Raja Harishchandra- The First Indian Film

Cinema is immensely popular in India, with as many as 2,000 films produced in various languages every year. Hindi film Industry is the largest revenue earner, the first film released in India was in Marathi by Dadasaheb Phalke but technically the first full-length motion picture in India was Raja Harishchandra also produced by Dadasaheb Phalke.
Only one print of the film was made, for showing at the Coronation Cinematograph on 3 rd May 1913. It was a commercial success. The most interesting point to note that the female characters in the film were played by male actors.
The status of Raja Harishchandra as the first full-length Indian feature film has been debated. Some film historians consider Dadasaheb Torne's silent film Shree Pundalik, released on 18 May 1912, the maiden Indian film. The Government of India, however, recognizes Raja Harischandra as the first Indian feature film.
Phalke hired around forty people for his film studio known as a factory. The film had an all-male cast as no women were available to play female leads Most of the cast did not have any prior acting experience. Phalke ran several rehearsals with the actors even he had to wear a sari himself and act out the scene.

Harishchandra's role was played by Dattatraya Damodar Dabke, Harishchandra's wife Taramti was played by Anna Salunke, who later in 1917 became the first to play a double role in Indian cinema, by playing the roles of both the hero and heroine in Lanka Dahan.
Other artists in the film were Bhalchandra Phalke as Rohitashva,Gajanan Vasudev Sane as Vishvamitra,  Dattatreya Kshirsagar, Dattatreya Telang, Ganpat G. Shinde, Vishnu Hari Aundhkar, and Nath T. Telang 
The premiere of the film took place at the Olympia Theatre, Bombay on 21 April 1913 at 9:00 pm. He decided to show the film to a select audience With the favorable reviews generated, Nanasaheb Chitre, Manager of the Coronation Cinematograph and Variety Hall, Girgaon, expressed his desire to screen the film.
The film had its theatrical release on 3 May 1913 at the Coronation Cinematograph and Variety Hall. The show included a dance by Irene Delmar, a comic act by McClements, foot-juggling by Alexandroff, and Tip-Top comic items followed by the film The show's duration was one-and-half hours with four shows scheduled a day at 6:00 pm, 8:00 pm, 10:00 pm, and 11:45 pm.

The film had a houseful run for a week, and it was extended for twelve more days. A special show was scheduled for 17 May for women and children only at half rates. Initially, 18 May was advertised as the last show, but the film continued its screening due to popular demand. It screened continuously for twenty-three days until 25 May and was screened at the Alexandra Theatre on 28 June.1913.
News of the film's success in Bombay spread across India and there were demands to screen the film in various locations. As there were no film distributors in those days, Phalke had to move the film, the projector, an operator, and some assistants from place to place.
The success of this film laid the foundation of the film industry" in the country.

The First Indian Fim was Released on 3rd May 1913

Raja Harishchandra was the First Indian Film produced and directed by Dada Saheb Phalke. It was released on 3rd May 1913 at Coronation Cinema, Girgaon. Bombay though the film premiered at the Olympia Theatre, Bombay on 21 April 1913. It was a Silent Film, it had English, Marathi, and Hindi-language intertitles. The running time of the film was 40 minutes.
An advertisement for the film published in The Bombay Chronicle had a note added at the end that the ticket rates would be double the usual rates. The film had an overfull run for a week, and it was extended for twelve more days. A special show was scheduled for 17 May for women and children only at half rates. Initially, 18 May was advertised as the last show, but the film continued its run due to popular demand. It ran continuously for twenty-three days until 25 May and was re-run at the Alexandra Theatre on 28 June. The Bombay Chronicle in its issue of 5 May 1913 mentioned that "this wonderful drama is splendidly represented by the company of actors" and praised the "beauty and ingenuity" with which Phalke succeeded in presenting the film scenes.

The success of the film in Bombay created a demand from other parts of the country.  As there were no film distributors in those days, Phalke had to move the film, the projector, an operator, and some assistants from place to place.
Due to the film’s massive success, Phalke had to make more prints for rural areas as well. He was established as a producer and later came to be known as ‘The father of Indian cinema.’
 The film opens with a scene of tableaux patterned on the painting by Raja Ravi Varma, of Raja Harishchandra and his wife with their son. The film revolves around the noble and righteous king, Harishchandra, who first sacrifices his kingdom, followed by his wife and eventually his children to honour his promise to the sage Vishwamitra. Though, in the end, pleased by his high morals, the Gods restore his former glory and further bestow him with divine blessings
Phalke watched several foreign films to learn about screenplay writing and then completed the script for Raja Harishchandra. The film had an all-male cast as no women were available to play female leads. After coming to the studio, male actors playing female roles were asked to wear saris and do women's chores like sifting rice, and making flour to help Saraswatibai.
Filming was completed in six months and twenty-seven days to produce a film of 3,700 feet (1,100 m), about four reels. Phalke used trick photography to shoot one of the scenes where the god appears and disappears from behind the smoke of sage Vishvamitra's Yajna-kund.

Scene from Raja Harishchandra 1913

S D Burman's Love and Hate for Lata

Lataji and Burman Da have done some splendid works and have created marvelous songs.Despite their brief tiff, that had stirred up a huge controversy at the time, both legends got back to working together again after 5 years from 1958 to 1962.These five years SD Burman was none the worse as he continued to give some of the greatest music of his career, now with Geeta Dutt and Asha Bhosle, but he realized he had something beyond, where only Lata Mangeshkar could reach. She also felt that there was something unique in Dada’s music, without which she would remain incomplete. 

Lata Mangeshkar was his ultimate choice. He often said, “Give me a harmonium, give me Lata and I will make music”.
 Lata’s first song for S D Burman was probably in Mashal (1950)

Aankhon se door door hain par dil ke paas jo 

Song from Mashaal 1950

 .The very next year came Naujawan starring Nalini Jaywant and Premnath,the song Thandi hawayein lahraa ke aayein became Super Hit,it remains one of the Lata's immortal song.Same year came Sazaa starring Dev Anand Nimmi and the song "Tum Na Jaane Kis Jahan Mei Kho Gaye" became immortal.

Song from Naujawan 1951

Tum na jane kis jahan me kho gaye..

Song from Sazaa 1951

In 1952 released Dev Anand's Jaal .The music of this film became very popular,Lata's Chandni Raten, Chori Chori Meri Gali Aana Hai Bura and Duet with Hemant Kumar"Yeh Raat Yeh Chandni Phir Kahan" are immortal songs.

Song from Jaal 1952

Song from Jaal 1952

Jayen To Jayen Kahan

Song from Taxi Driver 1954

Song from Devdas 1955

Song from House No.44 1955

Song from Paying Guest 1957

 Their second innings led to another set of great melodies in Bandini, Guide, Tere Mere Sapne, Prem Pujari, Talash, Anurag, Abhiman etc which continued till the very end of his career.

It is said that S D Burman called Lata on phone and requested her to sing a song for his son's first film Chhote Nawab in 1961 which she agreed,later R D Burman mediated between both and removed the misunderstanding between them then S D Burman gave her a song in Dr Vidya  1962,their first song after patch up was ‘Pawan diwani’ 

Song from Dr Vidya 1962

Song from Bandini 1963

Song from Tere Ghar Ke Samne 1963

Song from Guide 1965

Song from Jewel Thief 1967

Song from Talash 1969

Song from Prem Pujari 1970

Song from Sharmilee 1971

Song from Abhiman 1973

Song from Chupke Chupke 1975

Song from Milli 1975

The Trio of Mukesh,Shankar-Jaikishan and Raj Kapoor

On the 41st Death Anniversary of Mukesh I look back at the Magical Combination of this legendary singer with SJ and Raj Kapoor. Mukesh debuted as (actor-)singer in 1941 with Nirdosh,his association with Raj Kapoor took place in 1949 when he sang for RK in Aag,the song was “Zinda Huwe, Is Tarah Ke Hamen” composed by Ram Ganguli. Raj Kapoor realized that now he found his soul in the voice of Mukesh. In the very next film Barsaat 1950,Shankar Jaikishan made their debut as music director,from this film the trio of Mukesh,SJ and Raj Kapoor formed.After that they gave many immortal songs to Bollywood
.
 Barsaat’s music was dominated by Lata Mangeshkar, Mukesh getting two duets with her. But their next venture, Awara (1951), had the title track which became a global sensation making Raj Kapoor-Nargis one of the most recognizable faces abroad, and India’s cultural ambassador. 
In the same year, in a non-RK film Baadal, too, SJ created an outstanding solo, Main raahi bhatakane wala hun, and an equally good duet with Lata Mangeshkar, Ae dil na mujhse chhupa. RK-SJ’s next film Aah (1953) didn’t fire up the box-office, but what great songs Mukesh sang! The two solos, Raat andheri door kinara, Chhoti si ye zindagani, and the two duets with Lata Mangeshkar, Jaane na jigar pahchaane nazar, Aa ja re ab mera dil pukara are among the most loved songs for Mukesh fans.
With Mukesh becoming identified as Raj Kapoor’s voice, in almost all the films of Raj Kapoor whether under RK banner or outside, if SJ were the music director Mukesh was almost invariably the voice for him. And every film had great songs remembered till today:Here are some of the immortal songs of this Trio.

Song from Barsaat 1949

Song from Awaara 1951

Song from Aah 1953

Song from Shree 420 (1955)

Song from  Main Nashe Mein Hoon 1959

Song from  Kanhaiya 1959

Song from Anari 1959

Song from Jis Desh Men Ganga Behti Hai 1960

Song from Aashiq 1962

Song from Sangam 1964

Song from Teesri Kasam 1966

Song from Diwana 1967

The Musical Journey of KISHORE KUMAR

Could you believe that the Musical Journey of Kishore Kumar started with an injury.Today(4th Aug) on his 88th Birth Anniversary I will take you on the Musical Journey of Kishore Kumar.
Dadamoni Ashok Kumar the eldest brother of Kishore Da once revealed that a young Kishore had a terrible voice. But once he cut his big toe at home and the injury made him cry all the time. He would wail all day and night and, as Dadamoni put it, uska gala khul gaya.
Kishore Kumar was ecentric 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 favourite style, in reverse: Ramaku Rashoki.For several years, one of the walls of his hostel room stood witness to his eccentricity.
By the time Kishore became a teenager, Dadamoni had established himself as a doyen of Hindi cinema. So, when he heard of Kishore's exploits in the college, Ashok Kumar summoned him to Bombay.Here he got an audience with Kundan Lal Sehgal,he became a big fan of Sehgal.He also started to show interest in music and often mimicked the great K.L. Saigal. Though he did not have any formal training in music, he decided to pursue it.It became his dream to become a famous playback singer and be counted among legends. He would often go to the studios and ask producers if he could sing on the movie's soundtrack.
In Ashok kumar's house where he was staying he started singing K L Sehgal's songs which were popular those days, he perfectly imitated K.L. Saigal.There is a story that the  the great music composer S.D Burman had come to Ashok Kumar's house to meet up when he heard Kishore singing. He actually thought it was K.L. Saigal singing and inquired if he was there too! When he came to know that it was Kishore singing, he truly appreciated and encouraged the young lad to continue refining his voice but at the same time make his own style.
 Kishore kept this advice in mind and went on develop his own signature style. He wanted to do some thing different.His elder brother Anoop Kumar gave him the records of  Austrian music collections.In that collection there were records of  Tex Morton and Jimmie Rodgers who were the king of Yodeling.He perfected yodeling, a unique style he heard amongst the Austrian music collections of his brother Anoop. In Hindi film industry, his yodeling turned out to be widely popular and became a trademark of Kishore Kumar. 
Ashok Kumar wanted him to be an actor because singing wasn't as lucrative but Kishore Kumar wanted to be a singer.He started his cinema career as a chorus singer at Bombay Talkies under the direction of Saraswati Devi and his singing soon attracted the attention of composer Khemchand Prakash. In 1948, he was chosen by Khemchand Prakash to sing "Marne ki Duayen Kyon Mangu" in the film Ziddi starring Dev Anand. Prakash later provided Kishore Kumar his first hit with "Jagmag Jagmag Karta Nikla Chand Poonam Ka Pyara.",
 After this, Kumar was offered many other assignments, but he was not very serious about a film career. In 1949, he settled in Mumbai..Kishore Kishore played the hero in the Bombay Talkies film Andolan (1951), directed by Phani Majumdar. Although he got some acting assignments with the help of his brother, he was more interested in becoming a singer.
It was S D Burman who  exploited the potential of Kishore Kumar,He gave him a chance in 1950 film Pyar the song was Kachchee pakkee sadkon pe meree tumtum (from Pyar) also took him in his upcoming films Baazi and Bahar both released in 1951 in both the films he sang one song each.
Salil Chaudhary was a hit music composer those days,he refused to give Kishore Kumar chance in his films because he felt that Kishore is not a trained singer.There was a film Naukri 1954 in which Kishore was the hero Salil Da was on the point of summoning Hemant Kumar to sing Chhota sa ghar hoga in place of our already unemployed hero of Naukri: Kishore Kumar.It was only after Kishore Kumar virtually begged Salil Chowdhury to hear him out.That song was "Chhota Sa Ghar Hoga Taron Ki Chaon Mein"which became hit.
HS Rawail, who directed Kumar in Lehren, was convinced that the musicality bred into Kumar's very marrow bestowed a fantastic flair for gesture and that helped him transform from a singer who could act to a star in his own right.
The success of Chalti Ka Naam Gaadi (1958) revealed the ease with which Kumar could don the hats of singer, producer, and star but this is also one of the first films that display the rare ability which separated Kumar from all other playback singers.
In the 50s Kishore Kumar sang for Dev Anand and himself and he gave many hit songs.Some of the songs were; "Maana Janaab Ne Pukara Nahin" from Paying Guest, "Hum Hain Rahi Pyar Ke" from Nau Do Gyarah (1957), "Ai Meri Topi Palat Ke Aa" from Funtoosh, and "Ek Ladki Bheegi Bhaagi Si" and "Haal Kaisa Hai Janaab Ka" from Chalti Ka Naam Gaadi (1958). Asha Bhosle and Kishore performed duets composed by Burman including "Chhod Do Aanchal" from Paying Guest (1957), "Ankhon Mein Kya Ji" from Nau Do Gyarah (1957), "Haal Kaisa Hai Janaab Ka" and "Paanch Rupaiya Baara Aana" from Chalti Ka Naam Gaadi (1958) and "Arre Yaar Meri Tum Bhi Ho Gajab" from Teen Deviyan (1965)."Eena Meena Deeka" from Aasha (1957). Kishore Kumar's work includes "Nakhrewaali" from New Delhi (1956) by Shankar Jaikishan, "C.A.T. Cat Maane Billi" and "Hum To Mohabbat Karega" from Dilli Ka Thug (1958) by Ravi, and "Chhedo Na Meri Zulfein" from Ganga Ki Lahren (1964) by Chitragupta.
!950s and 1960s was the period in which Mohammad Rafi was on his peak,there were Mukesh ,Manna De and Talat Mehmood in the scene,Kishore was not being offered many songs.but he was giving hits in that period.Then came Aradhna in 1969 that changed the fate of Kishore Kumar.Indeed, by getting the two songs that were recorded for the film, Baaghon mein bahaar hai (with Lata Mangeshkar) and Gunguna rahe hain bhanwre (with Asha Bhosle), to be by Rafi, Dada Burman had already indicated his choice of voice for Aradhana.But this was the point at which S D Burman fell critically ill.he wanted to record the game changing song"Roop tera mastaana pyaar mera deewaana; Mere sapnon kee raanee kab aayegee too; immediately Mohammad Rafi was out On a Musical Tour outside the country and was to return after a month So  Dada called Kishore to record these songs for him even that Raag Pahadi duet of Kishore with Lata, Kora kaagaz thha yeh man meraa, weren't these tunes initially envisioned, by Dada Burman, to go in the voice of Mohammed Rafi on a still-to-arrive Rajesh Khanna?Rest is history.
By the time Aradhana unfolded as S D Burman's 'second coming', Pancham was already on the verge of an individual breakthrough via Kati Patang -- via Kishore's Yeh shaam mastaanee madhosh kiye jaaye; Yeh jo mohabbat hai yeh unka hai kaam; and Pyaar deewaana hota hai mastaana hota hai -- songs released well before that Asha Parekh-Rajesh Khanna starrer hit the screen.Pancham now was clearly the coming Kishore force. The trio of Rajesh Khanna,kishore and R D Burman were out to conquer the Bollywood music.Most of the Heroes of that time 70s now asking for Kishore Kumar to sing their songs,music directors also now taking Kishore instead of Rafi,Kishore was giving hit after hit and he was at his peak,first he became the voice of Rajesh Khanna and later became the voice of Amitabh Bachchan.
1986 was a critical year for Kishore Kumar.  He suffered from a heart attack.  He recovered from  this, but it caused him to greatly reduce his recording schedule.  He planed to go into retirement and return to his birthplace of Khandwa; but this just does not seem to happen.  Kishore's last recording was a playback song for Mithun Chakraborty.  This was a duet with Asha Bhosle for the film "Waqt Ki Aawaz" (1988).In 1987 he suffered another massive heart attack in Bombay.  He died on October 13, 1987, at the age of 58. 
Here are Kishore Kumar's 20 Hit Songs of Golden Era Of Bollywood

Song from Ziddi (1948)

Song from Rimjhim 1949

Song from Ladki 1953

Song from Naukri 1954

Song from Munimji (1955)

Song from Mem Sahib 1956

Song from Funtoosh (1956)

Song from Paying Guest (1957)

Song from Asha 1957

Song from Nau Do Gyarah (1957),

Song from Chalti Ka Naam Gadi 1958

Song from Manmauji (1961)

Song from Jhumroo (1961)

Song from Door Gagan Ki Chhaon Mein (1964).

Song from Ganga Ki Lahren (1964)

Song from Teen Deviyan 1965

Song from Guide 1965

Song from Padosan 1968

Song from Aradhna 1969

Song from Prem Pujari (1969)

Remembering DADA SAHEB PHALKE on his 147th Birth Anniversary

 Born on April 30, 1870 at Tryambakeshwar, Maharashtra,The Father of Indian Cinema Dada Saheb Phalke  was artistic in nature and displayed great interest in the creative arts. He pursued arts for completing his graduation and later took up various jobs such as that of a photographer and a draftsman. He also tried setting up his printing business but closed it down when problems arose with his partner. 
The turning point in his life came when he saw a silent film and was deeply moved by its poignancy.He decided to become a filmmaker and viewed it as his mission. His first full length Indian motion picture, ‘Raja Harishchandra’, the most important milestone in Indian cinematic history.For making this movie he had to take loan from his wife,who sold her jwellery for fullfilling her husband"s dream.

 He was a visionary who foresaw the potential of the film medium and also made people realize its cultural and financial worth.His first film Raja Harishchand  was publicly shown on May 3, 1913 at Mumbai's Coronation Cinema. It was an unbelievable experience for public and he received much appreciation for his work The film was a huge success which encouraged many businessmen to produce more films 
In his 19 years of film making career, he made 95 movies and 26 short films. His other motion picture works include ‘Rajrishi Ambarish’ (1922), ‘Ram Maruti Yuddha’ (1923), ‘Guru Dronacharya’ (1923), ‘Ashwathama’ (1923), ‘Shivajichi Agryahun Sutaka’ (1924), ‘Satyabhama’ (1925), ‘Ram Rajya Vijay’ (1926), ‘Bhakta Pralhad’ (1926), ‘Hanuman Janma’ (1927), ‘Draupadi Vashtraharan’ (1927),‘Parshuram’ (1928), ‘Sant Mirabai’ (1929) and ‘Kabir Kamal’ (1930).
In 1937, he directed his first sound film ‘Gangavataran’ which also proved to be the last film of his career. With the introduction of sound in cinema and the new diversified ways of filmmaking, his work lost admiration and eventually he took retirement from filmmaking.

He passed away on February 16, 1944, in Nashik, Bombay, British India, at the age of 73.In recognition of his lifetime contribution to the Indian cinema, the ‘Dadasaheb Phalke Award’ was instituted in 1969 by the India government. The prestigious award is the highest official recognition for film personalities in India and is presented annually by the president of India for remarkable contribution to Indian cinema.