Pran- Started his Second Inning from the film Ziddi(1948)

 

Ziddi(1948) was the first hit film of Dev Anand and was also the first Bombay film of Pran. Before this film, Pran was working in Lahore Film Industry. His first film was Yamla Jatt, a Punjabi film released in 1940. His first Hindi film was Khandan made in Lahore was released in 1942, he was the hero of this film and Noorjehan was his heroine.

He had acted in 22 films from 1942 to 1946 in Lahore; 18 were released by 1947. After the partition of India, he moved to Bombay and had to struggle for livelihood.  For a few months, he looked for acting opportunities while doing other jobs. He worked in Delmar Hotel, Marine Drive for eight months, after which he got a chance to act in 1948. He got this opportunity because  of his friendship with  writer Saadat Hasan Manto and actor Shyam, 

Within a week of Ziddi's success, he had signed three more films – S M Yusuf's Grihasti (1948), which became a diamond jubilee hit, Prabhat Films' Apradhi (1949) and Wali Mohammad's Putli (1949). By then, Wali Mohammad, who was responsible for Pran's first role, had come to Bombay and became a producer, setting up an office at Famous Studios, near Mahalaxmi Racecourse.

As a villain, Pran's initial successful films were Ziddi and Bari Behan (1949).  He became the favourite of the directors like M. V. Raman, Nanabhai Bhatt, Kalidas, Ravindra Dave, I. S. Johar and Bimal Roy repeatedly cast him in the 50s. He was now regularly offered the role of the main villain or of a negative character in films with Dilip Kumar, Dev Anand and Raj Kapoor as the lead hero in the 1950s and 60s. Some of his memorable films with  Dilip Kumar in the 50s  Pran's trademark blowing of smoke rings first appeared in the latter film. were Aan (1952), Azaad (1955), Devdas (1955), Madhumati (1958), with Dev Anand were Munimji (1955), Amar Deep (1958), and with Raj Kapoor were  Aah (1953), Chori Chori (1956), Jagte Raho (1956), 

In the 50s he was also offered many films as hero,  Pilpili Saheb (1954) and then Halaku in 1956, were his hit films as a hero. . He had roles in several genres, like as a pirate in Sindbad the Sailor (1952) and Daughter of Sindbad (1958); He played comic roles with Kishore Kumar in Chham Chhama Chham (1952), Aasha (1957), Bewaqoof (1960), Half Ticket (1962) and Man-Mauji (1962).

In the late 1960s, Pran played Malang Chacha, a veteran war hero, in Manoj Kumar's film Upkar (1967). The Kalyanji Anandji song "Kasme Waade Pyaar Wafaa" was picturised on him. In this film, Pran played a more sympathetic role. He received his first Filmfare Award for Upkar. Kumar continued to cast him in pivotal roles in films such as Purab Aur Paschim (1970), Be-Imaan (1972), Sanyasi (1975) and Dus Numbri (1976).

From 1969 to 1982, Pran was one of the highest-paid actors of Bollywood. He played the lead role in the film Aurat, (1967) paired opposite Padmini, with Rajesh Khanna in a supporting role. He was paid more amount than Amitabh Bachchan in Zanjeer(1973). Later he acted with Bachchan in about 14 films with notable ones being Zanjeer, Don (1978), Amar Akbar Anthony (1977), Dostana (1980), Naseeb (1981) and Sharaabi (1984).

Pran had a six-decade career in Hindi cinema and is one of the most celebrated actors of the industry.r He appeared in over 350 films. At the age of 78, Pran suffered a heart attack in 1998,after which he started rejecting film offers due to age-related problems.

Pran has received many awards and honours in his career. He won the Filmfare Best Supporting Actor Award in 1967, 1969 and 1972 and was awarded the Filmfare Lifetime Achievement Award in 1997. He was awarded as the 'Villain of the Millennium' by Stardust in 2000.The Government of India honoured him with the Padma Bhushan in 2001 for his contributions to the arts. He was honoured in 2013 with the Dadasaheb Phalke Award, the highest national award for cinema artists, by the Government of India.
.He died on 12 July 2013 at the age of 93 of pneumonia after suffering from a prolonged illness in Mumbai's Lilavati Hospital

Song of Munimji 1955

Song from Half Ticket 1962

Song of Upkar 1967

Song of Nanha Farishta 1969

Song of Adhikar 1971

Song of Victoria No 203 (1972)

Song of Zanjeer 1973

Song of  Dharma 1973

Song from Kasauti 1974

Vijay 'Goldie' Anand- A Filmmaker with Unique Cinematic Vision

 

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.

Songs picturized on Vijay Anand

Song of Agra Road 1957

Song of Haqeeqat 1964

Song of Double Cross 1972

Song of Chhupa Rustam (1973)

Song of Kora Kagaz 1974

Song of Ghungroo ki Awaaz 1981

IRFAN KHAN- An Acting Powerhouse

This Acting Powerhouse was first spotted by Mira Nair when she cast him in Salaam Bombay in 1988 but he had to wait for 15 years till Tigmanshu Dhulia cast him in Haasil(2003). He won his first Filmfare Award for this film. The very next year he appeared in Maqbool(2004) with a powerful performance.

The successful drama Life in a... Metro (2007) marked a turning point in Khan's career, earning him praise and several awards including the Filmfare Award for Best Supporting Actor. He rose to prominence with his portrayal of Paan Singh Tomar in the acclaimed biographical sports drama Paan Singh Tomar (2012), which garnered him the National Film Award for Best Actor and a Filmfare Critics Award for Best Actor. His performance in the BAFTA Award-nominated romance The Lunchbox (2013) earned him universal acclaim by the critics and audiences. 

Internationally, he had worked in a number of international projects, such as The Warrior (2001), The Namesake (2006), The Darjeeling Limited (2007), the Academy Award-winning film Slumdog Millionaire (2008), New York, I Love You (2008), The Amazing Spider-Man (2012), Life of Pi (2012), Jurassic World (2015) and Inferno (2016).

In 2014, Irfan Khan ( 7 January 1967 – 29 April 2020) appeared in Gunday, which was a moderate box office success. He also made guest appearances in the films The Xpose and Haider, playing an important role in the latter. In 2015, he played the lead role in the film Piku alongside Deepika Padukone and Amitabh Bachchan, he also appeared in the acclaimed thriller Talvar in which his performance was praised. He appeared in Jazbaa in October 2015 alongside Aishwarya Rai which was very well received by critics.

In 2017, Khan appeared in two films, Hindi Medium which was commercially and critically successful. Khan's portrayal as Raj Batra in Hindi Medium earned him several accolades, one of which was the Filmfare Award for Best Actor.

In 2018, Khan appeared in Karwan, he also appeared in Blackmail opposite Kirti Kulhari, the same year. His last film appearance was in Angrezi Medium, directed by Homi Adajania, which was released on 13 March 2020

He died at a young age of 53 on 29th April 2020