Musical Instruments Played by Raj Kapoor on Screen

 

Raj Kapoor had always been interested in music. He was classically trained and capable of playing several instruments reasonably well. He was good in Tabla and Harmonium, he was also excellent in Piano.  He played different instruments on screen, the first time he played an instrument on screen was in a song of Barsaat 1949.

 Kindly recall the iconic pose where Raj Kapoor holds a violin in one hand and Nargis in the other hand. On my research, I have found more than a dozen instruments were played by him on screen.

 He was seen playing the Violin in this song, though he did not sing but played the violin only. If you watch the song 'Mujhe Kisi Se Pyar Ho Gaya' he looked so realistic as if he is actually playing it. .

Song of Barsaat 1949

The next year once again he was seen playing the flute in a song 'Sun bairi balam sach bol re' from Bawre Nain (1950), he was playing the instrument only.

Song of Bawre Nain 1950

The piano remained the favourite instrument of Bollywood Films. In almost every film it was seen in the 50s or 60s films. In many hit songs, Piano was essential Prop. In this song 'Main dil hoon ek armaan bhara' from Anhonee 1952, Raj Kapoor is singing and playing the Piano.

Song of Anhonee 1952

Raj Kapoor plays 'Daph' in this very popular song of Shree 420 (1955)film.

Song of Shree 420 (1955) 

Another song from the same film 'Shree 420' Pyar Hua Ikrar Hua, Raj Kapoor can be seen playing the Penny Whistle

Song of Shree 420 (1955) 

In 3 songs of Shree 420, we can see Raj Kapoor playing three different instruments. In this song, 'Mud Mud Ke Na Dekh' he plays the Trumpet for a few seconds.

Song of Shree 420 (1955) 

The sārangī is a bowed, short-necked string instrument from the Indian subcontinent, In this song, Raj Kapoor plays the Sarangi

Song of Parvarish 1958

There is another song from Parvarish where he plays the Tabla. He displays his real skills in this song. He plays the Tabla with his elbow also.

Song of Parvarish 1958

Another rustic instrument played in a song of the 1959 film Do Ustad.  Raj Kapoor playing the been in this song. Generally Been is used by the snake charmers.The Been music was very popular in the 50s, especially after the popularity of the song from Nagin in 1954. Recall the song 'Man Dole Tan Dole'

Song of Do Ustad 1959

'Daph' was the favourite instrument of Raj Kapoor. He played this instrument again in the Songs of Jis Desh Mein Ganga Behti Hai 1960

Song of Jis Desh Mein Ganga Behti Hai 1960

Song of Jis Desh Mein Ganga Behti Hai 1960

Raj Kapoor plays 'Dhol' in the song 'Yeh To Kaho Kaun Ho Tum' from 'Aashiq' released in 1962

Song of Aashiq 1962

Sangam (1964) film had 3 songs in which he played 3 different instruments. He plays the Piano in the song 'Dost Dost Na Raha', Piano Accordion in 'Har Dil Jo Pyar Karega' and Bag Pipe in 'Bol  Radha Bol Sangam'

Song of Sangam 1964

In the 1967 film 'Deewana', he played Shehnai in almost all the songs

Song of Deewana 1967

Dilip Kumar- Uden Jab Jab Zulfen Teri

 

Recall this song of Naya Daur(1957), became a rage those days. This song was specially written by Sahir Ludhianvi for Dilip Kumar. Sahir used the word 'Zulfay' with reference to Dilip Kumar's mop of hair which was attracting attention right from his earlier films.

In the early years, many critics used to make fun of his unruly hairstyle falling on his forehead. But the same hairstyle became a fashion later. His fans used to adore it, they love to blow the hair in the wind. There as an incident in 1954 when one day Dilip Kumar led a procession of many filmstars on the street of Mumbai to raise fund for the flood victims, he discovered by the end of the day, they received hundreds of combs along with money.

In the 70s Alim Hakim was a celebrity hairstylist. He used to cut Dilip Kumar's hair. He was at Hotel TAJ, Mumbai as a hairstylist and later started his salon by the name of HAKIM’S.  His clientele included who’s who of the film industry and icons from different walks of the world.  From Dilip Kumar to Sunil Dutt to Anil Kapoor to Bachchans all were his clients.

In the 50s and 60s, Dilip Kumar was a fashion role model of India and Pakistan. Many of the youth in Pakistan used to have a Dilip Kumar hairstyle. There was an exciting story of a young boy of Lahore who walked to a very famous studio and asked the famous photographer to click his photograph similar to the photograph of Dilip Kumar which he was carrying with him.

The famous photographer gently patted on his cheek and said ' I can click the similar photo only if you have the same features.

Song of Naya Daur 1957

BAPPI LAHIRI- The Gold Man of Bollywood

 

Bappi has his own unmatched personal style. He is the perfect blend of East and West, and his wardrobe ranges from the traditional Indian kurta and sherwani to the western sweatshirts and blazers. He is fond of wearing pieces of jewellery that represent significant symbols in his life. Bappi is famous throughout India for his trademark gold ornaments and sunglasses.

Talking about his love for the yellow metal, Bappi Da said in an interview, “I have everything in gold, right from my glasses, rings to my watches and all my ornaments. Mere jaisa ornaments aaj tak koi bhi nahin pehenta hai. Main gold ko lucky manta hoon. I believe that whatever work I have done in the last 50 years and I am still doing, is because of the grace of the Goddess Lakshmi.”

Bappi Lahiri was born in Calcutta, West Bengal on 27th Nov1952 into a family with a rich tradition in classical music. He began to play the tabla at the tender age of three. Even at that tender age, Bappi showed signs of greatness as he played the tabla with the proficiency of an experienced professional.

His father, Aparesh Lahiri was a famous Bengali singer and his mother, Bansari Lahiri was a musician and a singer who was well-versed in classical music and Shyama Sangeet. His parents trained him in every aspect of music. Kishore Kumar was his maternal uncle.

Bappi as Child

Bappi as Teenager

At the age of 19, he became an independent composer in a Bengali film. His first Hindi film as a composer was 'Nanna Shikari' released in 1973 but  the film which established him in Bollywood was Tahir Husain's Hindi film, Zakhmee (1975),

He shot to fame in the 80s and 90s with foot-tapping disco numbers. He introduced Vijay Benedict and Sharon Prabhakar to the Bollywood and paved the path to fame for Alisha Chinai and Usha Uthup through his compositions.He is also known for soundtracks like Wardat, Disco Dancer, Namak Halaal, Dance Dance, Commando, Gang Leader, Sailaab and Sharaabi 

Along with Biddu, Bappi popularized the use of synthesized disco music in Indian cinema with an Indian flavour. Most of his songs werer rendered by singers such as Kishore Kumar and Asha Bhosle  In 2011, he sang the song Ooo la la Ooo la lain the movie The Dirty Picture for Vishal-Shekhar. In late 2016, Bappi Lahiri lent his voice to the character of Tamatoa in the Hindi-dubbed version of Disney's 3D computer-animated fantasy adventure film Moana; he himself also composed and sang a song in the film 

Song of Zakhmee 1975

Song of Chalte Chalte 1976

Song of Aap Ke Khatir (1977)

Song of Suraksha 1979

Song of Pyaara Dushman (1980)

Song of Wardaat (1981)

Song of Namak Halaal (1982)

Song of Disco Dancer (1983)

ong of Sharaabi (1984)

Song of Thanedaar (1990)

Song of Dirty Picture 2011

Laxmikant- One Half of the Legendry Composer Duo LP

 

LP was the most sought after composer duo in the seventies and eighties. In two decades, they composed music for 250 films. They had 45 golden and silver jubilees to their credit. Laxmikant Shantaram Kudalkar was born on 3rd Nov 1937 in a modest family. At a very young age, he learned the mandolin. He spent two years in the company of the well-known mandolin player Hussain Ali. 

Laxmikant met Pyarelal at a recording and soon became friends. Laxmikant was older than Pyare by three years. When Laxmikant was about 10 years old, he once played mandolin in a Lata Mangeshkar concert in Radio Club, Colaba. Lata was so impressed that she talked to him after the concert. Later, when Lata came to know of their financial hardships, she recommended them to S D Burman, Naushad and C Ramchandra. Both of them worked as instrumentist.

In the early 1960s, they joined Kalyanji Anandji and began arranging music for their films Madari, Satta Bazar, Chhaliya, Dil Bhi Tera Hum Bhi Tere and Himalaya ki God Mein. They got their first break as an independent composer in a Bhojpuri film but this film couldn't be completed/. After that, they were signed for a B grade Hindi film 'Parasmani' released in 1963. The music of this film became so popular that Rajshri Films offered them a film 'Dosti' which was released in 1964. The film and its music became superhit. They got their first Filmfare Award as Best Music Director for this film.

Then came Lootera (1965), a superhit musical non-star cast film, which is remembered only because of Lata Mangeshkar's superhit songs with Laxmikant–Pyarelal. The very next year the music of Aaye Din Bahar Ke (1966) followed by Pyar Kiye Jaa. Even in films with lesser-known actors, L-P scored hit music: in Sati Savitri (Songs:"Tum Gagan Ke Chandram Ho", "Jeevan Dor Tumhi Sang Bandhi", "Kabhi To Miloge"); in Sant Gyaneshwar (Songs: "Jyot Se Jyot Jagate Chalo", "Khabar More Na Line"); in Hum Sab Ustaad Hai (Songs: "Pyar Batate Chalo", "Ajanabi Tum Jane Pehachane Se"); in Mr X in Bombay (Songs: "Mere Mehboob Quayamat Hogi", "Chali Re Chali Re Gori", "Khoobsurat Haseena"); and in Shriman Fantush..(Songs: "Sultana Sultana Tu Na Ghabarana", "Yeh Dard Bhara Afasana").consolidated their position.

1967 proved to be another lucky year for them. The Music of Milan, Farz, Shagird and Pathar Ke Sanam was very popular. They got their 2nd Filmfare Award for Milan. Laxmikant–Pyarelal has now become the most sought after Music Director Almost all the big banners were signing them They composed Indian classical music as well as Western music; they were most popular for their folk tunes and semi-classical music.

LP had divided their work, to avoid ego problems. Laxmikant used to compose tunes, rehearse singers and look after the commercial aspects – while Pyarelal used to arrange the music and package and record the songs. They both had a perfect wavelength. It is said if they are asked to make a tune for a song sitting separately they will make a similar tune.

In the mid-'90s Laxmikant's health started deteriorating; he finally succumbed to a kidney ailment on May 25, 1998. Pyarelal was left alone and stopped making films, despite many offers from producers.

Songs of their Early Days

Song of Parasmani 1963

Song of Parasmani 1963

Song of Harischandra Taramati 1963

Song of Mr X in Bombay 1964

Song of Dosti 1964

Song of Sant Gyaneshwar  1964

Song of Hum Sub Ustad Hain  1965

Song of Hum Sub Ustad Hain  1965

Song of Lootera 1965

Song of Shriman Funtoosh 1965

Song of Aaye Din Bahar Ke 1966

Song of Mere Lal 1966

Song of Pyar Kiye Ja 1966

Song of Milan 1967

Song of Farz 1967

Song of Shagird 1967

Song of Taqdeer  1967

Song of Taqdeer  1967

Sunn Mere Bandhu Re- The Take Was Completed Before the Song was Recorded

 

This immortal song from Sujata(1959) was written by Majrooh Sultanpuri and composed and sung by the great S D Burman. Both born on 1st Oct. This song was a background song.

 The director of the film Bimal Roy gave a rough outline to Sachin Da for a song situation to be sung by a commoner. He wanted a song to sound as if it was straying off-tune, in spite of being in tune. Many singers were tried but ultimately Sachin Da himself finally recorded in his own voice. This was his second song in Hindi films sung after a gap of 12 years.

The situation was that the hero wanted to express his love for the heroine and also wanted to know her feelings. She being shy couldn't express her feeling in words, so to express her feelings Dada suggested a song in the Background.

Majrooh Sultanpuri wrote beautiful lyrics for this situation. The Hero and Heroine are in love They are on a riverfront and a boatman singing in the background expressing their love for each other. Their emotions are caressed by the gentle breeze. The unclear, dispersed light of late evening gives this 'Bhatiyali' song a perfect background. The excellent picturization. Their lips seem to be moving but the sound is mooted, the lyrics in the background expressing their feelings.

Surprisingly the scenes were shot well before the song was ready, in fact, the lyrics were written at the time the scene was being shot. Song recording was done after a few days. It was S D Burman singing solo after 12 years, 

Song of Sujata 1959

This song was used in many films after Sujata. In the 1963 film Bandini , the first two lines were hummed by SD Burman himself. In the 1973 film Abhiman, a few lines were used in the background in a scene

A Scene from Abhiman 1973

It was again used in the background by Gulzar in his film Achanak(1973), one line in a female voice of Lily Chakravarti along with Dada's voice

A Scene from Achanak 1973

In the 1974 film Dil Diwana the opening lines of this song were sung by Asha Bhosle in the song ' Mein Ladki Tu Ladka' composed by RD Burman

In the 1983 film Pukar, R D Burman gave his tribute to this tune in his own voice by changing the lyric as Sun Mere Lamboo Re in a song sung by Amitabh Bachchan 'Tu Maike Mat Jaiyo'

Song of Pukar 1983

Sadhana - The Story of Famous "Sadhana Cut'

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No doubt she was a Style icon of the 60s. Her hairstyle and her dresses were copied by the girls. There was a time when mothers taking their little girls to the hairdresser for a ‘Sadhana cut'. She created a fashion of the fusion churidar-Kurtis and Mojris she wore in Waqt(1965). In an interview, Sadhana told about her famous Sadhana Cut Hairstyle.

She narrated how she got the famous ‘Sadhana fringe’. “I had a broad forehead, which showed prominently in photo tests. It would then be covered with a patch of hair. When we were about to start Love In Simla, the director RK Nayyar said the patch wouldn’t do. Those days Audrey Hepburn’s Roman Holiday (in which she sports a fringe) had just released. So I was promptly rushed off to a Chinese hairdresser and given a fringe.

Regarding her Churidar Kurtas, she told that she wore those conventional Kurtas in the 1963 film Mere Mehboob which were liked by the girls but she now wanted some changes in her wardrobe. She asked Bhanu Athaiya, the Oscar-winning costume designer to create a fusion of the traditional churidar and modern Kurti for my personal wardrobe. One day Yashji (Chopra) happened to come home to discuss my costumes in Waqt when I walked in wearing a sleeveless, gold-embroidered Kurti, churidar, and Mojris and a chic hairstyle, he went, ‘Wow! What you’re wearing is exactly what I want for my film.’ “The style went on to become a craze.”

Sadhana (2 September 1941– 25 December 2015) started her career with a Sindhi film titled

 Abaana (1958) playing the sister's role of the heroine. Very few know that In 1955 she got her first little break. She played a chorus girl in the song "Mud mud ke na dekh... mud mud ke" in Raj Kapoor's Shree 420. She got her first Hindi film Love In Simla released in 1960 but she played a simple girl in her next film Parakh of Bimal Roy. Recall the popular song of this film 'O Sajna Barkha Bahar Aayi'. 

In 1961's other hit, Hum Dono released, she played the love interest of Dev Anand.  The song 'Abhi Na Jao Chhod Kar' remains the most romantic song to date. In 1962, she was again paired with Dev Anand in Asli-Naqli by director Hrishikesh Mukherjee. The same year saw director-screenwriter Raj Khosla cast her opposite Joy in Ek Musafir Ek Hasina. Khosla would again work with Sadhana to make a suspense thriller trilogy  Woh Kaun Thi 1964,  Mera Saaya (1966) and Anita (1967) thus making her famous as the "Mystery Girl". Sadhana was the highest-paid actress of her time. During a career spanning over two decades, Sadhana starred in over 30 films.   

Sadhana got married to R K Nayyar, the director of her first film in 1966. After marriage, Sadhana worked sporadically and went on to do Ek Phool Do Mali, Intaqam , and Geeta Mera Naam (she even directed it). She quit after Geeta Mera Naam. she was not keeping good health (she was suffering from a thyroid disorder). She was diagnosed with cancer in her old age that led her to her death on 25 December 2015. 

Many classic songs were picturized on her, here are a few

Song of Parakh 1960

Song of Hum Dono 1961

Song of Asli Naqli 1962

Song of Mere Mehboob1963

Song of Woh Kaun Thi 1964

Song of Rajkumar 1964

Song of Aarzoo1965

Song of Mera Saya 1966

Song of Inteqam 1969