NIGAM

2011-05-01T07:16:00.000-07:00

Whilst royalty has its share of fairytale many an Indian middle-class girl in India has married into wealth and status to become a modern-day princess

UEEN ELIZABETH of England had signed ‘The Instrument of Consent" for the marriage of her grandson Prince William with commoner Catherine (Kate) Middleton. According to the Royal Marriages Act of 1772, a sovereign’s agreement is necessary for validating the royal union. The marriage into royalty will transform the destiny of Kate Middleton. It will also hugely influence the thinking and behaviour of millions of young Britons, who see the royal romance as a social miracle in a ‘class-obsessed’ Britain. In India, too, beautiful, talented women have married ‘modern-day princes,’ who are rich industrialists, famous sports heroes or Bollywood icons, to change their destinies. Their stories are as fascinating as the fairytale romance of Kate. Airhostesses, models, actresses — almost all of them belong to middle-class families. But romance and riches knocked loudly at their door and they grabbed the opportunity of a lifetime to marry a Prince Charming,.
Shibani Seth, a social scientist who works with celebrity couples on conflict resolution, says, "In India, marriages between middle-class women — who earn fame through modelling, beauty contests, films and TV — and top industrialists or sportstars have been successful and obviously happy. It possibly means that societies in the East and West are ready to accept the Cinderellas but not male Cinderellas e.g. Bikram Saluja, a Mr India married a Parle Bisleri heiress, but the couple is nowhere in celebrity news. It is clear that if a commoner man marries a rich or famous woman, it is not the same as a commoner woman marrying a rich or famous man."
Anita Shetty, a prominent Mumbai lawyer, says, "Marriage all over the world is still dominated by the male superiority principle. If a commoner woman marries a titled or famous or rich man, she can glow as the reflection of his glory. Her social position enhances in direct relation to his riches and power. But it is still not the same if a commoner man marries a princess. In the British royal family, men who married queens or princesses have wielded little, if any, power — from Prince Albert, the Duke of Edinburgh, to Sir Anthony Armstrong Jones (Princess Margaret’s husband) and Vice-Admiral Timothy Lawrence, (Princess Anne’s husband) the story is the same. By marrying a queen or princess, a man does not become a king or prince. But a woman marrying a king or prince, instantly holds the title of Princess or Queen!"
Decades ago, when the House of Tatas launched Air India, India’s first international airline, a magic gateway opened for beautiful women to enter the world of glamour and riches. The famous Maharaja icon of the airline made it one of the best-known brands in post-Independence India. Air India then set out to find the ‘best looking young women of India’ so that the airline would become an international success overnight. It launched a select bunch of airhostesses, who worked for Air India and accomplished two objectives. Firstly, they made the career of an airhostess, the most coveted job for good-looking Indian women from the middle class, and secondly, they revolutionised the industrial scenario when their airhostesses married the topmost business tycoons of the country.
Who were these early airhostesses who acquired business empires with their ‘capital’ of good looks, sensuality and glamour? Horizons, an archival book published by the Tatas, lists them and even features some old-world sepia pictures. The first among them was Parmeshwar Godrej, who was one of Air India’s earliest hostesses before she met and married Adi Godrej, head of Godrej Industries today. Parmeshwar, from a Sikh family, is now a grandmother. She is a socialite who hobnobs with international celebrities like Goldie Hawn and Richard Gere, both of whom have come to India as her guests and participated in her fund-raising dos for AIDS awareness and other causes.
Maureen Wadia, married to the heir of Bombay Dyeing, is the next airhostess featured in the book. Maureen, reportedly of Anglo-Indian origin, met Nusli Wadia on an Air India flight and became the queen of Bombay Dyeing, one of the biggest industrial empires of India. Maureen also contributed to the promotion of the company brands, such as bath and bedroom linen. While promoting Bombay Dyeing products, Maureen came into contact with the Femina Miss India contest as a sponsor and saw the immense possibilities of using such events to promote her own brands. Glamour attracted her and eventually, Maureen set up her own fashion and style magazine Gladrags and started holding the annual Gladrags Model of the Year and Mrs. India contests.
Sakina Mallya was an Air India hostess, too. She married the flamboyant liquor and airline tycoon Vijay Mallya, who heads the United Breweries (Kingfisher) empire. Mallya is known for his rocking parties on his luxury yacht, his sponsorship of glamorous events and most of all, for his annual Kingfisher calendar, in which models pose in skimpy clothes in incredibly beautiful locations. Sakina is the mother of Mallya’s children but is now allegedly divorced from him, according to reports.
The procession of airhostesses marrying tycoons dwindled when Air India was taken over by the Government of India and changed its recruitment policy. Also, after the swinging seventies, beauty contest winners from 1969 onwards became models or actresses and many among them married rich men. Among these was Kavita Bhambhani Singh (Miss India 1969), who after a fledging modelling career, married industrialist Jasjit Singh. Today, she is a well-known art collector and owns a gallery. Her sister Sunita Bhambhani, who was a model, married actor Anil Kapoor.
Queenie Singh — later Dhody —began her glamourous journey in the mid-1980s. Reports suggest that her real name was Karminder Singh and that she lived in Friend’s Colony, New Delhi, with her Sikh parents, who owned Frick India, an airconditioning business, before she entered the Miss India contest in 1985. Once she won the beauty crown that year, Queenie never looked back. Through her new high-society friends in Mumbai, she met and married ‘Richie Rich’ but married businessman Raja Dhody after a sizzling romance, when his divorce came through. She now is in a relationship with Farhad Taraporewala, a Page 3 personality.
Rhea Pillai, though not strictly from a middle-class family, was born to Dr. Door Pillai, daughter of the famous Dhanrajgir family from Hyderabad. Door’s sister Sabita was a well-known socialite designer in her days and Tarn, their brother, tried to become a TV actor. Rhea’s youthful years are a mystery. Reports suggest that she became an airhostess for an international airline and soon left this job to become a full-time model.
At around the same time, Sanjay Dutt was going through his own trauma and was jailed in the 1993 Mumbai blasts. She met him through friends from her Page 3 club. For Sanjay, Rhea was the soothing balm when she visited him in jail with tiffin boxes in her much-publicised visits. One Valentine’s Day, when the couple was partying with their Page 3 pals, Sanjay proposed and the group drove at midnight to a South Mumbai temple and were married by the priest in their jeans. However, this romantic marriage, too, did not last long.
Hema Deora, wife of Congress leader Murli Deora, was a model and worked as the manager of a textile showroom until she met the rich businessman-politician and joined the ranks of influential political wives. She is an internationally acclaimed bridge player today.
Not to forget, Sangeeta Bijlani, daughter of a lawyer, came into modelling and went on to win the Miss India contest in the early 1980s. Sangeeta modelled and also tried her luck in the film industry. Many romances followed until finally, she married the much-maligned Indian cricket captain Mohammed Azharuddin and settled down in Hyderabad. Now she, too, is separated.
However, the most dazzling young woman who came into great wealth through marriage and has created a unique persona is Avanti Birla — neither a beauty queen nor a model, but the style icon wife of business magnate Yash Birla. Born Avanti Natu to Maharashtrian parents, she met Yash Birla in college at the age of 16 and the couple fell in love. At 23, Yash lost his parents and sister Sujata in a plane crash and was suddenly left to hold up the family businesses of over Rs.800 crore alone. This is when the family agreed for him to marry Avanti.

Romancing the rain

2010-08-24T01:38:00.000-07:00

THE drops of water falling from the sky have never failed to cast a spell on the 70mm screen. From the evergreen "Pyaar hua ikraar hua" from Shree 420 (1955) to from
Rajkumar Hirani’s 3 Idiots, Bollywood’s romance with the rain continues. Bollywood’s sizzling jodi of Raj Kapoor and Nargis made the melodious song "Pyaar hua ikraar hua" probably the most iconic rain song of Hindi cinema. Composed by Shankar Jaikishen and rendered beautifully by Lata Mangeshkar-Manna Dey, the song made ‘under umbrella romance’ a sure shot hit in the film industry.

Dancing in the rain has been an integral part of Indian mainstream cinema. There was also a time when the conservative audiences didn’t like to be served in-your-face sensuality. So in a bid to create an illusion of exposure and spellbind the cinegoers with a whiff of western culture, the directors made the actresses sing and dance in the rains. Raj Kapoor was quintessentially the pioneer of this trend. From Nargis, Mandakini, Zeenat Aman to Dimple Kapadia, all were made to do the rain romance act by the showman himself.

The sparkling drops of water makes for a passionate setting to incite some sizzling chemistry between couples in Bollywood masala movies. While most of the rain songs turn out to be purely romantic evoking a magical feel, there are other fun-filled tracks shot in the rains. The lyrics, setting and, at times, the singing imbue a certain overtone to a song. "Ek ladki bheegi bhagi si" from the movie Chalti Ka Naam Gaadi (1958) starring Madhubala and Kishore Kumar is always looked upon as a cult song in the history of rain melodies of Hindi cinema. The song has Kishore Kumar crooning to Madhubala. A visual treat has the legendary singer and actor at his comic best.
The romantic melody from Barsaat Ki Raat (1960), "Zindagi bhar nahi bhulegi barsaat ki raat" is another timeless rain song sung by Mohammed Rafi and filmed on Bharat Bhushan and Madhubala. "Dil tera deewana hai sanam" is a great tune from the movie of the same title. With super performances by Shammi Kapoor and Mala Sinha, the song seems to be soaked in rain and marinated in the spice of nostalgia. "Rimjhim gire sawaan" from Manzil (1979), which was shot on Amitabh Bachchan and Moushmi
Chatterjee on Marine Drive evokes an earthy aromatic feel. The composition is at the same time simple and sensuous. To this day, this track rendered by Lata Mangeshkar and Kishore Kumar remains as fresh as the first showers.
"Kaate nahi katte yeh din yeh raat" from Mr India (1987) had Sridevi in her trademark chiffon sari looking splendid and sensuous. She projected the quintessential Indian woman.
Drizzles on celluloid are as important to the Indian film fan as approaching rain-laden clouds are to the Indian farmer. Celluloid couples fall in love against the backdrop of rain and the ambience created by a sensuous rain track. "Rimjhim rimjhim, rumjhum rumjhum" from 1942 — A Love Story (1993) is a melodious rain track delineating the beauty and romance of the rains. Penned by Javed Akhtar, this song is one of the last songs composed by the legendary R. D. Burman. "Nahi saamne" is a quaint track rendered by Hariharan in Taal (1999) and shot on Akshaye Khanna skating through the roads portrays silent beauty.
"Bhaage re mann" from Chameli (2003), a soothing composition sung by Sunidhi Chauhan transports one to another time and place. Filmed on Kareena Kapoor, the song is a celebration of life. Similarly, Lata Mangeshkar’s voice woven around Gulzar’s mesmerising words in "Geela geela paani" from Satya (1998) soak you in the magic of rains.
The pouring rain also makes for an assorted range of moods. "Ab ke sawaan" by Shubha Mudgal and "Ghode jaisi chaal" (Dil Toh Pagal Hai) is an energetic number which makes one to want to go out and drench one’s soul in the rain whereas "Lagi aaj sawan ki phir woh jhadi hai" from Chandni (1989) makes one mellow and nostalgic about the good old times. "Tip tip barsa paani" is a typical Bollywood rain song from the movie Mohra (1994) in which Raveena Tandon in a drenched sari tries all her tricks on naive police officer played by Akshay Kumar. Sung by Alka Yagnik and Udit Narayan, the song is hailed as one of the best in typical spicy rain songs of Bollywood.
The recent rain songs in film industry have stayed away from being titillating. Clich`E9s of yesteryear have metaphorically drowned. "Zoobie doobie" from 3 Idiots
with Kareena Kapoor in an orange chiffon sari in a dream sequence is shot in a contemporary fashion yet captures the essence of a old world Hindi love story. Drenched Kareena and Shahid in Jab We Met (2007) singing "Tum se hi" is anything but titillating. The romance soared high in the song. "Barso re megha megha" song from the movie Guru (2007) has been beautifully shot with Aishwarya Rai amid the euphoria rain creates. In Raavan (2010), Abhishek Bachchan dancing to "Beera" and "Tod de killi" has been shot with artistic finesse.
Apart from singing and dancing and professing love, rains have also been used to guide the audience through the nitty-gritty of the movie plot. Vijay Anand used the concept of rain to unleash the power of faith and spirituality in his film Guide (1965) with Dev Anand and Waheeda Rahman playing the lead. The possibility of rain and dance and dark clouds looming over the horizon was also used by Ashutosh
Gowarikar in Lagaan, where a song about the rain took the story to its next level. "Yeh saazish hai boondon ki" from Fanaa (2006) where Kajol plays a blind girl from Kashmir valley and Aamir Khan, a hardcore terrorist, marks a twist in the tale. The soothing song has been rendered by Sunidhi Chauhan and Sonu Nigam.
The song “Yeh saazish hai boondon ki” from Fanaa, in which Kajol plays a blind Kashmiri and Aamir Khan, a terrorist, marks a twist in the tale

Urban Indian mothers are staggering under the pressure of being successful career

2010-05-14T23:11:00.000-07:00

A recent shampoo ad that was shown widely on Indian television must have quietly but surely stirred up the hornet’s nest in the media! It showed a young mother dropping her daughter to school and looking extremely guilty at the child’s question, "Mere baal lambe kyun nahi?" Earlier, the ad showed the mother saying that her own mother was a non-working housewife and had all the time to tend to her daughter’s hair to keep it long and silky. But now that she was working, she preferred to keep her little girl’s hair short for convenience, suggesting that she was hard pressed for time to look after her daughter. The girl, in the ad, turned around and asked her mother ‘not to go to work if that was the cause of her short hair’!

SAYING IT LIKE STYLISTAS: New-age urban mothers aspire to be well-turned out and glamorous like moviedom’s moms Photo: PTI
Quietly, and one suspects after protests from working mothers, this ad has been cut and presented in its new avatar where the mother is able to fulfill her daughter’s dream of long hair by using the shampoo brand!
Such situations where children make demands on their working mothers are common in the lives of modern Indian women who are under unbearable pressure to be exemplary mothers/wives, successful career women and ‘Bollywood-star-like beauties,’ who invoke envy at social gatherings. On the last International Mothers’ Day of the decade, a look at the tightrope the urban Indian mothers have to walk and how they cope.
"Times have changed 360 degrees," says Mridula Negi, a senior manager in a foreign bank, "It’s no longer enough to earn well, have decent children and lead a good family life. My family expects that I will compete for the top-most job in the banking industry. I have changed jobs three times in the past two years to achieve this and every higher rung of the success ladder brings more stress. I have to lead a team and show progress and higher returns every quarter. There is back-breaking competition among colleagues, which means there is hardly any sincere friendship. Most workplace relationships are based on envy and competition. It’s hard to feel comfortable in this atmosphere. There is also great pressure on me and my husband to have a scintillating social life. In cities like Mumbai or Delhi, if you are home two nights running, you are labelled ‘social outcastes’. My husband, an investment banker, is also going through the same grind. He has to contact clients, watch the market cautiously and provide financial services with responsibility. We invariably come home late, order some food from the pizza joint or dosa restaurant and then crash into bed or go out with friends to keep up with the social race.
In addition, my husband and I expect that the other will remain attractive and fit. So, we have to make time for gym workouts or walks." If this is the fate of a young working mother, senior mothers have equally torturous problems. "I worked for 35 years – without any of the opportunities of modern women," says Lalita Rai, a college professor, "Neither did I earn a huge salary. I did all housework and worked night and day to give my children a better life. Every penny I earned went to provide education and opportunities to my daughter and son. They both did exceptionally well and went to the UK for higher education. They married abroad and now I see them infrequently. Both of them are unhappy with me because I could not help them with money for down payments to buy homes in the UK. Fortunately, I don’t have to ask them for any financial help even after losing my husband. They feel I have failed them."
Between these two extremes, stand millions of Indian women, fortunate beneficiaries of post-Independence India’s gigantic economic and social progress. With fast-track laws for equality and equal opportunities for financial self-reliance in place, they grabbed new educational and career opportunities and competed in the employment market like never before But with the luscious fruits of their victories, came the unpleasant aftermath of overwork, tension and too many responsibilities and expectations. Most women still ended up being the general do-alls in spite of their high positions. A famous example is that of Indira Gandhi, Prime Minister of India, who often entered the kitchen to supervise the preparation of state dinners whenever world luminaries were entertained in her home!
The super-success of women also became a challenge for men whose hi-octane egos are traditionally inflated by their families. Take the statement of India’s richest woman Kiran Mazumdar Shaw, chairperson and managing director of Biocon Ltd. (India’s biggest biotechnology company), who has said that she married Shaw, a foreigner, because she believed that an Indian husband would find it hard to accept her superlative success! In these circumstances, one is left guessing how the husbands and children of Nirupama Rao, foreign secretary of India, Chanda Kochchar, CMD of ICICI Bank, and Pratibha Patil, President of India, accept the scintillating success of their wives/mothers.
"The truth is that Indian women have changed at turbo-speed while men have taken a slower, more leisurely path," says Priya Singh, a senior management trainer, "A majority of men/fathers still expect their wives or mothers to pamper them and do all the work. The children are also reluctant to share housework but definitely want the privileges and financial support which high-earning mothers can give them." "Add to this the excessive media pressure on women/mothers by Bollywood stylists and fashion designers to be slim, sexy, beautiful and perfectly-toned to wear their latest styles and make-up, and you have generations of frazzled young mothers who just go under when they face huge levels of stress compounded by depression. One can notice the sprouting of spas, beauty parlours, cosmetic products and even surgical treatments – they tell us not only that women can afford all these, but also that they have to follow the herd mentality to be seen as ‘successful and sensual," says Meena Thakkar, a spa operator. As Vatsala Kumar, an IAS officer says, "I believe life is a basket. If I put my trust, money, effort, support, love and co-operation in it, my children, too, must put their own contribution in that basket to make life a rewarding experience. If they put nothing and I am the constant, silent giver, something is wrong in that relationship." The only question now is whether sons and daughters realise the magnitude of efforts that modern mothers make to match the expectations of their children and family. Or will sons and daughters now use a new tag line: "Mere pas maa hai – aur uska paisa bhi!"

TODAY'S BOLLYWOOD DAMAGING INDIAN CULTURE

2010-01-09T00:12:00.000-08:00

It's a pity that cinema today in India is replete with Nude Bollywood Stars and not Good Bollywood Actors. Gone are the days when the culture of India that is famous the world over was manifested through our Cinema. At a time when nudity and sexually explicit scenes had become a norm in Hollywood,
Bollywood still portrayed it's actors as prudish characters who immensely valued their countries cultural heritage. For those who desired to feast their eyes on women in skimpy outfits still had to take recourse to occidental cinema.

Little had people expected that Bollywood would make this shocking transition and this quick. The saree clad women who always had their gaze lowered suddenly
transformed into these so called ultra-modern damsels who wouldn't flinch an iota before engaging into a liplock with their leading men who themselves would extend utmost cooperation towards their desirous ladies. Although there has been oodles of advancement in the technical aspects of cinema, thanks to Bollywood emulating Hollywood, the emulation not being confined to just that. The bold and nude Hollywood cinematic

culture has seeped into our movies far too sooner than anyone expected. The people no more have to look towards the West in order to feast their eyes on bare women. Might sound like an overstatement to some, but it isn't, as bulk of the movies made in Bollywood have sexuality as an indispensable element.

The filmmakers should realise that the films with good contents could break the box office without nudity, it is not necessary that film hero or heroine be present in such position that appears like a saying in Hindi Nari beech sari hai ke sari beech nari hai. Before the beginning of 80s, such films were counted as C-class but unfortunately there is less difference between today’s A-class and upto 80s C-class films. So much of nude—say fake—photos of our heroines at internet, is this the standard of our heroines.

So it would be only fair to comment that Bollywood stars are competing against Hollywood stars in terms of exposing their bodies. At the moment they are a tad behind, but it's a cinch that they'll soon catch up with their occidental
counterparts and be at par with them if not supersede them. Truly Cinema is a reflection of the people's mentality. With Indians always wanting to copy what the Americans do, whether good or bad, we can expect the competition to get only more fierce. Hollywood sure doesn't need to compete with Bollywood as it
sets the benchmark be it for quality or nudity.

It isn't yet Bollywood Cinema vs Hollywood Cinema. It is indeed Nude Bollywood stars vs Nude Hollywood stars.

If you flip the pages of history a few years back, then, you will definitely bounce upon this gorgeous lady (then girl) called Lakshmi, who had done the title role of Julie, a woman-centric film. Circa 2007, and you will find one more woman centric film called Kajri, with the difference being, in the contrast of both the roles. This time round, with the kind of costumes involved, one can only term it as a woman-eccentric film!

Bollywood, the biggest film industry in the world, with respect to the number of films released, has been fairly conservative with regards to love-making scenes or nudity. Due to the cultural upbringing and conditioning of India, sex was more or less a taboo and nudity has been something that has been kept off limits. The mindset has slowly and steadily been eroding since the 2000 and the industry has been become more liberal due to the young generation. However complete nudity is still not accepted and can take controversial proportions.
Bollywood actress and models have gone without clothes for magazines, for a movie scene or just for a lark. Sometimes, the clothes have dropped from their body in a classic case of wardrobe malfunction. For instance, Dimple Kapadia's towel slipping act in Saagar, was perhaps the beginning of wardrobe malfunction, long before Janet Jackson’s nipple gate happened. So here are some of the controversial and rare instances where Bollywood actresses went nude for the camera:

Zeenat Aman was shown topless, draped in a see through flimsy saree which exposed her voluptuous charms in the movie Satyam Shivam Sundaram. Raj Kapoor, the legendary director who was rumored to have a fetish of big breasts, said, “You will come to watch Zeenat’s tits but will forget about them and remember only the movie by the time you leave the theatre” This was way back in the 70s when such kind of exposure was looked upon with shock.
Mandakini bared her breasts in film ‘Ram Teri Ganga Maili’ (1986)through a white transparent saree, as she bathed under the water fall. This movie was also a huge hit and people download and watch Mandakini’s legendary waterfall scene that created history.
Mamta Kulkarni went topless for Stardust in the 90s and this cover page exposure took on the shape of a big controversy. Negative publicity is always good in media and the magazine sold many copies

Kashmira Shah was shown nude from behind, and a part of her breasts were shown on camera, much to her chagrin in the movie Revathi.

Madhu Sapre, the model faced a lot of controversy and ire when she posed nude along with her then boyfriend Milind Soman for Tuff Shoes.
Little by little, inhibitions are being shed in a film industry that is taking pride in the fact that it portrays reality unapologetically. Sex, drugs and whatever else, it’s all there in films and the many protests labelling content “un-Indian” doesn’t change directors’ minds.
Nudity is one such aspect Bollywood has experimented with this year. Take the recent case of Kurbaan, where a political party took offence to real-life pair Kareena Kapoor’s bare back and Saif Ali Khan bare chest. “The shot speaks so much about the film’s theme. There is love, passion and violence — all combined in here and what better way than to show it through a single still,” Kareena said. The film went on to release with an “A” rating and nobody seems to care about its “controversial” scenes anymore.
Nandana Sen, who plays artist Raja Ravi Varma’s muse in the upcoming Rang Rasiya, will also pose topless. The film speaks of artistic freedom in the 1870
Away from celluloid, Amrita Rao decided to be part of Peta’s latest ad campaign. She wore a flesh-coloured suit and the photos were shot stylistically. However, a local political party stormed the set hearing rumours that the star was naked. But they were disappointed. “I decide what to wear as long as it’s in sync with a standard mode of conduct,” says Amrita.

ROOTING OUT FARMER

2009-09-03T19:47:00.000-07:00

INDIA has come a long way from Prime Minister Lal Bahadur Shastri’s 1965 slogan “Jai Jawan Jai Kisan”. That was a time of war and food scarcity, both soldier and farmer were icons of patriotism and hard work. Almost two years after, Manoj Kumar at the Shastri’s request had the kisan star as hero of his movie Upkaar.
It looks impossible now-a-days, because the farmer is no longer idolized as hero of the Indian growth. Slowly but steadily, the kisan is vanishing from the Bollywood. Manoj Kumar made history by filmising Mere desh ki dharti sona ugle… in Upkaar. But today films are harping videshi rhythm.
In fact, one of the biggest reasons why the farmer has disappeared from the film scripts is the rise of the multiplexes. Director Ram Gopal Verma probably got it right when he said that he “no longer needed to worry about UP and Bihar”. Gone are the days, when the struggles of Mother India captivated audiences across the country. Trade analyst Komal Nahata affirms, “the farmer is out as the chunk of box-office earnings comes from cities”.
Manoj Kumar, who lived the real farmer on the screen after Bimal Roy and Mehboob Khan, has a different take on the issue. He says, “Farmers are the soul of the country. When you see aerial shots New York, it is a feast to the eyes. But when you see lush mustard fields, it is a feast for the soul. To make a film about farmers you have to out and see wheat their lives are like. This generation seems confined to watching DVDs in tall apartment buildings. Remember, spot light on the farmer will see the light of the day once again”. But today’s directors are interested in telling their own stories, derived from lives lived in the fast lane.
A 2006 National Sample Survey Organisation study found that 40 per cent of India’s farmers want a different job. Roughly, 80,000 farmers—with land holdings and landless labourers alike—are thought to be moving to the cities every year. Studies show that by 2020 70 per cent of Tamil Nadu’s farmers, 65 per cent of those in Punjab and nearly 55 per cent of UP’s farmers will move to urban centers of the country.
Meanwhile, agriculture’s share of India’s GDP has steadily declined from 46 per cent in 1960 to 20 per cent today, even though 70 per cent of the population is still engaged in the sector.
The farmer is having as much trouble in reel life too. By and large, movies with rural settings have sunk without a trace, not least last year’s Summer of 2007 which dealt with farmer suicides, And Bollywood’s latest release Kisaan, is getting no media attention.

The film Kisaan deals with sensitive issues like farmer suicides, land grabbing and also ideology clashes that happen betweenthe family. The basic story revolves around the father (Jackie Shroff) and his two sons.The father is able to educate only one son so sends the elder one to study in the city and keeps the other son with him to make him a Kisaan so the family can become strong and fight any intrusion by industrialization that is happening all over the country. The father believes the land is like a mother that provides a life and livelihood and one should never abandon it. The problem starts when the elder son who was sent to get educated has a different outlook about life leading to a difference of opinion within the family, though the love is there between each other, the way each looks at handling a situation starts tearing them apart. The two leading ladies played by Dia Mirza and Nauheed add to the drama and conflict.

The film Mother India is actually the remake of Mehboob Khan’s earlier film Aurat(1940). This film was about the struggle for survival of a peasant woman abandoned by her husband, left with children and pursued by an avaricious moneylender. Mother India was made after the producer-director Mehboob had made a minute study of a village in Gujarat and left with a complete new perspective of the aesthetic language of cinema.

The rural India is ignored on the silver screen. Indian cinema has become aspirational. It is thriving on people who want their movies to be about the same consumerist lifestyle they are leading or want to lead. Dealing with rural India needs a certain social engagement. Shyam Benegal’s Ankur, Dulal Guha’s Dharti Kahe Pukar Ke, Nahata’s Jigri Dost, and many more films are still remembered for their portrayal of rural life.

Today’s farmers sufferings were foretold decades ago by the visionary producers like Mehboob Khan in Mother India and Bimal Roy in Do Bigha Zameen but our government as well as leaders hungry for power full of luxury in all respect, took the films just an entertainment and failed to read the message about the shortcomings and sufferings of farmers and their labourers.

SEX AND ROMANCE IN BOLLYWOOD

2009-08-23T05:13:00.000-07:00

YOU can't beat the Bollywood classics for their overt romantic tension, where intimate touching (yes, even kissing!) was replaced with the poetic, polite innuendo of hot rain and wet clothing. It's funny that they'd be so reserved about what happens between consenting adults, considering India is the second most populous country in the world. (We know they're doing it!) In some ways, however, B'wood has become more relaxed in its attitudes, as younger, Western-influenced generations come of age and make waves in an industry built on tradition. Previously unseen "taboos" like pre-marital sex, onscreen nudity and even wife-swapping have curiously been passed by the Central Board of Film Certification, the strict watchdog equivalent of the MPAA that has served as a censor since the early '50s. Gathered below is a look at the landmark moments and trends that have raised eyebrows through Bollywood history. Behind the Steamy Scenes Screen icons Dilip Kumar and the beautiful Madhubala fell in love both on screen and off in 1951's "Tarana," while she was still a teenager. Fearful that Kumar would steal away his breadwinner, Madhubala's father refused to let her see him or even go on location shooting when the two were signed to co-star in 1957's "Naya Daur" together. This led to two messy lawsuits, the couple's dirty laundry aired in court, and an uncomfortable decade-long shoot for 1960's "Mughal-e-Azam," during which the break-up occurred. Similarly fuelling the gossip mill were speculations over actor-filmmaker Raj Kapoor and his long-time muse Nargis, which likely helped the box office success of their movies for years. But it doesn't get more scandalous than when actress Rekha turned up at a 1980 celebrity wedding wearing rings and sindoor (red powder in the part of a woman's hair, symbolizing marriage), basically announcing her coupling with former screen partner Amitabh Bachchan, who was also in attendance but already married to Jaya Bhaduri. The three even co-starred in 1981's infidelity triangle drama "Silsila," which is as weirdly sensational as if the three had agreed to star in a quasi-autobiographical film about their relationships. The romance between Lata and music director C. Ramchandra, Dev Anand and Suraiya, Moti Lal and Shobhna Samartha, Arun and Nirmala(parents of actor Govinda and Kirti Kumar,producer),Hema Malini and Dharmendra, actress Leena Chandrawarkar and singer Amit, Vinod Mehra and Yogita Bali can’t be written off. But like Dharmendra and Hema none of them ever bitten any media person. The X-Ray Glasses of the Imagination Victoria's Secret could've made a killing if they'd invested in Bollywood during the '70s and '80s, when the appearance of a plain white brassiere represented the forbidden nature of onscreen toplessness. An actress wearing just her over-the-shoulder boulder holder who turned out the lights, for instance, would be implying that she'd soon be showing her breasts to her lover. If anyone realized the power of such clothed titillation, it was Raj Kapoor, whose films began to push the envelope late in his directorial career. His unparalleled 1973 teen romance "Bobby" made an overnight pin-up sensation of Dimple Kapadia when she appeared in a bikini, and 1978's "Satyam, Shivam, Sundaram" (which faced an uphill battle with the censor board, and was criticized by some as being exploitative) saw Zeenat Aman in a barely-there sari that defied physics by staying on. His final film, 1985's "Ram Teri Ganga Mali" caused further controversy when 16-year-old star Mandakini appeared bathing in a waterfall, wearing only a sheer white sari that made no attempt to conceal her nipples. Today, bikini babes are far more prevalent in Bollywood culture, and 2000's "Hera Pheri" even depicted male sunbathers in bikinis, mistaken as girls from a distance by the film's protagonist. Lurid Lip Locks Up until the '50s, if Bollywood stars wanted to express love or even lust onscreen, clasping each other's hands and staring longingly was about as risqué as it got. Hugging and light face caressing became the next leap over the following three decades, but it wasn't until the '90s that kissing was really acknowledged, let alone done. A woman might lean in for lip service, but would shyly run away before the deal was sealed, or else the actual act would be covered by a veil in the moment before, like some "Austin Powers" gag. While this, too, is changing today (superstar actor Aamir Khan even has a kissing clause put in his co-stars' contracts; if they won't kiss him, they can't act opposite him), puckering up can still be contentious. Padmini Kolhapure made headlines when she merely gave Prince Charles a peck on the cheek, and after Aishwarya Rai smooched Hrithik Roshan in 2006's "Dhoom 2," obscenity cases were filed. Most recently, everyone heard about the stir Richard Gere caused in 2007 when he playfully re-enacted his "Shall We Dance?" pose, catching Bollywood star Shilpa Shetty off-guard with a snog during an AIDS awareness benefit. Shetty told the press it wasn't a big deal; people on the streets of Bhopal burned her posters in effigy anyway. Long Live the New Flesh "Item numbers," or highly sexualized, upbeat Bollywood songs with suggestive lyrics and choreography, began popping up in the late '80s and especially in the '90s. Designed to arouse... interest in the commercial films they appear in, item numbers are stand-alone showstoppers with no relevance to their movies' plots, featuring either cameo appearances from famous stars -- or more typically, "item girls." Hello, objectification! Not to be confused with "It girls," these sexy dancers in increasingly revealing clothing (low-cut saris, tops that barely cover anything) have become a little less stigmatized today, as some have used the showcase as a springboard into leading roles. Among the validated thespians, then, comes the notion of "skin show," what India ambiguously calls any notion of actresses (and even actors now) who are willing to flaunt more than what the conservative standards dictate. Dare-bare performers like Bipasha Basu (whose tantalizing turn in 2003's unfortunately named "Jism" made Channel 4's poll of the Top 100 Sexiest Movie Scenes) and the controversially outspoken Mallika Sherawat (star of 2004's racy "Murder") have achieved notoriety for their scantily clad boundary-pushing alone. Alternative Lifestyles Bollywood plots have certainly progressed, less centered on arranged marriages and more on young urbanites dating and clubbing. But these are still baby steps compared to what we've been accustomed to in Western society. While neither "Brokeback Mountain" nor "Milk" changed the way the gay community has been treated in America, India still remains closeted in comparison. 2003's "Kal No Naa Ho" treated homosexuality with slapstick, and the recent "Dostana" concerns two fakers in the same vein of "I Now Pronounce You Chuck and Larry," but small strides have been made to bring sincerity and open-mindedness to the cinema. 2005's "My Brother... Nikhil" subtly brought awareness to the AIDS crisis, but it never could have existed without the hugely controversial 1996 release of ="0" Deepa Mehta's gutsy drama "Fire," the first Bollywood film to depict not only a gay relationship, but lesbianism. When the latter film opened, there were angry protests and widespread vandalism -- movie theaters showing the film were violently stormed, with windows smashed and posters burned. While it's hard to believe such intolerance over so little could exist in the modern era, you have to take into consideration that "Kabhi Alvida Na Kehna" (which made waves for its dealings in adultery and divorce) and "Mixed Doubles" (about wife-swapping) were only made in 2006.

SHAKTI SAMANTA: A Film Producer Par Exellence

2009-02-13T23:18:00.000-08:00

SHAKTI SAMANTA was born in Bengal but got his education in Dehradun; therefore unlike other Bengalis he was good in Hindi and Urdu. Right from the beginning, he was wanted to join Hindi films, so he took up a job as a school teacher in Dapoli, about 200 kilometers from Mumbai. It was a Muslim-run institution and so Friday would be a holiday. That was the day when he would come down to Mumbai to make the rounds of the studios. He went first to Bombay Talkies where almost everyone was either a Christian or a Bengali.
The interesting point was that Samanta at that point of time wished to become an actor, not a filmmaker. But Ashok Kumar who was the star at Bombay Talkies took him aside and said, “Take my advice, don’t try to be an actor. Become an assistant director”.
At that time three films were on the floors. He would visit the sets and watch the shoots, and when school vacations started he began to assist Phani Majumdar. He would also translate his dialogues from Bengali to Hindi.
All that happened in neo-Independence ’40s. But it was in 1955 that Shakti Samanta got his directorial break with Bahu starring Karan Dewan, Usha Kiron, Shashikala and Pran. But it was Inspector with Ashok Kumar that was his first success. Sheroo and Hill Station followed, and then Shakti decided to launch his own banner.
a href="http://2.bp.blogspot.com/_iYhd60enhuc/SZZypbv0-ZI/AAAAAAAAAQA/fGuYvjxCaEM/s1600-h/Helan+in+Howarah+Bridge.jpg">Howrah Bridge released in 1958, was an actioner and an instant hit, with cult O.P. Nayyar songs like Asha Bhonsle’s Aaiye mehrbaan and Geeta Dutt’s Mera naam Chin Chin Chu. This was followed by Insan Jaag Utha, his first social as a producer, with Sunil Dutt andMadhubala. While both films had Madan Puri—with whom Shakti was to have a long association—in important roles the second film was his first with S.D.Burman, with whom his association was to have momentous implication in the decades to come. Apart from scoring music for Naughty Boy, Aradhana, one song in Amar Prem and Anuraag, S.D.Burman also to catapult Kishore Kumar to the top playback league with Aradhana and later make for Shakti’s long and personally intimate equation with his son R.D.Burman.

Samanta was ever criticized, for his penchant for shifting to the saleable hero of the season. With Singapore (1958), the F.C.Mehra production, Samanta moved from Ashok Kumar to the hot-and-hit new hero Shammi Kapoor. The two were to collaborate on so many film—China Town, Kashmir Ki Kali, An Evening In Paris, Jaana Anjaane and Amiya Chakravorty’s production Pagla Kahin Ka before a third generation hero Rajesh Khanna, became his new pet.

The association with Shammi Kapoor remained notable for various reasons: Singapore was the first film of the legendary Shammi Kapoor-Shankar-Jaikishan association, China Town saw the first Indian song—Baar baar dekho—to be officially copied with permission by a West Indies pop group and Singapore and An Evening In Paris were both shot abroad, a rarity with Hindi films in the pre-‘90s era.

Kashmir Ki Kali introduced Sharmila Tagore. Few mentor protégé associations have proved as enduring, as variegated as weighty and as successful as Shakti’s professional relationship with Sharmila, Sawan Ki Ghata, An Evening In Paris (Sharmila’s first dual role in which she wore a swimsuit and also played a vamp) and powerful performances in Aradhana, Amar Prem, Amanush and Anand Ashram besides Charitraheen had the heroine in a complete spectrum of roles.

1969 was the year that changed the course of films and film music and Rajesh Kahnna emerged as the first Superstar of Hindi films, slaloming to the top with 23 jubilees in less than five years. It was Aradhana with Rajesh in a dual role that changed the course of romance in Hindi cinema, and also catapulted Kishore Kumar to the top as a playback singer just when he had reached his nadir as a saleable hero.
Rajesh Khanna of course became a hit team with Kishore Kumar and lyricist Anand Bakshi and the team with Samanta was together till Rajesh co-produced Alag Alag in 1985. Most of their films together—Kati Patang, Amar Prem, Anuraag and Awaaz and Shakti’s brother Girija Samanta’s Ajnabee and Anurodh besides Mehbooba—had music by R.D.Burman and Laxmikant-Pyarelal came in for Anurodh.

Shakti Samanta felt the need to go to his Bengali roots. The change necessitated a hero familiar with both laguages and popular both with Hindi and Bengali audiences and in the ‘80s and early ‘90s that meant Mithun Chakraborty. However, most of their firms together did not work, including the films that Shakti’s son Asim, who turned director with the Amne Samne (1982).<

From the early 1970s, Shakti Samanta’s Hindi cinema definitely shoed much more Bengali influences, His Amar Prem was based in Kolkata and on a Bengali story, as was Anurodh and Shakti even remade the Bengali classic Balika Badhu and introduced Kishore Kumar’s son Amit Kumar as a singer with the hit song Bade acche lagte hain…
Shakti Samanta brought out some of the best from his music composers from
O.P.Nayyar and Shankar-Jaikishen to the Burmans the he also worked with composers as varied as Hemant Kumar, Ravi, Madan Mohan, Mukul Roy, Chitragupta, and Laxmikant-Pyarelal.
But it was in the ‘80s when trends changed that the filmmaker tried to flow with the tide and made flops galore as confusion and video piracy reigned. Geetanjali (1993) his last film in Hindi as a director was about vendetta, and even his modern-day version of Sarat Chandra’s classic Debdas (2002) as a director were non-starters. But enough work had been done by Shakti Samanta to earn a distinguished place in the Hindi film industry.

Films: Breaking the formulas

2009-01-23T20:01:00.000-08:00

A new crop of directors has infused in Hindi cinema the much-needed freshness of approach, both in terms of content and presentation. This new age cinema, presented through distinctive narrative styles, is finding favour with the cinegoers. The success of these low-budget films at the box-office indicates that people are looking for simple, sane entertainers which do not resort to the staple ingredients of popular cinema like sex, sleaze, titillations and mindless violence.
Recalling back, so many stars like Anupam Kher, Kiron Kher, Mithun Chakravarty, Shabana Azmi, Naseeruddin Shah, Farooq Shaikh, Smita Patil, Om Puri and many more are the products of the art movies who hit the silver screen in 1970s. During this period, many films like Chetna, Kamna diverted the seriousness of the new trend cinema. Resultantly, the films counted as “C” class emerged as “A” class i.e., sex and violence overpowered this new trend of cinema.
During emergency in the country, sex and violence was censored by the Central Board under the directions of I&B Ministry but the release of GP Sippy’s Sholey—a film full of sex and violence—successfully broke I&B Ministry’s direction under the influence of Amitabh Bachchan , one of the main cast of the film, as he was close the then Prime Minister Smt Indira Gandhi. Since then every other filmmakers started to present sex in their films and today it doesn’t effect either the film is an adult or universal, children below 18 are viewing the films.
Secondly, with the rise of Amitabh Bachchan the role of female stars are so restricted that just as a show piece they were presented in the films and to get their role in the films they started to lessen their wearings with a sexy look.
Of late, there has been a blitzkrieg of films based on terrorism following the bomb blasts that rocked our nation. Neeraj Pandey’s A Wednesday narrates refreshingly new tale. The film examines the plight of the common man, who has been constantly subjected to violence in the city of Mumbai. In the film a series of events unfold in a span of four hours on a fateful Wednesday when Anupam Kher who plays the Commissioner of Police in film, gets an anonymous call from Naseeruddin Shah demanding the release of four dreaded militants in lieu of information regarding bombs planted in four different parts of Mumbai.
Though previously Ramanand Sagar’s Aankheyen(1969), Jeetendra starrer film Meri Awaz Suno(‘80s), and Dinesh Gandhi’s Tiranga(2001) had successfully presented the same subject in these films which were appreciated by the cinegoers as well.
Abhishek Kapoor’s Rock on is an engaging tale of four friends who dream to make it big in the world of music with their rock band Magik and leave the audience touched. Santosh Sivan’s Tahaan is the story of a child’s obsession for his pet donkey. The film opens ones eyes to the fact that children can be soft targets for carrying out nefarious and anti-national activities. On this subject Yash Chopra’s Deewar and Manmohan Desai’s Suhag and OP Ralhan’s Phool Aur Patthar etc can’t be ignored, where the exploitation of a child’s poverty by the gangsters was presented.
Ektaa Kapoor and Suneil Shetty joined hands to produce a satire on contemporary Indian life in EMI or Easy Monthly Instalments, a comment on today;s credit economy. It is about people who indulge in spending without thinking. Abbas Tyrewala’s JaaneTu…Ya Jaane Na tells a youthfully exuberant tale of love and friendship. Rajat Kumar Gupta’s portrayal of an NRI protagonist caught in a vortex of crime and communalism in Aamir had something different to say to the audiences. Rahul Dholakia’s Parzania was a hardhitting, realistic effort that brought back the agony of the communal riouts that shook Gujarat. The pangs of sorrow that continue to haunt a parsi family whose son went missing during the riots and remains untraced to this day has been brought to celluloid sans frills.
Rakyesh Om Prakash Mehra’s Rang De Basanti experimented with the genre of patriotism. He cut out jingoism and introduced the youth to the past in a novel manner. The film was a blockbuster. On the same theme Manoj Kumar alias Bharat produced Upkar,Kranti, Purab Aur Paschim.
The focus has shifted from size and style to content. Novel content, presentation and treatment in films like Khosla Ka Ghosla, Maine Gandhi Ko Nahin Mara, Gandhi-My Father, Summer-2007, Vivha and proved to be the success mantra of these off-beat and low budget films.
On the contrary much touted films like Love Story-2050, Drona, Tashan, Kabhi Alvida Na Kahana, Ekalvya, Salaam-e-Ishq with big stars and backed by reputed banners failed to click with the audience.
Today the only films the audience is willing to watch are those with original stories. A great deal of credit for the winds of change blowing over Bollywood goes to the new breed of young directors who have dared to defy the conventional. They have realized that unless filmmakers give something different more stimulating and contemporary in terms of content, form and expression, the audiences will continue giving their films a miss.
Recalling back, in this context, touching the pulse of the audience, Manoj Kumar produced Roti Kapda Aur Makan and on the same subject Joginder alias Ranga Kush filmed Do Chattane, BR Chopra gave the screen the another burning problem Nikaha, and Dev Anand’s Hare Krishna Hare Rama though big budget films, can’t be ignored. But the filmmakers like BR Ishara and IM Kunnu defamed the concept of low budget films with a theme but on the other hand BK Adarsh’s Gupt Gyan, a film based on sex education changed the scenario, it had special shows in the cinemas for ladies only and was screened in girl’s colleges too. What are we talking and discussing about aides and HIV today, BK Adarsh had discussed in detail about other sex diseases too. The popularity of the film gave cabarets, disco houses a desert look.

BOLLYWOOD FILMS STILL POPULAR IN PAKISTAN

2009-01-23T19:57:00.000-08:00

THE aftermath of Mumbai terror attacks might have created an environment of hostility leading to fear and suspicion between Indian and Pakistan, however, the Bollywood flicks are still popular in Pakistan.
According to a film exporter, though Indian movies are banned Pakistan, still they are in great demand. The pirated cassettes of Bollywood movies, mostly smuggled, is found in various cities of Pakistan. Even as there is simmering tension between the two countries, recent Bollywood films like Rab Ne Bana De Jodi and Ghajini are in great demand in that country.
According to reports, “In the last 20 days, around 2,000 cassettes of Rab Ne Bana De Jodi which will make its way to Pakistan. As such there has been no slump in demand for Bollywood CDs from that side of the border even in the wake of increased tension…. Lot of orders are in the offing for Ghajini but with increased vigilance by both countries, it may not be easy to do business in the coming days”.
According to some who have been in this business, for long, this is not at all surprising. “There is nothing to surprise. Even after the attack on Parliament when tension mounted between the two countries, demand for Bollywood movies remained unaffected”. Even film like Chandni Chowk To China is creating buzz in Pakistan.
Those who have been to Pakistan swear by the Pakistanis’ love for the Bollywood movies. Indian films are discussed more than the family affairs and wellbeings.

MELODIOUS LATA

2009-01-05T05:52:00.000-08:00

BORN to Dinanath Mangeshkar on September 28, 1929 as his eldest offspring, Lata became as actress of sheer family sustenance when her father passed away in 1942, facing the camera for Master Vinayak’s Marathi film Pahili Mangalagaur in 1942. She continued to act till 1948 and later appeared in a song sequence in the 1952 Chhatrapati Shivaji.

It was 1942 that she also made her playback debut in the Marathi film Kiti Hasaal, but the song was deleted from the film’s soundtrack. So it was in Pahili Mangalagaur itself that she sang her first song Natli Chaitrachi navalai. Interestingly, her first Hindi song, Mata ek sapoot ki, was in Gajabhau, a Marathi film.
It was Datta Davjekar who gave Lata her Hindi playback with Paa lagu kar jori re in Aap Ki Sewa Mein (1947).
The myth that Lata lacked the western touch was blown to smithereens with Lata’s sensuous rendition of Laxmikant-Pyarelal’s (LP) classy cabaret Aa jaan-e-jaan (Intequam, 1969). Lata had been singing western songs with consummate ease all the way from the ‘50s. But it took 1969 and Helen teasing a caged prisoner to finally equate Lata with western music.
It is true that very few composers explored this side of her all-encompassing virtuosity. Among these were L-P themselves (with other cabarets Jameela… (Night In London), Mehfil soyi… (Intequam) and Lata’s only disco song Mere naseeb mein… (Naseeb), Shankar_Jaikishan (SJ) and Salil Chowdhury.
SJ gave Lata the cream of their western numbers from the masterpieces of Dil Apna Aur Preet Parai (Ajeeb dastaan hai yeh…) to Raat Aur Din (Dil ki girah khol do… and Awara ae mere dil) apart from cabaret numbers like Jeenewale jhoom ke (Gumnaam).
Salil Chowdhury employed her skills at such songs with Rimjhim ke yeh saare saare…(film Usne Kaha Tha) and Itna na mujhse tu pyar badha (film Chhaya)while Rajesh Roshan added his bit with Yeh raaten nayi purani…(film Julie) and Aao manaye jashe-e-mohabbat (film Doosra Aadmi) and so did Kalyanji-Anandji(KA) [Jis ka mujhe tha intezaar…(film Don) and Dil to hai dil…(film Muqaddar Ka Sikandar) and R.D.Burman (RD) with Baahon mein chale aao…( film Anamika). How can one forget C.Ramchandra’s Shola jo bhadke…? (film Albela).
Lata was the voice of choice that twisted and turned in pace and pitch. As maverick composer Sajjad had said once Kambakth kabhi besuri hi nahin hoti (Damn that woman—she never goes off-key). While SJ and LP gave deceptively simple songs that were actually terrifically demanding, it was left to Salil Chowdhuri (Aaja re pardesi… and Bichhua… from film Madhumati besides later examples in film Parakh’s O sajana and songs from films Annadata and Rajnigandha), Jaidev (Yeh dil aur unki… film Prem Parbat and the songs films Hum Dono and Reshma Aur Shera), Khayyam (Ae dil-e-nadaan film Razia Sultan) and others to give Lata very convoluted tunes. As for pure Hindi and Sanskrit, Lata took to them like to the manner born in so many Hindi and Marathi songs, traditional aartiyan and so on.
Lata was just 40 when she sang Achcha to hum chalet hain for Aan Milo Sajna, but she almost sounded all of eighteen under the baton of L-P. It was amazing that Lata sounded all of 16 when two years after Aan Milo Sajna, she recorded Hum tum ek kamre mein band ho, Mujhe kuchh kehna hai and Jhooth bole kauwa kaate for LP’s Bobby.
Though she had earlier been the first voice of so many debut-making heroines like Saira Banu, Hema Malini and Raakhi but after Bobby Lata became the choice for almost every new major heroine all the way till Preity Zinta (Dil Se...)and Namrata Shirodkar (Jab Pyar Kisi Se Hota Hai) in the ‘90s. Come Bindiya Goswami, Tina Munim (now Tina Ambani), Jaya Prada, Poonam Dhillon, Rati Agnihotri, Amrita Singh, Mandikini, Neelam, Sonam, Ashwini Bhave, Zeba Bakhtiar, Raveena Tandon or Manisha Koirala, Lata had to be the young playback voice of a newbie.
Lata branding was her chaste image. She refused to sing songs that had cheap lyrics. She even broke off with Raj Kapoor for nine years after he filmed her Main kya karoon Ram mujhe Buddha mil gaya… (Sangam) in a blatantly suggestive way. But the clever lyricists, composers and filmmakers knew exactly how she could accept such songs and make the most erotic words seem classy.
Bichhua…(with Manna Dey in Madhumati), her Tadap yeh din raat ki, Tumhein yaad karte karte, Jao re jogi, Neel gagan ki chhaon mein in Amrapali,Man kyoon behka, and Neelam pe nabh chhayi…(Utsav), both with sister Asha Bhonsale, Bindiya chamkegi…(film Do Raaste),Dilbar dil se pyaare…(film Caravan), Haaye haaye yeh majboori…(film Roti Kapada Aur Maakan),Ruk jaa raat …(film Dil Ek Mandir),Lag jaa gale…(film Woh Kaun Thi) and many more, along with all her mujras from Pakeezah, Ek Nazar, Sharafat, Adalat and so on and so forth. But none of the younger composers ever exploited this side of her. They were too much in awe of the Lady in White.
Lata’s personal choice in music lay somewhere between a mix of folk and the raags representing traditions. Of course, she simply excelled in so many raag and folk based songs under traditionally-rooted composers like S.D.Burman, Naushad, Roshan, Madan Mohan, Laxmikant-Pyarelal and Vasant Desai.
The innocence of her voice in the many children’s songs like Main ek chhota sa… (film Harishchandra Taramati), Bachche man ke sachche… (film Do Kaliyan), she vocalized the motherly affection radiating from loris like Dheere se aaja ri… (film Albela) and many more and of course the innumerable devotional songs she sang, in films or otherwise across many languages, all added to her versatility.
Lata’s supreme gifts that makes her what she is—her ability to impart the exact tenor, colour, and ethos to diverse songs. The garba seems to take on an authentic Gujarati hue in Main to bhool chali babul ka des …(film Saraswatichandra), a sense of peace of a church in Mother Mary…(film Bachpan) and a pure eastern flavour in Mora gora ang lai le…(film Bandini) or O Tushima ri Tushima…(film Ye Gulistan Hamara) touch the fields of Punjab in Ni main yaar manana ni…(film Daag), experience a tangible pain in Neela aasman so gaya…(film Silsila) and Rasik balma…(film Aah) feel the eerie menace of Main teri dushman…(film Naagina) and be haunted forever Lata’s Aayega aanewala…(film Mahal), Tum na jane kis jahen…(film Saaza),Aaja re pardesi…(film Madhumati),Kahin deep jale kahin dil…(film Bees Saal Baad),Naina bares…(film Woh Kaun Thi) and Gumnaam hai koi…(film Gumnaam).
Above all, her patriot song Aye mere watan ke logon… was sung so sensitively that compelled then Prime Minister of India Pt Jawaharlal Nehru’s tears to roll at Delhi’s Ramlila Grounds in 1962 after China war.

Lataji receiving the Bharat Ratna by President K.R.Narayan
Filmfare Awards
The Filmfare Awards for playback singing first started in the year 1958. In 1956, 'Rasik Balma'[CHORI-CHORI] won the Best Song Filmfare Award, Lata refused to sing it live in protest of no Playback Singer category, which paved way in 1958 of this new category ( though Male & Female Awards where started later on).
From the year 1958 to 1966 no other female singer was able to get the filmfare award. Since she had won the popular Filmfare awards so many times & had always been accussed of monopolising the industry (along with sister Asha), after 1969, she made the unusual gesture of giving up FILMFARE awards in favour of fresh talent.
1958 - Aaja Re Pardesi [MADHUMATI]
1962 - Kahi Deep Jale Kahi Dil [BEES SAAL BAAD]
1965 - Tumhi Mere Mandir Tumhi Meri Pooja [KHANDAAN]
1969 - Aap Mujhe Achhe Lagne Lage [JEENE KI RAAH]
1993 : Filmfare Lifetime Achievement Award
1993 : Filmfare felicitated by the Maharashra Government
. for completion of 50 years.
1994 : Filmfare Special Award ( Didi Tera Devar Deewana -HAHK)
National Awards
1972 - Parichay - Best Female Playback Singer.
1975 - Kora Kagaz - Best Female Playback Singer.
1990 - Lekin - Best Female Playback Singer.
Maharashtra State Award
1966 - Sadhi Mansa - Best Playback Singer.
1967 - Jait Re Jait - Best Playback Singer.
Bengal Film Journalist's Association Award
1964 - Woh Kaun Thi - Best Female Playback Singer.
1967 - Milan - Best Female Playback Singer.
1968 - Raja Aur Rank - Best Female Playback Singer.
1969 - Saraswati Chandra - Best Female Playback Singer.
1970 - Do Raaste - Best Female Playback Singer.
1971 - Tere Mere Sapne - Best Female Playback Singer.
1973 - Marjina Abdulla (Bengali) - Best Female Playback Singer.
1973 - Abhimaan - Best Female Playback Singer.
1975 - Kora Kagaz - Best Female Playback Singer.
1981 - Ek Duje Ke Liye - Best Female Playback Singer.
1985 - Ram Teri Ganga Maili - Best Female Playback Singer.
Other Awards
Some of Lataji's awards include :
1969 : Padam Bhushan
1974 : Guinness Book of World Records:for singing the maximum number
. of songs in the world
1980 : Was presented key of the city of Georgetown, Guyana, South America
1980 : Honorary Citizenship. The Republic of Suriname, South America
1985 : 9th June declared as Asia Day in honour of her arrival in Toronto, Canada
1987 : Honorary Citizenship of the U.S.A, Houston, Texas, U.S.A
1989 : Dada Saheb Phalke Award
1990 : Honorary Doctorate (Literature) By Pune University
1996 : Videocon Screen Lifetime Achievement Award
1997 : Rajiv Gandhi Award.
1998 : Lux Zee Cine Lifetime Achievement Award
1999 : Padma Vibhushan
1999 : NTR Award
2000 : Lifetime Achievement Award by IIFA in London
2000 : Jeevan Gaurav Puraskar by the Chaturang Pratishthan
2001 : Bharat Ratna - The Nation's Highest Civilian Award
2001: Noorjehan Award : First Reciepient
2001: Maharashtra Ratna : First Reciepient
2002: Felicitation By CII ( For Contribution to Music & the Film Industry)
2002: Hakim Khan Sur Award ( For National Integration by Maharana Mewar Foundation)
2002: Asha Bhosle Award : First Reciepient
Doctor of Literature from Shivaji, Kolhapur, Pune, Khairagadh Music University, Hyderabad University & New York University.
Lataji has received about 250 trophies and 150 gold discs
The only Asian to have received the Platinum Disc of EMI London
Swar Bharati award given by Shankaracharya of Sankeshwar
In Tirupati, the title of Asthaan Sangeet Vidwaan Sarloo(Court Musician of the Shrine).
She has also been the member of the Rajya Sabha
Lata Mangeshkar Award
The Government of Madya Pradesh instituted a national level music award, in 1984, in recognition of Lata's extraordinary talent and her services to the field of music. The award, Lata Mangeshkar Award, consists of a certificate of merit and a cash award of Rs. One Lac. Till date this award has been conferred on such giants of music field like Naushad [1984], Kishore Kumar [1985], Jaidev [1986], Manna Dey [1987], Khayyam [1988], Asha Bhosle [1989], Bhupen Hazarika [2000], Mahendra Kapoor[2002] & Sandhya Mukherjee. Music director O. P. Nayyar was also selected to be the recipient of the Award. He, however, declined to accept it on the ground that he would have preferred to accept an award named after a music director for a music director teaches a singer the nuances of music, not the vice versa.
Lata Mangeshkar Award was also instituted by Maharashtra Government in 1992, first recipient of this award was Manik Verma for her outstanding contribution in singing.

NO LAUGHING MATTER

2008-12-17T04:46:00.000-08:00

THE way comedies are bombing at the box-office is not funny. But nobody seems to notice, let alone remember the names of comedies that are being released, week after week, with unfailing regularity.
Today, all those who took films like Munnabhai MBBS, Golmal, and Hera Pheri as precursors to a new comedy wave in Hindi cinema are wondering what went wrong. what went wrong. It is not as though we lack talent. From the tried and tested Paresh Rawal and Satish Kaushik to relatively new but competent specialists like Pathak, Rajpal Yadav, Arshad Warsi and Ritesh Deshmukh, there are more full-time funny men around than ever before. Then why is everybody bemoaning the death of comedy in Hindi cinema?
The last big hits in this genre were Priyadarshan's Bhool Bhulaiya and Anees Bazmi's Welcome, both released in 2007 and powered by Akshey Kumar. So was Sajjid Khan's Heyy Baby , released earlier in the year. But the last real non-star comedy hit was Beja Fry, a delightful adaptation of French film Le Dinner de cons.
A look at the some films released recently would help understand the tragedy that has beset comedies:
Krazzy 4: In this bizarre rip-off from The Dream Team, Irfan Khan, Rajpal Yadav, Arshad Warsi and Suresh Menon play a motley group of loonies on a mission to rescue their kidnappede doctor(Juhi Chawla) who wittingly gets drawn into a political power game. From nowehre Shah Rukh Khan and Hrithik Roshan pop out to perform item numbers (as does Rakhi Sawant) which eventually prove to be film's main attractions.
Don Muthuswamy: Mithun Chakraborty returns with his famous Krishna Iyer M.A. Narialpaniwala act from Agnipath only that he now an ageing goon out to reform himself. He grapples with his Tamilian-Hindi his daughter(Hrishita Bhatt) is caught between two lovers played by Mohit Rana and Rohit Roy. With the entrence of another girl a laugh riot becomes completely convolute exercise in crudility.
Hastey Hastey: It is the guy(Jimy Shergil) who is caught between two girls--one good(Nisha Rawal) and the other(Monishaka) as bad as they come. This so-called romcom has neither romance nor comedy. But the scene-stealer here is Rajpal Yadav who has a triple role here. Only the director Ramanjit Juneja paid some attention to his job.
Mere Baap Pehle Aap: The film by Priyadarshan takes its title from a young man(Akshaye Khanna) who insists on playing matchmaker for his father(Paresh Rawal) a widower. There is another old man(Om Puri) an inveterate skirt chaser. A young lady (Genelia D'Souza) shows up from London and her guardian(Shobana) turns out to be an old flame of the old widower.
These are recent films made in the best tradition of comedies in Indian cinema. Each one is high spirited and hyper-nutty, brishtling with raunchy numbers, visual gags and double entendres, intended to raise a few laughs.
The other effect of prolonged exposure to such films is that audiences have learnt to not ony dirrerentiate between various sub-genres of comedies. Comedy is indeed serious business. Traditionally, filmmakers counted on two distinct streams--comedian-led( well-times gags, jokes etc) and situation-led ( with strong narrative support). We have had a host of boisterous funsters over the years from Noor Mohammed Charlie and Gope to Rajendra Nath and Johny Walker to Kishore Kumar and Mehmood to Johney Lever. Their sense of timing and quick-silver act provided dramatic relief to serious plot situations and more importantly a good fun in cinema.
Amitabh Bachchan upset the apple-cart when he started playing the monkey in some of his films. Gradually the good old funsters were edged out and situation-led comedies took over. The current trend of screwball comedies is an extension of that phase with all actors-- be it Sanjay Dutt or Ajay Devgan, Salman Khan or Saif Ali Khan or Dharmendra. Some like Paresh Rawal and Om Puri changed tracks from villainy to comedy. And then, there is always the new generation of specilist comedians like Rajpal Yadav, Vijay Raaj, Arshad Warsi and Suresh Menon.
All this has put scriptwriters under tremendous pressure. For a while everybody took the easy way out by flogging sexually loaded jokes and erotic fantasies in the guise of comedies. It suited frothy entertainers and skin flicks like Masti, Neal 'n' Nikki and No Entry which were low on costs and high on returns. Audiences want variety. And when it does not come, they look elsewhere.This is truth about comedies that no filmmaker or scriptwriter is prepared to acknowledge.
Mehmood is the only comedian who commanded equal biling with the top heroes of his time. He debuted in 1943 as a child artiste in Kismat and made his mark in Parvarish in 1958. None could forget his style of comedy. It is interesting to note that while working in the film Kismat, it was Ashok Kumar who noticed a trishul on his forehead, perhaps that is why Mehmood was named Mahesh in the film.

Where is Laughing Matter?

2008-08-16T04:45:00.000-07:00

THE way comedies are bombing at the box-office is not funny. But nobody seems to notice, let alone remember the names of comedies that are being released, week after week, with unfailing regularity.

Today, all those who took films like Munnabhai MBBS, Golmal, and Hera Pheri as precursors to a new comedy wave in Hindi cinema are wondering what went wrong. what went wrong. It is not as though we lack talent. From the tried and tested Paresh Rawal and Satish Kaushik to relatively new but competent specialists like Pathak, Rajpal Yadav, Arshad Warsi and Ritesh Deshmukh, there are more full-time funny men around than ever before. Then why is everybody bemoaning the death of comedy in Hindi cinema?
The last big hits in this genre were Priyadarshan's Bhool Bhulaiya and Anees Bazmi's Welcome, both released in 2007 and powered by Akshey Kumar. So was Sajjid Khan's Heyy Baby , released earlier in the year. But the last real non-star comedy hit was Beja Fry, a delightful adaptation of French film Le Dinner de cons.
A look at the some films released recently would help understand the tragedy that has beset comedies:

Krazzy 4: In this bizarre rip-off from The Dream Team, Irfan Khan, Rajpal Yadav, Arshad Warsi and Suresh Menon play a motley group of loonies on a mission to rescue their kidnappede doctor(Juhi Chawla) who wittingly gets drawn into a political power game. From nowehre Shah Rukh Khan and Hrithik Roshan pop out to perform item numbers (as does Rakhi Sawant) which eventually prove to be film's main attractions.

Don Muthuswamy: Mithun Chakraborty returns with his famous Krishna Iyer M.A. Narialpaniwala act from Agnipath only that he now an ageing goon out to reform himself. He grapples with his Tamilian-Hindi his daughter(Hrishita Bhatt) is caught between two lovers played by Mohit Rana and Rohit Roy. With the entrence of another girl a laugh riot becomes completely convolute exercise in crudility.

Hastey Hastey: It is the guy(Jimy Shergil) who is caught between two girls--one good(Nisha Rawal) and the other(Monishaka) as bad as they come. This so-called romcom has neither romance nor comedy. But the scene-stealer here is Rajpal Yadav who has a triple role here. Only the director Ramanjit Juneja paid some attention to his job.

Mere Baap Pehle Aap: The film by Priyadarshan takes its title from a young man(Akshaye Khanna) who insists on playing matchmaker for his father(Paresh Rawal) a widower. There is another old man(Om Puri) an inveterate skirt chaser. A young lady (Genelia D'Souza) shows up from London and her guardian(Shobana) turns out to be an old flame of the old widower.
These are recent films made in the best tradition of comedies in Indian cinema. Each one is high spirited and hyper-nutty, brishtling with raunchy numbers, visual gags and double entendres, intended to raise a few laughs.
The other effect of prolonged exposure to such films is that audiences have learnt to not ony dirrerentiate between various sub-genres of comedies. Comedy is indeed serious business. Traditionally, filmmakers counted on two distinct streams--comedian-led( well-times gags, jokes etc) and situation-led ( with strong narrative support). We have had a host of boisterous funsters over the years from Noor Mohammed Charlie and Gope to Rajendra Nath and Johny Walker to Kishore Kumar and Mehmood to Johney Lever. Their sense of timing and quick-silver act provided dramatic relief to serious plot situations and more importantly a good fun in cinema.
Amitabh Bachchan upset the apple-cart when he started playing the monkey in some of his films. Gradually the good old funsters were edged out and situation-led comedies took over. The current trend of screwball comedies is an extension of that phase with all actors-- be it Sanjay Dutt or Ajay Devgan, Salman Khan or Saif Ali Khan or Dharmendra. Some like Paresh Rawal and Om Puri changed tracks from villainy to comedy. And then, there is always the new generation of specilist comedians like Rajpal Yadav, Vijay Raaj, Arshad Warsi and Suresh Menon.

All this has put scriptwriters under tremendous pressure. For a while everybody took the easy way out by flogging sexually loaded jokes and erotic fantasies in the guise of comedies. It suited frothy entertainers and skin flicks like Masti, Neal 'n' Nikki and No Entry which were low on costs and high on returns. Audiences want variety. And when it does not come, they look elsewhere.This is truth about comedies that no filmmaker or scriptwriter is prepared to acknowledge.
Mehmood is the only comedian who commanded equal biling with the top heroes of his time. He debuted in 1943 as a child artiste in Kismat and made his mark in Parvarish in 1958. None could forget his style of comedy. It is interesting to note that while working in the film Kismat, it was Ashok Kumar who noticed a trishul on his forehead, perhaps that is why Mehmood was named Mahesh in the film.

MAGAN BEHARI LAL NIGAM: A Film Distributor To Remember

2007-12-20T06:26:00.000-08:00

PROFILE
SINCE the Indian films came into existence, so many film distributors,producers and directors came and will come on the scene but nobody knows that under which circumstances they have to survive whenever any film is flopped. There are some to survive while majority of them sunk never to come out. Slowly but steadily, some of the household names like Gemini, AVM, Prasad Productions and V Shantaram and many others are losing their names somewhere in the storm.
Moreso, the Motion Picture Association of Delhi or Bombay never to dare to remember at least the names of Billimoria, Manak Chand, Jain, and Sardari Lal etc who sacrificed their everything to establish the film distribution in Delhi.
Among these distributors elite the name of Magan Behari Lal Nigam of Premier Pictures can't be ignored.
MAGAN BEHARI LAL NIGAM, a name to reckon with in the field of the film distribution. He ran his Premier Pictures, one of the leading film distribution concern till 1955, in partnership with Chand Bahadur Saxena.
Born on January 7, 1917 to Smt & Shri Shadi Lal Nigam, an electrical and mechanical engineer, in Delhi,had just completed his Delhi Board education from Amba Prasad A.S.V.J. Sanskrit High School—now known as A.S.V.J. Sanskrit Senior secondary School,-- Darya Ganj, Delhi, that his father expired on July 15,1935, leaving behind three sons—Anand Behari, Magan Behari and Chhail Behari—and two daughters—Bali and Lajwanti. As the youngest brother Chhail Behari was not so mature to shoulder the family responsibility along with his elder brothers. He was married to Shanno Devi Nigam, daughter of Shri Shiv Narain Nigam, Post Master, Delhi GPO, on December 8, 1939.

Sharing the family responsibilities, Magan took some drastic steps against the wishes of his eldest brother, leaving aside his further education, decided to give maximum education to his youngest brother, joined Bawa Glass Co.,(BGC) Fatehpuri, Delhi—where now Punjab and Sind Bank functioning—a company owned by Bawa Bachhatar Singh, then Mayor of Delhi. Those days, BGC had a great name in pottery, but left the BGC on emotional grounds for not informing the untimely death of his youngest bother Chhail Behari.
It was black August 1, 1945, at one hand his younger brother,Chhail Behari, was lying on his death bed and on the other side,
he along with Bawa was busy in Municipal polling. Bawa was a Congress candidate from Pahar Ganj and Magan was having the heavy amount to spend on the polling stations, so he was on the move from one polling station to another. After discharging his duties, when at mid-night, on returning home, he was shocked finding his younger brother dead.Leaving behind him, his pregnant wife, Smt Ram Rati Nigam. When he came to know that Bawaji was informed, he resigned from the job and for this mishappening Bawa, himself, though had apologised him. It was his sincerity towards work that after so many years, in 1962, when he went to invite him to attend the marriage of his eldest daughter, Shashi. Bawa said “Nigam Babu though I am not attending any function now, except some homely functions, but I will come to grace the function” and stayed late to receive the barat.
He joined Himalayan Trading Co. (HTC) at Connaught Place, owned by Magistrate Sardar Singh Dhupia. While working with HTC he learnt type and shorthand. Having some business tips while working with BGC and HTC, he started his side business concern Universal Trading Company, dealing in glass-cutter supply.
There he came in contact with C.B.Saxena, a friend of Dhupia, and to have a new mile stone in life, established Premier Pictures, at Bhagirath Palace, Chandni Chowk, Delhi and through this office released many hits like Lottery, Sita Haran, Shahji (Punjabi), Nehle Pe Dehla, Dhoomdham, Aap Biti(Directed by Kumar: *ing E.Billimoria, Pramila, Leela Mishra, Ajit,Agha and Kumar), Naseeb, Movie Arts’ Do Baatain(*ing Ramola Narang, Maya Banerji, Hira Lal and Sundar), Urvashi, Kinara and above all, the evergreen Dev Anand and Nimmi starrrer SAAZA. But the release of K.B.Lal’s Lal Dupatta compelled Magan to shutter down the office on the release day.
The box office collections of Lottery, Naseeb, Dhoomdham, and Aap Biti and of Sita Haran had already overshadowed the name of his partner Saxena in the trade but with the re-release of Saaza, Magan was known as FILMWALA in the trade.
He,also, ran Prem Talkies for many months at the Parade Grounds(opposite Red Fort),Delhi but due to the government’s changed policy the cinema was closed. As that time this area was under the control of army,i.e., Red Fort. Prem Talkies was the first and the last cinema to run on this ground(Parade Grounds) by Premier Pictures.
In the history of film industry, G.P.Sippy’s Sazaa is the first film to storm box office in its second run because in its first run, from some of the cinemas, the film was off before completing the week. And the credit to make the flop film a hit, goes to Magan Behari Lal Nigam.
The reason of falling flat of the film was the tragic end. The distributor bundled out the agreement with Sippy Films and when M.B.L.Nigam came to know about it, he immediately telegrammed Kamal Amrohi “to sign Sazaa on behalf of Premier Pictures, if G.P.Sippy agrees to change the end,” e.g., happy end instead of tragic end. Though the other partner was deadly against to sign such a flopped film but he had to bow before Mr. Nigam after the release. And the name of Nigam stormed from Delhi to Bombay.
Those were the days, when a distributor used to favour his counterparts to attend the premier of the film. Magan was very much impressed with the direction, songs, and dialogue and above all, the cast of the film. But the Magan’s name, from Delhi to Bombay, became popular more than the film Sazaa. The industry was stunned with the business tactics of his.
As soon as, Kamal Amrohi gave the signal, he rushed to Bombay and at a throwing away price, signing the film returned Delhi with due publicity of the film. He distributed a song booklet and ten postcards in his mohallah, relatives and other known circle just to write name of the film, song line, singer and music director to forward them in choices’ programmes at All India Radio, Vivid Bharati and Fermaish programme at AIR Urdu etc but as soon as the Tum na jaane kis jahan mein kho gaye song stormed the AIR he released the film and the film proved a super hit. For almost three months, he kept himself busy in laying the foundations to re-release Sazaa, but the partner, Saxena, in the trade was busy in mudding Magan’s name with various hyphens and the release watered on every adjective.
But the release of K.B.Lal’s Lal Dupatta brought so thick dark clouds over Magan’s life. He was too much badly ridden of financial crisis that he and his family had to starve for many years to clear it but never allowed any debtor to knock his door. So many reasons came in-between, first was the betrayal by the partner, C.B.Saxena, who before the release of the film had withdrawn a large chunk of amount on one plea or the other, from the banks and reinvested that amount in other firm, Saxena Cine Corporation, run by his son Kanwar Bahadur Saxena. But at the time of hour, the partner along with his family shifted to Bombay, leaving his business partner, Magan in lurch. And the heavy dark clouds surrounded him all round as staff salary, office rent, cinema’s dues—like theatre hire etc—publicity , staff welfare account and apart from them all, his own family.
The fact is that the film was flopped every where and the producer himself had to shut down his office the same day, so the recovery of the amount for the film was not possible.
Secondly, the migration of two film producers to Pakistan who fled with Rs 25,000 and Rs 38,600 respectively of Premier Pictures.
Those were the days, when the Almighty from all sides was bent upon to examine the Magan’s patience. If some other was on his place must have suicide by then but Nigam struggled and chewed iron balls at every step. For many months, he along with his family lived only on grams, gur and water only. Saxena was so cunning that he withdrew the amount –transferred from Premier Pictures—from the banks. As Nigam was the sleeping patner of Saxena Cine Corporation, the debtors filed a suit against Nigam, for recovery of their money because among the partners only Nigam was handy to them. None came forward to ask his welfare. Even his own father-in-law refused to assist him when—to save him from crucial hands of law—he asked for Rs 50 help because this amount was to be deposited in the court as the penalty or he was to jail for at least three months. But some of his media friends like Sampat Lal Purohit, editor, Yugchaya, and Chandrashekhar Sharma, editor, Kamal, the most popular film magazines of that era, came to his rescue. Even his eldest brother didn’t; for whom, Magan’s wife, Shanno Devi, just after a few week of marriage, handed over all her ornaments to her eldest brother-in-law, at one go, who due to failure in business, had, till neck, drowned in debt. More so, Magan in his hey days used to burden the expenses of his eldest brother’s family but alas! The position was reversed in his own case.
It was no, doubt, a Herculean task to feed the family of ten—five sons, Kamal Behari, Rajesh Behari, Bipin Behari, Awadh Behari and Rajendra Behari and three daughters, Shashi, Ratan and Bharat—but with the cooperation of her wife, Shanno Devi, he passed over these hard crucial days. Instead of expecting any help from any quarter, they themselves worked hard and got ridden, every year the new dresses and books etc were purchased, never asked school authorities even any fee concession. Everybody was wondered that how are they running the show. Shanno Devi used to have to some knitting and swinging works so that the guests may be offered some refreshments etc.
When the Premier Pictures was shuttered down, Kamal Amrohi called him to Bombay to control his production, Mahal Pictures Pvt. Ltd. Recalling back—Kamal Amrohi, Meena Kumari, Kumar(actor-producer), and Dr Dheesh, then M.S. of Irwin Hospital now known as LNJP Hospital, New Delhi and an active member of Railway Board—were all friends in need and deeds.
Kumar—during his stay in Delhi, used to stay at Nigam’s residence, Pahari Imli—written off all the dues towards his films like Kinara, Pyar Ki Baatein etc.
He provided employment so many unemployed—skilled and unskilled—youths in Railways through Dr Dheesh. One day, Mrs Dheesh asked him, ‘you are recommending so many, why don’t employ Kamal—eldest son of him—so that you may have some financial support?” He said, “He is studying now and before giving maximum education, no question of service arises.”
Kamal supported him by appointing as his production Controller. During this period, Paakiza was launched but was stopped after completing six/seven reels. Before the mahurat of the film, the holy man had predicted not to produce it as it could harm you. Even then, the film was launched against the advice.
Resultantly, during the production he divorced Meena and before this mishappening, Meena was snatched from the claws of death during the picturisation of a song Tu Ganga ki mauj… of Baiju Bawara, when her boat crossed the danger mark of the lake and luckily her boat was blocked between the two rocks.
If at the first hand, the film anyhow, could have been completed the cost of production must have crossed the limit because at every new chapter of the film Meena was demanding a new hero, so slowly but steadily the film was transforming into a multi-starrer. And during this going-on of a new actor, actor turned politician Govinda and producer Kirti Kumar’s father Arun, too, was signed. So at the time of dropping the idea of producing the film any further, Arun had a balance of Rs 600/- and to recover that amount he send his actress turned wife Nirmala. Magan refused to pay but due to the interference of Kamal, he paid Rs 100/- only because she has approached Kamal and Kamal had asked that “bechari aurat hai, khali haath mat bhejoo” and for the balance Arun was asked to come personally. The next day, Arun questioned him for not paying the balance to my wife, Nirmala. He replied, “Arun Saheb aap ki filmi shaadi hai, hamein kya maloom ki shaadi abhi kayam hai talaaq nahin hua, Arun sahib ye final payment ki baat hai”, Arun laughed heartily and the matter was over.
During his almost three years of stay, his expenses were just rupees five only and the whole salary was dispatch to Delhi for the family and debtors. But all of a sudden left Bombay. One day as usual while he was working in his cabin, a transporter, during gossiping with the staff, said, “Bhagwan bari kismet se hamein family teta hai aur woh bade kismet wale hote hain jo family hote huye apni family ke beech rajtey hain”, as these words transpired through the ventilators panes approached his ears, taking the saying at heart, he hurriedly finished his day’s work and collected the language from the bungalow to leave Bombay for ever, to live with his family in Delhi. Since then, till his death on March 17, 2005, never thought to go Bombay. And on reaching Delhi, send his resignation to Kamal Amrohi, who rushed to Delhi to know the reason of resignation. At New Delhi’s Imperial Hotel, both of them cleared their doubts and then gave full month salary to him.
Anyway, after a long gap when Meena Kumari expressed her willingness to complete the Pakeeza before her death. Then again, Kamal contacted him with two options; either control Delhi office to be inaugurated with the release of Pakeeza or join production at Bombay. But refreshing all those horrible days and the prediction of the holy man, he refused. Though Meena was anxious to complete the film before her death, perhaps she had intuition about her death.
In this context, it is important to remind the prediction of the holy man, proved. At first instance, divorce and secondly her death. But her death, made the film a memorable. Though till-mid third week, the box-office collection was very poor but her death stormed the box-office. For three days, all the cinemas—except those cinemas running Pakeeza—were closed as a tribute.
Magan used to praise Meena Kumari very much. He was never tired in praising her devotion and sincerity towards her husband, Kamal Amrohi. She used to hand over every single penny—earned in black and white—at the hands of Kamal, never took her lunch or supper alone, if both are in Bombay or elsewhere. If any how, Kamal returned too much late at night, she used to sleep at the dining table in her wait—without taking even a drop of water.
Magan goes on to tell that for many months, her masseuse, was asking to increase her salary. When her personal approach to Kamal failed to cut any ice, she asked him “Nigam Babu Kaafi samaye se massage wali (unable to recollect her name) tankha badane ke liye kah rahi hai lekin Kamal kuch jawab nahin de rahe hain, aap hi bol kar bechari ke kuch paise badwa do”. He reminded several times to Kamal, one day, in great irritation asked him, “Meena Ji ko kaha do massage karwani ho karwain, Na karwani ho no karwain, paisa ek nahin badeka”. Till Magan was in Bombay, even single paisa was recommended by Kamal but Meena never utter any word against Kamal. Obvious to that apologised him for facing humiliation for her sake.
When Nigam Babu was asked about the souring relation between Kamal and Meena, he told that so many times, he tried his best to negotiate between the two but her driver was bent upon on watering all his efforts. And for his nefarious role, was thrashed many times very mercilessly between the staff by Nigam Babu. And cautioned his friend Kamal for the devilish role of the driver but before the poisoning of the driver, his every effort was falling flat.
In his capacity, as a friend, he tried his best to settle the score between the two but as they were normal again the same devil—driver—spoiled the milk. It is very interesting that having souring relations, Kamal had no grudge with Meena. Being an old staffer, the driver couldn’t be removed from the services. As to why and purposely, he was bent upon in making their life so miserable.
Being so close with the family, who has witnessed the hey days of them, Magan bhai was questioned about her affairs with Ashok Kumar, Raj Kumar, and at later stage with Dharmendra( during the shooting of O.P.Ralhan’s Phool Aur Patthar) and so on and so forth. He narrated in detail that when he started to read the writings on the walls, the unexpected storm, he dared to question Meena, “Meenaji agar kuch namumkin haadsa ho gaya to aapke aage puri zindagi padi hai…kyon na kuch din…” Understanding the meaning, she told him, “ Nigam Babu aap to sab kuch jantein hain aur sab kuch apni aankhon se dekh bhi rahain hain, meri kya galti hai…jahan tak dusri shaadi ki baat hai, woh to namumkin hai…Nigam Babu marte waqt bhi mere shauhar ka naam Kamal Amrohi hi hoga…” It was proved that at the time of death, the name of her husband remained the same Kamal Amrohi. If any woman has to learn sincerity and devotion towards her husband should read Meena Kumari. Kamal’s fault was that he relied on the concocted baseless tales of the devil(driver). They were leading a very happy married life.
On hearing so much of struggles about Meena Kumari, it is observed that her roles in Phool Aur Patthar, Sahib Bibi Aur Ghulam, Choti Bahu etc depicted her real life, that is why during the picturisation of Na jao sainya chodake bahiyan…(Sahib Bibi Aur Ghulam) she had asked producer-director, Guru Dutt to have wine, whether you pay or not, but "without wine, in actual, I will not act”. Actually, this song was describing her sufferings in real life.
It is observed that couplet--jab tak the aemakon ke pas paise,aji aap hain aise vaise aur jab jeb thi khali kaon hain aap aise vaise(When you have money in pocket,everybody will honour you, but,alas,since you are pennyless,none will care you) -- he used to recite at times, was proved right in his own life.
Any way, as the news of his arrival, permanently, in Delhi, spread the fire in the jungle. So, before leaving for Bombay, L.D. Desai, film distributor and exhibitor (owner of Chitra in Amritsar, Krishna Talkies, Batala and New Royal Cinema, Aligarh) especially opened the office, Desai & Co., on Sunday and appointed him, as his stenographer. He was so sentimental that after joining Desai & Co, so many producers like AVM, Rajshri etc approached him to control their Delhi offices with the three/four times more offer than Desai. But he refused them all. He served Desai & Co till the closure of the company. As the Jayesh, the maternal grandson of L.D. Desai, was not interested in the film trade like his father Dinkar Desai and as soon as Jayesh established his own business Motorcraft, NOIDA, Dinkar started to squeeze the film business and in 1997/98 with the closure of the company, he left and was the last and only employee to serve the company for such a long period.
During the service with Desai, in 1974/75, Sardar Swarn Singh, producer, distributor and owner of Swarn (now as Supreme) Cinema, Vishwas Nagar, Shahdara, contacted him to shoulder with him but having negative response, Singh compelled him to have only Sunday. Singh had so much of confidence on him that with the consultation with Desai, he asked him to give an hour daily at office, Prince Film Corp., Bhagirath Palace and Sunday at the cinema. As he was busy in producing Thokar.
Once Ratan Lal Behl, the partner of Singh, had to beg pardon just to lie with Swarn Singh. The matter was, the production of Rajendra Kumar and Asha Parikh starrer Badla Aur Balidaan, and secondly, the renovation of the cinema were in full swing but unfortunately, their release of Ram Dayal’s Prabhat faced the wrath of timely ban over the names of Ram and Sita; Behl asked Nigam Saheb not to come as the problems were before you, there was nothing to explain. He stopped attending Prince Films Corp.
After almost two months, on returning from Bombay, for three/four days, not seeing Nigam Saheb, Swarn Singh inquired about his well being. Behl told him that for not having money, he refused to come. Singh thundered, “Behl Saheb, Nigam ko pahchanne ke liye jigar chhahiye; Aare us shaksh ne mera jo sath diya hai film line mein koi de nahin sakta. Kamai na hone par Behl Saheb aap Prince… chod chaoge lekin Nigam nahin,” He called him for to know the facts but on hearing the same version like-Behl. Laughed heartily said Behl Saheb dekha sari apne par lekar kya tum sab ko bachane ki koshish ki hai…Then Behl told that the fact was that “I personally has asked him not to come”. Swarn warned Behl never to repeat such nonsense in future. He felt very sorry, when in 1984 anti-Sikh riots he along with his sons was burnt alive.
During Emergency, some Income Tax officials started to have friendship with him, used to have refreshment etc at Arya Restaurant, Dewan Hall, Chandani Chowk, just to know that how the film distributors earn and invest their black money. As soon as he came to know the modus operandi of these IT officials, he immediately questioned that why a film distributor or a businessman should reveal his black money? See! During British rule we Indians were taxed on the yearly income of Rs 3,000/-, gold was Rs.15/17 per tola and wheat was 20-22 seers per rupee. I have to marry my youngest daughter and today’s gold rate at the Dariba is Rs 676/- per ten grams and you are taxing on the annual income of Rs 8,000/-. More so, a tola is more weighty than your ten grams. Secondly, a business man has thousands of ways to hide his actual income when a salaried employee can’t.
Interestingly, since then no IT official was seen the Delhi film market—Bhagirath Palace.
He was so soft spoken that the editors of the most popular, Hindi film magazines—Yugchaya and Kamal—were obliging him with five complementary copies every month till 80s. When they know that from him they will never have any business.
So much of courage and patience was in his blood that facing the betrayal by the partner, migration of two film producers, to Pakistan, with Rs 25,000/- and Rs 38,600/-- respectively, grabbing of wife’s (Shanno Devi) whole jewellwery by his eldest brother, supported him when the starvation had surrounded him from allround but got negative response from all quarters when he himself was in great need. No body ever dared to ask his family members “have they anything to eat at the moment?” More so, if whenever, he with his wife used to visit any relative, except a few, without asking for a drop of water, were very systematically requested them to go back to the pavilion.
He was principled,sentimental and a practical man in his life that as his second uncle used to harass him of selling the property to some third person,but he opposed all the time on the basis of a Regd. Will by the eldest uncle, Shri Brij Lal, the first party. The fact is that he hasn't any copy of that Will, so he requested his sister-in-law's husband, Munshi Atal Behari Lal Nigam,--a resident of Gali Batashan, Chawri Bazar,Delhi-- to procure that Will but all the time, his requests were turned down which brought some differences between the two but there is a saying do some good. So, just a few months before his death, he procured a copy of the Will to him. That Will worked like the Brahmast, Magan was able to save the property sold at the hands of some Muslims by the family members of the second elder uncle.But it is our judiciary that instead of taking any action of violating the Ragd Will, it winded up the case on one plea or the other.Anyway, sooner than later, on having the Will copy in hands,he had assured Atal that "Atal jis din is Vasiyat ke sahare main is makan ko bachaonga, is ghar main dekhna meri zindagi mein nahin to mere marne ke baad bhi tumhari photo is ghar ki shan hogi".Though, among other brother-in-laws(saroods),the two had a good rapport,even during the hard struggling days, it was Atal,who used to visit him daily before going to the court. Sometimes, the two had some serious discussions on family affairs. To make the family unite, Magan used to repeat the saying of the transporter,"bas Munshiji apna kam karte raho, aur kismat mein jo hona hai hokar rahega".But after having the copy of the Will,Magan was jubilant.
The coordination between the two was so remarkable, can't be explained in words. None could judge that who is counselling whom.
Whenever, anyone of the family members talked about the jewellery of their mother that “why did your brother not mortgage or sell his own wife’s (Smt Kishori Devi) jewellery?” He used to silence by saying that “I supported my brother in crisis, what he did, his deeds went with him and my deeds will go with me”.
He thanked the Almighty for blessing him such a family who tried to avoid any confrontation, and shoulder the responsibility and dignity of the family as one unit.
During his hey-days of film distribution, there was a very proudy and renowned film distributor,called Mr Jain of Darya Ganj, when like Magan Nigam black clouds surrounded him, his own family disowned him and used to come to the film distributors' offices just to have 25 paise for a cup of tea,Magan recalls down memory lanes.

REINCARNATION NOT A NEW SUBJECT

2007-12-16T04:18:00.000-08:00

MANY of our filmmakers have produced films on the unusual theme of reincarnation or say second birth. The story of transmigration of soul that had been ruthlessly annihilated in the previous birth reiterating the leitemotif of revenge in another birth is a subject that has interested filmmakers and audience alike. In Farah Khan’s Om Shanti Om, Om Prakash Makhija(Shahrukh Khan) is a junior artist in the film industry of 1970s who secretly loves Shantipriya(Deepika Padukone). Om who dreamt of becoming a superstar, is shocked to know that Shanti had secretly married Mukesh Mehra(Arjun Ramphal), a film producer. In a twist of fate, both Om and Shanti die. Shanti dies in a fire set up by her husband while Om dies trying to save her.
Om is reborn as Om Kapoor and is a leading star in the film industry. He meets Sandy who resembles the yesteryear heroine Shantipriya. When Om remembers his previous life, he goes back to his mother of previous life (Kirron Kher) amd old friend Pappu (Shreyas Talpade). With the help of Sandy, Pappu and his mother, Om settles scores with Mukesh Mehra who killed Shantipriya by setting the film studio on fire.

Bimal Roy’s Mathumati (1958) based on the screenplay by Ritwik Ghatak was the first film based on the theme of reincarnation. Taking shelter from a storm in an abandoned house, Devendra (Dalip Kumar) discovers a painting of the owner of the house Raja Ugranarayan (Pran). The painting reminds Devendra that he had painted that portrait in his previous life when he was called Anand and worked as a foreman on a plantation of Raja Ugranarayan. Devendra has been in love with a local belle Madhumati (Vyjanthimala). She had jumped to death trying to save herself from the advances of Ugranarayan. Then a trap is set to arrest Ugranarayan. Then a trap is set to arrest Ugranarayan by means of another woman Madhvi who looked like the dead Madhumati. When Madhavi arrived late for the trap, the original Madhumati rises from her ashed and takes her revenge.

Prasad Production’s Milan (1967) based on the similar theme of reincarnation bagan with the marriage of Gopinath (Sunil Dutt) and Radhadevi(Nutan). They cross the river Ganga by boat and reached the other bank to pay obeisance at the samadhis looked after by Gauri ( Jamuna). Here he is reminded of his previous life when he was a boatman Gopi ferrying boat across this river and was loved by Gauri. Radha, daughter of a aristocrat, met Gopi everyday while crossing the river and a bond developed between the two was intensified by their common interest in music. When fingers raised on their relationship after Radha became a widow, Gopi and Radha escape on the boat and get drowned in the Ganga river. While crossing the river, Gopi and Radha meet Gauri and pay respect at the samadhis in memory of their love in their previous life.
In Ram Maheshwari’s Neel Kamal (1968), the past and the present lives merge. At Chitrapur, there was a mausoleum Rang Mahal—Chitrasen’s (Raj Kumar) monument to love—built long ago in celebration of his love for the princess Neel Kamal (Wahida Rehman) Chitrasen was entombed alive by the king, father of Neel Kamal, for his audacity in asking for the hand of the princess he loved. Chitrasen’s spirit continued to haunt the ruins of Rang Mahal singing Tujko pukare mera pyar… Meanwhile, Neel Kamal is reborn as Sita. After her marriage to Ram(Manoj Kumar), Sita displays strange behaviour like sleepwalking during the night, after a long duration everyone was suspicious. Once responding to the forlorn call Tujko pukare mera pyar, Sita sleepwalks to Rang Mahal. There she is reprimanded by Chitrasen that she has forgotten him. He reminds her that she was his Neel Kamal in the previous birth and that her father had him murdered. When Sita offered to atone for the sins of Neel Kamal by sacrificing her life for the salvation of Chitrasen, the tomb crashed and a human skeleton in chains comes out of it. Chitrasen gets salvation and never visits Sita again.
In Subhash Ghai’s Karz (1980), the day after his marriage Ravi Verma (Raj Kiran) is killed by his his wife Kamini(Simi Grewal) for his money. Twenty years later Ravi is reborn as dancer and rock singer Monty(Rishi Kapoor). Monty is haunted by the images of a woman killing her husband and eventually he realizes that he was Ravi Verma in his previous birth. He decides to settl scores with Kamini. Monty pretends love her and finally Kamini confesses that she had killed Ravi Verma.
Rakesh Roshan’s Karan Arjun (1995) was also based on the similar theme of reincarnation. In Rajasthan in their first life Karan (Salman Khan) and Arjun(Shahrukh Khan) were the sons of Durga (Rakhee). They met a gruesome end at the hands of Durjan Singh (Amrish Puri) who also kills their father and grandfather and takes control of the family’s property. Durga’s sons were reborn as Ajay and Vijay. They are troubled by the visitations of memory of their previous life. They finally take revenge from Durjan Singh.
So, none of copy or scriptwriter or any filmmaker has the copyright on reincarnation. If we see around us in life, such instances could be witnessed easily. I am reminded of a 1975/76 news item, from Rajasthan, that a Hindu businessman is reincarnated in a Muslim family of waterdweller( Mashakwala). That is why, it is said, do atleast one good deed a day to have a happy life after death.

FILMS STEREOTYPING POLICE

2007-12-13T19:17:00.000-08:00

FILMS are not just a tool of entertainment but the mirror of the society, and a reflection of our lives. For example, take dowry, and on this issue since V. Shantaram’s Daheej, starring Prithvi Raj Kapoor, so many films touched the silver screen to voice against the defaulters. Remember the dialogue of ailing father (Prithvi Raj Kapoor) Beti uthh dekh tera Baap tere liye daheej main sab kuchch laya, lekin kafan nahin laya. Similar problem of divorce, among Hindus and Muslims is focused by our filmmakers and time to time the criminal activities in the society and in politics—and how offending the police role in defending the criminals is—highlighted on the silver screen.

When bollywood started to expose the nexus between police and crime, say criminals, there was too much hue and cry to ban such roles deriorating the police image but all these cries were drained.
Our Hindi cinema right from the time of Ganga Jamuna too many of the recent films from Ram Gopal Varma, has always reveled in its fascination with policemen. The men in khaki are often a central or at least an important character in any Hindi film. But as in many other aspects of life, there are just stereotypes. The cops are at times do-gooders, men larger than life, and the kind who would brook nothing in their call of duty. The kind of superman almost every hero has played at least once in his career: be it Amitabh Bachchan, Rajesh Khanna, Raj Kapoor, Iftekhar, Sanjeev Kumar, Sunny Deol, Amjad Khan, Raj Kumar, Dharmendra, Pran, Akshay Kumar and Shah Rukh Khan so on and so forth.
There are cops on the screen who are shown buffoons or rogues, the kind of guys who are on the payroll of the underworld. Actors like Asrani, Jagdeep and Kadar Khan have made a career essaying the former, and Sivaji Satam and Mukesh Rishi often etch out the latter. In the depiction of these two extremes, Bollywood often loses sight of the reality. There is no scope for grey when it comes to policemen in Hindi films.

There have been exceptions notably Seher, debutant director Kabeer Kaushik’s film narrated the organized crimes in the northern India. It was a realistic depiction with Kabeer making no attempt at glorification of either the criminals or the cops. It presented a balanced view as the director was bent on depicting things as they were.
The Govind Nihalini’s film Arth Satya, in many ways is a path-breaker. It talked of reality at a time when Bollywood was only peddling escapist fare. Most films until then had faithfully toed the stereotype of cops being either all white or all black. Even films like Ganga Jamuna, Andha Kanoon or Deewar would fail to pass muster if you want to take a pinch of real life. But the fact is that how upright or hardworking an officer, he would never be assigned the task of bringing a gangster to book when it is known that the gangster is a blood relative or a real brother of the police officer. Of course, that has never dissuaded our film-makers from showing one brother who takes the wrong path, always defies law. And the other, grows up to be a policeman and comes face to face with his brother in the climax where invariably the call of the duty is greater than love for the sibling. Dilip Kumar and his real life brother Nasir Khan played pivotal roles in Ganga Jamuna, Rajni Kanth and Hema Malini in Andha Kanoon, while Amitabh Bachchan and Shashi Kapoor were there in Deewar.
Arth Satya deals with political pressure on the police. The film talks of an ordinary sub-Inspector—amazingly most of the cops on the big screen are usually commissioner—who is driven by circumstances to compromise with the system. In a given situation like custodial death, he is forced to take recourse to politicians though throughout his life, he shuns politics. The
film was also quite biting in how it exposed the fact that often the ground level officers don’t get credit for their good work and the higher-ups walk away with all the praises.
In film Shool the cop wants to work within the rules, he is honest and hardworking. But he is transferred many times because he does not blend with the system. It is like life where if you don’t toe the line, you are shifted, causing disturbance in family life. Surprisingly, more such films are not made. Also, no noted filmmaker has ever highlighted the problems of an honest police officer who is not into money making business. On
ly in Shool did we see that the man has to be careful in spending money even on a rare outing with his wife to a local restaurant.
In real life police is a State subject and the day-to-day working culture is
different in each State. A policeman in Naxal infested area is trained and acts differently from a metropolis. That way, Sudhir Mishra’s Hazaaron Khwaishen Aisi was quite a bold film with its frank portrayal of the cops in Champaran.
However, the films like Hazaaron Khwaishen Aisi and Shool are few and far between. The cinema has treated policeman in a superficial fashion. Even the so-called landmark films like Jis Desh Mein Ganga Bahti Hai, Sholey, Commander(*ing Amjad Khan, Arun Govil and guest appearance Amitabh Bachchan),Shakti and Karma have never gone beyond the predictable. In the case of Sholey one must say that the time it was made, such gang vicalries and the possible involvementy of the policemen was a reality in the Chambal area. The depiction of the policemen changed post-1984. Until then the policemen were chasing dacoits as most of the crim used tobe of that nature. But in the 1980s there came about organized crime with the underworld angle thrown in.

Our filmmakers like Anurag Kashyap in Black Friday, Rajkumar Santoshi in Khakee, Govind Nihalani in Dev, Madhur Bhandarkar in Page 3, and Ram Gopal Varma in many films like Shiva, Satya, Company and Sarkar etc started talking of encounter specialists who could be on the pay-roll of a gangster, of cops facing political interference, of guys in league with the underworld. All that is exaggerated truth, but one cannot deny that such instances do come to light in real life too. But our films have often sacrificed depth for breadth which is not a happy situation to be in. It is useful to listen to what people are saying. And the common man wants his reality byte on the bigscreen.

RAINS IN HINDI CINEMA

2007-06-25T07:26:00.000-07:00

AS the rainy season has started to knock, some of the rainy songs and sequences come to mind. The seasonality of monsoon makes the rains particularly special in a tropical country. The Indian connect with the rains extends far beyond. Monsoon in a predominantly agrarian society is a reason for celebration. The rains are a lifeline, a symbol of joy and prosperity. Our sense of joy at the sight of rainfall is traditional old, and no religion, caste or creed comes in between. Every human like sweet rain pouring.
Rains bring out a certain charm and evoke our senses in a magical way. It streaks out in every art form; it captures and captivates the creative urge in man. Our Bollywood filmmakers have made the most of the beauty of monsoon to their own unmistakable style. A touch of romance added with an element of sensuality has made up many a pulse racing song dance sequences.

Rain has always been symbolised with celebration or jubilation and it is happiness personified. Rain has also stood for romance here. Indian films are largely known for their innumerable songs and the rain song is an added attraction. From the golden era to the latest, Indian film industry has seen wet and wild numbers on screen. Be it a hum able slow number from Do Bigha Zameen or the saucy Zara Zara from Rehena Hai Tere Dil Mein, rain's always been in Bollywood.
Let's explore the link between Bollywood and barsaat, baarish, saawan or whatever you fancy.
Rain song and no prizes for guessing the most memorable of the lot. It definitely is the adorable Raj Kapoor-Nargis duo's Pyar Hua Ikraar Hua from the movie Aawara. Composed by Shailendra and Shankar Jaikishen, is a classic song sequence set against the backdrop of rains.

Our celluloid association of the rains with romance, too, isn’t a recent creation. It has been nurtured in the Indian literary and social space since time immoral. Indian cinema has certain specific chronoscopes of romance associated with place and time. The usual seasons for romance are spring and the rainy season.
The very first Indian film Raja Harishchandra (1913), based on a mythological story, and had a wet sari sequence. Unable to find any women to act in his film, its maker, Dadasaheb Phalke had his male actors impersonating women and indulging in jal krida (water sports) in one sconce thus triggering one of the longest surviving narrative conventions of India Cinema.
After then Nimmi, the then teenaged debutant of Barsaat (1949) on whom perhaps Hindi cinema’s first foot-tapping rain song Barsaat mein tak dhina dhin was filmed by actor and producer Raj Kapoor, rains remain the ultimate catalyst for onscreen love stories.
No romantic Hindi film would be complete without a rain dance performed by a sopping wet wench, her sari clinging to her body as if it were second skin.
The beauty of a glass house and rain splashing on it arousing the awesome twosome debutants, Amrita sing and Sunny Deol in Betaab, is indeed worth a mention. The song "Baadal yun garajthaa hain, dar kuch aisa lagthaa hai.." re-inforced the clichéd scene of a lightning and the scared heroine hugging the hero for comfort and solace but ending up igniting both of them. The soundtrack was composed by R. D. Burman and rendered wonderfully by Lata Mangeshkar and Shabbir Kumar.

A Hindi movie listing under any topic is never complete without the Big B. even when it comes to dancing in rain, he is the best. The song with Amitabh and Smita Patil "Aaj rapat jaaye tho humein naa bhulayyo.." from Namak Halal, retains the comic touch of Amitabh and yet also showcases the raw sensuality of Smita Patil.
Remember the drunken and blue eyed Sridevi, in a rather funny dress and a headgear which does not belong to this century swinging on from a tyre and singing, "Kisiki haath naa aayegi ye ladki"? The Sunny and Sridevi starrer song that is from Chaalbaaz is all madness and amusement. It was a treat to watch Sridevi go about tramp like and sing unaware of the rain. Though Sunny Deol and a whole lot of extras were dancing in the song, it solely belonged to Sridevi.
The song, which re-defined the wait and search for the prince charming is definitely from Dilwale Dulhania le Jayenge. The Yash Chopra magic so evident in every frame. The rain adds to the youthful enthusiasm.
The music rapturous number was composed by the duo of Jatin-Lalit earning them instant fame. The picturisation of the song with a dreamy yet energetic kajol strikes well with the young and was a rage for a very long time.
The song, "Rimjhim Rimjhim" from the movie,1942 A Love Story, features Anil Kapoor and Manisha Koirala.

The song unlike other rain songs does not give in to lust or passion but is a cute courting scene of a brave lad and a shy girl it is set in India's pre-independence era. A crimson sari-clad coy Manisha has a dainty, frilled umbrella to match and is very pleased with the rain in this song. This melodious track was among the last few lilting tunes of the late R. D. Burman.

The mast song of Mohra is still on many people's lips is the raunchy racy rain number "Tip tip barsa paani..." the usual love prone heroine trying to seduce the hero with all her jhatkas and matkas. Raveena lives up to her name of Ravishing Raveena in this number. Viju Shah composes the music for this song.
Kajol's vibrant energy itself is enough to keep us paced and when she dance in a great rain, what more could we ask for? This time it's yet another Kajol and rain number accompanied with Akshay Kumar in the movie, Yeh Dillagi and the song is, "Dekho zara dekho barsaat ...".
"Thak jum jm thak jum jum..ghode jaisi chaal haathi jaise dhun, o saawan raaja kahan se aaye thum…this is what ask Madhuri and Shah Rukh with a band of little kids drenching in the rain and enjoying it to the hilt. It is from the film, Dil To Pagal Hai.

The rain song "Ghanan ghanan..." from the Oscar nominated Lagaan, with brilliantly orchestrated voices and synchronized dance and beats introduces the flavor and essence of rain. The song depicted the emotional relationship the village folks shared with the rains and how they yearned for it. It's not the rain but the sight of rain bringing clouds that the people here celebrate.
Memorable rain songs have always had a narrative purpose wither as a catalyst to a budding romance or as culmination of a farmer’s wait in water as in Allah megh de paani de…film Guide(1966) or his joy at the sight of clouds(film Lagaan,2001. While rains highlighted the human drama that regularly unfolds in the subcontinent’s farmlands as in Guide, in a more personal narrative like Kala Bazaar rains helped enhance a romantic sequence as seen in the song Rimjhim ke taraane leke aayi barsaat…

As a means to convey sensuality rain songs resorting to crude exposure enjoyed popularity all through the second half of the last century. Shakti Samanta, in Kashmir Ki Kali(1964), Isharon isharon mein… and Deewana hua badal… used rains and clouded skies as backdrop to hind at sexual passion. With Aradhana (1969), he took it a step ahead—Rajesh Khanna and Sharmila Tagore end up making love after a good drench Roop tera mastana, pyar mere diwana… In Rajshri’s Milan, the song Sawan ka mahina…throws light on the importance and significance of the month of sawan( a rainy season).That excuse for abandonment still persists. In Humjoli( Hai re hai dil gabraye…), the rain is used to exploit the sex and passions of Jeetendra and Leena Chandrawerkar.
But that was then. Today, raunchy item numbers are in. So barring a Baro re megha… (Guru, (2007) here or a Dekho na… (Fanaa, 2006) there, the rain ditty has dropped out of the lexicon of dance directors.
Hindi film songs are scaling new heights of technical finesse, the quality of poetry and picturization is palpably in decline. Shot at 300 frames per second, the droplets trickling down Kajol’s face in Dekho na… are strikingly stark. Was the chemistry between her and Aamir Khan a patch on the simmering intensity that Nargis and Raj Kapoor brought into the much more watered down rain sequence Pyar hua iqrar hua…( Shree 420, 1955) many decades ago? Nargis tiptoeing towards Raj Kapoor and yet shying away from a touch under that black umbrella on a rain washed sideway made for one of Hindi cinema’s most passionate moments. A wide array of film-makers subsequently adopted this template while shooting a rain song—from Bimal Roy (Prem Patra, Parakh) and Shakti Samanta (Sawan Ki Ghata, Aradhana) to Shekhar Kapoor (Mr India) and now Mani Ratnam (Roja, Guru).
Actor-producer,Dev Anand, used rain in his own film Guide but as a rain-god to save the starving villagers from drought.

Yash Chopra’s filming of Megha re megha, tera man tarse re…(film Lamhe) captured the traditional Indian greeting of the monsoon. He has an obvious love for rain songs and has used them repeatedly in Chandani(Lagi aaj sawan ki phir woh jhadi hai…), Yeh Dillagi( Dekho jara barkha ki jhadi…) and in Dil To Pagal Hai(Ghode jaise chaal…).

Actor, producer and director Manoj Kumar alias Bharat used rain in his films Purab Aur Paschim, Shor, Roti Kapda Aur Makan and Kranti. In every film he used it different context. In Purab Aur Paschim, Manoj he throws the light that how the freedom fighters used rain; in Shor (Paani re paani tera rang kaisa..), the importance and harms; in Roti Kapda Aur Makan (Hai, hai ye majboori, ye mausam aur ye doori…), the sensuality and emotions and in Kranti (Dekh tamasha…) freedom fighters never cared of rain in achieving their goal.
Zeenat Aman’s windblown sari effect was also witnessed in Ajnabi song Bheegi bheegi raton mein… after Roti Kapda Aur Makan and has been a cinematic staple rightdown to Sushmita Sen crooning Laga laga laga re… in Maine Pyar Kyon Kiya.

The beginning of the decline of the rain song could be traced back to the increasing vulgarization of the convention that occurred after Mandakini’s sheer gyrations in Raj Kapoor’s Ram Teri Ganga Maili. By the time she shot Ab ke baras yun barsa… (Aag Aur Shola, 1986) the device had degenerated.

Exit the wet sari; in came micro-minis and bikini tops. The aesthetic appeal of rain song diminished further. The sari is the key, otherwise it’s just about seeing the female body. Kishore Kumar get attracted to Madhubala as she tries to dry herself, clutching her wet sari during the song Ek ladki bheegi bhagi si…There is no touch or kiss and yet it’s so sensuous. You have to leave something to the male imagination for a rain song to be sensuous. Raveena Tandon, whose Tip tip barsa pani…(Mohra, 1994) came well before the onslaught of item numbers. Nowadays, it’s more sexual than sensual. People are simply gyrating to the music. The rain songs of yore had close-ups of the heroine reacting to the raindrops.
The picturisation of Tip tip barsa pani… reminds of Pran that during the picturisation of Yari hai imaan mera…in Prakash Mehra’s Zanzeer, he had 104* fever, similarly Raveena had high fever. Both of them danced marvelously in critical health conditions but the magic of celluloid and the final product blows you over.
Forget Raj Kapoor and Nargis standing under that umbrella, forget Dev Anand chivalrously leading Waheeda Rehman through Rimjhim ke tarane leke aayi barsaat…it was swinging 1960s and Shammi Kapoor and Mohd. Rafi’s (Dil tera deewana hai sanam…film Dil Tera Deewana) proclaim it loudly in this rollicking rain song. In this high-energy romp through the rains, a robust Shammi made a made a mighty splash with his lady-love(Mala Sinha). It led to a typical phenomenon—the unwed heroine’s forthcoming pregnancy—as witnessed in subsequent super hits like Ek Phool Do Mali and Aradhana.
The sensuality of the sari cannot be matched by bikini tops. There is no actress like Madhuri or Sridevi in the current generation who can carry off the sensuality without making it sexual. The rain songs became exploitative when traders and money lenders, not genuine filmmakers, began to call the shots in the 1980s. These filmmakers used rain songs to circumvent censor board guidelines. While nudity was frowned upon, it was all right to have a wet sari clinging to her body. But when the heroine is half clad in any case, and titillation became the name of the game and the item numbers delivered a body blow to the rain songs in the late 1990s.
The rain songs can’t be forcibly inserted into a storyline anymore.
Rain was integral to Chameli because the two strangers wouldn’t have met but for the rains. Karina Kapoor’s dance was a childlike reaction to the first rains than a cliché. Just like Aishwarya Rai’s frolic in the rains in Barso re… expresses her new found freedom. It’s not a conventional rain dance.
While the monsoon may help for city folk, the rains hold special significance for the Indian farmer. But for sheer joy, it’s hard to beat Umad ghumad kar aayire ghata…(film Do Aankhen Baaran Haath. Just listen to the tunes of Bharat Vyas lines like Jab sanam pavan ko laga teer, badal to cheer nikla re neer, o dharti jal se maang bhare…, in this V.Shantaram’s film the coming of rains is celebrated by a reformist man(V.Shantaram) with a mission, a woman(Sandhya), two kids and 12 convicts that they can reap a good crop from the barren land.
A rain should have its natural beauty, backed by simple poetry that lets you sot back and enjoy. However, the idea of the rains and monoon remains a feature in Hindi films and a good drenching is bound to happen. Now, it’s the men who get as wet as the women.

FAMOUS RAIN SONGS
1. Pyar hua iqrar hua ; film Shree 420 (1955)
2. Ek ladki bheegi bhaagi si ; film Chalti Ka Naam Gaadi (1958)
3. O sajna barkha bahaar aayi; film Parakh (1960)
4. Rimjhi ke tarane leke aayee barsaat; film Kala Bazar (1960)
5. Hay hay ye majboori; film Roti Kapda Aur Makan (1974)
6. Rimjhim gire sawan; film Manzil (1979)
7. Rimjhim ke geet sawan gaye; film Humjoli
8. Aaya sawan jhoom ke; film Aaya Sawan Jhoom Ke
9. Aaj rapat jayen; film Namak Halal (1982)
10. Kaate nahin kat te; film Mr. India (1986)
11. Mere khwanbon mein jo aaye; film Dilwale Dulhania Le Jayenge (1994)
12. Tip tip barsa paani; film Mohra (1994)

LOSS OF ORIGINAL PRINTS

2007-06-10T07:46:00.000-07:00

INDIA is celebrating its 60 years of Independence and during these six decades, our film industry has come a long way. But this flourishing film industry remains ignorant about the importance of film preservation.
Though so many film personalities are entering in the Parliament—till some decades back one of the film personality was nominated in the Rajya Sabha—but none is bothered of their original based industry. Its very sad on their part, instead of having some concrete steps to safeguard it with keeping their steps on the floor of the Parliament has forgotten the basic amenities and fallout of the film industry.
Have they ever questioned the Information and Broadcasting minister that how many films are preserved by them when so much of revenue the government gets from our film industry alone?
Going to the press, it is learnt that the original prints of Naseeruddin Shah and Shabana Azmi (former MP) starrer Sai Paranjpye’s Sparsh have perished.
Made in 1979—the film was Paranjpye’s first feature film and is considered a masterpiece—produced by Basu Bhattacharya and directed by Sai Paranjpye, Sparsh is a love story that revolves around the complex relationship between a blind school principal and an activist.
The director also has classics like Chashme Baddoor and Katha to her credit.
As cinema is a fragile art form, original prints need to be protected as cultural treasures of our times. To create such awareness among upcoming filmmakers, the Thomson Foundation has introduced a yearly short-term educational programme at the Film and Television Institute of India, Pune—in collaboration with National Film Archive of India (NFAI) and key archive institutions such as George Eastman House (USA) and La Cinematheque Francaise (France). It aims to highlight that cinema is a vivid representation of art, a tremendous source of inspiration that has a great effect on memory.
The number of films produced in a year is increasing rapidly but so far no significant measures have been taken by filmmakers to ensure that their films are preserved. This is mainly because most are not aware of the problem.
NFAI is perhaps the largest film storage house in the country but due to practical problems it is unable to take of all the films produced. According to sources, NFAI is able to deal with only 25 to 30 per cent of the total production of films because of certain constrains. They are lack of manpower, infrastructure and adequate resources. It is said that almost 74 per cent of the films are lying unattended in the laboratories or godowns.
Restoration means returning the film to a version most faithful to its initial release and often involves combining various fragments of film elements. Preservation usually refers to physical storage of the film in a climate-controlled vault and sometimes to repairing and copying the actual film element. The main problems in restoring a film are dirt, dust, scratches colour fading and colour change. Any film is a very vulnerable material. In India because of tropical climate, it is facing the problem of disintegration.
If seriously taken we will find a lot of goldmines of their times, too have been perished and none is bothered about them. Even the film critics are silent over this issue.
It is interesting to note that some times back, this writer approached a widely circulated film weekly to know the address of actor Kumar and it looked funny when the editor of this weekly responded that “she don’t know who is Kumar? And about Kumar are you asking for?” To know or not to know any film personalities’ address is different issue but to say that she doesn’t know one of the stars of 50s and above all, the film-goers must have seen Mughal-e-Azam and must be humming Zindabad, o zindabad, ye mohabbat zindabad… the singing star on the silver screen is KUMAR, played the role of Sangtarash in the film.
Actually this writer’s father late Shri M.B.L.Nigam was one of the known film distributors of 1950s. Through his office Premier Pictures, he had released many hits like G.P.Sippy’s Sazaa( of Dev Anand and Nimmi), though at its first run the film was flopped due to tragic end of the film but the re-release by Premier Pictures the film was a hit. In the history of film industry Sazaa is the first hit-film in its re-release. The other hits were Naseeb, Dhoom Dhaam, and Aap Biti etc. Kumar was not only an actor but a producer and director too of his time.

PLATONIC LOVE: A HIT FORMULA

2007-06-09T06:05:00.000-07:00

IN Indian society segregation of men and women is more the rule than an exception; any relationship between two members of the opposite sex is viewed with considerable skepticism. Anyhow, our Hindi cinema has often tackled this issue with a hand so subtle and so controlled that the skepticism is easily replaced with conviction and respect.
One could ask what platonic love is. The platonic love is an affectionate relationship that evolves over a period of time between a man and a woman beyond family or blood ties without any physical resonances of any kind. It could connote an asexual friendship between heterosexual couples. It is a close relationship where sexual desire between the two individuals concerned either does not exist or has been sublimated.
Moving against Indian notions that refuse to accept such type of relationships between the two adults of opposite sex, our cinema has chosen to tread the path of such love in myriad manifestations. Guru Dutt’s Sahib, Bibi Aur Ghulam is an excellent example of this kind of love. The slow and steady bonding between Chhoti Bahu (Meena Kumari) and Bhootnath (Guru Dutt). The relation between the two is based on faith, mutual respect and a deep understanding of each other’s needs. Both are diametrically distanced from each other. They strike a chord of friendship from the minute they meet secretly in the Chhoti Bahu’s room for the first time.
Another good example of bonding between two virtual strangers—between alcoholic lawyer (Sunny Deol) and his client Damini (Meenakshi Sheshadri)—is presented in Raj Kumar Santoshi’s Damini, who meet in dramatic circumstances. The lawyer is also the rescuer of his would-be-client in distress. The bonding lasts till the court case is finalised. The lawyer, who had given up the practice, takes up her case because he now has a cause to fight for. Once the husband comes back, the relationship comes to an end. This is in keeping with our societal norms that do not brook a married woman’s friendship with a man who is not her husband.
The other example comes from Revathy’s Phir Milenge starring Shilpa Shetty and Abhishek Bachchan. The film pleads the professional rights of AIDS/HIV patients and more about human relationships under pressure. Some relationships break under strain whereas others grow stronger. In this case, both Shilpa (Tamanna) and Abhishek (Tarun) gain from the bonding emotionally. The relationship between the two begins on a negative note but ends up, the two having grown unto more mature and responsible individuals than they were when they first met.

In this context, the film by B.K.Adarsh’s Gupt Gyan,(1974) India’s first film on sex education, can’t be ignore
Naseeruddin Shah’s Yun Hota To Kya Hota weaves four stories into one, tracing the journey of the major characters in search of their dreams, real and illusionary. One of these stories is about a small-time entertainer Rajubhai (Paresh Rawal) who makes a living out of taking dance troupes to the US from time to time and making tons of money out of it. In the course of his work, he suddenly encounters his old flame Tara (Ratna Pathak Shah) now married to a violent alcoholic, who requests him to take her daughter to the US. The single and lonely Rajubhai is overwhelmed and agrees to take the young girl along, but refuses the money Tara offers as the mandatory fee from her hard-earned savings. Rajubhai is both confused and happy when he meets Tara though the flame of passion and sex are no longer present. It is a poignant insight into a moving tale of platonic love between an ageing but successful man and a woman driven to penury and pain.

Similar was the position of Shakti Singh alias Shaka (Dharmendra) and Shanti ( Meena Kumari) in O.P.Ralhan’s Phool Aur Patthar (1966). When Shaka, a bad character, meets the ailing Shanti—left by her in-laws and husband as the plague spread in the village—crying for water lying on the bed. His heart melts and leaving the idea of looting the empty houses of the village, looks after her. Though a passion of love storms surrounded them many times but never outburst that passion.

The music director and producer Hemant Kumar in his film Khamoshi (1969) adopted this platonic formula, the nurse Radha (Waheeda Rahman) became a love-victim while treating Dev (Dharmendra) patient number 24 suffering from acute mania. Dev was unaware of the fact and after recovering from the disease he is discharged and married to his previous love. Radha, who herself becomes the victim of acute mania while treating another patient Arun (Rajesh Khanna) same room and same number 24 who is betrayed by Sulekha (Snehlata).
A slow, yet tottering bonding evolves between the ageing Veer (Shahrukh Khan) and his lawyer Zaara (Rani Mukherjee) in Veer Zaara. The lawyer is determined to bring back the separated lovers together through her fight with the law though she has nothing personal to gain from this union. Her professional aim to win the case metamorphoses into a personal crusade to celebrate the love of Veer and Zaara, who have not met for many years.

O.P.NAYYAR: A Musician Par Exellence

2007-05-06T06:08:00.000-07:00

SO many music directors came and to come on the silver screen but the working and conditions of Omkar Prasad Nayyar popularly known as O.P. Nayyar—was born on January 16,1926—will remain totally unique in the film industry. He will remain only one music director who never asked Lata Mangeshkar to sing on his tunes while some of the musicians—who tried to introduce any female finger against her—have to face the wrath of Lata.
O.P.Nayyar became an AIR artiste at the age of 11and was almost 17 when he composed Preetam aan milo and Kaun nagar tera door thikana in the voice of his classmate, C.H. Atma.
He had no formal training in music and there was none in his family with a musical bent up. His brothers and relatives were either engineers, doctors or judges.
O.P.Nayyar was an outstanding composer. One wonders how could anyone, with no formal training in music, come out with unforgettable compositions. His melodies stand testimony to the fact that commitment can overcome basic constraints. He composed songs suffused with raags,created ghazals and made music that was richer than that of classically trained composers.
In 1949, he reached Bombay to try his luck in films and met producer-director, Krishan Kewal, who was producing Kaneez, with music directors Ghulam Haider and Hansraj Behl, was assigned as background musician. Then, Dilsukh M. Pancholi’s Aamaan(1949), songs like Dekho jadoo bhare more nain, Dil hai deewana jawan hai zamana (Geeta Roy),and Iss bewaffa jahan mein waffa dhoondte rahe (C.H.Atma) noticed his music prowess but the film was flopped at the box-office.
In 1952, P.L. Santoshi’s Chham Chhama Chham under his music direction too, was flopped but Guru Dutt’s Baaz(1953) carve a niche and Talat Mahmood’s Mujhe dekho hasrat ki tasveer hoon main, Geeta Roy’s Zara saamne aa zara aankh mila and Aye dil ae deewane proved blockbusters. While composing the music for Chham Chhama Chham, he met Asha (Bhonsle). Asha came up with what Nayyar wanted and determined to have his leading female singer.
With Guru Dutt’s Aar Paar(1954), numbers like Kabhi aar kabhi paar, Babuji dheere chalna, Hoon abhi main jawan, Ja ja ja bewaffa and Yeh lo main hari piya in the voice of Geeta Dutt ranked Nayyar on the top and became a faoce to reckon with stalwarts like Naushad, C. Ramchandra, Shankar-Jaikishan and Madan Mohan.
When, in 1957, B.R.Chopra signed OP for his Naya Daur, the former wanted Lata to sing but he put his foot down at the risk of losing the film by saying “either Asha-OP or Lata Mangeshkar”. Asha put her heart and soul into Urden jab jab zulfeen teri, Mang ke saath tumahara, and Sathi haath badhana(with Rafi) and with Shamshad Begum Reshmi salwar kurta jail ka.
She considered OP the architect of her career and created memorable numbers. He was the only music director to go without the Nightingale’s(Lata) golden voice, delivered hit after mega hit with Asha. The heady cocktail of OP-Asha captured the imagination of mucsic lovers as never before and swept away even povwerful empetioon from the Madan Mohan-Lata combine. With him Asha’s voice took on a bewitching and an unrivalled sensuous hue.
One only has to listen to songs like Balma khuli hawa mein, Jaiye aap kahan jayengey(Mere Sanam), the jaunty Zara haule hauley chalo more sajna, Aaj koi pyar se and Zulfoon ko hatale chhehre se, Meri jaan tum pe sadke(all from film:Sawan Ki Ghata), the tantalizing Raaton ko chori chori,(film: Yeh Raat Phir Na Aayegi), the alluring Woh haseen dard dedo, jise main gale laga loon(film : Hum Saya) and the plaintive Chain se humko kabhi marne bhi na diya(Pran Chaye Par Vachan Na Chaye), Aayiye mahrban(film: Howrah Bridge), to sense the wavelength the two worked on.
A latter-day homeopathy practitioner, he had his hand firmly on the pulse of the masses and delighted a beat starved nation with his rhythm and uncanny cadenced. His laugh riots for Johny Walker, the most famous of them being Hai dil hai mushkil (film: C.I.D), were as appealing as his haunting melodies such as Aanchal mein saja lena( film: Phir Wahi Dil Laya Hoon). The rip-roaring Suno suno Miss Chatterjee(film: Baharain Phir Bhi Aayengi) his rollicking Jaane kahan mera jigar dil (film: Mr & Mrs 55) and Mere dil pe laga de darling(film: Basant) continue to be hot favourites with his fans. Then there was that wonder song Gharib jaan ke(film: Chhoomantar) featuring the ace comedian. And for the genial comedian, Om Prakash, he composed the delightful Chhuri ban kaanta ban oh my son (film: Jaali Note).
Even his lesser known films like Kalpana(Bekasi jab hadse gujar jaaye), Ragin and Sone Ki Chidiya(Raat bhar ka hai mehmaan andhera… and Pyar par bas to nahin…) had flashes of the maverick composer’s brillaiance.
Geet Dutt’s and Shamshaad Begum’s vocals were different from that of Asha’s and Nayyar used them to perfection in Ehlo main hari piya, Jata kahan hai deewane, Rumhee ne dard diya hai tumhee dawa dena, Thandi hawa kali ghatta aa hee gaue jhoom ke, Leke pehla pehla pyar, Tukre hain mere dil ke…(film: Mere Sanam),Meri neendon mein tum and kajra mohabat wala and many more.
Nayyar was a strict disciplinarian who would brook no interference and laxity on the part of an artiste. During the recording of Man mora banwara niss din gaye geet Milan ke (film Raagini) when Kishore Kumar went off key, Nayyar immediately summoned Rafi much against protests from Kishore. Though Rafi was his favourite singer yet when he came late for recording of Humsaya, he used Mahendra Kapoor in his place. Similar was the case during the recording of Kismat, Kahin Din Kahin Raat and Sambandh.
Before his death on January 28, 2007, he had admitted that his decline as a composer started with the departure of Asha. And the singers like Vanijairam, Dilraj Kaur, Kavita Krishnamurthy, and Krishna Kalley could not sustain his flogging career. The departure of Asha followered by Rafi proved his undoing as he had never been used to summoning Lata, Talat, Mukesh, Kishore and Hemant Kumar etc. Asha often objected to his working with other female singers When he worked with Krishna Kalley, Asha could not bear it and that was where their association came to an end. He felt that one is bound to suffer if one keeps all the eggs in one basket.
Sometime back, a fan of Nayyar has described him as follows:-
“O—Outstanding
P—Performance
N—No match in music
A—Always best tunes
Y—Years and for years to come his music shall entertain
Y—You and you and you—no music director of Hindi film ignore his contribution
A—a class music he gave in every film
R—really for ages there shall be no match for OP Nayyar”
Many of the movies for which he scored music ere down-right terrible stuff had an extremely thin storyline, but they all had the stamp of his class. People went to watch the films only to hear the music, He gave non-starrers like Joy Mukherjee a new lease of celluloid life with run away like Ek Musafir Ek Hasina and Phir Wahi Dil Laya Hoon and when the actor returned for his second innings Nayyar obliged him in Hum Saya teaming up with singer Mohd Rafi to give that memorable hit Dil ki awaz bhi sun… Shammi Kapur had more than his stars to thank the deductive baton of the master musician for the iconic Kashmir Ki Kali (Hai duniya usi ki...). When one hears Rafi’s Tareef karun kya uski… (Kashmir Ki Kali) one wonders if the lyrics were not written for the maestro who was verily the soul and spirit of the golden age of Hindi film music.
The maestro of over 60 films with racy rhythms, he was as stubbornly uncompromising as Naushad when it came to the style and tenor of his compositions. There was always a touch of Punjabi folk music in his tunes, His use of some of the musical instruments are memorable like dholak in Aap yun hi agar humse milte rahe…(film: Ek Musafir Ek Hasina), guitar in Lakhon hain nighaahon mein…(film: Phir Wohi Dil Laya Hoon), and in film Kismat starring Biswajit and Babita and mouth organ in Tumhari mulaqat se mujhko pata hey chala..(film: Mohabbat Zindagi Hai)
Though he is out of sight now but his lilting, sizzling and scintillating numbers will always keep his alive in our mind. His jaunty hat propped over thinning silver hair will continue to haunt music lovers with his immortal song Jayie aap kahan jayengey, door tak aap ke peechey peechhey meri awaz chali aayegee.. Till he was active in films he proved what he composed in film Sambandh:-
Chal akela chal akela, chal akela, tera mela peeche chhoota rahi chal akela…

Mohd Rafi, a singer of no substitute

2007-04-19T19:48:00.000-07:00

JULY 31,1981 was Mohammad Rafi day for Hindi film music lovers all over the world. There never was, and never will be, another Rafi. Even the heavens cried for him when his funeral procession in Bombay as drenched by the rains. And Manoj Kumar had remarked: “They are the tears of Saraswati”.
Even during Rafi’s time there were imitators like Mahendra Kapoor wholented singers themselves but were not able to set themselves free from the Rafi grip. Later we had singers like Anwar(Hum se kaa bhool hui..; Teri ankhon ki chaahat.. and Kasme hum apni jaan ki…)who did well for themselves to begin with but faded away quickly when it was noticed that all they could be poor copies of the great master. Then Shabbir Kumar and Mohammad Aziz who are echoes of the genius but mere echoes, no matter how successful they are in today’s dhoom-dhamaka music age.
Born in Sultan Singh, a small town of Lahore, Pakistan, on December 24, 1924, Rafi grew up to be a great fan of “Fakir Baba”, a town minstrel who had mesmerised the little boy. He would follow im around as if he the Pied Piper. His father was quick to notice the little child’s fascination for music and became his greatest source of inspiration. His elder brother, Hamid, then began giving him taalim seriously and had him trained under Ustab Abdul Wahid Khan of the kirana gharana, Ustad Chhote Ghulam Ali Khan and Pandit Jivanlal Mattoo; After he grew up into a young lad, it was Kundan Lal Saigal, by then a legendary name in the fand acting, inder whose influence he came. It was Saigal who keep recommended him wherever he could and introduced him to Lahore Radio. Then came music director Shyam Sundar, considered the man who “discovered” Rafi who made him sing for his first film Gul Baloch (1940) in Punjabi. Rafi verbalized his love passion in the famous love lore,Soniye, Heeriye, teri yaad ne bahut sataya … but he had to wait for a while before he could soulfully lament about his unrequited love with the singing sensation of the, Noor Jehan (Yahan badla wafa ka…).
This Jugnuduet brought Rafi’s voice to wide notice and interesting, Rafi used to do bit roles those days to supplement his income and had played a comic role of Dilip Kumar’s friend in Jugnu. Rafi did not sticj to this dual role and thus created a major headache for Talat Mahmood who was the reigning singer then. Naushad’s musical score in Baiju Bawara changed all the known equations and Rafi with his O duniya ke rakhwale, Man tarpat hari darshan ko aaj…, and Tu Ganga ki mauj main Jamuna ka dhaara…(the last, a duet with Lata Mangeshkar) made it very clear to everyone who care to listen that the voice was here. Baiju Bawara started an unending shower of seeetness which was to last till 1980, or as fans would prefer to say till eternity.
It was his Baiju Bawara colleague Lata who was to say decade later that Rafi ws “one of the wheels of the chariot of film music.” The great poet and lyricist, Sahir Ludhaianvi, who diest in the same year as Rafi, had remarked once: “The capability Rafi possessed was of acting with his voice.If he was to sing for some revolutionary character then his voice would take on the spirit of a revolutionary and when he sang for a drunkard, his voice likewise would take on a drunkard’s tilt. Ihe sings fro a dejected lover his voice would sing into sorrow and indignation and for a religious man he would immerse itself into Bhakti.
In other, simpler, words, Rafi sang with great feeling. And he had phenomenal versatility, something which always made him score over every other. Whether it was the religious fervour of the Baiju Bawra songs, or the Yahoo exuberance of Junglee; whether it was the drunken drawl, tinged with sorrow, of Hum bekhudi mein tum ko pukare chale gaye…(Kala Bazar) or the drunken naughtiness of Chal chal mere bhai..(Naseeb), or Mujhe duniya walon sharabi na samjo…(Leader), it was Rafi all the way. Take, then, his soft, romantic Maine chand aur sitaron ki tamanna ki thi… (Chandrakanta) or his rock-n-roll belting out of Aaja aaja main hoon pyar tera…(Teesri Manzil). Or his patriotic Awaz do hum ek hain…(non-filmy) and his rollicking Aasman se aaya farishta…(An Evening In Paris). And then contrast it with his feathery Dil ka bhanwar kare pukar…(Tere Ghar Ke Samne) or Meri duniya mein tum aayee..(Heer Ranjha).
It was Rafi to sing O duniya ke rakhwale, who without caring for the blood flowing from his mouth, completed the recording till the recording staff didn’t stop the recording and the sound of hue and cry could be listened at the end of the song. So many singers will come but the devoted singer like Mohd Rafi will never.

MEENA KUMARI: A POLYGLOT PRODUCT

2007-04-19T19:43:00.000-07:00

IT is in the fitness of things to remember Meena Kumari, whose birth anniversary falls on August 1, at a time when fundamentalism and regionalism are raising their ugly heads all over the country. She was a living embodiment of a secularism built up over three generations.
Meena Kumari’s fore-fathers were Hindus, Muslims and Christians. Certainly, it is surprising to know that Meena alias Mehjabeen, widely known as a Muslim, had Hindu and Christian blood. But this would do little to her fan-following. For the self-made actress carved an exclusive niche for herself on the silver screen.
The tragedy of this “Tragedy Queen” started three generations ago. Meena Kumari’s maternal grandmother Sundari Devi was married to the younger brother of Rabindranath Tagore. After the death of her husband, circumstances compelled Sundari Devi to leave the “progressive” house of the Tagores. She came to Lucknow and worked as a nurse in a hospital. Here she came in contact with a Christian journalist-poet Pyarelal Shakir, whom she later married.
Pyarelal is knows as the first Urdu journalist of the Indian sub-continent, and it is interesting to note that the first Urdu journalist was a Christian. In Urdu literature, he is known as Pyarelal Merathi, as he hailed from Merath (Meerut). He as known as a revolutionary journalist and the periodical he published was described as rebellious. In fact, he had come to Lucknow to interview Sundari Devi, to do a story on fate of a widow from the progressive Tagore family. He did the story and married her.
According to Madhuri Kishore Sharma, younger sister of Meena Kumari, that the Tagores wanted to shun Sundari Devi and her descendents, for despite their progressive image, they could not digest a widow from their family getting remarried in the first place and that too to a Christian. As long as Meena Kumari was alive, the Tagores did not find it convenient to deny her indirect relationship with them; but after her death, they started refuting it, says she.
Pyarelal and Sundari had four daughters and two sons. Manohar was a priest and Hiro Mamu worked for Air India. Prabhavati and Kusum were among their four daughters. And it was Prabhavati who gave birth to the legend called Meena Kumari.
It is not known whether Pyarelal had his wife converted to Christianity or not. But he gave all his children Hindu names.
Prabhavati Devi started her career as a theatre artiste in Calcutta---now known as Kolkata—then the cultural centre of India. As this centre shifted to Bombay—now known as Mumbai—Prabhavati, like many other artistes, made Bombay her home. She was a good danseuse on stage. While working for the threatre, she fell in love with Ali Baksh, harmonium-player. He was a Punjabi-speaking Pathan from Peshawar.
Prabhavati, daughter of a Hindu mother and Christian father, married this Muslim. She was converted and renamed as Iqbal Begum. Though a Muslim, Ali Baksh was brought up by a Brahmin for 12 years. Baksh was a very good Hindu-style astrologer, recalls his daughter Madhuri.
The couple had three daughters—Khursheed, Mehjabeen alias Meena Kumari and Mehelka alias Madhuri. The daughters and the mother spoke Bengali, while the father spoke Punjabi. Her own career and that of her two child-artiste daughters, was heavily weighing on Prabhavati’s mind. She scolded the tiny-tots when they spoke Bengali at home and saw to it that all spoke Urdu at home. A good accent was a must to make a name in the Hindi film industry, she felt. She did not allow ever her husband to speak Punjabi at home; such was her obsession with her family’s careers. But despite Bengali almost being erased in the home in which Meena Kumari grew, the language came naturally to her.
Meena Kumari spoke Bengali, Hindi, Urdu, Punjabi and Marathi. She was proud of the cultural diversity of this country and revered all the three religion. She was product of the crucible which heated her three generations and finally made her of a different mettle.

WAS ANARKALI A MYTH ?

2006-11-14T18:25:00.000-08:00

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ABOUT three decade back the film industry’s costliest evergreen historical film Mughal-e-Azam, based on Salim-Anarkali legend, was released. During those days, the big budget films would cost round about rupees five or six lakh; but K.Asif, the producer of Mughal-e-Azam invested rupees one crore in a long span of ten years in completing this grandiose film.
When K.Asif was busy in completing the film with Prithviraj Kapoor, Dilip Kumar and Madhu Bala in the lead, everybody in the celluloid world asked with wonder: Would K.Asif be able to cover its cost ? Because before the release of Mughal-e-Azam every single hair on Asif’s body would bave been drowned in debt. But the release of Mughal-e-Azam proved a diamond-mine for the producer.
Till today, whenever it is released, hits the booking window. Surprisingly, the modern technology of todays has converted this black and white movie into technicolour.
The main reason of rupees one crore investment was, first, partition of India because before partition, Asif was busy in making the film with Nargis and Sapru in the lead; but the riots, in 1947, burnt the readied reels, but also other war weapons, horses, elephants and the like. Then, after Independence, he re-started the film by signing Prithviraj Kapoor, Dilip Kumar and Madhu Bala.
Salim-Anarkali legend is supposed to be based on historical facts, but the varied ends of Anarkali and Mughal-e-Azam create the suspicion in a common man’s mind whether the romance is a myth or a reality.
According to some critics, it is said, that in the court of Akbar, there was neither any dansense named Anarkali nor any girl of that name did ever come in the life of Akbar-Salim. This passionate love story is supposed to be a myth, because these films are based on the famous play of Imtiaz Ali Taj and not on any historical fact.
Once the famous playwright, Imtiaz Ali Taj, due to some reason or the other, had to go to a graveyard in Lahore, where his naughty eyes caught sight of a grave and read the inscription on the tomb-stone. And he tied them so nicely in his play’s fibre that his play became very famous, and sold like hot cakes; and the film magnates started to produce films on that play by forgetting the actual history. Resultantly, people started to suppose Imtiaz’s play as real.
Imtiaz narrates the story in the following way:-
SALIM falls in love with Anarkali, a dansense dancing in the court of Akbar and when Akbar comes to know about the passionate love between Salim and Anarkali, he disapproves this relation for the view that “an ordinary dansense can’t be the empress of Hindustan,” and resultantly, Anarkali is thrown behind the bars. Salim asks his father, King Akbar, to free her but his appeal for mercy is rejected which results in an armed revolt between Salim and Akbar. Consequently, Salim loses the battle before the mighty army of Akbar and , as a rebel, Salim is arrested and Anarkali is buried alive in a wall. And the play ends with the collapse of Salim on Anarkali’s tomb.
To present Akbar as just and compassionate, K.Asif has deviated from the actual play, by saving Anarkali by her escape through the underground tunnel underneath the façade of wall, and Akbar asks her to leave Hindustan. The previous producers could not take any risk. The reason of deviation in case of K. Asif was that because it was not based on historical facts but on a figment of Imtiaz’s imagination.
According to some historians, Noorjahan, daughter of an army officer, was having very intimate relations with Perince Salim when King Akbar came to know about the love-affairs between Salim and Noorjahan, not Anarkali, he married Noorjahan with Sher Afghan, who, with the passage of time was made governor of Bengal.
Instead of committing suicide in frustrated love, Salim got married to one Jodha Bai, a Rajput girl. Incidentally, the name of Salim’s mother too was Jodha Bai. Salim was offered hundreds pf women, even then he could not forget his passionate love, Noorjahan. After the death of Akbar, when Salim ascended the throne, he got Sher Afghan killed and offered his hand in marriage to Noorjahan; but she rejected his offer. But when her first love with Salim started to throb her heart, she gave her acceptance.
By heaving these two different stories about Salim-Anarkali legend, one doubts whether the legendary romance could be a myth or a reality.

Hrishkesh Mukharjee: A Great Filmmaker

2006-10-14T07:26:00.000-07:00

HRISHKESH Mukherjee was a perfect film-maker in himself. He never interrupt the flow of his stories with songs, unless music was needed for the film’s subject. It is amazing to note the quantum of the Mukherjee melodies that have become enduring delights for film and music lovers because of his close friendship with Raj Kapoor,Hrish struck a fabulous rapport with Shankar Jaikishan and Mukesh and the Bimal Roy connection doubly ensured a link with Shailendra. Shankar-Jaikishan scored music of his films—Anari, Asli Naqli and Aashiq—with an honourable mention in the other films they did together—Sanj Aur Savera and Godan.
Most of the music directors who worked with him—12 of his 45 films as director were scored by RD Burman—figures only in Buddha Mil Gaya. The others were Abimaan (S.D. Burman),Anand (Salil Choudhuri), and Anupma(Hemant Kumar).
Amongst the lyricists, Anand Bakshi and Shailendra worked with him in eight films each. Gulzar, Kaifi Azmi, Yogesh, Majrooh Sultanpuri and Hasrat Jaipuri worked in several films too. His films also witness unusual lyricists that included Dr. Rahi Masoom Raza(Alaap), Dr. Harvanshrai Bachchan in the same film, noted comic poet Kaka Hathrasi in Rang Birangi and writer-actor Harindranath Chattopadhyaya in Ashirwad.He vented his ire away at the commercial need for songs with a form of irreverence towards it too. Oftenly, he used his actors as singers—Dilip Kumar with Lata Mangeshkar in Laagi Nahin Chhoote Ram.., Harindranath Chattopadhyaya in Bawarchi, the foreign actress Nerghita in his only sex-comedy Sab Se Bada Sukh, Ashok Kumar and Rekha in Khubsoorat with the former also in Aashirwad, Shatrughan Sinha in Naram Garam and even Asrani in Alaap, and Shiamak Davar sang the title song for Jhooth Bole Kauwa Kaate.
Ashok Kumar’s Rail gaadi...in Aashirwad and Piya bawari.. with Asha in Khubsoorat,Shatrughan’s duet with Sushma Shrestha Ek baat..(Naram Garam) or Rakha’s Kaayda kaayada... and Saare niyam tod do... from Khubsoorat, all became popular. Despite the versatility of Mohammad Rafi and Manna Dey, Hrish’s greatest equation came with Kishore Kumasr and Mukesh and the Mukesh connection in particular seemed pre-destined. It was co-incidence that apart from year, both of left for heavenly abroad in the same month and date –Mukesh died on August 27,1976 and Hrishda on August 27,2006.
Mukesh’s work for Hrishda’s films are films with nusic directors who did not exactly resonate with Mukesh, like R.D. Burman(Phir Kab Milogi, Naukri),Hemant Kumar (Biwi Aur Makan) and S.D.Burman (Chupke Chupke) besides Mukesh lovers like Shankar-Jaikishan (Anari and Aashiq), Salil Choudhuri (Mem Didi, Chhaya, Anand) and that film with Laxmikant-Pyarelal, the film –Satyakam--Hrish openly rated as his best, had that remarkable Mukesh-Kishore-Mahendra Kapoor song written by Kaifi Azmi, Zindagi hai kya... Apart from the mainstay of three of his musically best films, Anari, Aashiq and Anand, Mukesh also delivered memorables like Kahin karti hogi...,( with Lata in Phir Kab Milogi, penned by Majrooh,music by R.D.Burman), Baaghon main kaise...(with Lata on the music of S.D.Burman, on the song of Anand Bakshi in Chupke Chupke).
He tried to introduce new singers like Nitin Mukesh and Vani Jairam in film Guddi with those unforgettable traditional melodies Bole re papiharaa... and Humko man ki shakti dena... It was in 1980s when Hrish’s films ceased to have good songs, while in the late 1970s, there were films that had just one or moe memorable songs, among them Kishore’s Aanewala pal jaanewala hai... ( film Golmal, lyric by Gulzar), and the title song by R.D.Burman and Sapan Chakravorty, Lata’s Sargam ke phoolon se... (film Chaitali, music: Lakshmikant-Pyarelal;lyric:Anand Bakshi) and Sawan ke jhoole pade...( film Jurmana;
Music: R.D.Burman; lyric: Anand Bakshi) and Yasudas’ Zindagi ko sawaarna hoga...( film Aalap, Music: Jaidev; Lyric: Dr. Rahi Masoom Raza). Lata always remained Hrish’s favourite voice in solos and the other nuggets that we remember Do din ki zindagi... and Abhi kya sunoge suna to hasoge...( film Satyakam; music: Lakshmikant-Pyarelal; lyric: Kaifi Azmi), Jhir jhir barse sawan... and Ek tha bachpan... (film Aashirwad;music: Vasant Desai; lyric: Gulzar), Ab ke sajan sawan mein... (film Chupke Chupke; music: S.D.Burman; lyric: Anand Bakshi), Maine kahaa phoolon se... (film Mili; music: S.D.Burman; lyric: Yogesh), Ehsaan mere dil...( film Gaban; music: Shankar-Jaikishan; lyric: Hasrat Jaipuri), Jaane kaise sapnon mein.., O sajna mere ghar...,and Manmohan Krishna Murari...(film Sanjh Aur Savera; music: Shankar-Jaikishan; lyric: Shailendra), and Haaye re who din kyoon na aaye...(film Anuradha; music: Pt. Ravi Shankar; lyric: Shailendra).
Hrishikesh kept the rich cultural age and classical content in his films whether it was Bhor as hi gaya andhiyaara...(Manna Dey, Nirmala Devi—actor turned politician Govinda’s mother—Harindranath Chahatopadhyaya,and Lakshmi Shankar; film Bawarchi, music: Madan Mohan; lyric : Kaifi Azmi), Tum bin jeevan kaisa jeevan... in the same film(Bawarchi) by Manna Dey, Badi sooni sooni hai... and Aaye tim yaad mujhe...(film Mili; music: S.D.Burman; lyric: Yogesh;Singer: Kishore Kumar).
Another quality of his films was that the melody was suffused with fun songs, even if there was a sobriety even there as seen in Kishore’s Munna bada pyara...( film Musafir;music: Salil Choudhuri; lyric : Shailendra), woh jhootha hai vote na usko dena...( film Namak Haram;music: R.D.Burman; lyric: Anand Bakshi), and Sun sun sun didi tere liye ek rishta aaya hai...( film Khubsoorat; music R.D.Burman; lyric : Gulzar; singer: Asha Bhonsale). And classical raag and comedy coalesced into heady fusion in Ajhun na aaye baalama...( film Sanjh Aur Savera; music: Shankar-Jaikishan; lyric: Hasrat Jaipuri; singers: Rafi-Suman Kalyanpuri).
The western end of the spectrum we have Salil Chowdhuri’s classic reworking of symphony with Talat Mahmood’s Itna na mujhe tu pyar jataa...(film: Chahya; lyric: Rajendra Krishan), in a score that also boasted of Talat’s Aankhon mein masti... and Aanasoo samajhke kyoon mujhe aankh se gira diya... and Ae mere humnasheen...( film: Pyar Ka Sapna; Lata-Rafi;Chitragupt; Rajendra Krishan).
The filmmaker, Harishda’s musical record will not be completed without the mention of RD Burman-Anand Bakshi duo Main shaayar badnaam... from Namak Haram. It supercedes by the two more popular Kishore solos from the same film, Nadiya se dariya... and Diye jalte hain.
Hrishkesh Mukherjee’s Top Seven Musical Hits
Anari(1959; Shankar-Jaikishan; Shailendra-Hasrat Jaipuri)
THIS brilliance of this music had a major part in the film’s success. Mukesh’s Dil ki nazar se....( with Lata) ,Sab kuch seekha humne.... and Kisi ki muskurahaton pe ho nisaar... .It also had Lata lovelies like Banke panchhi gaaye...and Tera jaana...
Asli Naqli (1961; Hasrat-Shailendra; Shankar-Jaikishan)
THIS was another musical hit with Lata-Rafi etching unforgettable melodies like their duet Tujhe jeevan ki door se bandh liya hai...Lata’s Tera mera pyar amar... and Lakh chhupaaon.... and Rafi’s Chheda mere dil ne tarana koi pyar ka...., Ek but banaaoonga tera aur... and Kal ki daulat aaj ke khushiyaan...
Aashiq(1962;Hasrat-Shailendra; Shankar-Jaikishan)
MUKESH’s gems Tum aaj mere sang hasn lo..., Tum jo hamare hote...and Main aashiq hoon baharoon ka...apart from Lata-Mukesh duets Mehtab tera chehera and O shama mujhe phoonk de...
Anupma(1965; Hemant; Kaifi Azmi)
LATA’s solos Dheere dheere machal... and Aisi bhi baatein hoti hai...and Hemant Kumar’s Ya dil ki suno...,Asha Bhonsale’s Bheegi Bheegi fiza... could not match up but ere sparkelers nevertheless.
Anand(1971; Salil Choudhury; Gulzar-Yogesh)
YOGESH’s breakthrough in Mukesh’s Kahin door jab din dhal jaaye... and Manna Dey’s Zindagi kaisi paheli ... and Gulzar’s Maine tere liye hi...(Mukesh) and Jiya laage na...(Lata) were the icing on the cake.
Buddha Mil Gaya(1971; RDBurman; Mujrooh Sultanpuri)
KISHORE’s chart-buster Raat kali ek khwab mein aayi...Manna Dey’s Aayo kahaan se Ghanshyam...and Lata’s Oye buddho lambo lambo.... and Jiya na laage mora.... and Kishore-Asha’s Bhali bhali si ek soorat...
Abhimaan(1973; SDBurman;Majrooh)
LATA-RAFI’s Teri Bindiya re.... and Lata’s Ab to hai tumse... were the tallest peaks of a score that also had Kishore’s Meet na mila re man ka...,Lata-Kishore’s Tere mere Milan ki ye raina and Lata-Manhar’s Loote koi man ka nagar...
Many filmmakers will come but like Raj Kapoor, V.Shantaram etc no Hrishkesh Mookerjee will come again.

REALITY ALWAYS WINS

2006-08-28T06:45:00.000-07:00

KARAN Johar has made a quite a leap from “Love is friendship” to “A love that broke all relationships”. With Kabhi Alvida Alvida Naa Kehna, the man explores the other side of the fence. He moves beyond picture-perfect scenarios into the real world. In this world an incompatible spouse doesn’t die conveniently before the marriage can come apart. In his earlier films, the nauseating fluorescent fours actually reflected life as black and white. But with his latest magnum opus production, the black and white has blended into a shade of grey that is closer to life.
Indian films have its share of films made on the subject. From Guru Dutt’s Sahib Bibi Aur Ghulam to Hrishkesh Mukharjee’s Abhiman to Aziz Mirza’s Chalte Chalte, the morning after the wedding reception has been looked at from various angles. There is a plethora of complications to choose from. And infidelity tops the list. Stories of infidelity have found many takes. But making a film that de4als with infidelity is like playing with fire. Most of the filmmakers make sure they’re suitably insulated.
When the leading man or the leading lay is indulging in an extra marital affair the ‘other’ man or the ‘other’ woman is the villain. In Mahesh Bhatt’s Arth and Vikram Bhatt’s Ankahee—said to be the autobiography in nature, Esha Deol extracts very little sympathy from the audience even though she is mentally ill. Her demeanour is distinctly botchy as compared to the perfect wife that Ameesha Patel plays. In Mahesh Bhatt’s Arth Smita Patil played to perfection the bad, 'other' woman’. In Anurag Basu’s Murder the other woman turns out to be criminal, who won't hesitate to kill the very woman he is in a relationship with. In Gangster, he shows Emraan Hashmi as the other man who lures Kangana Ranaut into having an affair with him so he can get to her mafia don boyfriend.
In Aditya Chopra’s Dilwale Dulhania Le Jayenge the other guy who Kajol was being forced to marry was conveniently an insensitive male chauvinistic pig, and so we felt no sympathy for him even when he was left stranded on his wedding day. And we cheered. When the ‘other’ is not a whore, a murderer or a conman, we cannot hate them. Gulzar’s Ijaazat is a story of a marriage gone wrong because Naseeruddin Shah cannot get his first love out of his mind. IN Yash Chopra’s Silsila—interesting autobiographical for the three lead artistes played by the real-life artistes—an extramarital affair seems inevitable when circumstances bring together Amitabh Bachchan and Rekha who were passionately in love before they were forced to get married elsewhere.
In Mahesh Manjrekar’s Astitva, Tabu commits an isolated act of infidelity in a state of acute loneliness. She is further justified when it later revealed that her husband has been unabashedly indulging in regular trips out of the marriage. In Anant Balani’s Jogger’s Park an older man is driven towards a woman young enough to be his daughter because he feels no connection between his wife and him. In Somnath Sen’s Leela, Dimple Kapadia finds herself in the arms of a 19-year old because she discovers her husband has been sleeping with another woman in her house. In Leena Yadav’s Shabd and Raj Kanwar’s Judaai the wrongdoers are literally pushed towards other partners.
There are happy marriages, which face assault because one partner cheats on the other for no apparent reason. In Shekhar Kapur’s Masoom, Naseeruddin has a dream life—a good job, a beautiful wife, two adorable daughters ad the bliss of communication. But on one night, he sleeps with an old college friend, and has a son with her and his whole life turns upside down. The other woman is not a whore, just lonely. It’s not her fault and she finds redemption in death. He pays for it by almost losing his family. But in end the marriage wins, all else loses.
The films made on infidelity have ended with the defeat of the relationship at best. In Sanjay Lila Bhansali’s Hum Dil De Chuke Sanam true love admits defeat in the face of marriage when Aishwarya Rai refuses to go back to her lover. In Nikhil Advani’s Kal Ho Naa Ho Jaya Bachchan’s husband has a daughter from another woman whom she accepts as her own, but the marriage does not break.
The bitter truth is that in these modern times, marriages fall apart even before one finishes saying the vows. Many choose to cut their losses and run rather than stick it out. It is perhaps for the first time in history of Indian cinema that an extra marital affair has culminated in a union. The seemingly happy ending is laced with a fair share of regret. but it is nonetheless happy. Johar thinks the audiences have evolved and they’re more willing to accept reality that bites, considering the big bucks riding on the film Johar has indeed taken a very bold step by delving into the dark alleys of ambiguity that envelope the modern Indian marriage.

THE VOICE EFFECT IN INDIAN FILMS

2006-08-02T07:56:00.000-07:00
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THE MAGIC OF VOICE
THE arrival of sound in cinema with Alam Ara (1931) put the careers of those stars of the silent era that did not sound ear-friendly and those stars that had a roaring and booming voice became the heartthrob of film fans. Such was the magic of voice that even the blind thronged the cinema halls showing Sikandar to hear the booming voice of Sohrab Modi and Prithviraj Kapoor portraying King Puru and Alexander in the film.

After days, it was realised that in the world of entertainment, an ear-friendly voice, changing the pitch of voice, the right pauses and body language, etc add punch to the performance. Later on actors like Moti Lal, Dilip Kumar, Balraj Sahani and Dev Anand etc pioneered a shift from the theatricality of Sohrab Modi and toned down the volume of Prithviraj Kapoor’s dramatics with a natural dialogue delivery uncluttered by mannerisms and flourishes.
The versatile artistes not only in emoting but also in negotiating the textual dynamics made the best use of their grandiloquence. Balraj Sahani brought an aesthetic sensibility to his role in Do Bigha Zameen.In Jagte Raho,Raj Kapoor, a villager, comes to a city and enters a locality to quench his thirst, but the crowd throughout the night thinks him to be a decoit,chases him. The way Raj Kapoor reacted; the audience could actually feel his seething anger and revulsion. With strong and flamboyant means of articulation which had the audience listening to him in amazement in Mughal-e-Azam, Prithviraj Kapoor depicted the compulsions of emperor Akbar when he admonished Madhubala saying Salim tujhe marne nahin dega aur hum, Anarkali tujhe jeene nahin deengey, ek londiya Hindustan ki mallika nahin ban sakti etc.

Dev Anand has a slight sing-song cadence and certain sauciness in his voice that suits the characters he generally plays, but he was dramatic and subtle in Guide when he said, Raju samajh ley keh karnewala koi aur hai tu to sirf bahana hai, Kam uska naam tera...His words oozed charisma. In Ganga Jamuna, Dilip Kumar is shot in the last scene; he utters Hey Ram before dying. The poignancy and reverence with which Hey Ram reminds the audience of the last moments of Mahatma Gandhi.
In Naya Din Nayi Raat, Sanjeev Kumar embellished nine different roles with inflexions of his voice and the audience wondered if these nine different voices were from one individual.
Raj Kumar’s words Jaani sounded as if these had been chewed to pulp to draw spontaneous applause. His voice had an element of posey when he says Aap ke paaon dekhey, bahut haseen hain, inhen zameen par mat uttariyega, mailey ho jayengey, in Pakeezah. Till his death, Jaani voice remained his strongest connection with the masses and mandarins.
Without his rich baritone, Amitabh Bachchan’s career graph would have survived the downers, In Deewar in a confrontation with Shashi Kapoor his harsh and grim voice seethes in fury and anguish, Bhai pahele us aadmi ke sign lekar aao jisne mere haath par chor likha hai, pahele us aadmi ke sign lekar aao jisne hamari maa ko vidhva banaya tha.... Similarly, Shatrughan Sinha’s thundering abhi is dharti par hamain marne wala paida hi nahin hua...in Ganga Tera Paani Amrit and in Kundan, his thundering voice renamed his as Shotgun.
Meena Kumari and Nutan are whispering was enough to identify them with our eyes closed. Meena Kumar’s quivering timber saying Doctor Sahib Aap mujh se badla to nahin lenge in Dil Ek Mandir conveyed the agony of a wife whose husband is dying of cancer. As an orphan Dalit girl in Sujata, she displayed a riot of emotion saying agar hawa mujhey choo sakti hai to insaan kyon nahin. Madhu Bala oozed grace and magnanimity in her voice when she said Jahanpanah ki behisaab bakshishon key badley, Anarkali Shahenshah Akbar ko apna khoon maaf karti hai in Mughal-e-Azam. In the use of her voice, Rekha strives fro perfection—in diction and pitch – and invariably, she achieves it. She knows how and which groove is right for which mood and moment. Smita Patil’s dialogue delivery could be dramatic and subtle. In romantic mode, she kept her range on a leash, but let her demons out when it came to a scene of catharsis. In Mirch Masala she breathes fire and brimstone while refusing to dance to the tune of the lecherous Subedar. Her voice was as wounding as a whiplash. Contrast the volatile pitch of Shabana Azmi in Godmother with the tenderness of her voice in Aarth when pleading with her husband not to divorce her. Her tremulous voice conveys the agony and dilemma of a wife left in the lurch for no fault of hers.
Nana Patekar’s Pratap in Krantiveer walked away with the audience’s applause on the strength of dialogue delivery. Naseeruddin Shah in Sparsh, Om Puri in Virasaat provided lessons in vocal artistry. Last but not the least, who can forget Pran, whose Banne Khan, Zanzeer’s Khan and above all oo thik haina thik...still sounds the ears. Cinema is meant not only for the eyes, the audiences have ears too. Are Kaalia tera kya hoga...aaaah...aaaah Amzad Khan in Sholey, Sara sahar mujhe lion ke naam se janta hai Ajit’s sensational voice was the pull of sound on screen when the talkie was provided voice.

Musharraf Ko Gussa Kyon Aaya

2006-07-01T22:29:00.000-07:00

What made Pakistan’s military ruler Pervez Musharraf to impose ban on Indian celebrity Feroz Khan’s entry in Pakistan? Our secular media flashed the news of the ban on Feroz Khan’ entry into Pakistan but failed to expose what crime did he commit which irked Musharraf? Believe it or not—at times—our media is following the footsteps of our politicians by adopting the appeasement policy.
Musharraf did not like what Feroz Khan expressed on Pakistan soil where he had gone in connection with the release of the Bollywood picture Taj Mahal, directed by his brother Akbar Khan.
The fact is that in his speech at a gathering of Pakistan’s elites, Feroz Khan told his co-religionists that the lot of Indian Muslims is better than that of the Muslims in Pakistan. He said that “India is a secular nation with a Muslim President and a Sikh Prime Minister.”
Feroz told the Pakistani audience that Indian Muslims were making phenomenal economic progress while Muslims in Pakistan were riven with sectarian strifes.
He said that nobody can deny that Pakistan is a theocratic state. “In contrast to Pakistan, India is a secular country governed by a democratic constitution, while Indian Muslims live relatively in communal harmony, Pakistani Shias and Sunnis are at each other’s threat. In the land of Qaid-e-Azam, Mohammed Ali Jinnah, Muslims kill Muslims. Nobody can deny the fact that Pakistan along with much of the Middle East remains either under-feudal rule or military dictatorship.”
Indian Muslims enjoy all the privileges and rights as citizens of secular India. There is hardly any country in the world where Muslims are as economically well off as the Muslims living in India are. It is a different story that Pakistan’s ISI is trying to infiltrate into the ranks of Indian Muslims encouraging them to turn into terrorism. The case of Kashmir is before us, he told the audience.
He further said, “Pakistan misses no opportunity to destabilise India politically. During the last two years hundreds of Pakistani agents were caught on the Indian soil. They were responsible for triggering bomb blasts in Delhi, Varanasi, Bangalore etc. Only last months, Pakistani terrorists killed 35 Hindus in Doda district. It is now established beyond any shadow of doubt that the killing of engineer Suryanarayan was ordered by Pakistan’s ISI as a warning to the thousands of Indian workers in Afghanistan.”
He said that “Islamabad is mainly responsible for the on going jehad in J&K state. It was, perhaps, at the behest of Islamabad that the entire Pundit community was forced to migrate from the Valley. Pakistan has devised a plan to push the entire Hindu population out of Doda and Udhampur districts. It has succeeded in its designs to a large extend.” It has succeeded in its designs to a large extent, thanks to the week Kashmir policy of UPA government led by Manmohan Singh.
Inspite of these anti-Hindu measures, there is relatively communal harmony in India, with no reaction from the majority community, the actor stressed. Actor Feroz Khan was successful in delivering the goods, which none of our politicians cannot deliver during their conferences in Pakistan. In other words, he condemned all the reports, articles and chapters in textbooks, poisoning Pakistani Muslims against India.
He boldly told the Pakistani Muslims that “India is, of course, a vibrant democracy. It is the most vibrant country in the world. In our country, Prime Ministers are changed by peoples' verdict in elections. But, in Pakistan Prime Ministers are dethroned, divested of power, jailed for sometime and then exiled from Pakistan. At present, two of its former Prime Ministers, Nawaz Sharief and Benazir Bhutto are in exile.”
What actor Feroz Khan said about Pakistan and Indian Muslims, is a fact not fiction and must serve as an eye-opener for the western governments.
But it is stunning, while Pakistan dictator bans the entry of Bollywood actor Feroz Khan, why the secularists, Human Rights activists like Shabana Azmis, Jave Akhtars, and Mahesh Bhatts are mum over the issue?

MORE LYRICISTS WILL COME BUT ANAND BAKSHI WILL NEVER...

2006-06-07T09:41:00.000-07:00

SINCE the enaception of Indian films, so many lyricists were introduced but some of them lost in the dust but some lived for ever like Shailendra,V M Vyas, Hasrat Jaipuri, Kaifi Azmi,Gopal Das “Neeraj” and many more but Anand Bakshi, the loveable lyricist, is among them.
Anand Bakshi was on July 21, 1930 in Rawalpindi ,now in Pakistan , and passed away on the 30 March 2002 in Mumbai, after suffering from lung and heart illness.
For Bakshi, it did not matter whether he made it big as a singer or lyricist so long as he met with success in Hindi movies. The first for which he wrote lyrics was Bada Aadmi (1958). He did not get any breakthrough although he got the chance to write lyrics for some other movies. After struggling for many years, he finally got his real breakthrough in 1967 with the movie Milan(starring Sunil Dutt). He now wrote for the big music composers in Indian cinema and contributed in creating many memorable tunes in movies such as Bobby and Amar Prem (1973),Sholay (1975), Hum (1992),Dilwale Dulhaniya Le Jayenge(1995), Taal (1999), Mohabbatein (2000), Gadar - Ek Prem Katha (2001) - to mention a few.
As Anand Bakshi had dreamt of, he got a chance to sing a few songs, but could not make any impressive mark as a Playback Singer.
Bakshi was a permanent ingredient as a lyricist in all movies directed by Subhash Ghai, ever since Ghai's third movie Gautam Govinda (1979). Anand Bakshi wrote lyrics for 13 movies directed by Subhash Ghai, and the last Ghai movie he wrote for was Yaadein (2001).
Another big director Anand Bakshi constantly wrote for in the 1990s, is Yash Chopra. Their association gave such hits as Chandni (1989) and Dil to Pagal Hai (1997). Anand Bakshi also wrote lyrics for all of Yash Chopra's director/story writer/producer-son, Aditya Chopra's movies, and the same for Rajiv Rai.
The last released movie with lyrics by Anand Bakshi was Meri Biwi Ka Jawaab Nahin (2004).

Bakshi received 40 Filmfare nominations, and won four Filmfare awards as best lyricist. The songs were Aadmi Musafir Hain in Apnapan (1978), Tere Mere Beech in Ek Duje Ke Liye (1981), Tujhe Dekha in Dilwale Dulhaniya Le Jayenge %

DOSTI IN HINDI CINEMA

2006-05-13T10:03:00.000-07:00

HRISHKESH Mukherjee had once confessed that his Anand wasthe biographical if Raj Kapoor. It was the story of friendship with Raj Kapoor during the making of Anari. Babumoshai was bot just Anand’sendearing nickname of Dr. Bhaskar(Amitabh Bachchan) but also Raj Kapoor for Hrishikesh.
The theme of the friendship in Hindi cinema is as old as the history of Indian cinema. Till date. so many stories have been woven on this theme so far. Take Dosti, Sangam, Sholey,Dost, Blackmail(of Dharmendra and Shatrughan Sinha),Ganga Tera Paani Amrit,Dostana,Maine Pyar Kiya, Saudagar and many more.
The film was to have been made under the R.K.banner with Raj Kapoor playing the title role. But a superstitious Hrishida was afraid that the tragic ending would be ominous to their friendship and he decided not to cat Raj Kapoor even though Raj was perfect for the role. Incidentally Rajesh Khanna was roped in, suffuring from lymhocircuma of intestines, Anand comes to Dr Bhaskar for treatment. While Dr Bhaskar found it hard to come to terms with death, Anand challenged it with a smile and sought the sunny warmth of his friend’s smile when it was time to say goodbye, The on-screen frienndship between Anand and Dr Bhaskar is entrenched in the hearts of the cinegoers. Dr Bhaskar’s medical science may not have saved the life of his friend, Anand, but in Rajshri’s Dosti two friends—one blind and the other lame—weathers all storms with each other’s help and ceased to feel impaired.
In G.P.Sippy’s Sholey, Jai (Amitabh) and Veeru(Dharmendra) are two friencds engaged by Thakur Baldev Singh to capture dacoit Gabbar Singh. Whenever they have to decide an important issue, Jjai flips a coin. In the climax scene, one of them has to stay back to keep the dacoits engaged in firing. The coin is flipped and Veeru leaves and lives. As Jai lies dead inhis arms, Veeru discovers that the coin, by which Jai won every bet with him taking on every trouble upon himself, was a double-headed one.
Where there is proximity there can be differences also. Not surprisingly,some of the most dramatic cinematic conflicts arise between friends and somewhere there is love underlying it all.
In Sangam , Sundar (Raj Kapoor) and his friend Gopal (Rajendra Kumar) love the same girl, Radha (Vyjanthimala). Sundar wears his heart on his sleeves while Gopal is an introvert. Gopal confesses his love for Radha only when Sundar—An air force officer—is feared killed in a crash. Surprisingly, Sundar returns and marries Radha. Life is bliss till Sundar stumbles upon a love letter Gopal had written and Radha had kept it for sentimental reasons. The two friends vie with each other to sacrifice their life on the altar of friendship.
The sanctity of marriage is upheld. Friendship wins and so did the film at the box-office. Hrishikesh Mukherjee’s Namak Haram delineated a conflict of conscience between two frineds – Somu (Rajesh Khanna), who belongs to the working class, and Vikram (Amitabh), a capitalist. A crisis in Vikram’s life forces them to enact new roles that lead to a conflict in their ideologies. In the given situation, Somu prefers death to disloyalty and betrayal.
Similar is the situation in Dost where a friend is an educated and the other reverse to the other.The learned friend(Dharmendra) wants to live with the honest earnings while the other (Shatrughan) on evil practices.Here too conflict takes place and then the latter has to fallen in the steps of the former.
In Virendra Sinha’s Ganga Tera Paani Amrit,the two evil friends—Shatrughan Sinha and Praduman— works for some good as they entered a village. In Raj Khosla’s Do Raste, the friendship between Balraj Sahani and Jayant can’t be written off.In Aamir Khan and Karishma Kapoor starrer Raja Hindustani, a friend (Johny Lever) unites the family of his friend(Aamir Khan), disturbed by the step-mother and her relatives of the wife.
In Subhash Ghai’s Saudagar Bir Singh(Dilip Kumar) was to marry the sister of his friend Rajeshwar Singh(Raj Kumar), but circumatances forces Bir Singh to marry another woman. Friends turns foes and create history littered with blood, gore and corpses. Ultimately their grandchildren fall in love with each other and force the estranged griendss to bury the hatch. Friendship triumphed and the cinematic camraderie show by two thespians made the film a landmark film in the career of Ghai.
Farhan Akhtar’s Dil Chahta Hai proclaims that the language of love is universal. It is quite easy to empathise with the predicaments of Aakash, Sidharth and Sameer.
In Kuch Kuch Hota Hai when Rani Mukherjee finds out the truth, she resolves to unite two friendss Shah Rukh Khan and Kajol in marriage, getting her daughter to play the match-maker.
In Rakeysh Mehra’s Rang De Basanti four friends, Aamir Khan, Siddharthm Soha Ali Khan and Kunal, exhort the audiences to shed their indifference towards the ills prevailing in the society.
The thundring success of the films celebrating friendship convinced the film-makers that friendship is the ‘ship’ that never sinks at the box-office.And at times this friendship theme proved a boon for the film industry.

Media and Celebraties misusing each other

2006-05-13T10:01:00.000-07:00

IS the world becoming a grim place to live in or is it that the media is concentrating only on negative happenings? In present times of aggressive electronic media where the most mundane moment is turned into sensation, celebrities have become easy targets of unworthy scandals.
Consider the following non-bailable warrants for glamorous stars Reema Sen and Shilpa Shetty for posing in obscene costumes in photographs published in Tamil eveninger, Murugan.The petition was filed by Dhakshinamoorthy, an advocate in Madurai, contending that the sexy blow-ups and medium blow-ups the paper had carried in its December 2005 and January 2006 issues violated the Indecent Representation of Women (Prohibition) Act and Young Persons Harmful Publications Act and IPC Sec 292 (sale of obscene books). The lawyer further maintained that apart from misleading the youth, the pictures would increase violence against women. He demanded that the pictures should be confiscated under the provisions of the Press and Registration of Book Act, 1967.
On the other hand, another actress, Nagma, revealing after two-and-half decades that she is the legal heir of industrialist Arvind Morarji who passed away recently; Geetanjali wife of actor Navin Nischal committing suicide over family battles; and a woman claiming, she was married to singer Udit Narayan in 1984 creating high voltage drama at a five star hotel in Patna.
Ideally, the report of the non-bailable warrant should have been illustrated with the mentioned obscene pictures of the actresses. However,
none of the newspapers reporting the story deemed it necessary to carry the same. Similarly, if Nagma issues a statement in print that she is the biological daughter of a deceased industrialist, the report should have been supported with documentary evidence. In its race to be the first to break a story nobody is pausing to ponder over the repercussions and what’s unfortunate is that the old guards are no longer watching over the younger lot.
The worst of course is the woman claiming to be the wife of singer Udit Narayan. It is ridiculous how responsible TV channels can thrust the mike and camera on to a complete stranger just because she carries some album pictures with the singer and is willing to unfold a sordid story.
Lata Mangeshkar is right.
Today’s journalism puts the celebrities first into the docks and then challenges them to defend them. However, she is forgetting that the celebrities should act to set example for a good cause, not for sex-violence in the society. While surfing on the net, one has to bow his/her head in shame. From where those nude and above all pictures in compromising position obtained the web. Lata, one of seniors of the Indian film industry should ask her industry fellows to remain in discipline and well mannered. At some places, media may be provocative not all the time. There are so many premium sites of the actresses, are they all fake. Lataji should not forget that ‘no smoke is there until there is any fire’. There is a long list of such webs of actresses involved in sex. Due to exhibition restrictions what one is unable to see in the theatre can view at the web.
It is ill fate of the country that today everybody is busy in passing its buck to the other. The celebrities have some duties towards the society. Mind it, yours affairs with music director C. Ramchandra, Shobhna Samarth’s with Moti Lal, Suraiya’s with Dev Anand and Raj Kapoor-Nargis affair couldn’t be forgotten but none of them never posed so shamelessly as today’s celebrities are doing all these non-sense porno photo just to get publicity. Perhaps, media has not forgotten the irk of Dharmendra (when he was caught in the camera with Hema Malini) and cricketer Mohd Azharuddin (like Dharmendra-Hema, he was caught red handed with Sangita Bijlani). They are not bothered about the Indian ethics and culture. Today’s Bollywood is dawned in western culture and to live according to Indian culture they feel ashamed.
Lataji advice your juniors---who are like your children and grandchildren--- to live according to Indian culture.

KISHORE KUMAR : The People's Voice

2006-05-13T09:15:00.000-07:00

KISHORE Kumar, India’s first comic hero, singing-star who made people chuckle as much for his studied over-the-top performances as with his fun numbers like Paanch rupaiya bara aana…(Chalti Ka Naam Gaadi) or Jai Govindam Jai Gopalam…(Ansoo Aur Muskan). He excelled in the romantic numbers of Rajesh Khanna, Rishi Kapoor and Amitabh Bachchan. His awesome mastery over the serious song was to coin the ironical paradox, happily recognised.
Kishore cannot acquit himself of the charge of stultifying his growth as singer in he earlier days. From day one, Kishore would willingly sing playback for Dev Anand. He would also sing for SD Burman, his favourite composer. However, in almost all other cases, he would reject singing assignments for other artistes, grandiloquently saying that Main star hoon, singer nahin. In addition, since all films of Kishore, the star, were comic capers, and he was never taken seriously.
Even as late as 1966 when Kalyanji-Anandji offered Kishore--- those were days when his innings as a leading star was over--- to sing Kasme vaade pyar wafaa…in Manoj Kumar’s own production Upkar, he gave the same reply to the duo and it was two years later when the same duo offered another pathos-laden gem Dharti ki tarah har dukh she le…in the film Suhag Raat, he told them loftily Haan ab main singer hoon, main gaoonga. Then, he never looked back.
After Suhag Raat, Rajesh Khanna-Sharmila Tagore starrer Shakti Samanth’s Aradhana casted his spell as a singer par excellence in the emotional orbit, which was hidden within him and always had a desire to crush the comic branding that explained his composing such soulful songs in his own productions as Koi humdum na raha… in Jhumroo and those lovely nuggets Aa chal ke tujhe leke chaloon….,Jin raaton ki bhor nahin hai….,and Koi lauta de mere beete hue din…from Door Gagan Ki Chhaon Mein. It was a rare Dukhi man mere…( film Funtoosh, music by SD Burman) in which Kishore got an opportunity to break his comic mould.
It is very significant to discover the curious fact that the three top-line composers who backed him most in his peak phase as singer—Kalyanji-Anandji, RD Burman and Laxmikant-Pyarelal--- began their musical association with him minus the man’s trademark funny grammar. This triumvirate of composing entities were not only close friends in real life but also had realised from their career beginnings that they had to cover fresh ground to hold their own against the greats who were calling the shots when they arrived.
When Kishore Kumar entered RD’s music room for the first time in 1964 for Mehmood’s Bhoot Bangla Jaago sonewalo suno meri kahani… it was to etch out the haunting Bhoot Bangla litany, Jaago sonewalo, suno meri kahani… In the same year, Laxmikant-Pyarelal got Kishore to give and soul to three evergreen numbers Mere Mehboob qayamat hogi…(Mr X in Bombay),Yeh dard bhara afsana…(Shreemaan Funtoosh),and Ajnabi tum jaane pehchaane se lagte to…(Hum Sab Ustad Hain).But the Kalyanji-Anandji’s encouragement couldn’t be ignored for Dharti ki tarah… in Suhag Raat. This song proved a mile stone in his playback carrier.
Kishore hit his winning streak with Aradhana, a film in which he had two breezy and done sensuous number Mere sapnon ki rani…,Bagon mein bahar hai….,Kora kagaz tha ye man mera…But it took L-P’s Khizaan ke phool pe aati kabhi bahar nahi…(Do Raaste), and Hemant Kumar’s Woh sham kuch ajeeb thi (Khamoshi) to actually consolidate the new Rajesh Khanna-Kishore bond.
Resultantly, the Kishore wave sidelined all the competition,and Mukesh no longer retained his near monopoly for sad songs. In O.P.Nayyar’s last burst of glory.Ek Baar Mooskura Do, who belted out the innovatively fast-paced bewafai number Tu auron ki kyon ho gayi…and Savere ka suraj tumhare liye hai… while Mukesh had two cheerful duets. In LP’s Manchali, Mukesh got the comic song,while Kishore sang the poignant Mile kahin do ajnabi…. Kishore had also done some more self-catharsis in his own film, Door Ka Rahi by composing Panthi hoon main…,and Khusi do ghadi ki…
But by the time these films releasedm these lovelies proved to be just the drops in the ocean. S.D.Burman himself switched Kishore’s vocals to supreme soulful as he unleashed Dil aaj shaayar hai…(Gambler),Kaise kahoon main…(Sharmilee), Duniya o duniya…(Naya Zamana),Tere mere milan ki ye riana…( with Lata in Abhimaan),Yeh lal rang…(Prem Nagar),Badi sooni sooni hai…and Aaye tum yaad mujhe…(Mili), while R.D. Burman(Pancham) unleased the three aces from Amar Prem (Kuch to log kahenge…, Ye kya hua,kaise hua…and Chingari koi bhadke…), Kiska rastaa dekhe…(Joshila),Meri bheegi bheegi si…(Anamika),Zindagi ke safar mein…(Aap Ki Kasam), Tere Bina zindagi se koi shikwa to nahin….(with Lata in Aandhi), Mere naina sawan bhadon…(Mehbooba), and Rimjhim gire saawan…(Manzil).
Kalyanji-Anandji whose bond with Kishore was deeply personal despite their late professional start, obviously used this phase to adorn the Kishore with greats in all genres, and the supreme ‘evergreen hit songs’ like Zindagi ke safar mein…(Safar),Jo tum hasogi to duniya hasegi..(Kathputli),Mera jiwan kora kagaz kora hi raha gaya…(Kora Kagaz), Apne jiwan ki uljhan ko …(Uljhan) and O saathi re…(Muqaddar Ka Sikander) apart from the feelingly rendered sentimental songs Jeewan se bhari teri yadeen…(Safar), Samaa hai suhana suhanaa…(Ghar Ghar Ki Kahani),Sharbati teri aankhon ki,jhil si gahrayi mein…. and Pal pal dil ke paas…(Blackmail).
Of course, Laxmikant-Pyarelal conveying passion,pain, and philosophy with Sui jaa tara… (Mastana), Mere diwanepan ki bhi dawaa nahin…(Mehboob Ki Mehndi),Ye jeewan hai…(Piya Ka Ghar), Mere dil main aaj kya hai…(Daag), Ruk jana nahin…(Imtihan), Gaadi bula rahi hai…(Dost), Aadmi jo kahata hai…and Nahin main nahin dekh sakta tujhe rote hue…(Majboor), Mere dil ne tadap ke…and Na hasna mere gham pe…(Anurodh),Ek rut aaye…(Gautam Govinda)and others.
Most others music directors pitched in too, Shankar-Jaikishan with Geet gaata hun main…(Lal Patthar), Ravindra Jain with Ghunghroo ki tarah…(Chor Machaye Shor), Rajesh Roshan with the passionate songs Dil kya kara…(Julie),Yaadon main jo…(Swami), Aao manaaye jashn-e-mohabbat…(Doosra Aadmi), and Chhookar mere man ko…(Yaarana), Bappi Lahiri with Chalte chalte kabhi alvida ni kahana…(Chalte Chalte) and Manzilein apni jagaah…(Sharabi), Khaiyaam with Hazaar raahein…(Thodisi Bewafaai), Ravi with Dekha hai zindagi ko…(Ek Mahal Ho Sapno Ka) and even Prem Dhawan with Teri duniya se hoke majboor main chala…(Pavitra Papi).
There is a lot to be happy about in the soulful and doleful part of Kishore Kumar’s music. Singers will come and go but none will fill the gap of Kishore Da.

R.B.L Nigam with kids

2006-05-04T21:50:00.000-07:00

R.B.L Nigam

2006-05-04T21:41:00.000-07:00

R.B.L Nigam

2006-05-04T21:33:00.001-07:00

R.B.L Nigam

2006-05-04T21:33:00.000-07:00
Nigam with a pitcher at the gate

IS JOURNALISM PUTTING CELEBRATIES INTO DOCKS?

2006-05-03T19:20:00.000-07:00

IS the world becoming a grim place to live in or is it that the media is concentrating only on negative happenings? In present times of aggressive electronic media where the most mundane moment is turned into sensation, celebrities have become easy targets of unworthy scandals.
Consider the following non-bailable warrants for glamorous stars Reema Sen and Shilpa Shetty for posing in obscene costumes in photographs published in Tamil eveninger, Murugan.The petition was filed by Dhakshinamoorthy, an advocate in Madurai, contending that the sexy blow-ups and medium blow-ups the paper had carried in its December 2005 and January 2006 issues violated the Indecent Representation of Women (Prohibition) Act and Young Persons Harmful Publications Act and IPC Sec 292 (sale of obscene books). The lawyer further maintained that apart from misleading the youth, the pictures would increase violence against women. He demanded that the pictures should be confiscated under the provisions of the Press and Registration of Book Act, 1967.
On the other hand, another actress, Nagma, revealing after two-and-half decades that she is the legal heir of industrialist Arvind Morarji who passed away recently; Geetanjali wife of actor Navin Nischal committing suicide over family battles; and a woman claiming, she was married to singer Udit Narayan in 1984 creating high voltage drama at a five star hotel in Patna.

Ideally, the report of the non-bailable warrant should have been illustrated with the mentioned obscene pictures of the actresses. However, none of the newspapers reporting the story deemed it necessary to carry the same. Similarly, if Nagma issues a statement in print that she is the biological daughter of a deceased industrialist, the report should have been supported with documentary evidence. In its race to be the first to break a story nobody is pausing to ponder over the repercussions and what’s unfortunate is that the old guards are no longer watching over the younger lot.
The worst of course is the woman claiming to be the wife of singer Udit Narayan. It is ridiculous how responsible TV channels can thrust the mike and camera on to a complete stranger just because she carries some album pictures with the singer and is willing to unfold a sordid story.
Lata Mangeshkar is right. Today’s journalism puts the celebrities first into the docks and then challenges them to defend them. However, she is forgetting that the celebrities should act to set example for a good cause, not for sex-violence in the society. While surfing on the net, one has to bow his/her head in shame. From where those nude and above all pictures in compromising position obtained the web. Lata, one of seniors of the Indian film industry should ask her industry fellows to remain in discipline and well mannered. At some places, media may be provocative not all the time. There are so many premium sites of the actresses, are they all fake. Lataji should not forget that ‘no smoke is there until there is any fire’. There is a long list of such webs of actresses involved in sex. Due to exhibition restrictions what one is unable to see in the theatre can view at the web.
It is ill fate of the country that today everybody is busy in passing its buck to the other. The celebrities have some duties towards the society. Mind it, yours affairs with music director C. Ramchandra, Shobhna Samarth’s with Moti Lal, Suraiya’s with Dev Anand and Raj Kapoor-Nargis affair couldn’t be forgotten but none of them never posed so shamelessly as today’s celebrities are doing all these non-sense porno photo just to get publicity. Perhaps, media has not forgotten the irk of Dharmendra (when he was caught in the camera with Hema Malini) and cricketer Mohd Azharuddin (like Dharmendra-Hema, he was caught red handed with Sangita Bijlani). They are not bothered about the Indian ethics and culture. Today’s Bollywood is dawned in western culture and to live according to Indian culture they feel ashamed.
Lataji advice your juniors---who are like your children and grandchildren--- to live according to Indian culture.

MEHMOOD : The Fun-rioter

2006-04-12T09:49:00.000-07:00

THE comedy king Mehmood Ali passed away in Pennsylwania,US, on July 22,2004.He was 72, and is survived by his wife, five sons and a daughter.
Born on September 29,1932, Mehmood was the son of Mumtaz Ali,--- a junior dancer and an ‘extra’ in the film industry –- started his career as a child artiste in 1943 with film Kismat, starring Ashok Kumar. While he was struggling with small roles in films like Do Bigha Zameen, Chandi Sona, Sansar, Nadaan and Mr X In Bombay, his elder sister Minu Mumtaz , had a;ready established herself as a dancer-actress. The big break came with Parwarish(1958), where he was cast as the friend of Raj Kapoor.
Blending humour with sensitivity, Mehmood created his own style in Hindi cinema. From the South Indian music teacher in Padosan to the bus conductor in Bombay To Goa, Mehmood made all his charaacters memorable. Others did comedy, he lifted it to a sublime level.He revolutionalised comedy in Indian cinema. He portrayed all kind of characters and was the heart andsould of a film. Films like Main Sundar Hoon were especially written for him.Its Mujko dand lag rahi hai mujhse door to jaa…proved one of the hit songs. A comedy track would be specially added just for him. Film posters would be designed around him. He was a wonderful director to, who made sensitive films like Kunwara Baap which always had a message. He had an exceptional ear for music and an eye for talent. He was the one who R.D.Burman a break.
Some say he was a milestone for comedy but ,in fact, he was a mountain.Mehmood could do everything like mimicry,dance, singing acting,and looking good.He has done everything imaginable and possible in comedy, now there is nothing else left for abyone else to do. As a mimicry artist and comedian, he could speak any boli.He had tremendous confidence to go for different costumes in almost all his films. In film Dil Tera Deewana Mehmood was in drag and Shammi Kapoor was singing Dhadakne lagta hai mera dil tere naam se… Mehmood didn’t have a sinle line in the song yet the audience would go berserk when they saw his close-up shot. Such starpower for a comedian is unparalleled.
He was a bigger star than many of the so-called leading men. In Humjoli he played a triple role and with due respect to Jeetendra, the film is remembered because of him,where he was applauded for his take-off on Prithviraj Kapoor,Raj Kapoor and Randhir Kapoor. Padosan,Gumnaam, Do Phool and Lakhon Mein Ek, Around the World Patthar Ke Sanam,Pyar Kiya Jaa, Aankhen,Love In Tokyo,Pyar Hi Pyar,Khuddar,Johar Mehmood In Goa and many films are remembered for his comedy.
Mehmood was noticed in bit roles with gray shades in Guru Dutt’s CID and Pyaasa.And established himself as a funster with films like Chhoti Bahen and Sasural. As a producer, he scored big with the evergreen comic caper, Padosan.It was one of the R.D. Burman’s biggest hits.Pancham got his break as independent composer with Mehmood’s Chhote Nawab followed by Bhoot Bangla.Amitabh Bachchan also got his break as a regular hero in Mehmood’s Bombay To Goa opposite Aroona Irani.
The master comedian proved with Kunwara Baap that he could not only make the audience laugh, he cold make them cry as effortlessly.Ailing from a lung infection, he retired from film after his home production Dushman Duniya Ka in 1996.He was a very kind hearted and giving soul.His brothers and sisters, and their children, al used to stay in one house and he looked after all their needs and was the sole breadwinner.
Comedians will come and go but fun-rioter like Mehmood will never.

COMEDIANS VANISHING FROM THE SILVER SCREEN

2006-04-11T00:04:00.000-07:00

COMEDIANS had their own place and worth in Hindi cenima in the good old days. But in recent times the heroes have taken to comedy with a vengeance.Reasultantly, the comedians have become an endangered species and looking at how seriously Akshay Kumar (Garam Masala) and Salman Khan (No Entry) are taking to comedy—the comedians may as well be on the verge of extinction. But Akshay Kumar the says that he is not cutting into the comic lane, “If heroes are doiing comedy roles, it doesn’t mean comedians are losing jobs. So many of my films have Paresh Rawal and Rajpal Yadav in chunky comic roles. Heroes are certainly not usurping their place,” he stresses.
But the fact ramains that the comedy track is being taken over by the heroes and goofy villains and the comedians are fast reinventing themselves into character artists.
Heroes and villains maybe trespassing the comedy track in films almost elbowing out the funster today, but earlier comedians had the field all to themselves. They had such a commanding presence that the mere sight of theirs would lighten he mood. And they caused a mirth quake with their distinctive gait,look,style or even their dialogue delivery.
The comedians whose appearance on the screen used to open a laugh in the cinemahalls:-
GOPE
THE roly-poly happy bundle of laughter is best remembered for his swinging dance to the lilting number Mere piya gaye Rangoon,wahan se kaya hai teleephoon…He featured in unpteen films as the hero’sbumbling buddy. The moment he entered the frame, the audience knew it was time for some hearty laughs.
BHAGWAN DADA
HIS bulging eyes and rtund figre made a great combination for his comedy act. The Albela hero turned into a comedian in later years and wowed the viewers with his easy charm and a distinctive dancing style that inspired several actors including Amitabh Bachchan. Clad in baggy blue sorts, Bhagwan played the Mumbai Hawaldar rather jovially. He danced and pulled off gags withgreat ease.
JAGDEEP
BEST remembered as Soorma Bhopali in Sholey. One time hero-turned comedian Jagdeep thrived on hisinimitable style of dialogue delivery with a typical accent. Light on his feet, he tripped nimbly into scences ad evoked gales of laughter as he bumbed his way in. And if you recall, none could quite wink as quickly and assaucily as him.As hero he gave serious roles and songs, Chal udja re panchi…in Bhabhi his acting was really remarkable.
MUKRI
SHORT and quick footed, Mukri—Dilip Kumar’s school mate—had a distinctive style of comedy that endeared him to fimmakers as well as the audiences. It is rumoured that the Dilip recommended Mukri in every film he signed, But their combination worked wonders.Mukri is well remembered as Neetu Singh’s strict dad Tyeb Ali—Pyar ka dushman—in Amar Akbar Anthony and best remembered as Nathulal in Sharabi, Munche ho to Nathulal jaisi,declared Amitabh Bachchan in the film.
JOHNY WALKER
JOHNY made a hit pair with Dev Anand.He provided comic relief not only through scences but songs as well. Who can forget Sar jo tera chakraaye…in Pyasa.In the traditional achkan-topi, he swirled the cane in his hand with a flourish. He was a very somber man in real life.
TUN TUN
THE oversized big momma of Hindi screen never minded jokes being cut on her obesity.Singer Uma Devi turned comedienne Tun Tun set the viewers rocking with laughter with her slapstick brand of comedy. Often cavorting for the hero’s attention, she created comic situations by her mere presence .She belongs the honour of being the Hindi cinema’s first female commedian. Her song Afsana likh rahi hoon…in Dard as singer still thrill the hearts.
KESHTO MUKHERJI
HEE…heee giggling with a cross-eyed look Keshto swaggered into the frame and you knew the alcoholic was working up laughs.But in real life he never wined but the acting as a drunker is remarkable as if in reality he had consumed the liquor.Take any film he acted Humrahi,Chupke Chupke,etc Keshto was superb.
MEHMOOD
INDIAN cinema’s most profound comedian,Mehmood didn’t mind poking fun at the South Indians.He brought Hyderabadi intonation of kai koo…and Tamilian ayyo…to Hindi cinema;hitching up his lungi and sang with ga abandon Hum kale hain to kya hua dilwale hein…in Gumnaam and then as the Tamil masterji,serenaded Saira Banu saying ayyo Bindu….in Padosan.His Dushman hai zamana dehnge se…. His acting in his own film (Patthar Ke Sanam).Kunwara Baap was no doubt excellent.He became a phenomenon of Hindi films that fatch him more money than the hero of the film.His motto was not to make fun of anybody or languge but to laugh the audience.
RAJENDRA NATH
OFTEN cross-dressing in flouncy frocks and bonnets, Rajendranath bounced about merrily in women’s hostel to get vital information about the hero;s sweet-heart. He had a cheery disposition and an affable presence. He was gien the wirdest of get-ups –short with suspenders,hats and thick glasses and with fail he garnered laughs with his absolutely outrageous turn outs.
UTPAL DUTT
THE stern-eyed Utpal delivered funny lines with such a poker faced expression that he often caught the iiewersunawaresl His leisurely style of dialogue delivery became the hall mark of his comedy. He was the serious funny man.Whether it is Golmaal, Shaukeen,Amanushetc and many more, he held his own way like Mehmood, Keshto and Johny.
ASRANI
FTII instructor-turned-comedian is known for hisimpeccable comictiming. Whether he was Angrazon ke zamaane ke jailor hain hum in Sholey or the pauper who owned an elephant in Malamaal Weekly or Mere hone wale father-in-law in Bidaai. Asrani sometimes refreshes the heydays of Mehmood as he appeared on the screen sprayed laughing gas on the faces of viewers.
JOHNY LEVER
THE rubber faced stand up comic is known for his flair for mimicry. For all his versatility as an actor Johny Lever isoften made to ape others in films to bring out the laughs. He’s played a range of laughter evoking roles.
When the cable/video fever had griped the film industry, and many cinema halls started to shutter down because before the release of any new film video was in the market though some of the new releases like K.C.Bokadia’s Pyar Jhukta Nahin and Rajshree Productions Maine Pyar Kiya tried to kick the video menace and stormed the box-office.And on the other hand, Amitabh Bachchan tried to rescue from this menace by playing different role resultantly the heroines and comedians became a show piece in the films and the heroines to have their say started to expose their bodies.And in many films Amitabh played laughter roles in Laawaris,Sharabi and so on and so forth.
But the comedian roles played by Bhagwan, Gope,Keshto, Johny Walker and above all Mehmood can’t be played by any other comedian appearing on the silver screen.

Colours of Holi & Filmdom

2006-04-06T19:40:00.000-07:00
HOLI is celebrated in the month of Phagun on the auspicious occasion of Poornima (full moon). Twice over Holi has been used as the title. In 1940, Holi starred Motilal and Sitara Devi while in 1984 Ketan Mehta released his version of Holi starring Aamir Khan and Nasiruddin Shah in a college campus and the entire film hinged on the fact that the college principal incurs wrath of his students by denying them a holiday on Holy. Things take a turn for the worse when the agitated students and up setting ablaze the college furniture and their textbooks. The rebellion culminates in a student suicide. The custom of burning Holi pyre prior to the colourful festivity was used as a peg by Mehta to convey the discontentment of youth.
In 1970, director Harsukh Bhat called his family drama Holi Ayee Re starring Mala Sinha, Shatrughan Sinha and Balraj Sahni featured the festival of Holi as its theme. Leading heroine Mala Sinha confided once that much as she would have like to play Holi in real life especially at RKs, she was held back by her disciplinarian papa, who felt that high-spirited Holi revelers posed a threat to his pretty beti.
Phagun the month in which Holi is celebrated has been used as a film title twice. In 1958, Phagun starred Bharat Bhushan and Madhubala and the music of O.P. Nayyar was the highlight of the film. In 1973, Dharmendra-Wahida Rehman-Jaya Bhaduri starrer Phagun was also celebrated for it’s soulful music, particularly for its title song Aayo aayo re Phagun aayo re…
While the name of the family drama enacted by Jeetendra and Amrita Singh in 1993 was entitled Rang, the 1962 Raag Rang produced by the Bali sisters was a love story starring Ashok Kumar and Geeta Bali.
Amol Palekar-Parveen Baby-Deepti Naval starrer Rang Birangi was hailed for it’s colourful comic element pertaining to the hero’s roving eyes. Rangeela was fisting made as comedy by Bhagwan in 1953 with Punima as hisco-star. Ram Gopal Varma recycled the title Rangeela with Aamir Khan and Urmila Matondkar. A film that contributed to the overnight success of the threesome.
Rangeeli was a 1952 production, a social drama featuring Raaj Kumar and Rehana as the lead players. Do Rangi Duniya a B/W social coloured up viewer’s imagination with the title.
Rangeen Kahani, Rangeen Zamana, Rangeeli Raten,Rangeela Rajasthan, Rangeela Rajput, Rangeela Jawan, Rangeela Musafir, Rangeela Nawab,Rangeela Dost, and Rangeela Ratan. The last one in the Rangeela series was made by S.Raamanathan; it was an actioner starring Rishi Kapoor and Parveen Babi.
Priyadarshan’s Saat Rang Ke Sapne starring Arvind Swami, Juhi Chawla and a baby elephant didn’t quite reflect the colours of the rainbow for its makers. Neither did Sanjay Dutt-Padmini Kolhapure starrer Qurbani Rang Layegi add any colour to its box-office. Tiranga (1993) a patriotic film in which filmmaker Mehul Kumar brought together two most eccentric actors—Raaj Kumar and Nana Patekar. The film lived its tricolour appeal.
GLITZ OF HOLI
HOLI celebrations in the film frat are synonymous with showman Raj Kapoor’s Holi at his Deonar bungalow in Mumbai. Way back in the 1970s, all the glamarous ones turned up at Deonar by noon, touched RK’s feet and then it was colour-riot time. Bhaang, food and spirits just flowed and everyone was dunked in the tank full of colours. Many a romance took root during the wet and wild RK Holi.
Later in the 1980s, Subhash Ghai’s Holi at his Madh Island bungalow became popular amongst the film stars. Revealers trickled in at a leisurely pace, danced to the lively beats of dholaks and consumed Bhaang laced thandai. Colours—dry and wet were sprinkled about heartily. High and happy—that would be the mood at his seaside bungalow.
The Azmis have a quite gathering of their theatre pals from IPTA, as initiated by Late Kaifi Azmi. Shabana and Baba call up their friends and there is much crying laughing—thanks to copious amounts of Bhaang that is consumed. Full of colours, the revelers are then treated to asumtuous meal of puri bhaaji.
Of late in the 1990s, the Bachchan’s Holi has turned out to the watering hole of the fab and famous. The ambience is created with great details what with matkis full of colours hanging from tall trees, festoons of marigolds bedecking the entrance and then the tank full of cold water witting for Holi revelers. Abhishek ensures that none of the visitors leaves without taking a dip in the Holi tank. Then there is the inviting dining table laden with choicest of dishes, Amitabh at his hospitable best offering everyone a glass of thandai. The celebrations aren’t complete without a lot of merry making.

Book Review: BHARATIYA FILMODYOG-- EK VIVECHAN

2006-04-02T08:20:00.000-07:00
THE author,R.B.L.Nigam, has put every effort in making the book to be worthy. The preface speaks volumes itself compeling the reader to go through the book.Every chapter throwing light on different fields of the film industry from their sufferings to the lustful days, of the author himself is the sufferer because his father M.B.L.Nigam (Premier Pictures), was one of the top film distributors of 1950s. He gave many hits to the box-office but with the release of the K.B.Lall’s Lal Dupatta closed the office on the release day,i.e.,Friday and for long the family had to face starvation. But thanks to Kamal Amrohi—as the Kamal-Meena-M.B.L.Nigam-Dr Dheesh,MS of Delhi’s Irwin Hospital,now LNJP Hospital,-actor Kumar was a group—called for the writer’s father to Bombay to look after his production and during his stay in Bombay worked as Production Incharge.
But during some chatting with the staff of the production, the remarks of a transporter “woh bare bhaag wale hote hein jo family hotey hue family ke saath rahate hein” had compelled Nigam to leaveBombay because as soon as the remarks through the open space of his cabin entered his ears, he immediately started to pack up and on reaching Delhi wrote Kamal that he won’t be back again. Kamal sent his salary to Delhi but whenever he used to visit Delhi without meeting Nigam he wouldn’t returned to Bombay. So close to the film industry the book has become very informative.
The writer has thrown a serious light on Meena Kumari and is very sypathatic towards her in other words she could be called “A Pativrata and fully devoted to husband”. Passing through almost torture life she never complaint. She cann’t even increase a single penny to her massager without Kamal’s permission.Meena’s wish was to be called the wife of Kamal Amrohi so living so many years in separation she never thought to marry that is why at the time of death she was called Kamal’s wife. During all these mishappenings in her life, her driver was the villian of this sordid happenings.And many times, the driver was thrashed by Writer’s father.
In another chapter on Meena, she is connected with Rabindra Nath Tagore’s family.As Sharmila Tagore, a grand-daughter of Tagore family marrying Nawab Pataudi accepting Islam renamed her as Aysha Pataudi and the children from her will automatically be called Muslims but according to the writer it was not clear whether her widow maternal-grandmother, Sundari Devi had changed her religion after marrying a Christian, Pyare Lal Shakir, first journalist in Urdu but named Hindu names to her children, Prabhawati,Kusum, Manohar and Hero Mamu. And after marrying music director,Ali Bux, a Muslim music,Prabhawati -- accepted Islam and converted her name as Iqbal Begum-- gave birth to Meena and Mahelka to whom Ali Bux called as “Madhuri” who was married to Mahmood.
In other chapters the interference of film stars and their preference to lower and upper house of Parliament.
In all, the book is very informative which could be read as a record as it throws light on the history of the film industry before and after Dadasaheb Phalke.

MADAN MOHAN:The Great Music Master

2006-04-01T07:21:00.001-08:00
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MADAN Mohan (Kohli) occupies a very position in the history of Indian film music who started his musical journey with the film Aankhen in 1950 and it was producer-director Devendra Goel who gave him the first break. The music got noticed with classy numbers like Preet lagake maine ye phal paya…by Mukesh, Mori atariya pe kaaga bole…by Meena Kapoor and Hum ishq mein barbad hain…by Mohd. Rafi. Followed Ada, the film with which Lata Mangeshkar her long-lasting and formidable bond with Madan Mohan. Ada consisted of Lata winners like Sanwari soorat man bhaaye re pia tori…and Aankhon ankhon mein unse pyar ho gaya…, not to forget the touching Preetam meri duniya mein…Close on the heels of Ada came Aashiana with Lata charmers like Tum chand ke saath chale aao…,Sama hai bahar ka… and Mukh mod na lena saajna…
In spite of these good starts, it took quite a while for Madan Mohan to break into the big league. Mohan Kumar’s Anpadh(1962) in the early 60s shot Madan Mohan to the peak of popularity with his compositions for Lata Mangeshkar topping charts, such as Aap ki nazron ne samjha pyar ke kaabil mujhe…,Hai issi mein pyar ki aabroo…and Jiya le gayo ji mora saanwariya… Anpadh(1962) established Madan Mohan as a frontline composer, thus making him an alternative name for ghazal.
Some of the other time-immemorial melodies from the Madan Mohan- Lata Mangeshkar team are Hum pyar mein jalne waalon ko…(Jailor,1958); Tu pyar kara ya thukraye…(Dekh Kabira Roya);Agar mujhse mohabbat hai …(Aap Ki Parchhaiyan,1964);Dil unko uthake de diya…(Akeli Mat Jaiyo,1963); Nainon mein pyar dole dil ka qaraar dole…(Sheroo,1957); Who jo milte the kabhi....(Baap Beti); Yun hasraton ke daag …and Unko ye shikayat hai…(Adalat,1958); Woh chup raje tomeredil ke daagjalte hain…(Jahan Ara,1964); Qadar jaane na…(Bhai Bhai,1956); Meri aankhon se koi neend liye jaata hai…(Poojaa Ke Phool,1964); Naina barse rimjhim rimjhim… and Jo humne dastaan apni sunayi…(Woh Kaun Thi,1964); Main to tum sang nain milaake haar gayi sajna…(Manmauji,1962); Chhayi barkha bahaar…(Chirag,1969);Woh bhooli dastaan…(Sanjog,1961); Baiyyab na dharo o balmaa…and Mai ri main kaase kahoon…(Dastaak,1970); and Rasm-e-ulfat ko nibhaye…(Dil Ki Rahen,1973).
The ghazal influence in Madan Mohan’s music was abundant and hence Talat Mehmood was his natural choice among the males. Some of Talat Mehmood’s songs for Madan Mohan are Jis dil mein basana chaaha tha…(Adaa,1951); Mera qarar le jaa…and Main paagal mera manwa paagal…(Aashiana,1952); Do din ki mohabbat mein humne…(Chote Babu); Humse aaya na gaya…(Dekh Kabira Roya,1957); Phir wohi sham wohi gham…and Main teri nazar ka suroor hoon…(Jahan Ara,1964).
Mohammed Rafi too played a very fruitful role in his career with the combination gave several hit songs include Basti basti parbat parbat gaata jaaye banjara…(Railway Platform,1955); Tuje kya sunaaon main dilruba…(Akhari Dao); Kisiki yaad mein duniya ko…(Jahan Ara,1964); Rang aur noor ki baraat kise pesh karoon and Dil khush hai aaj unse mulaqat ho gayi…(Ghazal,1964); Main nigahen tere chehre se hataaon kaise…(Aap Ki Parchhaiyan,1964);Teri aankhon ke siva…(Chirag,1969); Aap ke pehloo mein aakar ro diye…(Mera Saaya,1966); Ek haseen shaam ko dil mera…(Dulhan Ek Raat Ki,1967); Kabhi na kabhi kahin na kahin…(Sharaabi,1964); Meri awaaz suno…and Tumhari zulf ke saaye mein…(Naunihal,1967).
Heer Ranjha boasted of Ye duniya ye mehfil…by Mohd Rafi, Milo na tum to hum ghabraye…and Do dil toote do dil haare…by Lata Mangeshkar. And Hanste Zakhm had the haunting Rafi number Tum jo mil gaye ho…,Lata’s Betaab dil ki tamanna…and Aaj socha to aansoo bhar aaye….
Other impressive Madan Mohan songs include Ye chaand sitare kya jaane…(Suraiya, film Khubsoorat,1952);Kho gaya jaane kanaan arzoo ka jahaan…(Hemant Kumar, film Mohar,1959); Bhooli hui yaadein mujhe itna na satao…(Mukesh, film Sanjog,1961); Kaun aaya mere man ke dwaare…(Manna Dey, film Dekh Kabira Roya); Ae dil mujhe bataa de… (Geeta Dutt,film Bhai Bhai,1956); Dil dil se milaakar dekho… (Kishore Kumar, film Memsaab,1956); Ashqon se teri humne tasveer banayi hai… ( Asha Bhosle,film Dekh Kabira Roya); Koi shikwa bhi nahin koi shikayat bhi nahin… (Asha Bhosle, film Neend Hamari Khwab Tumhare,1966); Jhumka gira re Bareily ke bazaar mein… (Asha Bhosle, film Mera Saaya,1966); and Ari o shokh kaliyon musjura dena woh jab aaye…(Mahenda Kapoor, film Jab Yaad Kisi Ki Aati Hai,1967). Jaroorat hai jaroorat hai ek shrimati ki…(Kishore Kumar, film Manmauji,1962).
Some of the finest and lasting duets have emerged from Madan Mohan. The list includes Teri chamakti aankhon ke aage…(Talat Mehmood-Lata Mangeshkar, film Chhote Babu); Woh chand muskaya sitare sharmaaye (Manna Dey-Lata, film Aakhri Dao); Zameen se hamne aasman par bithake… (Mohd Rafi-Asha Bhosle, film Aadalat,1958); Kehta hai dil tum ho mere liye…(Talat Mehmood-Asha Bhosle, film Memsaab,1956); Bheegi chandni chayi bekhudi… (Lata Mangeshkar-Manna Dey, film Suhagan,1964); Ae sanam aaj ye kasam khaaye…(Lata-Talat Mehmood, film Jahan Ara.1964); Do gadi woh jo paas aa baithe…(Mohd Rafi-Lata, film Gate of India,1957); Baad muddat keye ghadi aayi…(Lata Mangeshkar-Mahendra Kapoor, film Dulhan Ek Raat Ki,1967); and Husn jab jab ishq se takraa gaya… (Mohd Rafi-Asha Bhosle, film Neend Hamari Khwab Tumhare,1966).
Even after his death, decades ago, his magic was again revealed by ace director Yash Chopra using his tunes for his Veer Zaara(2004,as late Madan Mohan) and the music proved to be a winner.
The last few films for which Madan Mohan worked also bore his stamp of quality, like Parwana(1971) with hit songs Jis din se maine tumke dekha hai…(Mohd Rafi-Asha Bhosle) and Kishore-Rafi’s Yun na sharmaa phaila de… and Ek Mutthi Aasmaan (1973)with Kishore hit Har koi chahta hai ek mutthi aasmaan…and the duet Pyar kabhi kam na karna sanam… by Kishore Kumar and Vani Jairam. Film Bawarchi(1972) boasted of the Manne Dey classic Tum bin Jeevan Kaisa…while in film Mausam(1975), Madan’s music proved creativity and how well he bonded even with Gulzar and the filmmaker’s pet singer Bhupender in songs like Dil dhoondta hai phir wohi…(Bhupender-Lata with a solo version also by Bhupender) the Lata solo Ruke ruke se qadam….
Madan Mohan’s work would be incomplete without mentioning filmmaker Chetan Anand. The Chetan Anand-Madan Mohan-Kaifi Azmi trio brought us highly creative music in Haqeeqat,(1964);Heer Ranjha and Hanste Zakhm(1973).The music of Haqeeqat (1964) proved to be the highlight of this war film. Rafi’s Ab tumhara hawale watan saathiyon… remains a reference point for patriotism till today, and not to forget Hoke majboor mujhe…by Mohd Rafi,Talat Mehmood, Manna Dey and Bhupender; and another patriotic song Hindustan ki kasam…(film Hindustan Ki Kasam,1973). Heer Ranjha’s numbers like Ye duniya ye mehfil… by Rafi, Milo na tum to hum ghabraye…and Do dil toote do dil haare… by Lata Mangeshkar. Hanste Zakhm had the haunting Rafi number Tum jo mil gaye ho… Lata’s Beetab dil ki tamanna… and Aaj socha to aansoo bhar aaye…
Madan Mohan has left behind a treasury of songs for us to relish and enjoy. To echo his song sung by Talat Mehmood in Madhosh, Meri yaad mein tum na aansoo bahana…
Though Madan’s music in almost every film was remarkable, totally based on Raags but the music in Heer Ranjha,especially of doli song "Doli chadke…" was so touching that the tears started to roll itself from the eyes of those present at the time of recording. Madan never run behind the awards his biggest award was making the film musically hit and he succeeded.
Today, Madan Mohan is not between us but his music is giving music lovers to zoom on his tunes till today. During his 25 years as music director, he gave music in 79 films,the films released after his death inclued Mausam (Sanjiv Kumar-Sharmila Tagore starrer,1975);Laila Majnu(Rishi Kapoor-Ranjita,1966);Sharafat chod Di Maine(1976); Saheb Bahadur(Dev Anand,1977); Chal Baaz(1980);Jalan(1978) etc.
His other hits include Chowkidar(1974);Dil Ki Rahen (1973); Prabhat(1973);Bawarchi(1972);Koshish(1972);Parvana(1971);Ek Kali Muskai(1968)its title song Lo ek kali muskrai and Na tum bewafa…proved a boon for the producer of the film; Maharja (1970); Dastak(1970);Naunihal(1967);Suhagan(1964);Sanjog (1961);Sharabi(1964);Jab Yaad Kisi Ki Aati Hai(1967);Khubsurat(1962);Maa Ka Aanchal(1970); etc .
The Emperor of Ghazals, Madan Mohan born in 1924 in Bagdad,Iraq,left for heavenly abroad on July14,1975.In 1970, he was awarded with National Award for his excellent music in Dastak and Sur Singer Sansad Award in 1966.

PLATINUM JUBILEE OF INDIAN TALKIE

2006-03-25T06:03:00.000-08:00
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WHEN India’s first homemade film Alam Ara was released on March 14,1931, crowds went berserk. A movie where actors could speak and sing, was not merely a movie. It was also a revolution that sounded the death-knell of silent movies.
Now 75 fun-filled years latter, the revolution continues to grow bigger and better. From Alam Ara to Rang De Basanti movies remains one of the nation’s favourite pastimes. The most famous dialogues also came up from Sridhar’s Dil Ek Mandir—Ye tum they jo kah gaye ye hum they jo sun gaye (Rajendra Kumar-Raj Kumar)—Tera kya hoga kalia (Ramesh Sippy’s Sholey), Dhik hai na dhik Pran in Raja Nawathe’s Patthar Ke Sanam, Kah dena Shanno aaya tha, Shatrughan Sinha in Gulzar’s Mere Apne, Yeh paon zameen par na rakhain maile ho jayenge, Raj Kumar to Meena Kumari in Kamal Amrohi’s Pakeeza, Tune Ganga maiya ki jhoothi kasam khai hai, iska shrap tujhe tabah kar dega, Rahman to Pran in Ganga Tera Paani Amrit and another dialogue from this film hum bhi is dharti maa ki aulad hain from the lips of Shatrughan Sinha,Chot pe chot khate jao magar pyar mein pichey mat hato, Shatrughan Sinha to Dharmendra, and on the other hand Madan Puri’s advice to Dharmendra,beta,shaadi zindgi ka sabse bada imtihan hoti hai,in Vinod Doshi’s Black Mail, zamane ke chakkar mein char se bahar paon nikalne walon ka yahi hal hota hai, Prithvi Raj Kapoor to his family in Gemini’s Aamdani Adanni Kharch rupaiya,Mere paas maa hai, Shashi Kapoor to Amitabh Bhachchan in Gulshan Rai’s Deewar, Mogambo khus hua, Amrish Puri in Mr. India, there could be a very long list of famous dialogues on which a large volume of books could be written. But in all the dialogues there was the most touching dialogue by Prithvi Raj Kapoor “Beti dekh tera Baap teri khushi ke liye sab kuch lekar aaya hai, lekin tera kafan nahin” to dead body of her daughter in V.Shantaram’s Dahej.As the weeping father was telling to his daughter tears were rolled from the eyes of the viewers.
Now coming back to the release of Alam Ara. The curiosity was irresistible. Crowds thronged to watch the India’s first talking movie, “Alam Ara”, released on March 14,1931.Even though the film was commercially released a few days later. Mounted policemen had a tough time controlling the avid onlookers. The making of Alam Ara by Imperial Movietone is perhaps, more fascinating than it’s actual story of Kumarpur’s aging king and his bickering queens. Several other companies, such as Madan Theatres, were also in the me-first race. But for the director Ardeshir Irani that was the least of his problems.
Soundproof studios were seasons away. Due to the railway tracks near the studio, the movie was shot at night after trains stopped. Huge microphones were intelligently hidden to avoid being captured on film. The hard work paid off. Alam Ara not only became a runaway success; it also became the template of future. The film had an interesting ensemble. Hero Master Vithal was a stunt star in Marathi films. Heroine Zubeida came from a royal family. Bollywood’s first family, the Kapoors were represented by Prithviraj Kapoor, L.V.Prasad, who later set up the famous Prasad Productions in Chennai, also enacted a small part.
ALAM ARA
( Black & White; 124 Minutes; March 14,1931
Producer: IMPERIAL MOVIETONE
Director: Ardeshir Irani
Cast: MASTER VITHAL, ZUBEIDA, and PRITHVIRAJ
KAPOOR, L .V. PRASAD
All living. Breating.100 per cent talking; Singing-Dancing; Photography; Drawing Record Audiences at CINEMA MAJESTIC
Show timings: 5.30; 8 &10.30p.m. Daily
Thus proclaimed the posters outside Cinema Majestic in Girgaum, Bombay. The vernacular posters were even more inviting. One of them said, “78 murda insaan zinda ho gaye. Unko bolte dekho.”
Encyclopaedia of Indian Cinema by Ashish Rajadhyaksha and Paul Willemen, notes that among the movie’s seven songs, “W.M. Khan’s rendering of a wandering minstrel’s number, De de khuda ke naam par, became particularly popular.” Film historian B.D.Garga put matters in perspective, by observing that Alam Ara and Shirin Farhad, another 1931 talkie, “turned the film industry topsy-turvy and consigned the silent films to scrap heap.” The repercussions were huge. In the transition from silence to sound, many studios fell through the cracks. Fluency in Hindi and Urdu became important. Anglo-Indian actors suffered. So did firang films. Arrival of sound also gave birth to singing stars that could effectively deliver dialogues.
SABSE BADA RUPAIYA
1. MOTHER INDIA (1957) -– Rs.108 crore
2. MUGHAL-E-AZAM (1960) --- RS. 102 crore
3. SHOLEY (1975) --- Rs. 213 crore
4. MUQADDAR KA SIKANDER --- Rs. 98 crore
5. HUM AAP KE HAIN KAUN --- Rs. 121 crore
Hits since 1931
FROM 1931 TO 1950
IT begins with Alam Ara, India’s first sound film. And spreads like wildfire with K.L. Sehgal’s Devdas (1935); a generation’s symbol of defeated love. Playback singing is introduced the same year in Nitin Bose’s Dhoop Chhaon. Ashok Kumar rules box-office with hits like Achhut Kanya, Kismat, and Mahal.
FROM 1951 TO 1960
HOLY trinity of Raj Kapoor-Dev Anand-Dilip Kumar rules with. Shankar-Jaikishan, Naushad, S.D.Burman at their peak, this is high noon of film music. Pather Panchali wins best human document award at Cannes in 1956. In 1959, Guru Dutt made India’s first cinemascope film, Kaagaz ke Phool.
FROM 1961 TO 1970
RAJENDRA Kumar is Jubilee Kumar and Shammi Kapoor’s mating call is Yahoo. By the end of the decade, Laxmikant-Pyarelal, Kalyanji-Anandji and R.D. Burman are hottest music directors. Rajesh Khanna becomes new box-office god with Aradhana.His nemesis, Big B i.e., Amitabh Bhachchan; debuts with Saat Hindustani.None noticed him.<>

FROM 1971 TO 1980
OLD Bollywood and new wave cinema shares an uneasy co-existence. 1973 discovers teen romance Rishi Kapoor-Dimple Kapadia in Bobby. Amitabh delivers first big hit, Zanzeer. There is art and angst too: Shyam Benegal’s Ankur and M.S.Sathyu’s Garam Hawa. But Manmohan Desai rules with Amar, Akbar, Anthony and Dharamveer.And B.K.Adarsh storms in the cup of tea from a lay man to politicians by producing Gupt Gyan, India’s first film on Sex Education, which was banned by the Film Censore Board but the efforts of Atal Behari Vajpayee, the Opposition Leader, Jan Sangh, in Lok Sabha, Chandra Shekhar and other political leaders got it passed and the film hit the box-office. It was applauded by physicians as well as by the general public too. It was also the first film screened in the girls’ colleges and hostels.This was the period when Gulzar’s Aandhi, faced a political ban alongwith Kissa Kursi Ka. Moreso, Kishore Kumar, Shatrughan Sinha and a song Hai mahengai, hai mahengai tuje kyon maut na aai…(Manoj Kumar’s Roti, Kapda aur Makan) also faced the ban. The plea to ban Aandhi was that the heroine of the film looks like Indira Gandhi.The ban was imposed during the Emergency (1975-77). This was also the period when the films based on sex and violence were not censored but the only film Sholey based on violence was released in this period of Emergency and this was the main reason behind the success of the film because during this period no such type of violent film was released. And this film created record.
FROM 1981 TO 1990
VIDEO piracy turns movie making into high-risk business. Jeetendra’s Himmatwala inspires similar inane flicks. But there’s also Arth Satya and Jaane Bhi Do Yaaron. In 1988, teen romance takes off with Qayamat Se Qayamat Tak.
FROM 1991 TO 2000
SHAH Rukh Khan revolutionises negative hero in Baazigar and Darr. But by 1995, Dilwale Dulhaniya Le Jayenge sets the trend of urbane, feel-smart movies. Nation discovers a new teenage heartthrob --- Hrithik Roshan. And Satyajit Ray gets honorary Oscar in 1992.
FROM 2001 TO 2006
BOLLYWOOD dreams big. Theatres get multiplexed. Aamir Khan’s Lagaan becomes India’s entry at Oscars. But Sunny Deol’s Gadar is a bigger hit. Flesh flicks and sex comedies mushroom. New age cool creates waves with films like Dil Chahta Hai, Dhoom, Black, Bunty Aur Babli and of course Rang De Basanti.
SINCE the existence of the Indian talkie, apart from Zubeida, the first heroine, so many beauties from high families started to pour in to act even for a very small role. It is interesting to note that when Dadasaheb Phalke was busy in making films, to find a heroine he had to visit red light areas but even the prostitutes were not ready to act in the films. Dada Phalke had to return with empty hands with comments: “If you or any family member is ready to marry, only then the girl from this brothel will act in the film(s).” Such was the scenario at that time but with the change of time every thing has changed. Today, in the name of modernity, just to act in the film, exposing their bodies, which reminds one of the songs of Manoj Kumar’s film Yaadgar, Chole ki hai choli bani, choli se aage kya hoga…
Anyway, the beauties who thundered the filmdom are namely, Shobhna Samarth, Suraiya, Nargis, Nanda, Madhubala, Devika Rani, Nadira, Saira Banu and Hema Malini etc. But the beauty of Mumtaz, Wahida Rehaman, Asha Parikh, Reena Roy, Ashwariya Roy, Suchitra Sen Madhuri Dixit can’t be ignored.
Above all, the beauty of Nadia can’t be overlooked. About Nadia, it was said that she was the custodian of beauty, with macular body and actions. No male actor could match the Hunterwali who snapped a whip, wore an eye mask and smashed baddies to pulp.
Apart from heroines, many vamps touched the silver screen. In their heydays, they performed what today’s heroines are performing.
NADIRA: She could stab, maim and destroy, all with her eyes. Even Raj Kapoor couldn’t look the other way when she sang, Mud mud ke na dekh in Shri 420.
HELEN: Original item girl. Films were incomplete without her. And none, before or since, could make ordinary choreography appear classier.
SHASHIKALA: In her hey days, she at times tried to beat the glamour. Her item song Shishe se pi ya pamane se pi in O.P.Ralhan’s Phool Aur Patthar was one of the wonderful and attractive item of the time.
PADMA KHANNA: After Shashi Kala in Phool Aur Patthar, Padma’s item turned undressing into high art in Dev Anand’s Johny Mera Naam. No wonder, Chambal dacoits wanted to kidnap her.
BINDU: Not much of a dancer, but, could slither and wriggle in those inadequate outfits.
MALLIKA SHERAVAT: After the famous kiss of Devika Rani-Himanshu Roy in Karma, Mallika gave 17 kisses and 170 interviews for Khwahish. A rare actress who has turned silicon heaves into amiable employment.
As far as strong macular body is concerned, none is equal to Dara Singh and Dharmendra.While working in Phool Aur Patthar, besotted Meena Kumari praising him said “His face is Phool but body is Patthar. Most females agreed. So did every male.
ROMANCE
THE film world had many witnessed so many romances time and again but the romances of today’s are trying to dust over the most unforgettable romances, namely, Dev Anand-Suraiya, Raj Kapoor-Nargis, Moti Lal-Shobhna Samarth (mother of Nutan and Tanuja), Devika Rani-Himanshu Roy, Meena Kumari-Kamal Amrohi, and Arun-Nirmala (parents of producer Kirti Kumar and actor-MP Govinda) et al.
Dev Anand was so much involved in Suraiya to whom he was not to let go but religion came in between because none of the families were interesting in inter-religion marriage at any cost. Though Dev one day reached Suraiya’s house with a costly diamond golden ring.
Though married, Raj Kapoor and Nargis had been crossed all limits. Raj’s wife Krishna left the Raj house taking kid Randhir with her but the timely interference of some actresses Nargis had to backout from the life of Raj Kapoor.And after then she never came near or tried to even talk with him.
As far as the beauty of Nargis is concerned, so many actors mad in love and were ready to marry her. But the timely making of Mother India provided Nargis to test all his lovers. Nargis convenced the producer Mehboob to shoot the fire scene in reality. But put the condition before her lovers that “I will marry that male who will rescue me from the fire” and before such condition except Sunil Dutt—who played the role of her son in the film—all the others vanished from the scene.
In this regard, it is interesting to note, that during the filmilisation of the song Na jao saiyan churake bahian… in Sahib Bibi Aur Ghulam, Meena Kumari had too much pressurized producer-director, Guru Dutt to picturise the song with drink in actual for which she was ready to work free in the film, because that song was narrating her actual life sufferings. Perhaps this is the first song in the history of Indian films that any heroine had consumed wine in actual.
Kamal Amrohi was, in fact, in love with Meena Kumari when she was a baby, to whom he had signed in one of his films as a child artist in Ek hi Bhool but with the passage of time their love turned into a nikaah on February14, 1942 and she became the second wife of Kamal but failed to deliver any child to her husband. My respected father, Late Shri Magan Behari Lal Nigam, -- till 1957/58 during his Bombay stay, who remained in constant touch with both of them as Kamal-Meena-Magan Behari-actor Kumar-C.B.Saxena and Dr Dhish, M.S. of Delhi’s Irwin Hospital (now Loknayak Jaiprakash Hospital) were as too close with each other like friend in need a friend in deed-- one of the famous film distributors of 50s (Premier Pictures)—use to praise the sincerity of Meena towards her husband. Though she was almost tortured, even then she was not ready to leave Kamal’s house. She never kept even a single penny with her --whatever she earned, was handed over to husband Kamal. It is a long history, which will be highlighted in due course of time on this web page.
Himanshu Roy was so involved in Devika Rani that he transferred almost every right of his production in the name of Devika. Their kiss in Karma is a history till date but untimely death of Himanshu; Devika had to marry a famous Russian painter.
The romance of Moti Lal and Shobhna Samarth could be a unique in itself. In between their romance, on some issue Shobhna stopped talking or replying. So, one day Moti flew throughout the day on the housetop of Shobhna in his own helicopter—Moti Lal is the only actor in the history of Indian film world who had his own helicopter and never took wine at others expenses, but of his own – till when Shobhna responded to him. But due to some reason or the other both can’t marry.
Regarding Moti Lal a very interesting episode happened. One day, he and Pt Jawaharlal Nehru in the plane were sitting together, during conversation, as Pt Nehru asked his name pet came the reply “WHAT’S YOURS FATHER NAME”.
STARS IN ADVERTISEMENT (S)
LILA Chitnis was the first actress to sign an advertisement in 1934 for Lux toilet soap since then till today this is the only soap, advertised by film stars.
During these years the film industry faced many ups and downs but with the efforts of some tiresome producer/directors the film industry is known in the world now.

MENTAL ILLNESS IN HINDI FILMS

2006-03-10T07:18:00.000-08:00

WHILE Hindi cinema has evolved on various aspects in recent years, for some strange reason, it continues to be irresponsible in its projection of mental illness. A filmmaker spends cores of money on exotic locations and costumes but somehow does not feel the need to research the cause of disability suffered by his protagonist.
Despite innumerable social and moral debates raised by experts on the subject there I little attempt on part of our filmmakers to empathies with the victim. One does not expect it from the formula filmmakers but when sensitive directors like Satish Kaushik in “Tera Naam”(2003) or Priyadarshan in “Kyon Ki…”don’t project the illness in the right perspective one has reasons to feel disheartened.
Salman Khan playing a schizophrenic in “Tere Naam” is tied up in chains and ill treated in a mental asylum which psychiatrists argue is not an accurate depiction of reality. In “Kyon Ki…”he is subjected to shock treatment without anesthesia, a practice banned by the Supreme Court but still followed in remote regions.
For many years, Aparna Sen was the only film director to give visibility to the disable in her Bengali and Hindi films. If “Poromitar Ek Din” delved on schizophrenia, “Sati” told about a deaf and mute girl’s exploitation within her family. “36 Chowringhee Lane” starred Geoffrey Kendall as a dementia patient and yer“Mr. & Mrs. Iyer” portrayed a young mother accompanying her paraplegic child in the bus. Even her forthcoming film “15 Park Avenue” focuses on the trauma of a schizophrenic.
Barring Sen, who was consciously integrated the autistic with society, the only time Indian filmmakers seem to remember the physically or the mentally challenged is when the film portrays them as protagonists. Whether it was Rajshri Production’ “Dosti” about the bonding between a lame and a blind friend or Gulzar’s “Koshish” about a deaf and mute couple living with a blind companion. Mehmood’s “Kunwara Baap” enlightening the precautions against polio, Sai Paranjpye’s “Sparsh” and Sanjay Leela Bhansali’s “Black”, about life without light or Rakesh Roshan’s “Koi…Mil Gaya” about dyslexia.
The Rajesh Khanna and Wahida Rehman starrer Geetanjali Productions' Khamoshi was also one of the memorable films based on mental illness.The scene itself becomes so touching that tears itself started to roll when attending nurse,Wahida Rehman becomes herself a mental patient with the recovery of the patient Rajesh Khanna. In this film the producer, Hemant Kumar,tried his best to highlight the problems of the mental hospitals staff.
For a long time filmmakers didn’t feel the need to elaborate on the ailment. All characters portrayed were cases of general mental illness and strangely, the audience didn’t miss an adequate diagnosis of the ailment. Remember the retarded Guru Dutt singing “Kya bole dayima…” in “Bahurani” or an imprisoned Sanjeev Kumar singing “Khilona jaankar…” in “Khilona”. Over the years, however, filmmakers began to make special efforts to research the illness. Mahesh Bhatt’s “Dastak” and a few years later, Rajat Mukherjee’s “Pyar Tune Kya Kiya” depicted relevant symptoms of the permutations and combinations that lea to acute violence and depression in a person.
Gradually, images of the mentally challenged became more evident on Hindi screen. What was further interesting was that these characters were not necessarily linked to the central plot of the story. The imbalanced younger brother of the villain in “Aks”, a ranting Mahesh Manjrekar in “Kaante” in contrast to a misplaced genius Amitabh Bachchan planning a bank robbery aided by three visually impaired men in “Aankhen” were characters to remember.
It has been a long battle by our mental health workers to break the negative stereotypes associated with disability in our mainstream movies. Many years ago, legendary filmmakers Bimal Roy and V.Shantaram inspired a movement with films like “Sujata”, a crusade against untouchability and “Do Aankhen Barah Haath”, about rehabilitation of prisoners. It’s time now for our current crop of filmmakers to champion for the marginalised section. For, Jahnu Barua’s “Maine Gandhi Ko Nahin Mara” delving on the anguish of an Alzheimer patient and his family, there were more youngsters than senior citizens in the cinema hall. Perhaps this is the beginning.

SONG & PRANCE

2006-03-03T18:34:00.001-08:00

THE changes in the time have consigned Helens, Bindus, Faryals, Indira Billis, Padma Khannas, Kukkoos, etc to the pages of history. The Isha Koppikars and Malaika Aroras are here to stay and are making Helen’s hot numbers seem like the dance steps taught in nursery schools. Gone are the days when dance in mainstream Indian films was the kind you watched Vyjantimala perform in "Jewel Thief" or much later Hema Malini in "Sholey". Helen’s variety, Indianised though was direct lift from cabaret.
But now, Isha Koppikar’s "Khallas" number in "Company" and "Ishq samundar…" in "Kaante", have created a completely new genre, which perhaps started with Malaika Arora’s "Chhaiya chhaiyan…" in "Dil Se". Item number is a form that has also caught the fancy of a host of new stars who wouldn’t even blink when asked to grate, stripped down to "bare essentials" in front of cameras.
Helen, who actually made cabaret popular in Indian cinema, says, "Today’s young girls are doing a brilliant job, not only as actresses but also as dancers. Aishwarya and Karishma are talented actresses, and great dancers, too. Madhuri Dixit was also wonderful. I have absolutely no problem with item numbers because it is necessary for the industry to go with the times."
Helen, whose oomph career spanned over 25 years, remains the unanimous choice among the ten best dancers Indian cinema has produced and has had a documentary made on her by an eager fan?
Helen’s "Mera naam chin chin choo…" in "Howrah Bridge" in 1958 was the turning point. Padma Khanna, Bindu, and Mathumati followed in her footsteps till a funny thing happened. Leading actresses like Zeenat Aman, Parveen Babi merrily joined the caravan with some more "raunchy numbers".
It was Madhuri Dixit who actually turned such numbers into a fine art from with her "Ek do teen…" in "Tezaab" and followed it up with the hugely popular "Dhak dhak karne lagaa…" in "Beta" and then the "Choli ke peechay kya hai…" in "Khalnayak".
Ormolu Matondkar is another gifted dancer, but she seems keen to play diverse roles. Raveena Tandon performed pretty much better as an item number dancer than an actress. Her "Sheher ki Ladki…" and "Ore ore…" catapulted her to stardom. She started getting the freedom of choice. She could pick and chose films and roles.
And then came Sushmita Sen. With the sizzling "Mehboob mere…" in "Fiza", she finally caught the attention of filmmakers and did a jig in sensuous sari-blouse outfits in "Main Hoon Na". Shilpa Shetty has also done quite a few such stuff.
According to Ganesh Hegde, the choreographer of such heart-thundering item numbers as "Khallas…" "Kambakht ishq…" "Mehboob mere…" "Tere bina…" and "Babuji jara dheere chalo…", "I’d like to define an item number as something senseless that is not related to a film. But it does serve as a relief in a tension-packed movie. And people enjoy such "naach ganas", you know. They clap; shower coins and then gets back to the actual part of the movie. "Pyar Tune Kya Kiya" was a big hit only because of its "Lambakht ishq…" number."
In his assessment, top heroines are vying for "item numbers", because "they add to their song bank and bring quick money". Moreover, item numbers require no dubbing or working in shifts and are shot in just four-five days’ time. But, of course, popularity is the biggest factor. "It gives them more recognition than ten films put together can do. No one took a look at Isha till she drew the audience like a magnet with "Khallas" came about," says Hegde.

"A large number of people go to movie theatres for some ‘curiosity factor’, which an item number is capable of generating", Malaika butts in to say, "I love dancing and it’s my passion. I am not interested in acting career now."
According to Komal Nahata, a trade analyst, Aishwarya Rai charged Rs. 7.5 million of her "Ishq kameena…" in "Shakti". Madhuri Dixit wore a short skirt for the "Makda…" number in "Bade Miya Chhote Miya", even if it wasn’t an item number really. But that hardly made any difference to what you call the value-addition factor.
Item-numbers not only enhance the commercial prospects and but greatly break the monotony in a movie as well. Producers spend so much for marketing a film. No wonder that they rope in a big star for an item number.
Ram Gopal Varma, who turned sizzling dancers into an aesthetic creation in "Rangeela", has since shifted focus on more drastic matter. "My films attract audiences because of scripts and performances, not just songs. "Road" lost out because the songs used in that movie diluted its storyline", says Varma.
Today’s item number is quite a different kettle of fish. Like it or not, Yana Gupta’s "Babuji zara dheerey chalo…" in "Dum" is an example of how Bollywood has transcended borders. There are girls who cannot speak a word of Hind, but are happy featuring in an item number. A few people are of the opinion that her dance was vulgar but she never cares. According to her, "they actually pretend that sex doesn’t exist. Ironically, my husband didn’t have problems with the song," says Yana.
Even though, item numbers lack the magical appeal of cabaret, which is still alive in many cities across the world, for it’s something that keeps dreams alive. But in this part of the globe, item numbers have come to rule. Even Shah Rukh Khan did one with Malaika in a film; no matter the movie wasn’t a hit.
Till the era of Rajesh Khanna the stress was given on the script, music, lyric and on the performance but the rise of Amitabh Bachchan on the silver screen incited filmmakers to add at least one item song in the film was picturised so that the film may fetch money and got registered on the box-office. Many filmmakers like I.M.Kunnu, B.R.Ishara, Ram Dayal and Sasi had stressed to base their film on the exploitation of heroine’s sex but majority of them fallen flat on the box-office leaving a few like "Chetna", "Prabhat", "Julie", "Gupt Gyan", etc but the films like "Call Girl", "Do Number Ke Amir", "Zindgi Aur Toofan" et el can’t remain for so long in cinegoers’ mind.
Rehana, Anil Dhawan and above all Shatrughan Sinha rose from "Chetna". But the viewers expected Rehana to show her "Chetna"-like nude legs. Rameshwari who got stardom with her very first film "Dulhan Wahi Jo Piya Man Bhaye" but later on thrown in the bedroom for giving bedroom scene in a film. Once Nutan had appeared as semi-nude in "Dilli Ka Thug" but the viewers rejected Nutan in such appearance. Similarly, Hema Malini, Rekha, Saira Banu and Asha Pareekh and other known heroines had tried to expose their bodies in films but their talent compelled the cinegoers to overlook their exposures. This is reason they are still in demand despite their age, but today’s Bollywood belles are ready to shed not only their clothes but some age-old lines to add a touch of glam to fare for the masses and leaving Helens, Shashikalas, Padma Khannas, Indira Billis, Kukkoos, Laxmi Chhayas far behind. The critics and cinegoers have not forgotten the belles of Shashikala in "Phool Aur Patthar", and Padma Khanna in "Johny Mera Nam". It is interesting to note that the "Johny Mera Nam" belle gave boost to the filmy career of Padma Khanna as well as of Prem Nath.
What next Bollywood?

CABARET
CABARET has a history that goes far beyond its apparent manifestations. Created in 1881 on Monmartre district of Paris, the word is derived from a French term, which means wine cellar or tavern. It is also said that it is derived from a restaurants that served wine and liquor and offered entertainment. It first began with the opening of Le Chat Noir in Paris that was a place for poets, artists and composers who share new ideas and displayed their compositions. This sharing of ideas soon began to take potshots at bourgeois conventions and ideologies. The most significant exponent of cabaret was the Moulin Rouge that made its first appearance with a blend of sex and satire, amply reflected in the eponymous film with Nicole Kidman in the lead. It moved on to Germany soon and became both the centre and a façade for underground political and literary movements. Pretty soon cabaret evolved into an expression of rebellion against the Nazis and sometimes had to face the brunt of their wrath for its barbed attacks against the Fascist rule. English cabaret has its roots in taproom concerts given in city taverns during the 18th and 19th centuries. In the USA, cabaret is usually performed in nightclubs, the only space where an entertainer, comedian or dancer can establish warm rapports with their audiences in an intimate atmosphere that encourages improvisation and freedom of expression. The down swing began in 1980 as cinema started dominating all forms of entertainment in America. Cabaret’s inroads into the Orient, especially in the countries under British rule, were met with a loud and clear "NO" from the landed aristocracy and intellectuals. The response, however, seemed quite hypocritical, because such forms as "Mujra" and Devdasi, as "sumptuous dishes", had already existed.
In Maharashtra, for example, "lavni", which was erotic by all means, would be dished out before the landed gentry, feudal Nawabs and even village farmers peasants before the mainstream Indian cinema chose to court cabaret in its "entertainment system" which included a myriad of stuff—storyline, acting, fighting, dance, drama, music and song…

NUTAN:An Actress Par Excellence

2006-03-01T19:21:00.000-08:00

NUTAN was barely nine years old when she faced the camera in the film "Nal Damyanti". Her mother Shobhna Samarth in "Hamari Beti" in 1950 launched her. In those days the heroines were big boned and in "Nagina" Nutan were scoffed at for being skinny. In "Hum Log" released in 1951; Nutan projected the emotions of a tuberculosis patient so realistically that she went on to win laurels. Her real break into big-time cinema came when she played a rebellious, juvenile, delinquent girl fighting to salvage her dignity in Amiya Chakravarti’s "Seema".
From stalwarts like Bimal Roy, Basu Bhattacharya, Hrishikesh Mukherjee, etc. Nutan learnt the art of portraying a character not so much in words as through her body language and expressions. In Bimal Roy’s "Sujata" the bewildered expressions on her face convey the trials and tribulations of an orphan Dalit girl. When she asks her foster mother: "Agar hawa mujhe choo sakti haai to insaan kyon nahin", she depicts human anguish and agony so beautifully that while watching the film you forget everything else.
In "Sujata" and "Seema" her histrionics were psychologically penetrating. She enacted scenes with nuance precision that were a cry from the heart. A fleeting expression on her face conveyed much more than dialogues. As Luxmi, a film actress exploited by her kith and kin in "Sone Ki Chiriya", Nutan slipped into the soul of the character so unobtrusively that the audience felt that it was a chunk from her real life.
As thinking actress, she did not need accessories to transmit the working of the mind of the character she played. She was equally concerned with the projections of emotions as well as their veracity. In "Bandini" when Kalyani (Nutan) sees her long-lost lover Bikas Ghosh (Ashok Kumar), she sings, "Jogi jab se tu aaya mere dware…". The joy on face mirrors the divine rapture of a devotee who has seen God. She poured out ecstasy from every pore of her body, proving that teeth and lips have nothing to do with a smile.
Nutan was perhaps the first heroine to risk playing unconventional roles. She sublimated the grey-shaded character of Kalyani—a murderer and convict in Bimal Roy’s "Bandini". Nutan had no screaming matches or drunken hysterics in the film. Instead she appears as a quiet woman with passion raging within.
The obnoxious look in her eyes as she administers poison to the nagging and neurotic wife of Bikash Ghosh exuded disdain that sent shudders down the spine. Her demeanour takes on an eerie dead-soul intensity. Her performance was at its awesome best in "Badini". She imbued Kalyani’s negativity with heroic shades and made the audience empathise her.
A natural throw was the hallmark of Nutan’s dialogue delivery. She was low key and mellows as she was peppery and sarcastic and yet made a strong impact. According to the requirements of the scene, her voice had the tenderness of rose petals and the ferocity of a whiplash.
In "Saudagar", when Mahjabeen(Nutan) is divorced by her husband (Amitabh Bachchan) on the charge of adultery, in a fit of anger, she breathes fire and brimstone, saying, "Jaldi bol de woh alfaaz jise bolne ke liye tu itna betaab tha, pad gayi thand kaleje main…"
The tenor and tone of her tremulous choked voice convey her emotional laceration and the agony of having been cheated. The expressions showing her dilemma on losing her love and security were mind-boggling. As a destitute woman, Nutan displayed a riot of emotions with unmatched passion.
As Kumud, a widow in "Saraswati Chandra" she created an alluring image of a woman who can be desired and deified. She lit up the silver screen by projecting the entire gamut of emotions of the protagonist. The audience loved the way she worked herself into histrionic frenzy.
From AVM’s "Meherban" till her death she retained her gracious and sensitive style even in her maternal roles. In Raj Khosla’s "Main Tulsi Tere Aangan Ki" she represented a rarefied concept of a traditional woman in the role of a stepmother, who nurtures an illegitimate son of her dead husband’s mistress. She lent sheen to the role and wowed the audience with her acting-prowess.
In "Meri Jung" she oozed charisma. In the film Nutan was declared unstable after a devastating happening and was confined to a lunatic asylum. Her children grow up but to her mind, they are still young. What made the role outstanding was her sterling performance where her demeanor was calm and stable and yet the instability of her mind came across so effectively. Her inspired acting made the film a rare feminist phenomenon. Through her path-breaking roles she endeavored to change the mindset of the audience about the place of women in our society. She was pioneer in the depiction of women, particularly, tortured and tormented women on the screen. Take any of hers, she enjoyed with her roles as well as cinegoer, either it’s serious or a comedy or romantic. "Anari", "Seema", "Dil Ne Phir Yaad Kiya", "Laat Saab" etc can be named.
When heroines were nothing more than mere glamorous props meant for providing titillation, Nutan accepted only those roles in which she either played the main part or atleast shared equal footing with the make counterpart.
Nutan died a painful death of cancer in February 1996.Like Nargis, her death too shook the entire film industry.
Her roles in "Milan", "Tera Ghar Ke Samne", "Bharosa", "Dil Hi To Hai" ,"Khandan" , "Anari" and many other films couldn’t be ignored. Like her mother,Shobhana Samarath, she lived with the roles assigned to her time to time.

LOVE in Colour And Black & White

2006-02-23T07:42:00.000-08:00
IT’S Valentine Day and like everyone else, one cannot resist listing the favourite romantic moments in Hindi films.
After all these years who can forget the magnetic Meena Kumari expressing her woes in “Ajeeb dastaan hai yeh…” in “Dil Apna Aur Preet Parayee”. On a moonlit night and in the middle of the sea, the heroine and her friends are celebrating the marriage of a colleague ( Raj Kumar with Nadira). It’s a tragic moment for the heroine who has all along silently loved the hero.Today, it’s the end of a dream for her. The conflicting emotions effectively portrayed through her brilliant close-ups.
Thereis mischief in Shakeel Badayuni’s “Tere Husn ki kya taarif karoon” in “Leader” wherein the writer encourages the lovers to flirt with each other before admitting to attraction. Adding to the magic is the emotional rendering by Mohd. Rafi and Lata Mangeshkar andlater, the palpable chemistry portrayed by Dilip Kumar and Vyjayantimala.
In “Saraswati Chandra” Nutan plucking the flower from her braid and attaching it to her letter addressed to her fiance “Phool tumhe bheja hai khat mein…” is more original than any of the red roses or heart-shaped bouquets currently marketed by the florists on Valentine Day. In the same film, the hero singing “Chandan sa badan..” in praise of her beauty and her unabashed response to his praise is nore tantalising than many of our supposed erotic films.
On a slightly regressive note but deeply effective is a blushing Mala Sinha confessing to contentment in marriage to Dharmendra in Raja Mehdi Ali Khan’s lyric “Aap ki nazarone samjha …” in Mohan Kumar’s “Anpadh”, particularly the line, “…ji hame manzoor hai aapka ye faisla..” hauntingly rendered by Lata Mangeshkar. It’s a moving song about total surrender in love.
Images of several Hrishikesh Mukherjee films crowd my mind for mention. A withdrawn Sharmila Tagore shying away from all social contact but opening her heart to nature while humming to Kaifi Azmi’s “Kuch dil ne kaha… Kuch bhi nahi…” in “Anupma”. Jaya Bhaduri sitting a few centimeters away with her back to husband Amitabh while singing “Teri bindiya ye..” because showing intimacy amidst outsiders is considered undignified by the middle class. And finally the girl-next-door Archana wooed by hero Navin Nischol in Kishore Kumar’s evergreen number ‘Raat kali ek khwab mein aayi…’in “Budha Mil Gaya”. Navin perched on top of a rock while Archana walking below was so simple and yet so stirring.
In Subhodh Mukherjee’s “Abhinetri” it is Shashi Kapoor and Hema Malini’s first wedding anniversary. The husband wants to call a big party while the wife wants to share the special day with nobody except him (her husband). The song “Sajna o sajna sun kya kahe kangna…” was quite unusual for a film based on marriage(released in 1970).
Some more visuals that come to haunt are Rekha and Vinod Mehra indulging each other with poetry in “Aap ke aankhon mein kuch…” in “Ghar”. Shot in natural surroundings in the morning sunlight there is a serenity about the song that promises stability in relationship.
A drenched Shabana Azmi holding an umbrella and strolling by the lake in Basu Chatterjee’s “Swami” reacting to the dew drops “Pal bhar mein ye kya ho gaya…”is a woman who has just discovered love. But the most unforgettable of them all is Suchitra Sen in “Aandhi” intimating her husband about their forthcoming baby via a telegram sent to his workplace. The husband is utterly charmed by her unusual gesture and reciprocates with equal panache. One thing we have to admit that love in old films was far more sparkling than our recent movies.
Take any old Adult/Universal film love is expressed in a classic and dignified manner but in today’s films love is expressed in a very absurd and sometimes in a very cheap manner.The heroines are dressed as if clothes are not easily available, proving Manoj Kumar’s film “Yaadgar”(of 1970s) “…Chole ki choli hai bani, choli se aage kya hoga…” proving cent per cent right that is why Madhuri Dixit and Neena Gupta in Subhash Ghai in his film “Khalnayak” sing “… choli ke neeche kya hai….”. There can be a long list of films if seriously compared head will automatically bow in shame but the young generation names it modernity but in true sense a great joke of Indian Culture.

NADIRA--Fifties diva takes the final bow

2006-02-23T06:18:00.000-08:00
THE name Nadira alias Farhat Ezekiel evokes an image of an actor with presence,beauty and audacity. Someone who played spunky roles back in the days when other heroines onlywrapped themselves up in moralistic yardage. But the sick,lonely,73-year-old woman, who died at Bhatia Hospital on February 9,2006, had not a faint trace of glamour that she once embodied.
Nadira was born on December 5,1931.
The actor—known for her roles in films from the 1950s such as Raj Kapoor’s Shri 420 ,Julie, Aan, Pakeezah, Saagar, and more recently a cameo in Pooja Bhatt’s Tamanna andremembered most by the song Mud Mud ke na dekh fromShree 420
– lad a secluded life in a South Mumbai flat till she was admitted to ICU of a Central Mumbai hospital for suffering a heat attack coupled with a paralytic stroke since the beginning of this year. She debuted with Mehboob Khan’s Aan opposite Dilip Kumar in whih she played the fiery princess Rajshree.
Although the Jewish actress born Florence Ezekiel,had two brothers—one settled in the US and another in Israel—none of her family showed her any attention and died a lonely death after a prolonged illness.
The funeral at Chandanvadi was attended by a handful of people, some from the film industry , others neighbours and aquaintances.
Deepti Naval, Gulzar, Ashok Pandit, Mahesh Bhatt, Madhur Bhandarkar,Dolly Thakore and veteran actors Chandrashekhar and Ram Mohan paid their last respects at the funeral ceremony.
Thakore, who had known Nadira since 1069 remembers her as a very thoughtful, caring woman, who was an avid reader ofliterature andpoetry. Known by a close set of friends as Fallu, Thakore says : “Nadira was aware that it was when she had money and fame, that her house was brimming with beautiful people, who came often to drink her best whiskey with her. But as her glory faded, everyone deserted her like a sinking ship.”
Bhatt points out the irony of the fact that in his daughter’s film Tamanna, Nadira delivered a poignant performance as a deeply anguished actress who’s past her prime and lamenting the time gone by.
Her reality not being too different, Bhatt says: “As the applause fades away, the sounds of loneliness seem even louder, to actors who’re past their prme. In Planet Bollywood, you can’t imagine the crowds to rally behind a has-been diva. She was an actor with guts,but sadly, she’s gone the way thousands have gone all over the world before her.”

Film Review:- Rang De Basanti

2006-02-05T05:59:00.003-08:00
RE-AWAKENING of a generation is not the only message ‘Rang De Basanti’ carries for the youth of today, it also envisages that this millennium’s generation has an immense task of freeing India from the shackles of corruption, fanaticism, opportunism, unemployment and poverty which is no less gigantic than what it was got out freedom fighters and revolutionaries like Bhagat Singh, Rajguru, and Chandrashekhar Azad. In fact, it is much more difficult now as at that time the nation’s enemy had a face and was well defined. We had only to free ourselves from the clutches of British masters by simply ousting the phirangees. But now the enemy is faceless; It is one among us tough to identify and even tougher to confront because here is a whole system against which we have to rise to fight
‘Rang De Basanti’ reveals the boundless, yet untrapped human energy, which is just waiting to be harnessed to be channelled in the right direction to free India once again from its ‘invaders’. That someone has to take up the cudgels to do something akin to what our revolutionaries did to give a wake-up call to the masses to force them to introspect and realise their duty towards their country. The film shows that there are many Bhagat Singhs, Rajgurus, and Azads among us who can light the torch to cleanse our system to uproot the rampant corruption and to take up the just cause of equitable justice by weeding out social evils. The theme of the film is such that any and every young Indian can relate to it.
The film revolves around a group of five friends – Diljit alias DJ (Aamir Khan), Sonia (Soha Ali), Aslam (Kunal Kapoor), Karan Singhania (Siddharth) and Sukhi (Sharman Joshi), who are college students. Some are studying for a degree, while others like Aamir are unemployed youth who prefer to be part of the college crowd despite passing out from the university five years ago. DJ fears the real life. For him the fun-filled days though numbered. All five represent a major cross-section of our society. All are a disillusioned lot who thinks the country is in a state of utter hopelessness.
But everything changes after they meet Sue McKinley (English actor Alice Patton) who arrives in Delhi to shoot a documentary film on revolutionaries of India who’re still alive for her in her grandfather’s diary in the form of his personal experiences. Not only do the five friends reawaken to their historical heritage but also begin to adjudge the fallacies and facades, which our nation lives on. Certain turmoil and events completely change heir carefree attitude and style of thinking. They acknowledge their worth, duties to the fraternity and rise to do their bit for their country.
Director Rakeysh Mehra has done an excellent job where he has tried to jell the past with the present with revolutionaries, their circumstances and the present generation protagonists in the present day context adds reality to narrative.
Aamir Khan is at his brilliant best, Kunal Kapoor proves to be an actor of finesse, Soha Ali and Siddharth are good and Alice Patton as Sue is convincing in her performance. Kirron Kher is her usual self – too good to believe.
The film unfolds layer by layer and grows upon you till you become one with it. Excellent direction, excellent cinematography and excellent performances makes the film a delightful memorable. A.R.Rehman’s music and Prasoon Joshi’s lyrics are appealing to all. The songs seem to set the mood of the film. Rang De Basanti is the sort of a film which an audience can never have enough of. Above all, it reminds the days of Bharat (Manoj Kumar) whose Upkaar, Roti, Kapda Aur Makan, Yaadgar, Purab Paschim etc films were not only patriotic but were eyes openers.

Bollywood's Date With Literature

2006-02-02T06:46:00.000-08:00

Bollywood appears to have found a new love for history and literature. Despite many producers having burnt their fingers over their desire to make historical and period films, the road for such films seems to be alive and kicking. And this trend started three years back when Sanjay Leela Bhansali remade Devdas, an adaptation of Sharat Chandra Chattopadhyay’s classic novel with the same title. Today the trend has moved further. This time the intention is clearly to revive old classics and bridge the gap between the two generations.

Till now about 20 films have been made on Sharat’s literary works. After him comes the name of Munshi Premchand and Gulshan Nanda, the novelist.

In 1953, legendary Ashok Kumar decided to give a classic touch to Sharat Chandra’s Parineeta with the help of its director, Bimal Roy. The film is still remembered for its strong portrayal of the lead character by none other than the tragedy queen, Meena Kumari. Of late, Bollywood has been witnessing a severe drought of new ideas and new stories. So those who want to quench their thirst for good cinema have no option but to turn to history and dig out some classics to remake with new stars.

If V. Shanataram made Dr Kotnis ki Amar Kahani before Independence, the trend of biopic films too helped the new film-makers to continue with their efforts to contribute substantially to cinema. If Parineeta and after that Paheli succeed, chances are bright that those trying to rake in moolah through sex and violence will learn a lesson from this rising trend.

Bhatts and Mallikas of modern cinema should give way to Parineeta and Paheli presented in a new pack of entertainment—the only reason for which millions of people grace cinema halls.

Bhatts and Mallikas of modern cinema should give way to Parineeta and Paheli presented in a new pack of entertainment—the only reason for which millions of people grace cinema halls.

Parineeta is set in an era when women wore long-sleeved or frilled blouses and men were happy dancing during Durga Puja festivities with earthen pots in their mouths. The time depicted is early sixties and the story moves around Lolita (Vidya Balan) who lives with her relatives since her childhood. Brought up in a typical bhadralok culture, she oozes ethnic culture and etiquettes in her persona wherever she goes. She has a chance encounter with Shekhar (Saif Ali), the son of a rich businessman. Both become friends and start sharing everything in life. They share a bond between them, which is difficult to be defined in words.

Their life moves smoothly and gradually love blossoms between the two young protagonists. Then an outsider, Girish (Sanjay Dutt) enters their life. He falls in love with Lolita. Meanwhile, intimacy develops between Lolita and Shekhar. The triangle of love suddenly acquires an element of intrigue, leading to greed, deception and misunderstandings.

Parineeta by Pradeep Sarkar, has all the elements to become a classic in cinema but the recipe has gone wrong at some places. Pradeep has shown tremenous calibre to perform and deliver as a film director in his very first movie. He treats his technique as a tool and not as the master as happens in films made by young directors. He uses the locations as a canvas and paints the scenes over the canvas like a painter.

Sanjay Bhansali was sharp on this front and that is why he sent Devdas to study in London and not to Calcutta as presented in the original novel. Some slight changes in the screenplay would have earned more patronage for the film. Despite making several changes like making Girish, an NRI, settled in England—in the novel, he was merely a Bramho Samaji, or by omitting the crucial gudda-guddi wedding celebrations which Bimal Roy had picturised over the song Gore gore haathon mein, with Meena Kumari running to Shekhar’s room and dropping the garland around his neck. Finally Lolita, with her eyes downcast confesses to Girish that she is a married woman.

Vinod Chopra and Pradeep Sarkar have been courageous in adapting the 1914-published novel to 2005 but is the message as relevant to present times? Would the film be able to evoke the same nostalgia, the pain and passion that Bimal Roy projected several decades ago? If Meena Kumari was ethereal when crushed by the sarcastic Ashok Kumar in black and white version of Parineeta, doe-eyed Vidya Balan is angry and heartbroken by the caustic remark of her beloved. While in the older version, Ashok Kumar and Meena Kumari exchange flower garlands, the present pair exchange a gold chain in the new adaptation.

The adaptation does not carry the ‘I am a married woman’ scene. It would have looked too contrived in modern times when married women don’t even look married. Instead, the director used Sanjay Dutt to convey the message to Saif and what’s more appealing is that Sanjay combines anger with disappointment while expessing his feelings. The present film is high on technique and has melodious music too. However, what it lacks in is the script. Even the dialogue aspect, handled by Rekha Nigam, is weak. Among the actors, special mention is to be made on none other than Rekha, who sizzles on the screen even after crossing the age 50, providing the newcomer Vidya Balan a run for her money.

Another remake on the cards is that of the Bengali literary classic, Sahib Biwi aur Ghulam (made by Guru Dutt in 1962 ) which was to have been directed by Rituparno Ghosh but is now being given to Deepa Mehta to direct for Pritish Nandy Communications. The success of Godan and Gaban, based on the works of Munshi Premchand, is also under consideration by a new crop of producers and directors. The film-makers should certainly be allowed to present literature on the silver screen, but without instituting changes either in the incidents narrated in literature or in the period to which the literature belongs.

RAM DAYAL; A FORGOTTEN HERO AND PRODUCER OF PAKISTAN'S FIRST FILM

2006-02-02T06:37:00.000-08:00

SARDARI Lal was then the general manager of Pancholi Pictures,Lahore that controlled two studios,three cinima halls and Empire Talkies Ditributors. Later Dewan Sardardarilal started his his own film production company and produced a film titled Barsat Ki Ek Raat starring Pran. Ram Dayal joined his father's business as Production Chief and also handled he camera department. After the partition,while many had to leave Lahore,Ram Dayal stayed back till 1950. In 1948, his father and Ram Dayal produced independentPakistan's first film Teri Yaad starrring Nasir Khan. Till 1950, Ram Dayal had the privilege of having been associated with stars like Ragini,Neena, Swarn Lata, Nazir,Charlie, Sabia, Santosh Kumar, Darpan, M.Azmal and music director Ghulam Hyder andChisti. Later in 1950. He came to India leaving his parents in Lahore. In 1956, Ram Dayal's parents migrated to India.
Coming back to Bombay in 1950, Ram Dayal started working as a press photographer and also in the camera department. In the same year, he launched his own production company alongwith his brother Darshan who already was in Bombay working asa Pro for actress Shyama. From 1952 to 1990, Ram Dayal produced 25 films besides directing two and photograhing more than 25 films. Ram Dayal had the privilege of being the GM of the Famous Studio at Caddel Road in 1956-57 and then in 1958-59, he was in charge of the now defunct Kardar Studio.
Ram Dayal made all kinds of films in various genres. For children,he made Bazigar, Star and Dog & Horse. He made fantasy films like Alibaba Ka Beta,Tatar Ka Chor and Gulbahar, one magial movie Jaadu Nagri as well as a science fiction Superman. Ram Dayal was credited for having made a bold film Do Raha starring Anil Dhawan and Radha Saluja. He also made two very well-known comedy films namely Aplam Chaplam and Shrimanji.He didn't spare the spy movie genre when he made Akalmand. Ram Dayal made Prabhat that dealt with the life of a prostitute,produced a family film Do Number Ke Amir, made action films Baghi and Zoro.Formula films were Ram Dayal's forte and he made four films in this genre namely Hasino Ka Devta, Param Dharam, Takdeer Ka Badshah and Karam Yuth.He also made a film on national integration namely Veeru Ustad.
Ram Dayal has also had the honour of bringing about many changes and improvements in the field of cinema viz:
Initiated daily payment to artistes
Brought into existence the concept of "action films" repalcing 'stunt' films.This he did because earlier social and stunt films had separated status as producers,artistes,studios and theatre owners used to look down at stunt films. Then there were a few third-grade theatres earmarked for stunt films. Famous artistes ofsocial films like Pradeep Kumar were roped in by Ram Dayal for his action film Baghi.Says Ram Dayal,"I am proud to say that Homi Wadia, the king of action moview then showered praise on me andmy stardard of making such a film." It was in 1958,that Ram Dayal made the hit film Baazigar, starring Jairaj and Nirupa Roy. This film was shot at the Kardar Studio that was earlier not available to shoot action films.
It was only after the stupendous success of Baazigar that the overflow system for action films were taken into consideration. Till 1958,there was no overflow system.
Stunt picture producers, till 1957, used to go up to China Creek to shoot their films. It was Ram Dayal who started to shoot outdoor productions in Khandala,Jamnagar,Simla, Delhi,Jaipur, Jagadari,Srinagar and Fatehpur Sikri. Location shooting outside studios was also initiated by Ram Dayal. In 1956, Ram Dayal went location shooting of his film Ustad, starring Ashok Kumar and Anjali Devi in hotels and Bungalows. First time in the history of Hindi films artificial lights were used for shooting this film. The photography,by Ram Dayal himself,was the film's highlight and brought kudos to him. It was from Ustad that night shooting was brought into vogue. Previously many "A" grade film producers used to dupe their night scences.
It was after Ram Dayal's initiative in Do Raha that producers started recruiting artistes andtechnicians directly from the Film Institute in Pune.
Ram Dayal has theprivilege of introducing film personalities like Rakha in Hasinon Ka Devta,Prem Chopra in Spane,Shakti Kapoor in Veeru Ustad and the famous Indo-Pak writer Qatil Shaify in Teri Yaad.It was Ram Dayal who tood thescreentest of actor Manoj Kumar and photographed him in a small role for Fashion.He had earlier screen tested Ameeta for Thakur. He also has the honour of introducing Ram Vidhani,managing director of Excelsior Theatre and president of Theatre-owners Assosiation to the film industry. He intoduced directors like Sikandar Khanna,Feroze Chinoy and Radhakant and re-introduced Roop K.Shorey who directed his Akalmand and Aplam Chaplam and director B.Subhash for his film Takdeer Ka Badshah.Robin Bhatt was also introduced by Ram Dayal when the former was asked to helm the affairs by the latter for his Zoro.
Ram Dayal is the first producer who started shooting at Bhalla House at Pali Hill,Bandra,Citizen Hotel at Juhu and H.S. Rawail's bunglow where many pictures are still shot. He shot his film Hasino Ka Devta at Maharaja Palace at Mysore.
Ram Dayal is also credited for having produced a film on a very delicate subject viz 'life of a prostitute' in Prabhat with a new girl Jai Kaushalya and a new director Sikandar Khanna.
There was a time when Hindi films were not allowed to be exhibited in South India. In 1968,an all-India agitation was launched for not allowing South Indian films to be shown in North India. The agitation continued for a month at the end of which the issue was amicably settled at a meeting held in Madras.
He was the first man to promote old films for videos.In 2980, he tied up with video company 'Esquire' and purchased more than 400 odd films of which the production sector earned several crores.
At his insistence film makers like B.R.Chopra and Ramanand Sagar started making films exclusively for video. He made them have a tie-up with Esquire. And on the request of Prem Vachani, he introduced Gulshan Kumar of T-Series to the Bombay market. Later he assigned his film Karam Yudh to T-Series on an outright basis. These days most producers and music companies are working on this pattern.
He was the first to inroduce designer Manish Malhotra's costumes in his film Param Dharam.
He had the privilege to work with Suraiya, Madhu Bala, Meena Kumari,Nirupa Roy, Usha Kiran, Pandari Bai and Anjali Devi (of South),Parveen Babi,Kimi Katkar, Sangeeta Bijlani,Shammi Kapoor, Shakila, Nigar Sultan, Mahipal, Sheikh Mukhtar, Prem Nath, Ajit, Jayant, Rehman, Navin Nishchal,Rekha, Bindu, Helen, Amrish Puri, Anita Raj, Ashok Kumar, K.N.Singh, and many others.
He has had the privilege of doing business through Shreechand Hinduja of the Hinduja group. Hinduja was instrumental in getting his film Baghi sold for the Iran territory and received a cheque of Rs.1350 as service charges.
He is founder of the Film Producers' Council. He is an active member in the executive committees of Indian Motion Pictures Producers Association(IMPPA),Producers Guild of India and Guild of India,Film Makers Combine, All India Film Producers Council and Film Produers Guild.He is the Hon. General Secretary of Charitable Trust of F.P.G. of India,Chairman of ilm Producers Guild Trust.
In his days as a producer,Ram Dayal employed the services of renowned music directors like Khayyam,Chitragupt,S.N.Tripathi, Sardar Malik,O.P.Nayar,Kalyanji-Anandji, Laxmikant-Pyarelal,Sonik-Omi,Bappi Lahiri and Sardul Kwatra and made them dish out melodious music. Recalls Ram Dayal "Those were the days when music used to be the life of films. I remember an instance when a music company paid as high as Rs 8 crores for a film's soundtrack.Now music companies pay one crore for a film's soundtrack. Because those were the days of records of 78rpm. HMV used to send its representatives to the recording studios. Upon hearing all the songs, they used to select a minimum of four songs that would be put on its records".
On piracy Ram Dayal is of the opinion, that the film industry should give up its fight against piracy The reason , not a single person has been convicted in the act of piracy that has been going on since the video cassette days. What the police andother related organisations have been doing is an eyewash, he adds.

2005:A GOLDEN YEAR FOR FILM INDUSTRY

2006-01-22T07:26:00.002-08:00
ACCORDING to trade experts and critics 2005 has been a golden year for Hindi film business as nearly 20 films of different genres have done a bumper business of Rs. 100 crore and presume 2006 another mile stone, as Rakesh Roshan’s "Krrish", Madhur Bhandarkar’s "Corporate", Aamir Khan starrer "Rang DeBasanti", Subhash Ghai’s "36 China Town",and Satish Kaushik directorial film "Shadi se Pahle" and many more to hit the box office in the months to come.
The reason to assume 2005 as golden year is that the Hindi films smashed the Mysore silver screen where Kannada film producers were fighting a war against the exhibition of non-Kannada films including Hindi films. Some recently releases like "Sarkar" fetched Rs 58 lakh, "Dus" fetched Rs 45 lakh, "Maine pyar kyun kiya" fetched a fantastic share of Rs 35 lakh, "Shadi No.1" collected Rs 20 lakh and "Garam Masala" has so far collected Rs 27 lakh.
Balkrishan Shroff who has recently released "Garam Masala" said there was 30 per cent more business than last year. "In Mumbai alone hit films have done a business of Rs 6 to Rs 7 crore. No doubt there was an increase in the admission rates but that was hardly 5 to 6 per cent. Youngsters prefer to watch films in multiplexes where the environment is very good," adds Shroff. This can be one of the reasons for the success of more films because people want tension free light, entertaining films without scratching their head. Even if the film has violence they want it in a limited way.
Today’s audience want to enjoy all kind of films like "Page3", and "Black" and even films like "Hanuman" and "Yahaan". Audience has become choosy and goes for any kind of good entertainment no matter in which classification it falls. The young audience liked "Salaam Namaste" so much that the film became a super hit.
According to Ramesh Sippy , the newly elected president of the Indian Motion Pictures Distributors Association, youth-oriented films are the order of the day. Another top distributor, Ashok Ahuja observes that Mumbai territory must have fetched Rs 100 crore on nearly 20 hit films considering the ratio of Rs 5 crore per film. There is a huge audience if films are well made and it’s high time that the producers should pull up their socks to meet this demand.
The reason for

In defence of cinema's defiance

2006-01-12T18:50:00.000-08:00
THE objections have been withdrawn,the green signal given and Rang De Basanti is ready to hit silver screen this month.This is not the first time when any film is spotted as controversial. Previously B.K.Adarsh's Gupt Gyan, a film based on sex education, Gulzar's Aandhi, Kissa Kursi Ka, Bandit Queen by Shekhar Kapoor and so on and so forth, were spoted as controversial. But somehow the controversy was write off.
Now as far as the Rang De Basanti is concerned, the controversy which finally ended with the ball being firmly placed back in the Censor Board's court,once again raissed the issue of interference by political parties and government bodies in every aspect of life--from personal to creative.
Whilecontroversies and cenema havemade appt bedfellow all along,this is one those few times that someone like the defence minister himself questioned the creative licence. "This is so sad," says director Anurag Kashyap whose Black Friday was stayed a day before its release. "We cal urselves a democracy but theree is no freedom of seech. Anybody can exert pressure and get away with what they want. If incidents such as crashing off Air Force planes and kickbacks in defence deals ae happening,why can't we show all this?"
Sorry, as the situatioon may seem, it is still the truath. "Zakhm was stayed by the Home Ministry as it wanted me to axe certan scences and digitally change the colour of a mob's headband," recals director Mahesh Bhatt, while Govind Nihalani says that in his film Dev he was not alloed to mention either Ayodhya or Gujarat.
For documentary film-maker Rakesh Sharma whose Final Solution about the Gujarat riots also ran into trouble, the Defence Ministry's action is akin to a super-Censor Board. "Today, it is the defence minister taking a decision,tomorrow it could be someone else. Such trends are unhealthy for a democracy. Unless issues that affect thecommon man are represented in mainstream media, how will the system change?"
Most film-makers when faced with political pressure comply because they run the risk of getting their films banned. "Films that deal with controversial subjects will always have a tough time in this country,though the Board has no problems in going easy on serxuality,"feels Bhatt. "It should be realised that even film-makers are patriotic and would not do anything to sabotage theimage of the country," says Nihalini. Makers are meeting with the Information and Broadcasting ministry to this end.
Freedom of expression is a right given to us by the Constitution of India and if it's available to everybody froom TV channels to newspapers, why should athe film be denied it.

Navratri In Hindi Films

2005-12-21T06:12:00.000-08:00
FOR a country divided into several regions and languages, Hindi cinema has predominantly catered to the northern audience. As a result not only do our films emphasise on names such as Kapoors, Saxenas, Malhotras and Chopras but the characters are depicted celebrating festivals like Holi ,Diwali and Karva Chauth.The weddings are initiated with a Sangeet and funerals are always referred to as Chautha.
The rare occasions when the audience was introduced to a different culture –Mrityudand or Gangajal—was either because of the filmmaker,Prakash Jha, originated from that particular region. Or because the script specifically demanded so.
For instance, the first time the cinegoer was exposed to Gujarat traditional garba was in Govind Saraiya’s Saraswati Chandra in 1968 and then Main to bhul chali babul… was not exactly an ode to the goddess. Composed on the traditional tune by music directors Kalyanji-Anandji, the song was as memorable for its lilting music.
Almost a decade later it needed another Gujarati directore,Manmohan Desai, to convert the household folklore Hey ranglo…into Hey naam re…in Suhag.Rekha and Amitabh Bachchan clicking dandiyas while circling around the goddess was a novel concept for the Hindi film audience but they were slowly getting hooked on to it.
Aamir Khan-Juhi Chawla starrer Love Love Love had converted the traditional dance into the universally accepted disco dandiya.They missed the simple and exotic visuals of Ketan Mehta’s debut film Bhavani Bhavai, where a large group oof women swirling in ghagras, and he repeated the dance a decade laterin his film Mirch Masala where village belles bend and move in mirror work skirts,clapping an racing in circles. This was garba in its purest form.
Vinay Shukla’s Godmother celebrating Shabana Azmi’s victory as a political leader in the village of Gujarat is an effort to induce authenticity without compromising on the formula of entertaiment.
Sanjay Leela Bhansali’s Hum Dil De Chuke Sanam ,also could no longer resist the cultural seduction. The genius of Bhansali had redefined grandeur on celluliod with vibrant costumes,sets and music.
The nine-day festival is also identified with Durga Puja in Bengal. But for some myserious resons the estival is seldom depicted in our commercial films. With the exception of Shakti Samantha’s Barsaat ki ek Raat and many years later Rakesh Roshan’s Karan Arjun have refrained from elaborating on the customs.
Restricted to women -oriented films like Kalpana Lajmi’s Daman theangry goddess is commonly used as a metaphor where the victim is portrayed to strike back at the oppressor. Recalling back, Hema Malini cracking the whip on the villain in Seeta Aur Geeta and later in Jyoti.Or Rakhee resorting to dangerous games to settle svcores with her oppressor Suresh Oberoi in Shaddhanjali and Dimple Kapadia takingthe law into her hand to punish her rapists in Zakhmee Aurat. The message in al these films remained unchaged. All of them represented the different avatars of Goddess Durga. While many front runner films have chart buter in prise of the goddess like Chalo bulava aaya hai..in Mohan Kumars Avataar,some off beat films have also portrayed the protagonisty assuming powers of the Goddess. Hema Malini played Goddess Kaali in a Southj remake tjha proved to be a bloockbuster in all the regions. In Satyajit Ray’s Devi Sharmila Tagore played a housewife assumed to have divine powers.
Down South the navratri festival has a different significance and ritual.The custom was beatifully portrayed in Sivaji Ganeshan and Savitri starrer Tamil film Navratri later remade as Naya Din Naya Raat in Hindi with Sanjeev Kumar and Jaya Bhaduri.The heroine has run away from home and in that one night meets nine different character, all played by the same actor.Sanjeev Kumar.
So many different images and with the way Hindi cinema is evolving there will be newer interpretations of the festivals and goddess.

Tulsi In Hero's Heart

2005-12-15T19:07:00.000-08:00
ACCORDING to Hindu calender,a fortnight after the grand Deepavali celebrations Tulsi Vivah is performed. The deities who have gone innto hibernation during the Shraadh period,re-emerge to break the mourning pperiod post-Deepavali. It isafter the deity iswedded to theherbal plant that the mhurat is considered auspicious for mortal wedding ceremonies.
There is an interesting story about how this ceremony came tobe observed. It is said that Lord Krishna,one day, spotted a beautiful woman Vranda andin his usual prankster style teased her. A spiritual soul of higher attainment,Vranda was offended by Krishna's overture and cursed him to turn into a stone till that timeshe touched him and ttransformed into his original avatar.
In her next birth,says the fable, Vranda was born as Tulsi plant and while being sown into the soil touched upon the Shaligram stone that transformed into Lord Krishna. Repentant of his misdeed, Lord Krishna proposes marriage to Tulsi and they lived happily ever after.
The only example of a similar situation in Hindi films is of a gangster(Anil Kapoor) raping a chaste frl Juli Chawla in Benaam Badshah.Later guily of hisconduct, he offers to marry the rape victim and gradually the two learn to love and respect each other.
Some religious books however have a contradictory version of the Tulsi Vivah story. According to these, Vranda spotted the alluring Krishna and was mesmerised by his beauty But coming from humble origin,she did not muster courage to express herself and died with rrepressed desire. To salvage her from her suffering, she was re-born as a herbal plant who comes into contact with theShaligram stone. The Lord is overwhelmed by her simpllicity and devotion and Tulsi acquires a special place in hisheart.
Raj Kumar playing the nawab inLal Patthar is drawn to the second lady of the palacefor her purity and devotion. The only difference being that while Rukmini andSatyabhama, had pledged that no meal offered to him would be complete without a spprinkle of Tulsi leaves, Raj Kumar consumed with envy and insecurity strategieses a cold-blooded murder of his wife (Rakhi) and her "assumed" lover(Vinod Mehra).
From the black and white films ofMeena Kumari right up to Smirity Irani's incarnation of her in Ekta Kapoor's Kyonki Saas Bhi Kabhi Bahu Thi, Tulsi hasbeen omnipresent in Hindi film with special song sequences Jyoti Kalash Chhalke...(Bhabhi ki Choodiyan) devoted inpraise ofher image.
In the 70's starrer Sanjog,there is an elaborate song sequence where Mala Sinha and Aroona Irani (both married to Amitabh Bachchan) recall mythological tales.. It issaid that Krishna' s second wife Satyabhama in an arrogant mood decided toweigh her husband in gold but the scales did not swing. In response, Rukmini, Krishna's first wife,placed merely two leaves ofTulsi on the scale andthe balance titled. It was Krishna's way of telling his wives that Tulsi resided in his heart andnobody could take her away.
It was Raj Khosla,some time in the 80's who changed her interpretation from the pous to thepariah on the big screen forever. With just one film Main Tulsi Tere Aangan Ki where the director symbolised her as the other woman in hero (Goldie Anand)'s life, the director dislocated her from Krishna's heart to the aangan. She was still someone the Lord(hero) loved but not someone who could invade his private territory.
In almost all the films made on extra marital marital relationships thereafter the other woman was always projected with character traits of Tulsi.
It hasbeen almost 25 years now but the image and equations have not altered. It will,some day, when some original filmmakeer well versed with Tulsi Vivah tradition will redefine the custom and make a film that will once again locate theplant back to where she belonged,Krishna's heart.

Loneliness in Lyrics

2005-12-10T23:13:00.002-08:00
OUR film songshave effectively provided a platform to illustrate loneliness,hats off to the lyricists,musicians and the singers.Each and every one on this planet has to experience this feeling at some point or the other. The song from the film Dharammputra by Asha Bhonsale Main jab bhi akeli hoti hun...in Sahir Ludhianvi's wordsto the tune of N.Duttaexpresses loneliness about throwing yourself innnto an environment which leaves you all alone and youronly companion is wonderful nature with its disciples,namelybreeze abd the ckimate lightiiing up our sppirits,therebyy generaating an atmosphere of peace and tranquility. It has within it the thrills of desires and exppectations are doingtheir rounds. And so there is solace while eagerly waiting for that all important person to arrive and light up life as in Ye hawa ye hawa ya hawa...hai udhas jaise mera dil...aa bhi jaa...(Gumrah,Sahir, Ravi) Ye tanhai haye re haye jaabe pphir aaye na aaye thaam lo baahen...(Tere Ghar Ke Saamne,Hasrat Jaipuri,S.D.Burman) Mausam hai aashiqana ae dil kahin se unko aise mein dhoond laana...(Pakeezah.,Kamal Amrohi,Ghulam Mohd.) Zindgi ke safar main akele he hum mil gaye tum to dil ko sahara mila...(Nartaki,Shakeell Badayun, Ravi).
Let us know look at another scenario as depicted by the song Saathi na koi mannzil diya na koi mehfil chla hai mujhe leke akela kahan...(Bombay KaBabu,Majooh,S.D.Burman)revealing the hero's mindset when left alone. Thisis further endorsed in the lines that follow Galiyan hai apppppne desh ki phir bhi hai kaise ajnabi kisko kahe koi apna yahaan...
Yet another such song emerging from the same team , looks as if Dev Anand had a fascinatiooon for loneliness in his films.. In the song from the film Baat ek Raat Ki "Akela hun main iss duniya mein koi saathi hai tho mera saaya.."Thus when a character turns pensive, meloncholy the exit pooint for some sort of relef is to croon a soft song.
And we get further examples of this in Mujhe issraatki tanhai mein awaaz na do(Dil Bhi Tera Hum Bhi Tera,Shamim Kaippuri,Mukeash, Kalyanji Anandji) Ye Shaam ki tanhaiyan aise main tera agham, Aah,Shailendra,Shankar Jaikishen,Lata Mangeshkar) Koi humdum na raha koi sahara na raha hum kisike na rahe ...(Jhmroo,Majrooh,sung and composed by Kishore Kumar) Iss Bhari duniya mein koi bhi hamara na hua...(Bharosa,Rajinder Kishan,Ravi,Mohd.Rafi),Sabke arehte lagta hai jaoise koi nahin hai mera...(Samjhauta,Indeeva,Kalyanji Anandji,Mohd.Rafi).
The quest for a valuable compapnionn is well brought forth in the haunting song from the film Raaz sung by Mohd Rafi to the tunes of Kalyanji Anandji penned by Shamim Jaipuri Akele hai chale aao jahan ho kahan awaaz di tumko kahaan ho... especially in the antara Ye tanhai ka alam aur us par aap ka gham ... The frustration of left alone and the desire fro some shelter is apptly justified through some heartfelt rendition by Bhupinder in the Gharonda classic from Gulzar and Jaidev--Ek akela iss shahar mein raat mein aur dopahar mein aabu dana dhoondta hai...
Some of our songs have served as a sourcee of inspiration andencouragement in pushing the tough to brave all odds. The message, when lonely,never lose hope even if the goal is far away. Thisexactly is what these two songs demonstrate--Pradee, O.P.Nayr-- Mukesh jewel from Sambandh "Chal akela chal akela chal akela tera mela peeche chhoota raahi chal akela..." and Tera koi saath na de to khud se preet jod le... have deep philosophy within them and that gem from Faqira written andcommposed by Ravindra Jain Sunke teri pppukar sang chalne ko tere koi ho na ho taiyyar himmat na haar chal chlaa chal akela...sung by Hemmlata. But as the twilight gets encompassed by a blanket of dusk, one'smind may turn skeppptical anda cloud ofuncertainty may creep in. Under such circumstance, something innermost in the mind says that a ray of hope may emerge and light up the lamp within.Just listen to thisserene offering from lyricist Yogesh andcomposer Salil Chowdhary Kahi door jab din dhal jaaue saanjh ki dulhan badan churaaye...khayalon ke aangan mein koi sappppnon ke deep jalaye... Lonelinessobviously innspires splendid poetry.

Fear dawns in Bollyood again

2005-11-24T19:11:00.000-08:00
WITH Abu Salem's extradition and CBI custody, the beans he has begun to spill once again brings to the fore Bollywood's connection with the crime world.It is said that the don is fascinated by Bollywood.Who isn't? Aren't politicians and industrialists equally fascinated by the glamour of Bollywood?
The underworld's fascination for Bollywood goes back a long time. I remember seeing Haji Mastan ,in the seventies, at parties ,premiers and muhurats. He and Karim Lala got themselves invited to film events because they were film fans. Devyani Chaubal the gossip columnist ofter entered paprties boastfully escorted by Mastan.
Haji Mastan even managed to get invited to some ooutdoor location shootings. It was supected that he had a financial stake in those films. But nobody bothered .
He was a huge fan of Dilip Kumar bur Dilip tactfully kept himself at a distance. The thespian has his own polite yet firm style of letting a person know that it is thus far and no furtherin reaching out of him. The majority of his fans have understood and respected his need to keep the distance andsecure his privacy. Mastan certainly knew where he stood with Dilip Kumar.
Haji Mastan also tried to befirend Raj Kapoor. One newspaper printed a photograph of Raj bending to pick up something with Haji standing by his side.It looked as if Raj was bending to touch Mastan's feet and picture caused considerable embarrassnebt to the Kapoorfamily. Raj was livid. It was said then that Mastan had had the photograph planted in the publicaation. Whatever it was,the industry condemned it and expressed genuuine shockat the attempt to demean Raj.
The film Deewar is said to have been inspired by the rags to riched life account of Mastan.The film revealed the other side --Bollywood's fascination with the underworld and the men who commit crime without fear ,guilt or shame and get away with it. The long arm of law grabbing them and nemess catching up with umpteen cliched movies made by Bollywood filmmakers on underworld life since time immemorial, but sadly the don is always the hero in the screenplays.
In the eighties one heard of stars going to partieshosted by Dawood Ibrahim,dancing to entertain him and beaming away in photgraphs taken at his Dubai rresidence. The admiration and fascination seemed to be mutual.
Following the 1993 serial blasts in Mumbai the print media published several pictures of Dawood with hisBollywood friends. The film business got a bad reputation and bonafide investors refused to touch films.
The Abu Salem story however has a twist. He is apparently fascinated more by the money in the film business than in its superficail glamour. He has been allegedly twisting arms in Bollywood to grab the overseas distribution rights of films with top star casts. His old acquaintances in Jogeshwari describe him as a star-struck youth who worked hard for a living and dreamed of glory coming to him someday via films. He reportedly probably did his own research and study and found out that the route to Bollywood need not necessarily be through ating. His predecessor Haji had done the dame-- he bought theatres in the city andacquired distribution rights of films.
The films Salem financed the stars he allegedly threatened and coerced to wowrkwith hisgirlfriend Monica Bedi are being named as also others with whom he allegedly had other businessassociations.
Each day since the CBI interrogation began on November 1,2005, has been opening a page,albeit familiar, in the don'scrime book. The day is not far when the star-studded climax will unfold for those who take delight in following such stories.

Lyrics Lie & Lyricists

2005-09-15T20:30:00.000-07:00
LYRICS in the film are considered to be the most important part of the film.Our lyricists have given to its listeners and cine viewers so many tilting,serious and heart-touching lyrics which can't be forgotten in any age. Take Pradeep for instance,whose lyrics are too relevant till date as if written by observing todays happenings. Secondly,Jara samane to aao chhalie...,a lyric penned by V.M.Vyas for Janam Janam Ke Phere in mid of 1960s but till date looks afresh and touchy, then Le lo duayein maa baap ki (film Maa Baap) is not only a song but a teaching to those newly weds who tease their parents after marriage or try to ignore them.But Nagri nagri duare duare; Jeevan mein hum aaye to jeena hi parega,jeevan hai agar zaher to pina hi parega(Mother India);Jahen basti thin kal khushiyen,aaj hai matam wahan(Waqt);Garibon ki sune wo tumhari sunega(Dus Lakh);Sajan re jhoodh mat bolo khuda ke pass jana hai(Tisri Kasam);Ek din bik jayega mati ke more(Dharam Karam);Na jao saiyen churake bahiyan(Sahib Bibi aur Ghulam); Ye takte-o-taajon ke duniya(Pyasa);Sapn jare phul se mit chube sul se(Nai Umar Ki Nai Fasal) and there are so many heart throbing songs penned by our film lyricists giving our society and the nation a teaching to live and let live in peace and to make the society as well as the nation a healthy and prosperous be united and work with peace.
But there are instances when our lyricists have to write songs without really studying the situation in the film. And when the directors and editors fail to notice such slips cine-goers get comic relief.
If in David Dhawan's Hero No.1Govinda sings to thefatherless heroine(Karihma Kapoor):Main tujko bhaga laya hoon tere ghar se, o tere baap ke dar se... then in L.V.Prasad's Ek Duje Ke Liye Tamilian youth Kamal Hasan, a ignorant of Hindi and Hindi films but sings a song in which several Hindi film titles have been strung together Mere Jeevan Saathi,Pyar Kiye Jaa, jawani diwani,khoobsoorat, ziddi padosan... only a diehard fan of Hindi films could have sung such a song.In Satish Kaushik's Mujhe Kuchh Kehana Hai hero Tushar Kapoor has had only a glimpse of Kareena Kapoor and in frustration meet her singsDard-e-judai ka gham mujhko aur nahin as sehna hai, then take the case of Subhash Ghai's Karz where hero Rishi,a pop singer and dancer sings to Tina Munim Dard-e-dil dard-e-jigar dil mein jagaya aapne,pehle to main shaayar tha aashiq banaya aapne ; how dancer,all of a sudden,become a shaayar. While praising Zeenat Aman's thick lips,Raj Kapoor in Gopichand Jasoos sings patle patle honth. In Baazigar Shah Rukh Khan sings Ye kaali kaali aankhen,ye gorey gorey gaal... to Kajol who actually has light eyes.
In Shakti Samanta's Kashmir Ki Kali hero's colour blindness comes to the fore.Shammi Kapoor singing to Sharmila Tagore Ye chand sa roshan chehra,zulfon ka rang sunehra, ye jheel si neeli aankhen...becomes a news that Sharmila has blue eyes.Incidentally,in another song in the same film he sings for the same heroine Subhan allah haye...hain zulfein ya ghataayen.Obviously ghataayen(Clouds) are black but how the heroin's locks be golden and black hairline in the other.In Kiron Production's Anpadh(1962),the illiterate heroine sings so beautifully Aap ki nazron ne samjha pyar kekabil mujhe... if an illiterate can express her feelings so well then long live illiteracy.Is it not ridiculous? In Raj Kapoor's Prem Rog Rishi Kapoor says pyaar but the heroine Padmini Kolhapure,says she doesn't know what'sthis but sings Mohabbat hai kya cheez ye humko bataao, ye kis ne shuru ki hamein bhi sunaao,here is a woman who does not know what pyaar is but knows that pyaar and mohabbat are one and the same thing; what a ignorance!
In Jeena sirrf Mere Liye,having no dupatta, the heroine sings Similarly,in David Dhawan's Sar sar sar se sarka jaayemera lal dupatta...Maine Pyar Kyon Kiya, Shusmita Sen sings Laga laga re prem rog.... chunri lehrayee...though during the song sheis wearing saree not salwar suit with dupatta.In Pankaj Parashar's Tumko Na Bhool Payenge, we have Salman Khan singing for Sushmita Sen Khanke teri choori,kyoon chhanke teri bindiya, kyoon chhanke teri payal... though the heroine is neither wearing a bindiya nor a payal.In Yash Chopr's Chandani Sridevi has more two dozens of bangles in each wrist but sings Mere haathon mein nau nau chudiyan hain... Similarly, in Kabhi Kabhie heroine Rakhi is wedded to the other hero of thefilm Shashi Kapoor and on the first night of theirs, he requests Rakhi to sing oneof the songs by Amit ,hence the song Kabhi kabhie mere dil mein khayal aata hai... suhag raat hai ghunghat utha raha hun main... everybody know that husband removes the ghunghat not the bride--Amitabh Bachchan, a beloved of college days,sings this song at a college function written in sweet dreams ofher fiancee Rakhi.
In Filmistan's Nagin where hero Pradeep Kumar playing a been and the heroine ,Vyjayanthimala, hypnotised by its sound, sings Tan dole mera man dole,merae dilka haya karaar re, ye kaun bajaya Bansuriya...
In Dharmesh Darshan's Dhadkan there isa song by Nusrat Fateh Ali Khan Dulhe ka sehra suhana lagta hai...is picturised on the occasion ofShilpa Shetty's wedding has a line Nothingis wrong there unless one considers the fact that the bride's dress is blue and not surkh jode men chand si dulhan...surkh(red).
So what message our film makers want to convey by slipping such mistakes.

RAFI-KISHORE SAGA

2005-09-10T20:38:00.000-07:00
MOHAMMAD Rafi was a classically trained singer while was anaturraly endowed with excellent resonance. The latter was a versatile genius,singer,music director,actor,writer and director all rolled into one. Both were proficient singers but had separate individual styles.
In the 1950s, Rafi literally ruled the roost. He was the most favoured singer for veteran composers like Naushad,S.D. Burman,Shankar-Jaikishan,Madan Mohan while Kishore was preferred by S.D.Burman and Salil Choudhuri mainly for Dev Anand and his own films. Rafi on the other hand could balance his melodious voice for diverse stars like Dilip Kumar Dev Anand, Guru Dutt, Rajendra Kumar and Shammi Kapoor.
It is astonishing fact the O.P.Nayar used Rafi for KishoreKumar theunforgerrable tune Man Mora Bawra in Ragini in 1957. Shankar-Jaikishan also had Rafi to sing Ajab Hai Dastan in Shararat in 1958.Imagine Rafi sang for Kishore Kumar in films Kishore himself acted.
Once Shankar-Jaikishan on kishore hadcommented,"No doubt Kishore is a good singer,sang beautifully for me in Rangoli.The mukhdas and antaras required a singer of Rafi's range and classical background".Kishore felt bad about this,he could only marvel at Rafi's brilliant rendering of the two songs. Rafi characteristically remarked "No one else except Kihore could sing Dukhi Man Mere in Fantoosh so well".
Salil Choudhury was not favourably inclined towards Rafi at one point of time,but even he was compelled to use Rafi for the unforgettable Tootey Huey Khuabo Nay in Madhumati and Koi Soney Ke Dil Wala in Maya and confessed thatRafi was indeed peerless.
It is generally known that andKishore went through a bad patch in their relationship. Yet it is also true that both like and respected each other. S.D.Burman openly admitted to Kishore that the three solos in Guide by Rafi couldnot be matched by any singer.On Dev Anand'sspeical request he composed the Kishore-Lata super hit duetGata Rahe Mera Dil for Guide. Similarly Rafi's numbers in Teen Deviyan and the haunting duet wit Lata Mangeshkar inJewl Thief were far superior to theKishore numbers in these films.
In the late 60s when R.D.Burman composed the melody for Tum Bin Jaaun Kahan in Pyar ka Mausam he experimented thesamesolo with both Rafi andKishore. True Kishore sang thisnumber by melodiously incorporating his iimitable yodelling. But in the romantic numbner Rafi scored overKishore in melody.
The 60s was also considered Rafi's decade though Kishore matured considerably as singer duringthisperiod. The Jungle Mein Mangal number Woh Din Ke Baat Sharan Karo had bot Rafi andKishoretogether but issomehow not remembered that well/ But Shankar-Jaikishan'sHanste Gata Jahan Se Gujarin Andaz by Rafi quite exlipsed Kishore's entire Zindgi Ek Safar in 1971.
Madan Mohan also used both Rafi andKishore in the song Yu Na Sharma for Parwana in 1972. Kishore sang the happy rendition for hero Navin Nishchal. But there was Rafi again to do full justicie to there Hansnewale the melencholic aspect of the same song for Amitabh Bachchan.
In the 1970s the Kishore wave took the Hindi film music by storm and was backed by R.D.Burman. Some critics felt R.D. was parial to Kishore andavoided using Rafi/ The Rafi Kishore duet Yaadon Ki Barat from the film with the same title in 1973 turned out to be a superhit. But it cannot be categorised either as an exclusive Rafi or a Jishore gem for bothe sang in perfect harmony.
Subsequently R.D. opted for Rafi again after four years as no other singer could have rendered so skillfully Chand Mera Dil and Kya Hua Tera Vaada in Hum Kisi Se Kum Nahin that too in a film with many Kishore superhits like Mil Gaya and Aa meri Jaan. When Rafi sang Darde Dil for Laxmikant-Pyarelal in Karz in 1980 based on a single not he proved melody was indeed God Gifted to him. Kishore's Aye Meri Umer Ke Nau Jawanon and Ek Hasina Thi couldnot touch that level. The same can be said for Rajesh Roshan's where Rafi's YaranaAare Re Aisa Tarana completely surpassed Kishore's Sara Zamana and Terer Jaisa.
Above all,Shammi Kapoor's Yahu,Chahe Koi Muje Janglee in Junglee and other tilting songs for him added a feather in Rafi's cap. At some places none was equal to Rafi.O Duniya Ke Rakhwale song for Baiju Bawra made Naushad his Bhakht.