Showing posts with label Hindi Cinema. Show all posts
Showing posts with label Hindi Cinema. Show all posts

Friday, 3 July 2020

Saroj Khan- The Mother of Bollywood Choreography


Saroj Khan (22 November 1948 - July 3, 2020),  started her career as a child artist at the age of three with the film Nazarana as child Shyama. She worked as a background group dancer in many dance songs in the late 50s.
She got her break as an independent choreographer, with Geeta Mera Naam (1974).before that she was assistant to dance director  B. Sohanlal.  Her first breakthrough came with Subhash Ghai's Hero (1983), but it was Sridevi's Nagin dance in Nagina (1986) where she was noticed for her talent, followed up by Mr. India. Next, she worked with Madhuri Dixit in 'Ek Do Teen' number, Tezaab (1989), and later in Khalnayak, where she choreographed the Choli Ke Peeche' number.
Sridevi and Madhuri Dixit were her favs. dancers in Bollywood. Sridevi danced to her steps in Mr. India's Hawa Hawai and Chandini's 'Mere Hathon Mein'.Madhuri Dixit starting with the hit Ek Do Teen in Tezaab (1988), Tamma Tamma Loge in Thanedaar (1990), and Dhak Dhak Karne Laga in Beta (1992). 
With a career span of over forty years, she choreographed more than 2000 songs Many of her choreographed songs have been iconic. Saroj Khan was the recipient of the most National Film Awards for Best Choreography with three wins. She was the first recipient of the filmfare Best Choreography Award. Filmfare instituted this award after watching the excellent choreography and audience response to Khan's song "Ek Do Teen" from Tezaab. Saroj Khan went on to have a hat-trick at the Filmfare awards winning consistently for 3 years from 1989 to 1991. She also holds the record for winning the most Filmfare Best Choreographer Awards, winning 8 times. 
She was admitted to Guru Nanak Hospital at Bandra, Mumbai on June 17, 2020. She was admitted with breathing complaints, and died of cardiac arrest at 1:52 am early on Friday, July 3, 2020.  
Some of her Iconic Choreography
Song of Hero (1983)


Song of Nagina (1986)


Song of Mr India (1987)


Song of Tezaab (1988)


Song of Chandni (1989)


Song of Beta (1992)


Song of Khalnayak (1994)


Song of Hum Dil De Chuke Sanam 2000


Song of Devdas  2003


Song of Guru   2008

Sunday, 28 June 2020

Copy Cat Songs Of Bollywood Part 3


As human beings it is in our nature to imitate actions of success as a survival instinct, therefore being doing so, we are undermining our own originality. Needless to say, our Hindi film industry aka Bollywood has had a long and illustrious history of plagiarism. Anyways, the blame game for copying music is not something new and has been going on for a long time.
On this issue, two blogs were posted by me in 2018. In this blog, I am posting a few songs by Pritam, inspired/copied by other songs. I believe great music shouldn't be restricted to only one community just because of the language barrier, it should be introduced to the other languages by modifying or acknowledging the original song.
In my first blog, I have discussed the songs of Shankar Jaikishan inspired by foreign language songs. In my second blog, a few songs of O P Nayyar and S D Burman were included.


Song of Chocolate 2005

Original

                                      Breeze From Saintes Maries- Jesse cook


Song of Garam Masala 2005

Original

                                                              Ana - Amr Diab 




Zara Zara Touch Me from Race 2008
Song of Race 2008

Original Song

Depth in Bamboo Forest- Leehom Wang

Pehli Nazar Mein  from Race
Song of Race 2008

Original

                                            Kim Hyung Sup - Sarang Hae Yo


Hai Junoon from New York 2009
Song of New York 2009

Original

                                                     SAMSONS - Naluri Lelaki


Hare Rama Hare Rama from Bhool Bhuliya 
Song of Bhool Bhuliya 2007

Original

                                        JTL - My Lecon (Feat Enter The Dragon)



 





Saturday, 27 June 2020

R D Burman - The Musical Legacy And Creativity


He was a child prodigy. He inherited music from his mother and father. His father S D Burman inherited it from his mother and father, who was a Sitar player and proficient Dhrupad singer.
 Initially, he was nicknamed Tublu by his maternal grandmother but later changed to Pancham. There were many stories about naming his name. It is believed that actor Ashok Kumar gave him this name because once he heard him crying, it sounded in the fifth note (Pa),  He immediately suggested the name 'Pancham' to Dada Burman. Another story says that the baby was nicknamed Pancham because he could cry in five different notes. 
S D Burman saw that Pancham had a little interest in studies, he initiated his son to music. The first instrument he learned was Tabla under a blind Tabla ustad Brajen Biswas in the early days. His training of Tabla continued almost lifelong. After Tabla he was enrolled to learn Sarod at Ali Akbar Khan's school in Calcutta. Pancham spent a lot of time watching Jugalbandi between Ali Akbar Khan and renowned Sitar player Pt. Ravi Shankar. This created his interest in Indian Classical Music.
In the late 40s, his father was a busy Music director in Hindi Films. Pancham got introduced to film music  When he was nine years old, R. D. Burman composed his first film tune which was used after many years by his father in the Navketan film 'Funtoosh' 1956 in the song, 'Aye meri topi palat ke aa'. Another of his tune was used in the song 'Sar Jo Tera Chakraye' of the film Pyasa 1957. 
In Bombay, Burman was trained by Ustad Ali Akbar Khan (sarod) and Samta Prasad (tabla). He also considered Salil Chowdhury his guru. He served as an assistant to his father and often played harmonica in his orchestras. In the song, 'Hai Apna Dil To Awara' he played harmonica which became very popular.
Pancham was very impatient about music, he wanted to learn more numbers of instruments. He had an inclination for Western music particularly the Jazz and Cuban Big Band Music.
Kersi Lord who was a musician with S D Burman was instrumental in Pancham's interest towards Jazz. Kersi Lord had a large collection of Long-Playing Records of Jazz, Latin American, European, and Middle Eastern Music.
It was in 1951that Pancham met Lata Mangeshkar and Kishore Kumar in a studio. He met Lat once again during the recording of the song 'Thandi Hawayen" of the 1951 film Naujawan. 
According.to the Film Historian Raju Bhartan during that time once he questioned his father when he was composing a song for Jaal using Tagore's tune in the interlude of the song to be picturized in Goa. This reflects his understanding of film music at that age. He was not even in his teens.
Pancham was living with his grandmother in Calcutta, he used to visit Bombay only during his school vacations. In Calcutta, he made many friends and formed his Band called Melody Chimes. He started smoking and he was lured into the pot. This perturbed Dada, in 1955, he brought him to Bombay to live with him. This shift gave his life a 180-degree turn.  He was now with the music all the time. he started assisting father in films. 
Pancham played Sarod in the famous Bengali song sung by Dada Burman 'Ghum Bhulechi Nijhum' composed by Dada itself. This tune was later taken in Kaala Pani song 'Hum Bekhudi Mein Tumko Pukare Chale Gaye'
Guru Dutt who knew the potential of this genius offered him a film 'Raaz' an independent composer in 1959, Unfortunately, this film got shelved. During the making of Raaz in 1959. Manohari Singh and Pancham decide to make a team but the idea fell through.
After a gap of one year comedian Mehmood gave him his first film as a producer 'Chhote Nawab'. The film was released in 1961, the film was a flop but Pancham left a mark in Bollywood that he will be a Music Director of class. In this film, he displayed his skill both in Indian classical and western tunes. The song 'Ghar Aaja Ghir Aaye Badra' sung by Lata Mangeshkar.  This song is based on a lesser-known Raag called Raag Malgunji which is a mixture of Raag Bageshree and Raageshree. This Raaga was very unusual for Hindi Films, most of the composers used to make songs on Bhairavi, Malkaus, Yaman or Darbari. When the song was recorded even Lata Mangeshkar admired Pancham’s talent. 
His versatility was visible in the song 'Matwali Ankhon Wale' sung by Mohammad Rafi and Lata Mangeshkar. In this song, he used Resso Resso in the interlude for the first time. This instrument is one of the favorite instruments of R D B. We can hear the sound of Resso Resso in many of the hit songs of RDB. Another highlight of this song is the prelude of the song by Mohd Rafi the way he adjusts his voice to suit Mehmood.The Genious of a would-be world-class music director us visible in his first movie. The film was not successful so RDB was not offered films. The music was appreciated but he had to wait for 4 years to get the second assignment.
In the meantime Pancham continued to assist his father in Tere Ghar Ke Samne, Benazir, Meri Surat Teri Aankhe, Ziddi, Guide, and Teen Deviyan.
In 1964 Mehmood decided to produce & direct Bhoot Bangla, he once again invited Pancham to compose the music of this film. This was the first time Kishore Kumar sang for R D Burman, Jago Sone Walon' The music of Bhoot Bangla was a hit but critics were against it. This is the film in which Pancham introduced his voice in a song Kahaan Aa Kar La Hum Dono Ko' sung by him and Mehmood.
In 1965, the third film 'Teesra Kaun' released. This film brought Pancham and Asha Bhosle together. Versatility, greatness, intensity, and supremacy of RDBurman reflect in his 3rd film. In the song 'O Dilruba' sung by Asha Bhosle had a sharp skid from B flat to F note., a new experiment, never attempted before, beautifully handled by Asha. This was the beginning of Asha and R D B magic. There was another song by Asha 'Achha Sanam Kar Le Sitam' is a fast-paced, hummable composition.
The hit song of the film was 'Pyar Ka FasanDil Diwana' was sung by· Lata Mangeshkar and Mukesh. A point to note in this song that the rhythm pattern in the interlude of this song was maintained by Bongo, coupled with the damped strokes on the guitar. This he did in many of his future songs.
Pati Patni (1966) was his fourth film release. In the song 'Maar Dalega Dard e Zigar sung by Asha Bhosle, for the first time, he introduced the Brazillian Bossa Nova rhythm. Asha Bhosle in an interview once said that this song made her wakeup to a thoroughly new rhythm and metre. Interestingly Pancham not used those beets as it is but Indianized to a beautiful melody as well as western fragrance. This bossa nova base Rd Burman used in his next venture Teesri Manzil in the famous song, 'O Hasina Zulfowali Jane Jaha' and'. Aaja Aaja Meini Hu Pyar Tera',
Teesri Manzil was the fifth film of Pancham We all know how hit the music of this film was? It changed the definition of Hindi Film music. There was so much of freshness and innovation in this music. Even the versatile singers Rafi- Asha was astounded by the way they were made to sing and who later on was showering praise on Pancham for his originality and concepts. And Shammi had made it a point to be present at each recording as he was thrilled with the thought of how he would be dancing and singing those numbers on the screen.
Everywhere there was a talk of his music, a new Emperor had emerged in the musical arena of Bollywood.The trend was set RD Burman has arrived and later followed by the music of Baharon Ke Sapne, Padosan, Pyar Ka Mausam, Caravan, and Hare Rama Hare Krishna. 
Song of Chhote Nawab 1961



Song of Chhote Nawab 1961



Song of Bhoot Bangla 1965



Song of Bhoot Bangla 1965



Song of Teesra Kaun 1965



Song of Teesra Kaun 1965



Song of Pati Patni 1966



Song of Teesri Manzil 1966



Song of Baharon Ke Sapne 1967



Song of Pyar Ka Mausam 1969



Song of Hare Rama Hare Krishna 1971







Friday, 19 June 2020

50 Years of Heer Ranjha



This legendary tale of love, written in the 16th century by Warris Shah in poetry. Chetan Anand chose to make this film in that form only. He selected the great poet of that time Kaifi Azmi. He created lines not only for the leads, played by Raaj Kumar and Priya Rajvansh but for the rest of the ensemble cast which included  PranPrithviraj KapoorAjitJayant, etc. 
A unique film told in verse, written by Kaifi Azmi and directed by Chetan Anand. Poetry on celluloid never attempted before and after. The film has immortal music by Madan Mohan, another beauty of the film was its photography.inspired by the paintings of Sobha Singh, a legendary painter from Punjab, the imagery of the film is wonderful. thanks to the cinematic genius of cinematographer Jal Mistry.
Told in a Romeo and Juliet style, the story concerns relative differences that rip apart childhood darlings Heer and Deedho, so Heer goes away to exist an unspecified life as a laborer.

Priya Rajvansh and Raaj Kumar both gave good performances in their respective parts as the title characters Heer and Raanja, Beside them, there are fine performances to be had from Pran, Ajit and Prithviraj Kapoor in their respective parts as Chhote Chaudhary, Saida, and the King. 

The film released on 19th June 1970 was a moderate success in the Box office.
The film  starts with an introductory Nazm by Kaifi Azmi, recited by Films Director "Chetan Anand :
"Dard Punjab ke seene se chura laya Hun Chand tukde tere waris ke utha laya hun Aag meri na sahi iska dhuan mera hai Heer Ranjha ki kahani hai bayan mera hai ....
Chetan Anand screen-tested Zeenat Aman for a supporting role in the film. But during the audition, Zeenat's Urdu was very terrible. Chetan ended up not signing Zeenat. It was the first time that Chetan Anand worked with Raj Kumar, who was known for his dialogue delivery
Songs of Heer Ranjha

SongSinger (s)
Do Dil Toote Do Dil HaareLata Mangeshkar
Milo Na Tum ToLata Mangeshkar
Nache Ang VeJagjit Kaur, Shamshad Begum
Doli Chadte HeerLata Mangeshkar
Meri Duniya Mein Tum AayiLata MangeshkarMohammed Rafi
Tere Kooche Mein Tera DiwanaMohammed Rafi
Ye Duniya Yeh MehfilMohammed Rafi



Song of Heer Ranjha 1970


Song of Heer Ranjha 1970


Song of Heer Ranjha 1970


Song of Heer Ranjha 1970


Song of Heer Ranjha 1970


Song of Heer Ranjha 1970




Sunday, 14 June 2020

Bollywood Films Based on Tenants and Landlords


Yesterday I watched the latest released "Gulabo Sitabo" on Prime Video. The film is based on the landlord and tenant relationship. On this subject, many memorable films were made earlier also. A very interesting film released in 1956 "New Delhi". Kishore Kumar plays a Punjabi boy. He comes from Jalandhar to Delhi but is unable to find a place to stay, as everywhere he goes people want to give room only to a person of their region. Desperate, Anand masquerades as a Tamilian, Anand Kumaraswamy, and finds a place to stay with a Tamilian family. 
In 1957, two films on this subject were released. Dev Anand and Nutan starrer Paying Guest and Dilip Kumar starrer Musafir. In Paying Guest Dev Anand looks for a house in the guise of an old man.  Another Landlord-tenant story was Anari released in 1959. Here Raj Kapoor was the tenant and Lalita Pawar was the landlady. Here the relationship was of a mother and son. 
Quite a few Hindi movies have explored different shades of this relationship Here are a few of these films.
Paying Guest(1957)

Ramesh (Dev Anandkeeps on getting evicted as a tenant due to failure to pay rent, then dons the guise of an old man to gain entry in a house as a tenant, He falls for the landlord's daughter Shanti (Nutan),Ramesh is unable to pay the house rent and Shanti gives him the money her father had given her for monthly expenditure. 

Biwi Aur Makan (1966)

It is one of the masterpieces of Hrishikesh Mukherjee and remade in different languages It centers around five young men, bosom buddies from their college days, The five friends, therefore, go out looking for other accommodation—and keep drawing a blank wherever they go. There seems to be no place available.  one evening, Suresh comes bearing news. He has found a place. Three rooms, a rent of a mere Rs 100, no advance but the landlord  Mr. Mishra, wants to rent his house only to married couples; no bachelor allowed.
 Frustrated at this, two of them disguise themselves as women and pose as wives for the other two males. They are able to secure accommodation with the Mishra family. Complications arise when the two "women" fall in love with Mishra's two lovely daughters 

Woh Saat Din(1983)

It is Anil Kapoor's first hit film, in this film he is a tenant and the heroine Padmini Kolhapuri is the landlord's daughter. It is love at first sight for Maya as she falls for the naive, innocent Prem. However, Prem, aspiring to be a true musician, rejects Maya's advances. Furthermore, Prem is in love with Maya but believes that he isn't worthy of her. They declare their love for each other and plan to elope, but destiny has other plans in store for Maya and Prem. On the day of their elopement, the lovers are caught by Maya's parents. As a result, Prem and his sidekick are kicked out of the house  

Mohan Joshi Hazir Ho(1984)
The film is a comic satire on a judicial system, where cases drag on for decades. An elderly couple, Mohan Joshi (Bhisham Sahni) and his wife (Dina Pathak), sues their landlord (Amjad Khan) for not maintaining their 'collapsing' apartment building. For this, they hire two cunning lawyers Naseeruddin Shah and Satish Shahthe lawyers milk the old couple dry, while they become rich. Back home in the society, the old couple is ridiculed for fighting the landlord, but they fight on nevertheless.


Saaransh(1984)
An old couple played by Anupam Kher and Rohini Hattangadi has no source of income, so they rent out a room of their Shivaji Park (Mumbai) apartment to a budding Bollywood actress, Sujata Suman (Soni Razdan).The latter's intimidation at the hands of an influential politician after she gets pregnant by his son compels her aged landlord/lady to step up and support her in whatever way they can.


Kirayadar (1986) 
Basu Chatterjee's Kirayadar chronicles the legal woes of a father-son duo forced to reside in a tiny room after the tenants refuse to vacate their flat in Mumbai. They file a complaint in the local court to arrange to evict the tenants, who have also sworn to fight this matter right to the very end. Watch as lawyers take over their respective lives, get their fees, and get adjournment after adjournment 


Mr. India(1987)
In this film, Sridevi is a journalist and rent a floor of Anil Kapoor's huge house overlooking the sea with the hope of peacefully filing her news reports.
Only to realize the one and only condition she placed -- no kids -- popping out from every corner in abundance.

Hera Pheri (2000)
Landlord Paresh Rawal shares a comic camaraderie with his tenants, Akshay Kumar and Suniel Shetty. The troika's constant wrangling and wishful thinking is set aside after they receive a call from a kidnapper and a hilarious scheme to exploit a 'wrong number' is set in motion.
Yeh Teraa Ghar Yeh Meraa Ghar(2001)
The age-old tenant-landlord tussle is once again reiterated between Suniel Shetty and Mahima Chaudhary in this film. Sunil Shetty arranges the marriage of his two sisters. In debt, he goes to the city to ask the tenants to leave his house, as he intends to sell it and repay his debts. A Maharashtrian woman, her two daughters, Jyoti, Saraswati (Mahima Chaudhry), and one son, Chotu (Master Aditi) are living there. When Dayashankar asks them to vacate, they refuse. What results is Dayashankar's hilarious attempts to force them to vacate 
Dear Zindagi (2016)
Alia Bhatt is a promising cinematographer who wishes to direct her own films. She lives in a rented apartment in Mumbai. Her life takes a downturn when Raghuvendra (Kunal Kapoor), a film producer for whom she breaks up with her childhood sweetheart, gets engaged to someone else. Her landlord turns her out of her apartment because the building association wants to rent apartments only to married couples. Her sudden expulsion from her apartment forces her to move back home in Goa and address her acute anxiety to an incredibly wise therapist.


Sunday, 31 May 2020

Raj Khosla came to Bombay to become a Singer


He wanted to become a playback singer but destiny made him an ace director of his time. He had learned classical music from the age of six, and as a student, had joined All India Radio, filling in whenever a singer could not make it. He struggled hard to become a singer,  only one composer gave him a song that too after rehearsing went to Mukesh. He did get a song in 1949 film Bhool Bhulaiya, Bulo C Rani composed it, later in Madan Mohan's debut film Ankhen (1950), wherein he sang the quaint 'Rail Mein Jeeya Mora'.
During his struggle days, he became a friend to Dev Anand, who spotted his talent of direction made him an assistant of Guru Dutt at the time of making of Baazi in 1950. He assisted Guru Dutt in Jaal(1952) and Aar Paar(1954).

 in 1954 got a break with "Milap", starring Dev Anand and Geeta Bali. In this film, not only Raj Khosla made a debut as a Director, but a new Music Director, N. Dutta gave debut music. The next film he directed was C I D (1956) which was a hit From here onwards he never looked back. His next two films Kala Pani (1958) and Solva Saal (1958) were back to bach hit. 
He entered into production also, he co-produced and directed Bombay Ka Babu which was again a hit. Till then he directed 5 films in all the 5 films Dev Anand was his hero. The next film he directed was Ek Musafir Ek Hasina in 1962 for Shashdhar Mukharjee with Joy Mukharjee as a hero. The next film he directed was Woh Kaun Thi (1964) with Manoj Kumar and Sadhana.
Khosla explored a variety of styles be it crime thrillers like CID, suspense thrillers like Woh Kaun Thi, and musicals (Ek Musafir Ek Hasina (1962). Now he tried melodramas (Do Badan (1966) , he was successful in that too. In 1969 he came out with Do Raste and Chirag both the films were hit. The next genre he tried dacoity with highly successful Mera Gaon Mera Desh in 1971 and Kachhe Dhaage in 1973.
He made films after Mera Gaon Mera Desh and had hits like Prem Kahani (1975) starring the then hottest pair of the day Rajesh Khanna and MumtazNehle Pe Dehla (1976) and Main Tulsi Tere Aangan Ki (1978). After enjoying big hits like Main Tulsi Tere Aangan Ki (1978) and Dostana (1980) with Amitabh BachchanZeenat Aman, and Shatrughan Sinha, Khosla ran into some rough weather as his other films started flopping. The last film he directed was Sunny in 1984, which was not a hit.A dispirited Khosla took refuge in alcohol and died in Bombay on 9 June 1991
 He, along with Guru Dutt and Vijay Anand, was among the directors, who were also responsible for song picturizations being taken to a new high in the Hindi cinema of the 1950s and 6os.

Songs were sung by Raj Khosla in films

Song of Bhool Bhulaiya 1949


Song of Aankhen 1950


Songs of Films directed by Raj Khosla 
Song of Milap 1955



Song of CID 1956



Song of Kala Pani 1958



Song of Solva Saal 1958



Song of Bombai Ka Babu 1960



Song of Woh Kaun Thi 1963



Song of Mera Saya 1965