#navketan

[nuthingness]

Shades of Dev. Most handsome actor ever. ❤️

[powerspa]

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[bollywoodirect]

Remembering #ChetanAnand on his birth anniversary (03/01). Chetan Anand was a film producer, screenwriter, and director, whose debut film, Neecha Nagar, was awarded the Palme d'Or (Best Film) award at the first-ever Cannes Film Festival in 1946.

In the early 1940s, he was a history teacher and wrote a script about King Ashoka. He showed it to director Phani Majumdar in Bombay. He didn't pass the Indian Civil Service exams in London, but Majumdar gave him a leading role in the Hindi movie "Rajkumar" in 1944. He joined the Indian People's Theatre Association in Bombay too.

He directed "Neecha Nagar," which won an award at Cannes in 1946, the first Indian movie to be internationally recognized. It was also the first movie for Kamini Kaushal and the debut of Pandit Ravi Shankar.

In the 1950s, he and his brother Dev Anand created Navketan Productions in Bombay. Their first movie, "Afsar," had moderate success. He directed more films like "Taxi Driver" and "Aandhiyan."

He continued acting while directing, appearing in "Humsafar" in 1957 and directing and acting in "Arpan" and "Anjali" the same year. He acted and directed several more films like "Kala Bazar" and "Hindustan Ki Kasam."

He formed Himalaya Films and worked with a team to create memorable Hindi movies like "Haqeeqat" and "Heer Raanjha."

Anand "discovered" Rajesh Khanna through an acting competition and cast him in "Aakhri Khat," which was known for its music and locations. He directed Khanna again in "Kudrat."

He's also known for directing the television serial "Param Vir Chakra," which aired in 1988.

Anand Brothers: #DevAnand, Chetan Anand and #VijayAnand

[common-man]

Excellent.

https://www.facebook.com/groups/306600746359758/permalink/2050601391959676/?mibextid=lURqYx Excellent byLate Navketan Architect DevAnand

[shankarjaikishanfansassnintl]

The story behind the song KHOYA KHOYA CHAAND KHULA AASMAAN.....

By

Dinesh Shankar Shailendra

For their ninth film under the Navketan banner, Dev Anand and Vijay Anand decided to try out the S D Burman - Shailendra combination.... The film was titled "Kaala Bazaar"

S D Burman, known for his bad temper, was under tremendous pressure. Shailendra, probably too busy with his other assignments, was not delivering a song, urgently needed for the film. Dev Anand and Vijay Anand were frantic... They were pestering Burmanda, who in turn was repeatedly asking Shailendra for the words..... Shailendra was making all kinds of excuses for not delivering....

Finally, one fine day, the angry old man decided that he had had enough ! Shailendra was at his place. Burman da called his young son, Pancham ( R D Burman ) and told him... " You will go with Shailendra and DO NOT come home unless he gives you the lyrics " !!!

Neither Pancham, nor Shailendra could argue with him.... Pancham quietly got into Shailendra's car.... Shailendra assured him that he would deliver the song.... Pancham smiled as the car drove to Shanker Jaikishen's music room... Jaikishen said... " Shailendra ji has a lot of pending work to do for us.... you are in the queue..."

It was evening.... Shailendra finished his work with Shanker Jaikishen and with Pancham, got into his car.... He instructed the driver to go to National Park..... There, Shailendra kept smoking cigarette after cigarette.... BUT NO WORDS !!!

Pancham was cursing his luck as they got back into the car.... it was almost night.... Shailendra told his driver.... " Juhu beach chalo "..... At the beach, Shailendra was leisurely strolling along with the eager Pancham trying to keep step..... The beach was deserted.... Shailendra asked Pancham for a matchbox..... Another jolt for the youngster ! Shailendra knew that he smoked.... what if he told Burman da ???

Pancham sheepishly handed over his matchbox to Shailendra..... Shailendra was lost in thought.... he lit his cigarette, returned the matchbox and asked Pancham to give him the tune Burman da had composed... Pancham, tapping the matchbox in rhythm, hummed the tune.....

Shailendra kept looking at the sea and the sky, puffing away on his cigarette.... after a while, he told Pancham.... "You can go home.... tell Dada, I will be at your place in the morning with the full song.... "He hummed the ' mukhda '.....

" Khoya khoya chand, khulaa aasmaan, aankhon mein saari raat jaayegi, tum ko bhi kaise neend aayegi "

Pancham smiled.... he knew that this song was a winner ! He ran.... hailed a cab and went home....

The next morning, when his father asked him for the song, Pancham handed him a crumpled piece of cigarette pack foil with the words of the mukhdaa scribbled on it.... :)

The situation is an oft-repeated one... Dev Anand is trying to woo Waheeda.... It is a song of pure romance....

See what Shailendra does....

"Masti bharee hawaa jo chali, khil khil gayee yeh dil kee kali, mann ki gali mein hai khalbali, ke unko toh bulao....."

"Taarey chaley, nazaare chaley, sang sang mere woh saarey chaley, charon taraf ishaare chaley, kisi ke toh ho jao....."

"Aisi hee raat, bheegi si raat, haathon mein haath hotey woh sath, keh letey unse dil ki yeh baat, ab toh naa satao.... "

"Hum mitt chaley jinke liye, bin kuchh kahe woh chup chup rahey, koyi zaraa yeh unse kahey, naa aise aazmao"

Shailendra chooses his words very carefully.... Beginning with the ambience, he gradually moves on to Dev Anand's personal feelings.... expressing his love for Waeeda Rehman.

A little note before we go onto Vijay Anand's work.... Many people will wonder how he is talking about the moon and the stars when it is broad daylight.... In Cinema, more so in the past, when we were not so well-equipped, when a Director had to shoot a night scene in the outdoors, he would use a technique called 'Day for night'....which means exactly the same....

The shooting would be done during the day and then, in the laboratory, the brightness would be reduced to give it a night effect.... The song, as we view it here, will look bright, but, in the cinema hall, it will look like night.

Vijay Anand choreographs the song very intelligently... Please watch the song again.... Waheeda Rehman seems like the silent moon.... sometimes steady, at times just drifting a little... Dev Anand is moving in almost every shot....So is the camera, when he is in frame.... The effect is of the vast sky and the unruly clouds moving around the steady, beautiful moon....

What Vijay Anand achieves is a feat which is very rare.... Most directors shy away from shooting and showing us more than two verses of a song.... Here, his shooting, along with Burmanda's music and Shailendra's words, is so perfect that we go through FOUR verses of this song just glued to our seats !!!!

That is why Vijay Anand is adored by film-goers and film-makers all over India.

Dev Anand is just amazing.... utterly romantic.... Waheeda Rehman is beautiful.... little expressions, as she looks, a trifle amused at what Dev is telling her....the way he is wooing her....

Almost like a peacock, spreading his beautiful feathers to impress his mate...

KALA BAZAR was the first time that Dev Anand, Vijay Anand, Waheeda Rehman, S D Burman and Shailendra came together.... almost as if laying the foundation for the next time, when they would again come together and create history with ...GUIDE....

Thank God for S D Burman's anger and R D Burman's long day with Shailendra.....

[newgramophonehouse]

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[dhrupad]

Taxi Driver was shot mostly on Bombay’s locations with a light French Éclair camera. These light cameras played a major role in the French New Wave because they allowed directors the freedom to explore locations, moving out of the studios that had traditionally dominated French cinema.

It is indeed intriguing that five years before the first film of the French New Wave, Navketan’s Taxi Driver used the Éclair camera to affectionately map the city of Bombay in a manner that was quite unusual at that time. Unlike Baazi’s studio iconography of Bombay, Taxi Driver was overwhelmingly shot in the public spaces of the city. The use of the taxi as a mode of vision provided the film with a wanderlust aesthetic that combined the movement of the taxi with the possibilities of new camera technology. Dev Anand recalls the filming of Taxi Driver:

‘We would all leave early in the morning, slog the whole day long, canning the maximum footage possible minus the soundtrack, leaving the dubbing of dialogues to be done at the post production stage, and come back home late in the evenings. It took us less than thirty five days of filming to complete the project. Survival of the company was the motivating factor, and lack of funds drove us to work at breakneck speed. The result was phenomenal. Taxi Driver turned out to be a super hit, and drove home an old truth, that big money does not necessarily make a big film.’

Taxi Driver deployed a documentary style of shooting with the exploration of the city emerging as a key element, a point noted by several reviewers of the film. The Times of India film critic wrote, “The street scenes with their glimpses of Bombay and suburbs, practically covering them all from end to end, are as good as a conducted tour of the city in all its phases and aspects, photographed and presented with the artistic appreciation of a camera pictorialist. The photography is one of this picture’s highest production values.”

Bombay Chronicle referred to the film as “refreshing entertainment” that would “appeal to Bombay crowds, since the film is laid in the city.” The desire to display and wander, guiding the viewer through Bombay’s topography, gave Taxi Driver its cosmopolitan imagination as both daytime and night time travel got carefully calibrated into the narrative. If, as many have suggested, cinema should be treated as a mode of transportation and the automobile as a mode of representation, then Taxi Driver stages this relationship unabashedly with a desire to possess Bombay through images.

For Bombay Chronicle the plot was a ‘compound of incident piled upon incident’ that would ‘prove immensely popular even if patches appear a trifle ragged or far-fetched.’ Despite such observations that the film lacked a refined narrative, Taxi Driver’s power clearly resided in the mobilization of incidents to present a vivid streetscape, an architectural panorama, a subculture of gambling, street fighting and small dreams. Uma and Ketan Anand recall how the lack of funds forced the director to innovate. With absolutely no “scope for elaborate sets, Chetan took the camera outdoors, strapped to the bumper of a taxi. Almost the entire story is shot in the streets, on the beaches, through the palm groves and gullies of a remarkable character: the city of Bombay circa 1954. This feat earned the city a separate mention in the titles”.

Cosmopolitan Dreams -  RANJANI MAZUMDAR

[nuthingness]

ख़्वाब हो तुम या कोई हक़ीक़त - (किशोर कुमार)

निर्देशक : सचिन देव बर्मन

𝓣𝓮𝓮𝓷 𝓓𝓮𝓿𝓲𝔂𝓪𝓷 1965

[retromusicsworld-blog]

His first sucess came with Ziddi (1948), co-starring Kamini Kaushal. His other films include - House No. 44 (1955), Pocket Maar (1956), Munimji (1955), Funtoosh (1956), C.I.D. (1956) and Paying Guest (1957) etc.In 1949, he launched his own company Navketan Films with his elder brother Chetan Anand.He had an intense emotional love affair with actress Suraiya during 1948-1951, but it could not come to the marriage altar, because of great opposition by Suraiya's maternal grandmother. Suraiya remained unmarried throughout her life, till she died on 31 January 2004. Later, in 1954, Dev Anand married actress Kalpana Kartik with whom he has two children, Suneil Anand and Devina Anand (Narang). The Government of India honoured him with the Padma Bhushan in 2001 and the Dadasaheb Phalke Award in 2002 for his contribution to Indian cinema. His career spanned more than 65 years with acting in 114 Hindi films, of which 92 have him play the main solo lead hero, and he did two English films. . . . Follow 👉 @retrobollywood7 . . . . #Dev_Anand #oldhindi #bollywood #superstar #oldbollywoodactress #oldbollywoodmovies #oldbollywoodmusic #oldbollywoodactors #oldisgold #retrobollywood #oldbollywoodlovers #oldbollywoodsingers #retro #bollywoodmovies #oldbollywoodsongs #bollywoodclassics #bollywoodflashback #flashback #bollywoodlovers #old_hindisongs #oldhindisongs #oldbollywood #retrobollywood7 https://www.instagram.com/p/B23Z_RJBzJE/?igshid=1iixlig1bnoz2

[bollywoodirect]

A group photo of The Anand Brothers, #SDBurman, #GuruDutt, #MadanPuri, #UmaAnand, and others at 'Nav Ketan' house at 41 Pali Hill. The House of Navketan started in 1949 by #DevAnand and his elder brother #ChetanAnand, introduced many talented people in the Indian film industry. 

#SahirLudhianvi, a left-leaning poet, wrote some of the finest lyrics for Navketan films such as Baazi, Taxi Driver, Funtoosh and Hum Dono. Badruddin, a bus conductor discovered by writer-actor #BalrajSahni, a friend of the Anand brothers was often given roles of a drunkard and hence got the moniker #JohnnyWalker. Navketan also launched Guru Dutt, director, and pioneer of the Bombay noir genre in the film Baazi.

The film also re-introduced music director S.D. Burman who was packing his bags to return to Calcutta. And #Jaidev, a long-time assistant to S.D. Burman, was launched as a music director in Hum Dono, in 1960.

[common-man]

Tribute 780.

Tribute to Director VijayAnand 780. Today I am Going to Pen an another Interesting personality from BollyWood Who is not only an Actor,Producer,Writer Editor and Director is None other then Late.Vijay Anand ,Brother of Stalwart Devanand.All the Navketan Banner Films he will be the Director..Few Versatile Directors created a Big Impact ,in those days and Vijay Anand is one is not a Exaggerated one.He has Directed Couple of Films, among those ,Unforgettable Movies for me are Guide,Jewel Thief,Johnny Meranam,Teremere sapne,and TesriManzil is worth to be mentioned here. Nav ketan had a Talented team of Technicians including Cinematographers Ratra and Falimistry is important.Music ,and Photography speaks in his creations.As a actor he proved his worth in Kora kagaz along with Mrs.Jaya Bachan.Writer RK Narayan's story was filmed as Guide and Stalwarts Devanand and waheeda Rehman played very nicely.Even though Guide got Awards for Best Direction and Dialogues from Film Fare ,commercially was not successful.He has created a New Era in Songs ,and picturaisation with Genius S.D.Burman.Teesri manzil another wonderful movie acted with Shammikapoor and Asha Parekh with hit songs By R.D. Burman if a remember correct.That was the first out side Navketan Banner Vijay Directed for T.V.Films Nasir Hussain.The Film was a Big hit in those days with Shammi kapoor’s Dance and Song still I remember..Vyjayanthimala,Mumtaz.Late Premnath and Pran acted in his Movies.He has also served in Central Board of Film Certification for a Short Period.Affectionately called Goldie from Film Fraternity ,Charming,Soft Spoken Vijay Anand is no more with us.But His Movies and Mesmarising Songs still ringing in Bolly Wood Fans Ears is True. K.Ragavan 21-8-23 Untill We meet again next week

[asksabhaniblog]

Kalpana Kartik (born Mona Singh on 19/09/1931) is a former Hindi film actress. She starred in six films in the 1950s. She is the wife of Hindi film actor and film maker Late Dev Anand. Mona Singha was a beauty queen while studying at St. Bede's College, Shimla. She was introduced to films by Chetan Anand of Navketan Films with the film Baazi in 1951. She co-starred with Dev Anand, whom she worked with in all her subsequent films. Her screen name - Kalpana Kartik - was given to her by Chetan Anand during this period. Her other films were Aandhiyan (1952), Humsafar (1953), Taxi Driver (1954), House No. 44 (1954) and Nau Do Gyaraah (1957). Mona Singha, aka Kalpana Kartik, was born in a Punjabi Christian family in Lahore. Her father was a Tehsildar of Batala in Gurdaspur District, and she was the youngest of five brothers and two sisters. After the partition, her family moved to Shimla. She was a student of the prestigious St. Bede's College, Shimla. In her graduation year, she won the Ms. Shimla contest and was noticed by Chetan Anand, a film-maker from Bombay. He was there with his wife Uma Anand, whose mother is Mona's cousin. He convinced her family to allow her to join his fledgling film company, Navketan Films, as a leading lady. Thus, Mona Singha was re-christened Kalpana Kartik and she moved to Bombay (now known as Mumbai). Her first film Baazi was a huge success and went on to become a landmark in Indian cinema. Baazi was a gamble that defined the destinies of many luminaries all of whom got a career boost from the film.Kalpana Kartik, became a part of Navketan when it was beginning to spread its wings. She was associated with the film company during its most momentous years. She started with Baazi, the debut of Guru Dutt and ended with Nau Do Gyarah, the debut film of Vijay Anand. Between these two films came Taxi Driver, which was the 'coming of age' film of the Navketan banner. It was Navketan's first super-success and also the film on whose sets Dev Anand secretly married Kalpana Kartik during a lunch break. Kalpana's time in Navketan saw four different directors take reign - Guru Dutt, Chetan Anand, Mandi Burman and Vijay Anand.Kalpana Kartik worked as an associate producer for Tere Ghar Ke Samne (1963), Jewel Thief (1967), Prem Pujari (1970), Shareef Budmaash (1973), Heera Panna (1973), and Jaaneman (1976). Dev Anand played the lead role in these movies.In 1954, Mona and Dev Anand got married secretly while on a break during the shooting of Taxi Driver.They became parents in 1956 when Suneil Anand was born. They also have a daughter named Devina. After Nau Do Gyarah, Kalpana quit films to become a home maker. Suneil has also acted in films.

[shankarjaikishanfansassnintl]

‘Hum Dono’ : Me and Dev Anand

Subramaniam Viswanathan shared a link.

‘Hum Dono’ : Me and Dev Anand

(Remembering Dev Anand on his 97thBirthday … and one of his heart-warming films)

Dharamdev Pishorimal Anand, (popularly known as Dev Anand) was born exactly 97 years back. Had he been alive today, he would have probably still dressed as nattily in an orange-coloured suit and a chequered shirt, buttoned up to neck (never mind, if it is a hot summer afternoon), as he used to do … and would have talked as animatedly about his next film project on yet another ‘new topical subject’ to be shot in London or New York. One had expected him to carry on the same way till he sprinted on to 100, whirling around with the same amazing energy, enthusiasm and ‘Never-Grow-Old’ attitude. But Time can catch up with even Dev Anand, and one night in 2011, he bowed down and left abruptly with his characteristic briskness.Dev Anand was easily my chosen ‘Matinee Idol’ amongst the Triumvirate Trinity of the 50s and 60s. Not that he was a better actor than Dilip Kumar, or a grander show-man that Raj Kapoor, but Dev Anand had that something special in him, a casual breeziness, a sophisticated charm and a set of amusing mannerisms, that made it more interesting for me, than sit through Dilip Saab’s morose mumblings or RK’s overdone simpleton image.So Dev Anand and his Navketan banner allured me to be many more matinees than what a college student could afford to spend his academic time or pocket-money on. It soon came to a stage that if one had to choose between two back-to-back gruelling Chemistry lectures at SIES college (during the two-year Science course, pre-engineering), or a Dev Anand film at the nearby Rupam at Sion Circle (now PVR), .. well, one succumbed to the latter without any resistance. After all, it was important to keep oneself mentally refreshed … to sit through the next day’s gruelling lectures at college. The professors too at SIES were hardly as flambuoyant and entertaining as Dev Anand. So if all those matinee shows had taken a toll on my mark-sheets, I would blame it all squarely on Dev Anand.My first ‘introduction’ with him was through a ‘Filmfare’ cover, when I was a four or five-year old kid. I was told that the handsome ‘uncle’ with the puffed hair was the one who had sung on screen my then favourite song ‘Khoya Khoya Chand’--- probably the first song I ever remember having heard on radio, thanks to Binaca Geetmala. I never knew at that time that, for that particular song-sequence in ‘Kaala Bazaar’, Dev Anand would be seen romping in a valley dangling his arms loosely. But the song was catchy enough to make a four-year old romp in the room, dangling his arms or whatever.Then one grew up seeing his charm from time to time. The movies that one had missed during school-days were quickly caught up with in matinees … often sacrificing the college lectures. ‘Nau Do Gyarah’, ‘Tere Ghar Ke Saamne’, ‘Kaala Pani’, ‘Kaala Bazaar’, ‘Jewel Thief’, ‘Guide’ … 'Guide', and again ‘Guide’, they all followed one after another and soon one cultivated a taste for the Navketans brand of entertainment, in the fore-front of all of which was Dev Anand with his inimitable screen presence.So while a wildly romantic Shammi Kapoor was weirdly gesticulating and almost falling over the heroine with a Rafi song elsewhere in another theatre (catering to another bunch of college-bunkers in that vicinity), here was Dev Anand redefining Style and Romance for some of us at Rupam Matinees. Unlike Shammi Kapoor, he maintained a safe distance from his heroine but romped around her with a sheepish disarming molar-toothless grin, lip-synching a Rafi or Kishore song to floor the damsel. And he did things that nobody had done before, or even dared to do. He stood inclined at an angle of 30 degrees from the vertical axis, made elliptical rounds of the heroine and went hyper-‘bol’ with his rapid-fire dialogue delivery. (I did not miss my Geometry classes, Mind You!).So, whether his Hollywood role-model Gregory Peck would have approved of his stock mannerisms or not, one simply adored Dev Anand for his unique style statements, his sophisticated get-ups, his hat, his mischievous grin (molar-less), his slanted posture, his restlessly gesturing hands, his nodding of head vehemently to make a point, his making big eyes at the lady and then covering his face with the hat, his prancing around with an abrupt hop here or there, and his amusingly clumsy run dangling his loose arms behind the heroine … singing all those wonderful songs, voiced either by a gossamer-soft Rafi or a golden-baritone Kishore.So whether he was breezily driving a truck out of New Delhi singing ‘Hum hain raahi pyarke’ (‘Nau Do Gyarah’), oblivious of a stowaway bride (Kalpana Kartik) hiding behind, or serenading an impish Nutan down the Qutb Minar stairs with ‘Dil ka bhanwar kare pukar’ (‘Tere Ghar Ke Saamne’), or obliquely flirting with Waheeda Rehman in the upper tier of the train with a fake ‘devotional’ song – ‘Apne to har aah ek toofan hai’ (‘Kaala Bazaar’), or impressing a ‘Mushaira Mehfil’ and Simi Garewal in Kashmir with ‘Kahin bekhayal hokar yunhi choo liya kisine’ (‘Teen Deviyan’), or walking brazenly with a fishing rod right in front and blocking Tanuja’s car with ‘Ye dil na hota bechara’ (‘Jewel Thief’) … one lapped them all with delight and asked for more.However Dev Anand’s ‘ever-green’ image would not have endured the test of time, had he not been supported by some men at the Navketans. There were many of them, but two were prominent. One, his own younger brother Director ‘Goldie’ Vijay Anand, whose every frame-shot sparkled with wit, sensitivity, elegance and intelligence, that one rarely found in Hindi Cinema. He left such a stamp of excellence in the films directed by him, so much so, that when you saw any great movie from the Navketans like ‘Hum Dono’ , which was not directed by him but by Amarjeet, you suspected Goldie’s brain-work behind the scenes.The other one was an old frail man, who had always appeared in Filmfare photos as ‘old’ to me since my earliest memories, but who had unfailingly given fresh and young-at-heart musical score to numerous films, … and Navketan Films were the beneficiaries of a lion’s share of the brilliant songs composed by him. Sachin Dev Burman-Da was an unadulterated musical genius all the way, a boon to Hindi Film Music industry and remains to be a connoisseur’s delight till date. He was a minimalist in the use of his orchestra, but yet a perfectionist to the core. One could imagine him sitting with his harmonium munching ‘paan’s from his ‘Paan ka Dabba’ on one side for continual inspiration, and his maverick son on the other side for fresh inputs, who had his own way of making music with anything on hand, be it a broom or bucket.Burman-da (with the able support of Jaidev and son R.D.burman) used the voices of Rafi, Kishore, Manna Dey, Lata, Asha and Geeta Dutt, and occasionally his own voice, with perfect precision and delivered consistently classy songs, composed out of Majrooh Sultanpuri or Shailendra’s exquisite lyrics. Even today, if you pick at random any Navketan Films’ song and listen to it intently, you can’t help smiling with awe and wonder at the old man’s inventive creations.So whenever Dev Saab started leaning more dangerously (in popularity) than the Pisa Tower, to the point of instability , (to explain in scientific terms, the perpendicular line drawn from his Centre of Gravity falling outside his base of support …. well, I did manage to attend a few Physics lectures now and then at college, Mind You!), there were Vijay Anand and the Burmans (SDB earlier and RDB in later years) to prop him up again straight and tall, raising him to further glory.After peaking in full form with ‘Johnny Mera Naam’, Dev Anand took to direction and to be fair, did a fair job with ‘Prem Pujari’ and ‘Hare Rama Hare Krishna’. I think, he then took a brief break and reappeared again in a dozen more films in quick succession like ‘Shareef Badmaash’, ‘Chhupa Rustom’, ‘Warrant’, ‘Bullet, ‘Amir Gharib’ etc. etc. It was a mixed bag of hits and flops, but either way, one didn’t care much about them. Then somewhere as the 80s approached, he began to go hay-wire. Probably he took his own directorial abilities too seriously, and went on to produce and direct umpteen movies himself, which were bad, worse and indifferent, most of which went unnoticed. Almost all of them were colossal flops. But then Dev Saab seemed to shrug off one flop and go for another, much as the devil-may-care character that he played in ‘Nau Do Gyarah’ would have sung – ‘Flop thi naseeb mein, toh Flop se liya hai dum, Jubilee mile toh hum aur bhi young ho liye’!Though one didn’t sit through the movies that he had made after ‘Des Pardes’ , one did wonder what kept him going and marvelled at his indomitable spirit and his love for life and his chosen profession. The films that he made did not matter, but the incredible passion with which he made them surely mattered. The work he produced in his later years, was not important, but his philosophy of life and work surely was. Dev Anand became an inspiration for the ageing lot, and a guide on how to keep fit and active, and get continuously engaged in one’s work till the end … and not get bogged down by success or failure, hit or flop. I suspect, Dev Saab followed the ‘Geeta’ closely, whether he admitted it in public or not. I think he believed in what he had professed in HRHK - ‘Jeet lo man ko padh ke Geeta, Man hi haara to kya jeeta, to kya jeeta’.He didn’t have time to look at the past, but his old fans like me, generally skipped his new films and re-visited his old ones. One such was ‘Hum Dono’.I had caught up with ‘Hum Dono’ quite late in a matinee show.The first few minutes of absolute silence to begin a film with, with the heroine placating the hero with a cigarette lighter, was a master stroke. Then as Rafi mellowly begins ‘Abhi na jaao chodkar …’, you knew for sure that this is going to be an exceptionally good film. Later, one had gone back to check and reconfirm that the film is not directed by Vijay Anand. No, it was not Vijay Anand in the credits, but Amar Jeet, another insider in the Navketan Camp, who seemed to have done his home-work in script writing and direction, exactly the way Goldie would have wanted him to do.But one was watching the film, more for watching Dev Anand in action, and what’s more, there were two of them. But strangely, none of the two nodded the head vehemently or spoke at a rapid speed or ran at a tilted angle behind the heroines (Sadhana and Nanda), dangling the arms. Instead, Dev Anand was all seriousness in both the roles, and proved that he can also pull off brilliantly understated performances, when the roles demanded. So the man sans his mannerisms did’nt disappoint at all.There are no villains in ‘Hum Dono’, only tricky circumstances. The lead characters (two Dev Anands and two heroines) forming a quadrangle, are gentle and humane, but despite the best of intentions, end up in mutual conflict. The screenplay flows smoothly with the unemployed Dev Anand getting insulted by Sadhana’s father, and walking away in a huff straight to military enrolment, his meeting with his look-alike ‘Major’ (with a different hair-style and a Sam Maneckshaw moustache), the Major going missing in war, the Dev Anand No.1 returning home and taking the place of Dev Anand No.2 out of compulsion, No.2 returning home alive but lame, the ensuing misunderstandings and the final resolution.The plot is not exactly extra-ordinary and as hackneyed as an average movie of the 60s. But ‘Hum Dono’ engages the attention with its straight-forward narrative, veering off from excessive melodrama and staying clear of stereotyped trappings like comic relief, dance numbers, stunts etc. At the end of it all, ‘Hum Dono’ emerges as a sincerely made film, and leaves you with a warm heart and a fulfilment of having watched a ‘good and clean’ film.‘Hum Dono’ was reprinted in colour, but my own memories of such classic ‘matinee shows’ are firmly etched in B&W.The music of ‘Hum Dono’ too had its own role in elevating ‘Hum Dono’ to the status of a classic. Sahir Ludhianivi’s exquisite poetry and Jaidev’s sublime compositions and the voices of Rafi, Asha and Lata had together combined to create a memorable album. Each song is still a gem to treasure, but what made the most impact on mind, was this breezy philosophical number, in which Dev Anand puffs away his worries, tosses his cigarette on the pond and walks on facing forward.बरबादियों का सोग मनाना फ़जूल था

बरबादियों का जश्न मनाता चला गयाजो मिल गया उसी को मुकद्दर समझ लिया

जो खो गया मैं उसको भुलाता चला गयाग़म और ख़ुशी में फ़र्क़ न महसूस हो जहाँ

मैं दिल को उस मक़ाम पे लाता चला गयामैं ज़िन्दगी का साथ निभाता चला गया

हर फ़िक्र को धुएँ में उड़ाता चला गयाI think, that’s exactly the way Dev Saab lived … and perhaps that’s exactly the way, one should live.

https://www.youtube.com/watch?v=PbTY_m5yZ0w

[shankerjaikishen-the-unbeatables]

Life and times of Jaidev.

by

Vikram Appasaeb Jadav

*“Dekh li teri khudai, bas mera dil bhar gaya* *Teri rehmat chup rahi, main rote rote mar gaya . .”*

One of the greatest but unsung and unwept composers of yore was Jaidev. In 1933, 15 year old Jaidev Verma ran away from Ludhiana to Bombay, to become a film star. He acted in eight films as a child artist in Wadia Film Company. But owing to his father's blindness, he had to return to Ludhiana. While he was acting in films in Bombay he took music lessons from Krishnarao Jaokar and Janardan Jaokar. After his father's death, it was his responsibility to look after his sister. After he got her married, he went to Lucknow and continued his music studies under Ustad Ali Akbar Khan.

Ali Akbar took Jaidev as his music assistant when he composed music for Navketan's “Aandhiyan” and “Hum Safar”. From “Taxi Driver” he became SD Burman’s assistant. SD had full trust in his genius assistant; each time he entrusted him with a composing or creative job, he would advise him not to complicate it with difficult ‘murkis’ and ‘harkats’. Jaidev’s contribution to the compositions of SD Burman can be gauged through these very intricate nuances, very typical of him, obvious in a number of gems like ‘Phaili hui hain sapnon ki baahen’ (House No. 44), ‘Hum bekhudi mein tumko pukare chale gaye’ (Kala Pani), ‘Hum hain raahi pyar ke’ (Nau Do Gyarah), ‘Dekho rootha na karo’ (Tere Ghar Ke Saamne), ‘Aise to na dekho’ (Teen Deviyan), and ‘Tere mere sapne ab ek rang hain’ (Guide) to name a few.

Jaidev got an independent assignment in “Joru Ka Bhai”, after which he composed music for ChetanAnand’s “Anjali”. Music of both of these films became very popular. But, with “Hum Dono”, Jaidev came into the limelight, and how? Who can forget the bhajan ‘Allah Tero Naam, Ishwar Tero Naam’ sung by Lata! And as long as there are lovers around, ‘Abhi Na Jao Chhodkar’ will be their favourite anthem as if it is a Valentine message. ‘Main zindagi ka saath nibhata chala gaya’ became the life philosophy of Dev Anand. Jaidev built a reputation as a sensitive composer who did not compromise on the quality of music for the sake of applause.

After Hum Dono’s success, a promise was made by Dev Anand that every alternate film of Navketan will have music by SD Burman and Jaidev. Accordingly, SD Burman was entrusted the baton of “Kala Bazaar” and Jaidev ‘signed’ for the music of “Guide” for which he is believed to have composed a couple of tunes too (‘Tere mere sapne ab ek rang hain’, and ‘Din dhal jaaye haye raat na jaaye); however, the film was made and released finally with music by S D Burman, his career best. Jaidev proposed, Dev Anand disposed! Probably, for the first time, Jaidev felt exploited and stifled at Navketan and “Guide” marked the end of his long and fruitful musical association with both Dev Anand and SD Burman. Navketan, too, never called him back, which was the unkindest cut of all. Though the hurt feeling lurked in his mind for long, his respect and reverence for SD Burman remained the same till his last. Besieged by a chain of misfortunes, Jaidev made “Jo kho gaya main usko bhulata chala gaya” the mantra of his life with his spiritual character to ‘guide’ him.

What happened to Jaidev after Hum Dono is the kind of heart-wrenching cruelty that film industry keeps inflicting on its best talents. After the mega success of Hum Dono songs Jaidev was the natural choice of Navketan for their next film Guide starring Dev Anand. Jaidev composed and recorded two brilliant songs and all persons in Navketan management were extremely happy with the songs. But all of a sudden, mysteriously enough Jaidev was thrown out of Guide!

It is said that Dev Anand pressurized Jaidev to work as S.D. Burman’s assistant in Guide. It was a cruel event where a sensitive creative genius like Jaidev was suppressed by the heartless mighty. Jaidev was never again invited by Navketan to compose songs. Dev Anand used both the Jaidev songs in his film Guide. It is said that those two songs were ‘Din Dhal Jaaye Haye Raat Na Jaye’ and ‘Tere Mere Sapne Ab Ek Rang Hai’ sung by Mohammad Rafi. Being cast out of Guide was a very big setback in Jaidev’s film music career. He never really recovered from the shock. Jaidev used to frequently narrate such incidents to his friends, wracked by inconsolable grief.

This was the time when Jaidev met and got introduced to young composers like Roshan and Madan Mohan. This is a great example of the saying ‘genius finds genius’. Roshan invited Jaidev to sing in his very first film. Once, when Roshan and Jaidev were going together to a film company, they saw Madan Mohan. Roshan was reported to have told Jaidev, “I am going to introduce you to a brilliant young composer”. On introduction, Madan Mohan and Jaidev needed no time at all to become best of friends.

Roshan, Madan Mohan and Jaidev had many similarities. They were rare music geniuses. They were unfailingly great human beings too. Their unquenchable thirst ran to music, languages, literature and wine. None of them were given the importance or prominence that they richly deserved. But they lived their entire lives as friends and supporters. Theirs was a rare friendship in the ‘man eats man’ world of cinema.

Film world has its own inviolable rules. It needs people who can achieve mass popularity by shortest possible route. Its impatience with geniuses is well known. Geniuses like Salil Chowdhury, Madan Mohan, Roshan, Vasant Desai and Jaidev failed in this race to huge popularity. They did not have the talent to market themselves. What complicated the matter was group politics that acted as a barrier to fresh music entering the industry. True geniuses who blazed their own path overcoming all barriers in our film industry are very few.

Jaidev also composed the musical score for “Maitee Ghar”, a Nepali film produced by King Mahendra. The King was so pleased with Jaidev that he offered him a blank cheque and asked him to fill in any amount as he wished. But Jaidev returned the cheque and asked for a tiger skin instead!

People who speak of the Golden Age of Hindi film music mostly speak of commercially successful names like Naushad, Shankar Jaikishen, S.D. Burman, R.D. Burman, Kalyanji Anandji and Laxmikant Pyarelal. But there are many composers who established their identities through the uniqueness of their compositions alone. They may not have composed music for a very large number of films. Many of their films might not have succeeded at the box office.

Jaidev had composed music for less than thirty films. The number of songs to his credit may not be more than hundred and fifty. But Jaidev is a name imprinted on the hearts of lovers of vintage Hindi film songs as the genius who gave such fabulous numbers as ‘Kabhi Khud Pe Kabhi Haalaat Pe’, ‘Allah Tero Naam’ and ‘Abhi Na Jao Chhod Kar’. ‘Kabhi Khud Pe Kabhi Haalaat Pe’ is among the best ghazal numbers sung by Mohammad Rafi. There are many who rate the number sung by Lata Mangeshkar for Jaidev ‘Allah Tero Naam’ as the best prayer song to have emerged from Indian films. In a recent televised event, Jaidev’s ‘Abhi Na Jao Chhod Kar’ was rated both as their favourites and the best Hindi film song ever by today’s stars Shankar Mahadevan and Farhan Akthar.

It is possible that an average listener may identify Jaidev as the only music composer from Hindi films to have won the National award thrice. But the lamentable fact is that this composer of incomparable songs, winner of many state awards and winner of ‘Sur Singar Samsad’ award for Lifetime Achievement in Music remains so unknown to common man that we keep hearing the question, “Jaidev? Who is he?” even from people who love his music!

It was Jaidev who introduced ghazal singer Hariharan to film music in the film Gaman (1979) with the song ‘Ajeeb Saaneha’. This is not merely one of Hariharan’s best songs it has become one of the finest ghazals in Hindi film music. It won the U.P. state award and a nomination for National award for Hariharan. In the film Kinare Kinare, Jaidev brought together four leading singers Mohammad Rafi, Talat Mehmood, Manna Dey and Mukesh to sing a song to be picturised on one character played by Dev Anand. It was an event nobody had tried till then.

Jaidev gave Yesudas some of his best Hindi songs that suited the unique pathos that Yesudas carried in his singing style. He even made him sing for Amitabh Bachhan in Aalaap released in 1977. ‘Zindagi Ko Sawarna Hoga’ and ‘Chand Akela’ with a light classical touch and the sad lullaby ‘Koi Gata Main So Jata’ in this film, were Yesudas’ very important Hindi film songs. Another fine ghazal singer Bhupinder shot to fame with a fabulous Jaidev song from his film Gharonda. Who can forget the depth of feeling that the song ‘Ek Akela Is Shahar Mein’ carried with such conviction? Jaidev’s Gaman also saw the introduction of another important singer, Suresh Wadkar to Hindi films with the classical based ‘Seene Mein Jalan’.

Jaidev was admired by producers as a good composer, but they considered him good enough for the small-budget films. Though most of his films failed at the box office, many of them, such as 'Kinare Kinare', 'Reshma Aur Shera', 'Alap', 'Prem Parbat', 'Gaman' and 'Ankahee', are remembered for his imaginative musical score. It is unfortunate that despite his expertise in classical and folk music and imaginative approach, Jaidev had only 'Hum Dono' and to a certain extent 'Mujhe Jeene Do' as the only commercially successful films to his credit.

Jaidev was a lonely man with no house of his own and no family to take care of him except a few friends who were mostly from the literary fields or judges, lawyers, painters, high rank officials and dignitaries. He needed a room to display his awards and trophies but sadly, most part of his life in Bombay, he lived alone as a tenant in a single room at Lily Court, near Ritz Hotel, Churchgate. His “Gharonda” song ‘Ek akela is shehar mein aab-o-dana dhoondhta hai, ashiyana dhoondhta hai…’ was almost biographical and depicted his plight.

A winner of four Sur Singar Samsad awards, the Lata Mangeshkar Award of the MP Government and three National Awards (‘Reshma Aur Shera’, ‘Gaman’, ‘Ankahee’), Jaidev did not get the recognition he deserved and that is a sad commentary on the musical culture of modern cinema. Looking back on Jaidev's career as a music director, his struggles, achievements and set-backs, his pensive melody 'Kabhi khud pe kabhi halat pe rona aya' from 'Hum Dono' suddenly comes to mind and the heart grieves for the talent that was wasted. By a strange quirk of fate, before his composing days, Jaidev also sang songs on All India Radio. Sahir’s “Tang aa chuke hain kashm-e-kash-e-zindagee se hum” was first sung on AIR by none other than Jaidev. He was the first composer who used the 'glockenspiel' for the cigarette lighter tune in “Hum Dono”. (It was Kersee Lord who brought this instrument to India, and also played it to good effect.)

As compared to his contemporaries, Jaidev was underpaid or not paid in time or not at all paid many a times. But, money considerations did not dilute his passion or affect the quality of work. He was a workaholic and had a method to his madness; he took note of the backdrop of the film, the situation, the character, the dialect, the lyrics and worked meticulously on the details of the song, its arrangement and orchestration till the final recording. No doubt he was exploited many a times of which he was well aware, but it was only when he felt so, he cut off his ties with the filmmakers (like with Dev Anand and S D Burman after “Guide”) and dissociated himself from the composing assignment. Not many know that the title track of Ramanand Sagar’s epoch making serial “Ramayan” was by Jaidev. He left the serial at the nascent stage itself as he was not even reimbursed the taxi fare (from Churchgate to Natraj Studios, Andheri East), leave aside the credit or remuneration for composing!!

In Jaidev’s own opinion he gave his best for Hrishikesh Mukherji’s “Aalap”, but when Mukherji and Amitabh Bachchan were ignored, what can be said about Jaidev’s plight? But Jaidev gave his all for the ultimate reward he got from “Aalap”. His association with Harivanshrai Bachchan got him the opportunity to compose the “Madhushala”, which had Manna Dey singing the “Madhushala” into the annals of posterity!

After three decades of continuous struggle as a music director, and with only thirty six films to his credit, Jaidev was a tired man. Age was catching up with him and his health was failing. He had no one except friends to care for him and no house to call his own. Earlier he used to spend his vacant hours over a glass of liquor. But later even that blessing was denied to him on medical grounds. On December 14, 1986, when Jaidev stepped on the stage to receive the fourth Sur Singar Samsad award for his classical music in 'Ankahee', he looked weak but healthy enough to last another decade. The glow on his tired face was probably the last flash of a falling star. On January 6, 1987, he died suddenly, at the age of 68, leaving the film industry to grieve for the loss of a talent it had consistently neglected. Life had been unreasonably cruel to him but death was more than gracious to liberate him from the misfortunes of life.

A Tribute to Jaidev ~ Vikram Appasaheb Jadhav Kolhapur 06/01/2019

जयदेव को देवानंद और s d burman ने दुःख पहुंचाया guide के 2 गाने तेरे मेरे सपने याब एक रंग हैं और दिन ढल जाए रात न जाये की धुने जयदेव नेबनाई थीं।

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