and is visible on screen. I believe that the story and screenplay lead the director, and except for tweaking my style slightly to accommodate Chulbul Pandey’s antics, I didn’t have to adjust much,” Prabhu smiles, pointing out that the actor, who has been enacting this character for nine years now, knows him way better and also how to play him the best. There have been speculations around Sonakshi Sinha’s Rajjo, with many believing that this time around, she will be seen as a mother with a young son. On this, Prabhu is reticent, saying it is something for which audience will have to watch the film. But he confirms that Sona is playing a “young mother”. He is all praise for the film’s second leading lady, Saiee Manjrekar. “She is a new girl. So, she was curious about whatever we did. When we tied her or put glycerine in her eyes, Siaee wanted to know why we were doing so and what had happened to justify it on screen. It’s a normal reaction, and given the innocence of her face, she didn’t have to act much. Her face is her asset; plus, she is a hard worker and a born star like so many others of her generation,” he applauds, pointing out that youngsters today are so brilliant that you just need to guide them a bit and they will pave their own way. “By the second or the third film, they will be teaching us.” Dabangg is known for its chartbusters and hook steps. Prabhudheva, too, is known for his moves. How did the idea of taking the belt off, followed by the hip-swing (for “Munna Badnaam Hua”), come about? “The bulb in my head just went on,” he grins. “Salman comes up with different ideas, too. He showed me the move from “Hud Hud Dabangg” and I was like, ‘what is happening,’ because I couldn’t see anything moving... till he asked me to look down at the hips,” he guffaws. Prabhu is involved in “Munna Badnaam Hua” not just as a director and choreographer, but he also features in it. After dancing with Madhuri Dixit and Sonakshi, how was it matching steps with Salman again? “As a choreographer, I have worked with all kinds of dancers. Each of them has their own style and that’s why we like them. I enjoyed working with Salman, I didn’t face any difficulty,” he avers. Salman is known to have temper issues with directors. Recently, Inshaallah with Sanjay Leela Bhansali ground to a halt before it could take off. Meanwhile, Prabhu has worked with him in Wanted and Dabangg 3 and the duo has already kicked off a third film, Radhe. So far, it has been smooth sailing for them. What’s the secret? “It doesn’t happen with anyone,” Prabhu shrugs off the question, going on to rave about Salman’s big heart and how he can get reputed people on board his projects and at the same time help those not doing so well, hiring struggling actors for certain roles because they need work.

“I find it easy to work with sir because he listens to you when you tell him something isn’t going right and should be done differently. Even if the shoot runs late into the night, he doesn’t fuss about it. He is super cool. Even I am cool, but he is way cooler.”

He goes on to share an incident from the shoot of the Dabangg 3 climax. “It was a big and expensive set depicting a stone quarry. Sudeep (antagonist) had injured himself during a fight scene and was in pain. Everyone was worried because of the expenses, but in two seconds sir decided to cancel the shoot that day, saying the health and comfort of his team comes before anything else,” he marvels. The buzz in the industry today is that Salman likes Prabhudheva best, as he offered him Radhe while they were still working on Dabangg 3. It’s rare for him to start another film with the same director while still working on one. “His trust in me is unimaginable. I don’t need to say anything, he has proved it. Everybody knows now, and it makes me feel all the more responsible because with every step, I have to prove his trust right,” the filmmaker says earnestly. Prabhu is known to complete his films in three months and Salman is running on a tight schedule with Radhe, which he has announced as an Eid 2020 release. Could that be one of the reasons why the actor went with him? “Maybe,” Prabhu says. Radhe was being hyped as a sequel to Wanted, but later, it was clarified that the project is an official remake of the Korean film The Outlaws. However, Boney Kapoor has always said Wanted 2 will happen. Quiz Prabhu on the matter and he says, “Wanted is Salman and Boney sir’s project. Only they can decide when it will happen.” Apart from Radhe, the actorchoreographer-filmmaker has Street Dancer 3D, which is gearing up for a Republic Day 2020 release, as a cast member. Prod him on his part and he confides with an embarrassed laugh that even he doesn’t know the story. “When Remo (D’souza, director) calls next, I’ll have to ask him now,” he chuckles. The dance film features a recreation of his iconic song “Muqabala”. What was his reaction to it? “I can’t compete with (the ’90s) Prabhudheva,” he guffaws. “That is exactly what I told the makers when they asked me to perform on the new version.”

[techygeeks]

The Timeless Melodies of Bajirao Mastani: A Musical Exploration

The 2015 epic Bajirao Mastani not only dazzled with its grandeur but also enchanted audiences with its captivating soundtrack. Composed by Sanjay Leela Bhansali, the music of Bajirao Mastani weaves together elements of romance, devotion, power, and cultural richness. The songs of this film remain timeless, continuing to resonate with listeners worldwide.

For those who appreciate the powerful storytelling of music, Ruh Radio 1440 AM frequently plays such masterpieces from Bollywood, offering a delightful blend of classical and contemporary sounds.

1. Mohe Rang Do Laal – A Song of Devotion:

"Mohe Rang Do Laal" is a soul-stirring classical track sung by Shreya Ghoshal. It reflects Mastani’s intense devotion and love for Bajirao, with lyrics that blend love with a sense of spiritual surrender. The deep emotional connection in the music and her powerful vocals make this a standout track in the film.

2. Albela Sajan – A Classical Romance:

"Albela Sajan" beautifully combines Indian classical music with cinematic grandeur. Sung by Roop Kumar Rathod, this track captures the timeless love between Bajirao and Mastani. Its traditional feel, paired with lush orchestration, makes it a quintessential romantic melody.

3. Aaj Ibadat – A Soulful Love Anthem:

"Aaj Ibadat," rendered by Arijit Singh, is a deeply emotional ballad that speaks to the purity of Bajirao and Mastani's love. The music’s gentle rhythm and heartfelt lyrics create a soothing atmosphere, evoking devotion and longing.

4. Gajanana – An Anthem of Strength:

In contrast to the romantic melodies, "Gajanana" is a powerful, devotional track dedicated to Lord Ganesha. The energetic beats and chants add a sense of strength and spirituality, making it a celebratory anthem of both faith and valor.

5. Pinga – A Dance of Rivalry and Bond:

"Pinga," featuring Priyanka Chopra and Deepika Padukone, is a lively, folk-inspired number that celebrates the changing relationship between Mastani and Kashibai. With its energetic rhythm and vibrant dance sequences, this song becomes a playful yet significant moment in the film.

Conclusion:

The music of Bajirao Mastani is an exquisite mix of passion, devotion, and grandeur. Whether it’s the soulful "Mohe Rang Do Laal" or the powerful "Gajanana," the songs evoke deep emotions and enhance the storytelling. For more timeless Bollywood music, tune into Ruh Radio 1440 AM, where we showcase the finest tracks from across the cinematic landscape, bringing you the best melodies of Indian cinema.

[starfriday]

*Ghalib Hona Hai: Song from Sanjay Leela Bhansali’s original music album Sukoon trends at #2 on Aircheck Radio Top 20*

•Ghalib Hona Hai features Armaan Malik & Sharmin Segal

•Armaan Malik who forayed into Gazal with Ghalib Hona Hai wooed the audiences with his soothing voice.

•Ghalib Hona Hai is trending at #2 on AirCheck India T20

Sanjay Leela Bhansali’s music album Sukoon is creating a lot of buzz for bringing back the good old classical tunes with a modern feel, making the youth dwell in the magnetic world of Sukoon. The album is receiving tremendous love from all over the world for its melodious tunes and some of the best-known artists giving their voices to Sukoon. Each Ghazal tells its own story and at the same time brings calmness to your soul.

Recently, AirCheck India T20, a world leader in radio spot and music monitoring, providing services revealed the list of their top 20 songs for the week of 12-18th December and audiences love brought Ghalib Hona Hai to #2 in the list. The song is from Bhansali’s album Sukoon and features Armaan Malik and Sharmin Segal depicting a unique tale of one-sided love with utmost fineness making fans fall for their exceptional chemistry. Armaan Malik who forayed into Gazal with Ghalib Hona Hai wooed the audiences with his soothing voice.

Sanjay Leela Bhansali has always left the heart of audiences filled with love and admiration with every new project be it Goliyon ki Raasleela Ram- Leela, Bajirao Mastani, Padmaavat or Gangubai Kathiawadi. Now, with his first ever original music album, the director-cum music composer has brought back the essences and magic of Ghazals for the modern generation. Well truly, one cannot help but get mesmerised by all the songs from Sanjay Leela Bhansali’s album, Sukoon.

[musicverse11]

Sanjay Leela Bhansali’s Spotify Hits and Their Cultural Impact

In the vast and dynamic landscape of Indian cinema, a few names rise above the rest, leaving an indelible mark on the industry. One such name is Sanjay Leela Bhansali — a filmmaker whose dedication to storytelling, artistic vision, and unrelenting pursuit of perfection have cemented his legacy as one of the most influential figures in Bollywood. Known for his larger-than-life sets, emotionally charged narratives, and soulful music, Bhansali has redefined what it means to create cinema that is not just watched but felt.

From his directorial debut in Khamoshi: The Musical (1996) to his magnum opuses like Bajirao Mastani and Padmaavat, Bhansali has consistently pushed the boundaries of storytelling and production, setting new benchmarks for the industry. His films are more than just movies; they are cultural phenomena that reflect the essence of Indian heritage, emotion, and grandeur.

The Bhansali Aesthetic: Where Art Meets Storytelling

One of the most defining aspects of Bhansali’s work is his unique aesthetic. He doesn’t just direct films; he orchestrates an immersive experience that blends art, music, and narrative into a seamless whole. His attention to detail is unparalleled, as evident in his meticulous set designs, costumes, and cinematography.

Take Devdas (2002), for example. The film’s opulent sets, including Chandramukhi’s kotha and Paro’s mansion, became iconic symbols of cinematic artistry. Every frame was a painting, every costume a masterpiece. Bhansali’s films often use visual elements to complement and elevate the story. Whether it’s the sweeping deserts of Padmaavat or the vibrant courtyards of Bajirao Mastani, his use of light, color, and composition creates a visual language that captivates audiences worldwide.

Beyond the visuals, Bhansali’s dedication to authenticity is evident in his storytelling. His narratives often delve into themes of love, betrayal, and sacrifice, making his characters and plots relatable yet profound. Films like Hum Dil De Chuke Sanam (1999) and Black (2005) showcase his ability to handle complex emotions with sensitivity, resonating deeply with audiences.

Pioneering Grand Historical Dramas

Bhansali’s most celebrated works are arguably his historical dramas, where he blends factual events with artistic liberty to craft stories that are both educational and entertaining. Bajirao Mastani (2015) and Padmaavat (2018) are prime examples of this genre, where he brought forgotten chapters of Indian history to life with grandeur and emotional depth.

In Bajirao Mastani, Bhansali explored the life of Peshwa Bajirao I and his relationship with Mastani, a Muslim warrior princess. The film’s sweeping battle scenes, intense drama, and unforgettable music made it a cinematic triumph. Similarly, Padmaavat wove a tale of valor and sacrifice, immortalizing the legend of Rani Padmavati with visually arresting sequences and powerful performances.

These films not only broke box-office records but also initiated conversations about Indian history and culture. Bhansali’s commitment to showcasing India’s rich past has elevated him to the status of a cultural ambassador through cinema.

A Musical Maestro: Bhansali’s Dual Talent

While his directorial prowess is widely recognized, Bhansali’s talent as a music composer often flies under the radar. His musical compositions are as emotionally evocative as his storytelling. Tracks like Deewani Mastani (Bajirao Mastani), Ghoomar (Padmaavat), and Mohe Rang Do Laal (Bajirao Mastani) are not just chart-toppers but enduring pieces of art that have become part of India’s cultural fabric.

Bhansali’s ability to seamlessly integrate music into his films enhances the emotional resonance of his narratives. His songs don’t just complement the story — they drive it forward, making them integral to the cinematic experience. His soundtracks often blend classical Indian instruments with contemporary arrangements, creating timeless melodies that transcend generations.

Redefining Female Characters in Bollywood

Another notable aspect of Bhansali’s filmmaking is his portrayal of women. His female characters are strong, multi-dimensional, and central to the narrative. In Devdas, Paro and Chandramukhi defy societal norms to assert their identities. In Padmaavat, Rani Padmavati embodies courage and dignity, while in Gangubai Kathiawadi (2022), Bhansali narrates the story of a woman’s rise to power in a patriarchal society.

By focusing on their resilience, vulnerabilities, and aspirations, Bhansali has redefined the portrayal of women in Indian cinema. His characters are not mere accessories to the male protagonists but are, in many cases, the driving force of the story.

Global Recognition and Legacy

Sanjay Leela Bhansali’s work has not only captivated Indian audiences but also garnered international acclaim. Films like Devdas were showcased at prestigious festivals like Cannes, and his contributions to cinema have been recognized with multiple awards, including National Film Awards and Filmfare trophies. His ability to bridge the gap between Indian tradition and global appeal has made him a cultural icon.

Bhansali’s storytelling also resonates deeply on digital platforms like Spotify, where his soundtracks attract millions of listeners globally. This accessibility has introduced his artistry to a new generation of fans, ensuring that his legacy continues to grow.

Conclusion: The Eternal Legacy of a Visionary

Sanjay Leela Bhansali is not just a filmmaker; he is an artist whose canvas is the silver screen. His films transcend entertainment, offering viewers a deeply emotional and immersive experience. By merging the traditional with the modern, the grand with the intimate, Bhansali has carved a unique niche in the world of cinema.

His influence on Indian cinema is unparalleled, inspiring both audiences and aspiring filmmakers. As he continues to create, one can only anticipate what new masterpieces he will bring to life. For fans and cinephiles alike, Bhansali’s work is a testament to the power of storytelling, proving that cinema, at its best, is an art form that speaks to the soul.

[istsitespeed]

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