This BLOG is about the Past of Hindi Films Specially Black and White Cinema We will refresh your memories by bringing out forgotten or unseen songs and clippings of film scenes We will try to give you as much information as we gather from our research.
This Blog was started as a one-man’s passion for film history but has now become an addiction for many music lovers who are equally passionate about Hindi films
Kishore Kumar was eccentric or unusual start from his childhood, when he was studying in a boarding school of Indore,in his hostel room's wall he scribbled Kishore's name, in his own handwriting, in his favorite style, in reverse: Ramaku Rashoki. For several years, one of the walls of his hostel room stood witness to his eccentricity.
He was a rare combination of madness and devotion to work. He was unpredictable, he was a genius, and he was even crazy. He had a relaxed appeal to him evident in films like Chalti Ka Naam Gaadi throughout his music performance he fools around from one corner to another. His madness and frolic become amply resound when in the song Aaake Seedhi Lagi filmed on both him and Pran, he sings the parts of both the male and the female. The song can make anybody laugh in seconds! And who can forget the song from the film Padosan in which he played the music teacher and participated in a hilarious music competition with Manna Dey.
It was said that Kumar would sing only after the confirmation of payment from his secretary was received. On one occasion, when Kumar learnt that he was paid half for the movie he was roped in as an actor, he appeared on the sets with makeup placed on one side of his face. Seeing him when the director questioned him, he replied “Adha Paisa Tu Aadha Makeup (half makeup for half payment)”.
The legendary singer placed a sign ‘Beware of Kishore Kumar’ at the door of his residence. The famous producer of Hindi film industry H.S.Rawail came to his home to pay his dues. After paying the dues, Rawail tried to shake hands with the singer, he took the producer’s hand in his mouth, bit it, and said ‘Didn’t you see what my signboard says?’.
In an interview , he revealed that he preferred talking to his trees. He also introduced the journalist with the trees by their names at his bungalow and said they were his close friends.
Despite all these eccentric behaviors of the singer, Kishore Kumar was loveable and will remain the same forever for his fans.
Please watch the video below, a collection of his comic and funny songs sung or acted by him
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One of these aborted projects was Gouri, launched in 1957. Guru Dutt Films Private Limited, fresh from the success of Pyaasa that year, announced a film in Bengali and English. Gouri was to have been directed by Guru Dutt and was billed as the acting debut of his wife, playback singer Geeta Dutt.
Gouri was set in the director’s favorite city, Kolkata. The plot revolves around a successful sculptor of Durga idols who meets a prostitute, who, to him, resembles the goddess. Moved by the woman’s plight, he marries her. They lead a blissful life until one of his friends starts blackmailing him. When his parents find out about their daughter-in-law’s past, they start mistreating her. The woman runs away.
Two scenes were filmed and music director SD Burman had recorded two songs when Guru Dutt stopped production.
Had Gouri been made, it would have been India’s first film in the Cinemascope format, rather than his Kaagaz ke Phool two years later.
Geeta Dutt in Gouri.
Gouri was one of Guru Dutt’s many incomplete projects. Nasreen Munni Kabir suggests in her biography Guru Dutt: A Life in Cinema that this indicated “an increasingly disillusioned and fractured state of mind”. Kabir writes, “Guru Dutt’s personal life was in turmoil, and he smoked and drank heavily.” This is borne out by lyricist Kaifi Azmi, who wrote the lyrics for 1959’s Kaagaz ke Phool. Azmi is quoted in the biography as saying, “What he wanted to say in the film [Kaagaz ke Phool] wasn’t clear. His mental state was like that, he wasn’t clear... There were more scenes that were edited out than remained in the completed film.”
Even as Kaagaz ke Phool was underway, Guru Dutt set his assistant, Niranjan, off on another project. The intended film, Raaz, was adapted from the Wilkie Collins classic tale The Woman in White. The film starred Sunil Dutt as an army doctor and Waheeda Rehman in the double role of twins.
Raaz moved in fits and starts, and Guru Dutt eventually replaced Sunil Dutt as the lead. Some scenes were shot in Shimla and two songs were recorded by composer RD Burman, who was making his debut. One track featured three dancing girls and was sung by Geeta Dutt, Asha Bhosle, and Shamshad Begum. But after shooting and editing five or six reels, Guru Dutt shelved the film since he was unhappy with the way it was shaping up.
Raaz, starring Guru Dutt and Waheeda Rehman.Another film that got shelved was a Bengali film 'Ek Tuku Chhua' a proposed adaptation of the novel 'Neel Kamal' written by Gulshan Nanda, which was to be directed by Sadiq. One scene was shot but the film was shelved, the reason is unknown.
According to Dutt’s other brother, Devi Dutt, Guru Dutt offered Niranjan another film after the Raaz debacle, titled Moti Ki Mausi and starring Tanuja and future scriptwriter Salim Khan. Moti Ki Mausi hit a wall after Niranjan died from alcohol-related complications.
Some of the projects did finally make it to the theatres with other producers, actors and directors. Professor (1962) was first announced by Guru Dutt a couple of years earlier as a story of a man too young to be a teacher and too old to love. It was to have been directed by Shashi Bhushan with Kishore Kumar and Waheeda Rehman in the leads. Dutt even asked Abrar Alvi to direct the film, but Alvi declined.
Alvi did, however, write the screenplay for the movie, which was eventually made by Lekh Tandon with Shammi Kapoor. Raj Khosla, Guru Dutt’s former assistant, re-worked the shelved Raaz as Woh Kaun Thi? in 1964 with Manoj Kumar and Sadhana.
Sadhana was also supposed to have starred in Picnic, with Guru Dutt. The project was to have been directed by RS Tara, with music by N Dutta. Unlike the other incomplete films, of which nothing remains because of our tragic ignorance of the importance of archiving and preservation, snippets of two songs from Picnic have survived. One is this lovely duet sung by Mohammed Rafi and Asha Bhosle.
Following the critically acclaimed Sahib Bibi Aur Ghulam (1962), Guru Dutt attempted an Arabian Nights-style adventure, which was to have been his first film in colour. In an essay titled Classics and Cash, Guru Dutt recalled the shock when he announced Kaneez sometime in 1962 or 1963. “I have been trolled by friends and critics for taking up Alibaba as my next film,” he wrote. “‘From a provocative social theme to Arabian Nights? What a fall, Guru!’ they kept on twitting me. I have to explain every time that I want to show that even Alibaba could be a subject with contemporary significance.
Kaneez was to have starred Simi Garewal. But this one also failed to make it to the finishing line and was shelved after initial filming. Garewal complained to the Cine Artists Association and ensured that she recovered her dues.
Simi Garewal in Kaneez.
The two films that Guru Dutt left unfinished at the time of his sudden death on October 10, 1964, were his own production, Baharen Phir Bhi Aayengi, and K Asif’s magnum opus, Love and God, an epic take on the Laila-Majnu tale starring Guru Dutt as Majnu and Nimmi as Laila. Dharmendra stepped into Baharen Phir Bhi Aayengi.
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Bhagwan Dada was the first dancing superstar of Indian cinema. He had rhythm and music embedded deep within him. He originated a particular style of dancing. That tender sway of the hip, the naughty look of an infant, and the candor of a star – he possessed it all. He had swag before swag got swag! His signature dance moves soon became a sensation. He was among the few male stars to break into an inner elite circle of actors/dancers, which was dominated by women. Many actors like Amitabh Bachchan, Govinda, Mithun Chakraborty, and Rishi Kapoor are known to have drawn inspiration from him.
He entered the world of cinema through silent films. His first film of notable significance was called Criminal. He steadily infused himself into the art of directing and made his directorial debut with the film Bahadur Kisan. He co-directed it with Chandrarao in 1938.
One of Bhagwan Dada’s greatest works was a social film called Albela. The film featured Bhagwan Dada and Geeta Bali and the music was composed by C. Ramchandra. It is said that C. Ramachandra and Bhagwan Dada were discussing the film at a Churchgate restaurant in Mumbai and C. Ramachandra promised Bhagwan Dada to compose the music for the film, “for the love of it.”
He was perhaps the first to introduce Ramba, Samba, Disco, rock-n-roll and other dance forms to Hindi cinema, the first male star to do so in the industry ruled by female dancers. Bhagwan Dada as he was popularly called, created a new grammar of comedy, through the unique style of acting and dancing, which inspired a whole generation of comedians in the Hindi cinema. Bhagwan Abhaji Palav popularly known as Bhagwan Dada was born on 1st Aug 1913 and died on 4th February 2002 was a popular comedian of Bollywood of the Golden Era. He is best known for his social film Albela (1951) and the song "Shola Jo Bhadke".A veteran actor of about 600 films in the course of more than five decades.
He produced many films after ALBELA but most of his films flopped,His film "Sahme Hue Sapney" didn’t survive beyond the first show. Then he suffered a heavy loss while making "Hanste Rehna" with Kishore Kumar. He had invested his own money, pawned his wife’s jewellery and withdrawn all his life’s savings. But halfway through, Kishore started dilly-dallying and "behaving crazily" and the project had to be shelved.
. He later took up small roles in multiple films, some of which were lost in obscurity. Unfortunately, his quest for success in films took a toll on his life and he lost all his wealth and ended up living in a chawl in Dadar, Mumbai.
He died of a heart attack on 4th Feb 2002. He was 89 years old.
Vijay Anand was a complete Filmmaker. He was a director, producer, editor, screenplay writer, story writer, dialogue writer, actor, and also knew choreography. In an interview, he told that he even wrote Mukhda of his songs. He was nineteen when he wrote the story of Taxi Driver(1954) along with his sister in law (Chetan Anand's wife). He was in college when he had a full screenplay of Nau Do Gyarah was ready.
His cinematic vision was indeed unique and made him stand apart from other filmmakers. It was his vision to make a movie on a Road Trip. Probably the first Hindi film shot on a road trip from Delhi to Mumbai. He was the first filmmaker who shot a live Film Premiere as a part of his film in Kala Bazar.
Music in his films remained a key feature, he was superb in picturizing of songs. He knew songs are the glue that binds audiences to Hindi films. Close your eyes and you can see Shammi Kapoor with a scarf around his neck, singing “Deewana Mujhsa Nahin” on a colourful hilltop, or instantly recall the smiling faces of Dev Anand and Nutan as they sing “Dil Ka Bhanwar Kare Pukaar” on the inner stairway of the Qutab Minar.
“Hum hain raahi pyaar ke hum se kuchh na boliye.” from Nau Do Gyarha was the first song he picturised. He didn't take any choreographer in that film.At that time he used to think a choreographer ruins songs. They interfere with the characterisation. He felt they impose their own personalities through their dance steps and don’t allow the artists to express themselves in the way they should.
In the Kala Bazar song “Khoya Khoya Chand”, Dev sings as he runs down the hill. He is madly in love and believes his dream is coming true. So let him move his hands— white hands against dark clothes—[as] he makes his way down the hill. It suited the scene, so once in a while, you let him go. In the same movie, there was a scene in a train compartment. Dev Anand is sitting on the lower berth and Waheeda Rehman is lying on the upper berth. The girl’s parents are also in the compartment. Dev saab sings the song: “Apni to har aah ek toofaan hai/ Kya karen woh jaan kar anjaan hai/ Uparwala jaan kar anjaan hai.” Waheeda Rehman is listening to him but she cannot move much because she’s lying on the upper berth. There is a double meaning behind the whole situation, which is beyond choreography.
In Teesri Manzil P L Raj was the choreographer. He used to sit with the choreographer when they were composing the songs. That time all their assistants, including Saroj Khan, who was Sohanlal’s assistant. She would always ask him: “Goldie Saab, what do you want?”
As a director, he was very particular about its music.When he was working on Jewel Thief, he discussed with the composer. he told SD Burman: “Dada, this song is for Vyjayanthimala. I am going to use her talents as a dancer.” The dance sequences of Vyajayantimala were shot in a single shot.Honthon Mein Aisi Baat” (brilliantly choreographed by Master Sohanlal), as the camera follows Vyjayanthimala, he uses the circular tracks, dynamic angles and cuts to build up the tension to a crescendo. Here is an example of how Western technique could merge with Indian art. Even as you enjoy the aesthetics of dance.
The picturization of the song 'Pal bhar ke liye koi hame pyar kar le' from the 1970 blockbuster'Johny Mera Naam', where Dev serenades the dream girl through windows of all shapes and sizes, remains a masterpiece even today.
Today's generation may be unaware of Motilal but he was a superstar of the late 30s and 40s. He along with K L Saigal was the two big stars of that era. Saigal was a better singer while he was a better actor. He started as a 24-year-old hero with 'Shaher Ka Jadoo' (1934). In the following years, he reeled off a clutch of box-office winners, though, few remember anything about this phase of his career. Be it a swashbuckling sword-fighter (Silver King) or a millionaire (300 Days And After) – the actor romped through roles with an easy cool'.
Amitabh Bachchan wrote in the foreword of 'The Hundred Luminaries of Hindi Cinema', “Not much has been written in praise of a great and a very natural actor. He (Motilal) was greatly ahead of his times.
You would be surprised to know that he was picked up as a hero from a crowd of spectators collected to see a shooting of a film in a studio. It happened in 1933 when in Bombay, he went to see the shooting of a film being directed by K P Ghosh. He caught Ghosh's eye, he asked him to join films as an actor.Playing a drunken rich boy, the 24-year-old quickly racked on more film roles, becoming a star.
In 1935, two of his films Silver King and Dr Madhurika were successful. Those days actors used to sing their songs, he also sang for his films. He worked with Mehboob Khan in Jagirdar (1937) and Hum Tum Aur Woh (1938) under the Sagar Movietone banner in Taqdeer (1943) for Mehboob Productions, and Kidar Sharma's Armaan (1942) and Kaliyan (1944).
One of his film Achhut was the third highest-grossing Indian film of 1940. It was appreciated by Mahatma Gandhi and Sardar Patel. Another film 'Holi' released same year, he played a villain-turned-hero. He was the first to put in place the flamboyant, happy-go-lucky, unpretentious and glamourized image of the Hindi film hero cast in the Hollywood mould of that era.
Ek Thi Larki (1949) was another hit film Motilal gave a superb comic performance. Similar comic performance became immortal in his 1952 film Mr Sampat. According to Motilal, he played the character "not as an extraordinary person, but precisely as an ordinary person" and that's what resonated through.
Another iconic performance was given by him as Chunni Babu in 1955 film Devdas. Motilal won the Best Supporting Actor for his seamless performance in Bimal Roy’s film Parakh (1960).
Shammi Kapoor in his Biography said"The sound of any music evoked in me a strong urge to dance. The rhythm didn't take time to seep into me and seek expression in dance. The urge to dance was always there in him. His brother Raj Kapoor was a good dancer but Shammi was different.
He never had a dance director or a choreographer for his dance songs in any film. He danced to his own style and created his own steps and movements. The first time he got the chance of expressing himself in dance songs was in Tumsa Nahin Dekha, this film redefined him and shot him to bigtime stardom.
In his Biography, he tells "From a very early stage, he wanted to learn dancing but there were no professional dancing schools in Bombay at that time. There used to be a hotel in Dadar, whose owner used to teach Tango dance He took a few lessons from him.
Shammi Kapoor said that it was lucky that he got good songs." I think I tried to give physical expressions to music. My choreography was always done here( pointing towards his heart) and I brought it out on the floor. Telling about the picturization of the song' Yahoo' he said "everybody was satisfied with the song Yahoo recorded after the hard work of Rafi saheb and music director Shankar Jaikishan, now it was my turn to make this song an immortal. This song was picturized in Kufri, not in Kashmir. The setting looked ideal with 12 feet deep snow and the breathtakingly beautiful sight around Everybody was in a fix what will I do?, how will I do?
Shammi further said that he was also not made in his mind about how to do it. Yes it was sure that he had to slide on the snow, The next day in the morning at 7 AM the whole unit collected at the spot from where he had to slide, But just when the camera was to roll, the sun disappeared, they couldn't shoot that day due to poor sunlight. This happened for six days, the song couldn't be picturized Finally on the Seventh-day the song was picturized. Shammi Kapoor said that there was no choreographer, no preparation by himself, whatever he did was spontaneous.
After Junglee every producer and director wanted Shammi to perform the song as per his wish. He said in the book" I used to tell my directors to keep the camera flexible, don't freeze the field, play the music, and let me do the act. That is what he did in most of his songs.
He said for the song Aasman Se Aya Farishta of An Evening in Paris, it was his idea to perform on a helicopter.
His biggest hit Teesri Manzil (1966) broke all kinds of records at the box office — thanks to its music. Composed by R.D. Burman, songs of this movie are considered some of his best works and Shammi’s best dance performances. O Mere Sona Re, O Haseena Zulfonwali Jaane Jahan, and Aaja Aaja Main Hoon Pyaar Tera are still regularly seen on playlists and heard on the radio.
Looking at just one decade of Shammi’s career, it is clear about the kind of stupendous impact that he has had on Bollywood and its audience. He left a mark like no other and even though many have managed to make a name as great dancers, nobody has come close to him — much like the original Elvis Presley.
