Saira Banu - A Devoted Wife

 

Saira Banu in an interview once said" I  was all in love with Dilip Kumar right from the age of 12 after watching 'Aan' I was not just another girl smitten by Dilip Kumar. For me, it was no castle in the air because I had given my dream the strong foundation of faith- faith in myself and faith in God.”

She was only 16, had gone for the show, hoping to get a glimpse of her favorite hero in person. But she was heartbroken as Dilip Kumar was unable to come to the premiere. She still remembers her first encounter with Dilip Kumar “When he smiled at me and remarked that I was a pretty girl, I could feel my whole being taking wing and flying rapturously. I knew somewhere deep within me that I was going to be his wife.”

After the release of Junglee, her first film in 1961, she became a big star, she was offered heroine roles with all the big stars of that time. Dilip Kumar in his biography told that a few films were offered to him with Saira but he refused because he felt to be her too young as his heroine.

It is said that it was Naseem Banu, her mother played the role of the cupid between Dilip and Saira. She got them closer, thanks to which love blossomed between the two. Dilip Kumar mentioned in his biography that when he fell in love with Saira. It was during a party thrown to celebrate her birthday. The actor revealed, "When I alighted from my car and entered the beautiful garden that leads to the house, I can still recall my eyes falling on Saira standing in the foyer of her new house looking breathtakingly beautiful in a brocade sari. I was taken aback because she was no longer the young girl She had indeed grown to full womanhood and was, in reality, more beautiful than I thought she was. 

It was one day when Saira Banu was shooting for the film'Jhuk Gaya Aasman' Dilip Kumar proposed Saira. He simply stepped forward and shook her hand and proposed. Dilip Saab said, "Saira, you are not the kind of girl I want to drive around with or be seen around with... I would like to marry you... Will you be my wife?" Promptly came the response from Saira, "And how many girls have you said this to?" She, however, said yes.

They married on 12th Oct 1966 and celebrated the Golden Jubilee of their marriage in 2016. She remained her pillar of strength throughout all these years. There was a time when Dilip Kumar married another lady but Saira continued to look after him. The second marriage lasted for two years since then the two have stood beside each other like a rock, considering one another to be the greatest gift of God. 

Saira Banu continued to work in films after the marriage, in fact, Dilip Kumar encouraged her to do films but she restrained herself to one or two films a year. Aman (1967), opposite Rajendra Kumar, was her first release after marriage to the thespian. She acted in three films with Manoj Kumar, Shaadi, Purab Aur Paschim, and Balidan. Cult film Padosan, in 1968, opposite Sunil Dutt, catapulted her to the top league and she continued to play the heroine for several years after that. Victoria No. 203 with Navin Nischol is her biggest hit. She acted in three films with her husband: Gopi. Sagina and Bairaag. Only Gopi was successful at the box office. She acted in three films with Manoj Kumar, Shaadi, Purab Aur Paschim, and Balidan and six with Dharmendra: Jwar Bhata, Aadmi Aur Insaan, Resham Ki Dori, Pocket Maar, International Crook and Chaitali.

She worked with Amitabh Bachchan in Amitabh Bachchan in Zameer and Hera Pheri. Nehle Pe Dehla. She never worked with Rajesh Khanna though once she was offered the role in Chhoti Bahu in 1971 but couldn't do it due to illness. 

Dilip Kumar told in an interview that she was signed for the role that Mumtaz did in Ram Aur Shyam but he himself asked her not to do that role. She appeared in a cameo opposite her husband in Duniya (1984), wherein the song "Teri meri Zindagi" became very popular. Faisla which was eventually released in 1988 and is officially her last film.

Song of Junglee (1961)

Song of Bluff Master(1963)

Song of Ayee Milan Ki Bela (1964)

Song of Pyaar Mohabbat (1966)

Song of Shagird 1967

Song of Padosan (1968)

Song of Jhuk Gaya Aasman (1968)

Song of Purab Aur Paschim (1970)

Song of Victoria No 203 (1972)

Song of Jwar Bhata 1973

Song of  Gopi 1973

60 Years of Mughal E Azam

The Filmfare reviewed Mughal-E -Azam at the time of its release on 5th Aug 1960, it is a  tribute to the imagination, conviction, hard work, and lavishness of an extraordinary filmmaker K Asif. 
The development of Mughal-e-Azam began in 1944 when Asif read a play set in the reign of Emperor Akbar He got a financer/producer Shiraz Ali Hakeem to make the movie. K Asif cast Chandra Mohan, D.K. Sapru, and Nargis for the roles of Akbar, Salim, and Anarkali, respectively..Shooting started in 1946 in Bombay Talkies studio. It is said four reels were shot. The political tensions and communal rioting surrounding India's 1947 partition and independence stalled production. Shortly after partition, Shiraz Ali migrated to Pakistan, leaving Asif without a financier. 

The actor Chandra Mohan suffered a heart attack and died in 1949. Shiraz Ali had previously suggested that business tycoon Shapoorji Pallonji could finance the film. Although Pallonji knew nothing about film production, in 1950 he agreed to produce the film because of his interest in the history of Akbar. Production was then restarted with a new cast. Initially, K Asif rejected Dilip Kumar for the part of Prince Salim as he was too slim but later signed him for the role. For Akbar, the name of Prithviraj Kapoor was recommended by Shapoorji, and for the role of Anarkali the name of Suraiya was chosen but she refused the film. Ultimately Madhubala was signed for this role. 

In 1952 K Asif began the shooting with the new cast. The music director now was Naushad, earlier it was Anil Biswas. Asif wanted to make the film on a grand scale, each set took 8 to 9 months to complete. It took 7 years to complete the film. Shahpoorji had full faith on Asif, he kept on pouring money for this film. Those days a normal film used to have a budget if 12-15 Lakh but this film was made on a budget of 1.5 crore rupees.
The film was sold for an astounding amount of 1.7 million per territory at a time when a big film used to be sold at 3 to 5 lakh per territory. There was a great euphoria related to this film. A grand premiere of this film was organized at Maratha Mandir theatre in Bombay'.All the top celebrities attended the premiere.   In sync with the grandeur of the era, the film had set out to capture, invitations designed as a royal scroll and titled “ Akbarnama” were sent out to “command” the guests to arrive at the grand opening of the film.

. The film had an all-India release in 150 theatres simultaneously. This was a stupendous feat in those days. The film opened to largely positive reviews. It had captured the imagination of the viewers with its lavish scale, excellent performances, immortal dialogues, and soulful music. The film made a record collection 0f rupees 4 million by way of advance booking for the first week in Bombay only. Audiences queued up in front of theatres to see the film. Many stood and lived outside the theater for days. The demand for tickets of the
film forced the management to close ticket bookings for three weeks, “something that had never happened before—or since”.A rupees 1.30 ticket was sold in black for an amount as high as 200/-. Newspapers widely reported the success of the film and the mass hysteria amongst the audience. 
 Mughal-e-Azam became a mega-success and collected sales amounting to 35 million. It ran houseful in Maratha Mandir for three years, a record for Indian cinema which was broken after 15 years by Sholay in 1975.
Mughal-e-Azam garnered the position of a celluloid monument. On November 12, 2004, the film was re-released after fully coloring in theaters across India and history was all set to repeat itself.

Premiere of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Seene Mein Sulagte Hain Armaan - An Immortal Song

The writer of this immortal song was Prem Dhawan. It was composed by Anil Biswas and sung by Talat Mehmood and Lata Mangeshkar. Anil Biswas composed the tune of this song in just 15 minutes while riding in a car.
There was a rumor that the lyrics had been bought from Sahir Ludhianvi for Rs 5/-, as Sahir was in need of money, and Prem Dhawan had helped him. It is very sad that Prem Dhawan was always underrated. He was multitalented, he was a composer beside lyricist and as well as a Choreographer.and also acted in a few films.
He wrote songs like Mera Rag De Basanti Chola, Ae Watan Ai Watan from Shaheed, and many more songs. He won the National Film Award for Best Lyrics in 1971 for the film, Nanak Dukhiya Sub Sansar

This song was picturized on Dilip Kumar and Madhubala for the film Tarana released in 1951. This was the first film of Dilip Kumar and Madhubala together. Regarding this song, Shikha Biswas Vohra, daughter of music director Anil Biswas said in an interview that how her father composed this song. Prem Dhawan and her father were good friends, they were booked for two films Tarana and Arman in 1950. One day Prem Dhawan gave him few lines of this song and asked him to make the tune while going to meet the famous Punjabi singer Surinder Kaur On reaching.the destination Anil Biswas asked Prem Dhawan to go to meet the singer and he sat on the parapet and started humming the tune. By the time Prem Dhawan returned, the tune was ready.
Interestingly the song was a sad song but Anil Biswas used the major scale and another point to highlight that he used three different tunes for the three Antaras. A very rare occurrence and only a genius like Anil Biswas could do that. Madan Mohan also did the same in many songs later.in the 60s.If we look technically the use of Teevra 'Ma'gives it the feeling of Raga Yaman Kalyan.
This is probably one of the greatest duets of Bollywood. Everything is perfect, lyrics, music, singing, and picturization on two of the greatest actors Dilip Kumar and Madhubala.

Song of Tarana 1951

Suhana Safar Aur Yeh Mausam Haseen - The song that was kept on Hold

This song remains one of the most popular songs of Madhumati, released in 1958. The Madhumati soundtrack features eleven songs composed by Salil Chowdhry. Shailendra wrote the lyrics The soundtrack of Madhumati became the best-selling Bollywood soundtrack of 1958. This remains one of the personal favorite songs of Mukesh.
Suhana Safar Aur Ye Mausam Haseen is one of Hindi cinema’s greatest musical scores. An anthem in praise of natural beauty. Mukesh’s inimitable voice emanates the joy with a fantastic echo effect. Salil Chowdhury utilized this quality so adeptly in this composition that listening to it one feels like none but Mukesh could have rendered this song. Charming its way into people’s hearts and rightly securing his position in the league of legends.
It is said that Dilip Kumar, the hero of the film wanted this song to be sung by Talat Mahmood but Talat himself declined to sing saying Mukesh needed that break much more than him, Mukesh was not getting songs during those years and that he was hard up for money.
There is another story behind this song, that Shailendra who was the lyricist for this song couldn’t find a suitable line to follow this particular one “Ye Gori Nadiyon Ka Chalna Uchhal Kar”. So the song was kept on hold for quite some time till one day, he happened to chance upon a little girl who was crossing a lane and singing to herself. This inspired him to write the next line “Ki Jaise Alhad Chale Pee Se Mil Kar”. He immediately went to Salil Da's home and completed the full song. Shailendra has used words like ‘Alhar’, which is seldom used in film songs and it is north Indian rooted word, generally used by village and small-town folks.
Along with the composition of the song and its picturization; the lyrics were unique. Describing the movement of rivers, 
Unlike other films, shot indoors, Roy decided to shoot Madhumati outdoors and at a hill station. It had a six-week schedule in Ranikhet, Nainital. Some scenes were shot in Ghorakhal, near Nainital. In those days there were no monitors, so when the negatives were developed, it was found that most of the footage was foggy. Since a reshoot in far-away Uttarakhand wasn't possible, sets were created near Vaitarna Dam, Igatpuri, near Nashik. Art direction team, led by Sudhendu Roy, created fake pine trees, which were planted to matched the location in Nainital.

Song of Madhumati 1958

Dilip Kumar and His Ten best Performances

Dilip Kumar( Born on 11th Dec 1922) is one of the greatest and most iconic Indian film actors. Acclaimed throughout his career span of 54 years. His performances have been regarded as the epitome of emoting in Indian Cinema. He was the first actor to receive a Filmfare Best Actor Award and holds the record for most numbers of Filmfare Awards won for that category. 
Though he has done all kinds of films and a wide variety of roles. In this blog, I have selected his Ten best performances starting from his first film in 1944 to the last film in 1988.
Andaz (1949)

The film stars Dilip Kumar, Nargis and Raj Kapoor in a love triangle. It was the first blockbuster film of Dilip Kumar. It is to date regarded as the mother of all triangles of the Hindi Cinema. Dilip Kumar who played Dilip in this film continued his tragedian onslaughts and reigned supreme as the bitter suitor whose love goes unrequited.
Deedar 1951

 It is a story of unfulfilled love, where the hero's childhood love is separated from him due to class inequalities. It is one of the noted tragedies made in the early Hindi cinema. It became a popular film of the Golden era and further established Dilip Kumar as the "King of Tragedy. Dilip plays a blind singer who is cured by Ashok Kumar, a doctor. The twist in the tale is that they both love the same girl (Nargis). She’s his childhood sweetheart who doesn’t remember him, not even when he sings the song they crooned together as children. He vainly hopes that his restored vision would help restore her memories but sadly that doesn’t happen. Angered, he blinds himself in his grief.
Daag 1952

 The film stars Dilip Kumar, Nimmi and Lalita Pawar in lead roles. Dilip Kumar plays Shankar in this film 
To earn money he makes and sells mud toys. Being the lone breadwinner of the family, he is unable to meet the needs. His debt starts rising higher and higher when he gets addicted to alcohol. He is attracted to Parvati (Nimmi), who also lives a poor lifestyle along with her step-brother In this film he played the role of a drunkard.

Devdas (1955)

Dilip Kumar played a man driven by unrequited love into being a drunkard to perfection. His eyes are hazy throughout the film and his silences are eloquent. He got so much under the skin of the character that it’s said he had to go to London and consult Harley Street psychiatrists to overcome depression.

Naya Daur (1957)

For this film, Kumar won the Filmfare Award for Best Actor for the third time in a row, being his fourth overall. Dilip played the rustic tangewala to perfection, flirting outrageously with his firebrand heroine Vyjayanthimala. 

Madhumati (1958)

The film stars Dilip Kumar and Vyjayantimala in the lead roles. This Bimal Roy classic superbly employs the theme of reincarnation. You enjoy the film despite the clichés because of the atmosphere created by the director and excellent performances by both Dilip and Vyjayanthimala.

Mughal-E-Azam (1960)

Dilip Kumar plays the role of Salim wh0 falls in love with Anarkali. Salim pleads to marry Anarkali, but his father refuses and imprisons her. Despite her treatment, Anarkali refuses to reject Salim, as Akbar demands. Dilip Kumar, in keeping with the nature of a prince, was regally restrained and conveyed more through his eyes than others would with their facial expressions.

Gunga Jumna (1961)

 The film stars Dilip Kumar, Vyjayanthimala and Nasir Khan (real-life brother of Dilip Kumar) in the lead rolesDililp Kumar was excellent as the rustic villager forced by circumstances to become a dacoit. Dilip Kumar's performance as Ganga is considered one of the finest acting performances in the history of Indian cinema.

Ram Aur Shyam (1967)

Dilip Kumar played a double role in the film. It was the story of twins separated at birth. Shyam grows up to be street smart man-about-town while Ram is a bumpkin much abused by his brother-in-law. Things are set right when the duo by chance exchange places. 

Shakti (1982)

A father-son story, the role of the father played by Dilip Kumar and the son played by Amitabh Bachchan. The end scene where Amitabh is dying in Dilip’s lap remains a masterpiece. You can feel a father’s anguish, his anger, and the momentary joy that though dying, his son has finally reconciled their differences.

When Dilip Kumar Sang his own Song

Not many of us know that Dilip Kumar was a very good singer. Many die-hard fans of the maestro still might not have the information about the one instance wherein he actually rendered a classical song in an unbelievable manner in the late 50s. It was a duet with Lata Mangeshkar that too in semi-classical.
It was Hrishikesh Mukherjee’s first film( Musafir 1957) as a director after working with Bimal Roy as an editor and also the first Hindi film for the comedian Keshto Mukherjee. Besides it had a fabulously talented team working together, with Salil Choudhary as the music director, Ritwik Ghatak as a scriptwriter (along with Hrishi Da), dialogues by Rajendra Singh Bedi and lyrics by Shailendra. Written (story), produced and directed by Hrishi Da the film had Suchitra Sen, Durga Khote, Nirupa Roy, Kishore Kumar, Nazir Hussain, David and more playing the key roles.

Since 50s Mohammad Rafi had become the screen voice of Dilip Kumar but Salil Chaudhary wanted someone else to sing this particular song  “Laagi Naahin Chhootey, Chahey Jiya Jaaye” .One day Salil Chaudhary heard Dilip Kumar humming something in his own mood, Salil Da liked it and decided that this song be recorded in Dilip's own voice. It was a Raga based song and a duet with none other than Lata Mangeshkar, Dilip Kumar was reluctant to give his voice but agreed because of the respect felt for the maestro Salil Da.

It is said that Lata Mangeshkar was initially not agreeable, she wanted some professional singer to sing with her but Salil Da insisted that Dilip Kumar would sing this song.

Dilip Kumar performed the song confidently and the rendition really came out to be a truly touching one with great depth and feel, as if it had been sung by a trained classical exponent with perfection.

It is quite astonishing that Dilip Kumar never sang for himself for subsequent films. His singing voice is so soft and mellifluous – somewhere between Talat Mehmood & K.L. Saigal Saab, In fact, you would feel that Mohammad Rafi is singing. Later in 80s, he sang a few lines in Sagina with Kishore Kumar and In Karma.

Song of Musafir 1957

History behind the historical -MUGHAL_E_AZAM

K.Asif first launched this film in 1944 with financier Shiraz Ali, casting Sapru, Chandramohan and Nargis in the roles later done by Prithviraj Kapoor, Dilip Kumar and Madhubala. But Shiraz's migration to Pakistan after Partition, the communally-sensitive atmosphere after Independence and finally Chandramohan's death in 1949 made him drop the project.
K Asif wanted to start the project once again in 1951 but no financier was interested in this film. It was Shapoorji Pallonji, the construction magnate, came on board in 1951. K Asif was interested to make this film in colour but the financier refused to finance further. Ultimately he did so in the song Pyar kiya to darna kya and the climax. The film was finally completed at a cost of about Rs 1.5 crore in 1960. 
Asif had planned to make Mughal-e-Azam in three languages - Hindi, Tamil and English. While the Hindi version became a super hit, the Tamil-dubbed version came a cropper at the box-office and he subsequently dropped the idea of dubbing it in English in the voices of British actors.
For the picturization of the song, Pyar kiya to darna kya a grand set of Sheesh Mahal was constructed. The grandeur was incomparable: the mirrors for the dance sequence on the Sheesh Mahal set were coated with a thin, transparent wax layer to prevent reflection from studio lights. The set was 80 feet wide and 150 feet long - and 35 feet high. And cinematographer R.D.Mathur would sometimes take up to eight hours to light a single shot! Sometimes, 14 cameras were used when the norm then was just one or two, and unlike the normal 60 to 125 shooting days, MEA thus needed 500, with more than a million feet of negative being used.

The song Pyar kiya to darna kya costed Rs 10 lakh to shoot, which was equal to the production cost of a big film! This Lata chartbuster's graph was perfected by Naushad and Shakeel in a marathon session from four in the evening to daybreak the following day on the terrace of Naushad's bungalow. Neither ate food during this period.
Music director Naushad composed many more than the 12 songs finally seen in the film, and Lata Mangeshkar sang eight solos and the duet Teri mehfil mein with Shamshad Begum. The hits were led by Mohe panghat pe and Mohabbat ki jhoothi kahani.
For Rafi's song Ae mohabbat zindabad a chorus of 100 singers were used.K Asif wanted 2 songs to be sung by Bade Ghulam Ali khan. Since Ustad Bade Ghulam Ali Khan did not want to sing for films and quoted an exorbitant sum to discourage Naushad and Asif, they agreed to the sum (in multiples of the topmost playback singer's fees) and the maestro had no choice but to render Shubh din aayo and Prem jogan banke as he had no excuse left!

The war sequences used 2000 camels, 4000 horses and 8000 men, most of the latter being real soldiers from the Army. Prithviraj wore real armour, real weapons were crafted and real jewellery used. The best tailors, embroiders, jewellers, shoemakers and other craftsmen from across the country were employed. The chains worn by Madhubala in prison were also real. Even the statue of Lord Krishna was in real gold.
Tailors were brought from Delhi to stitch the costumes, specialists from Surat were hired to do the embroidery, goldsmiths from Hyderabad designed jewellery, craftsmen from Kolhapur worked on the crowns, ironsmiths from Rajasthan made the weaponry and shoemakers from Agra produced the royal footwear.
When completed, Asif is said to have got Rs 17 lakh per territory for the film when the going rate was Rs 3-4 lakh. The premiere invite was written in Urdu on red velvet and "stamped" with the seal of Akbar's royal court.

The premiere of Mughal-e-Azam was held at the then new,1,100-capacity Maratha Mandir cinema in Mumbai, The day before bookings for the film opened, a reported crowd of 100,000 gathered outside the Maratha Mandir to buy tickets. The tickets, the most expensive for a Bollywood film at that time, were dockets containing text, photographs and trivia about the film, and are now considered collector's items

This premiere was shown as a live event in Navketan's film Kala Bazar where Dev Anand does black marketing of the premiere shows tickets.
 The film ran for 100 weeks, was the biggest grosser of the 1960s and was finally beaten by the 1975 Sholay.
There had been three screen versions of the same story earlier also. Two starred one of Indian cinema’s top female stars, Sulochana, as Anarkali – in 1928 as a silent feature and then in 1935 as a talkie.

Footpath 1953 Film Review

This film was released in 1953. The film was a flop but the film earned critical acclaims for Dilip Kumar's Performance. Dilip Kumar in an interview said "My scene of breaking down after my elder brother Bani passes away remains my all type favourite scenes"

The film stars Dilip Kumar, Meena Kumari, and Anwar Hussain. The music of the film is by Timir Baran and Khayyam. The highlight of the film is One of the finest Ghazals "Sham e Gham Ki Kasam by Talat Mahmood.

Tired of being poor, Noshu(Dilip Kumar), a newspaperman, abandons his scruples and starts to make money as a black marketeer. He gains his fortune but ruins his brother's life causing him to lose his job, his home and his wife whilst simultaneously losing his own self-respect and that of his former neighbours and his girl. Tormented by his conscience, he writes an expose′ of the illegal trade, but cannot prevent his own brother becoming a victim when an epidemic rages unchecked because criminals have stockpiled all the medicine.

Meena Kumari performs very convincingly matching Dilip Kumar’s intensity in every scene. She never appears vulgar during her bathing scene. Romesh Thapar is restrained and Achla Sachdev tries hard to appear heartless. Anwar Hussain does not impress too much. The other actors are just adequate.

A taut screenplay and meaningful dialogues penned by Zia Sarhadi make “Footpath” a truly memorable film. Sarhadi showed a lot of promise and eye for detail. The sequences shot indoors as well as in the black-marketing den shot in natural light sans cinematic jugglery by N. Raiaram is really convincing. 
Songs of Footpath

50 years of the release of SUNGHARSH

Five decades ago, another superstar took on the part of a thug in director Harnam Singh Rawail’s rather successful venture, Sunghursh (1968). That was Dilip Kumar, he gives a stirring performance, the real delight is when he breaks into a folk dance “Mere Pairon Mein Ghungroo Bandh De Aur Phir Meri Chaal Dekh Le”.   

The movie was released on 01 July 1968. The movie is directed by Harnam Singh Rawail and featured Dilip Kumar, Vyjayanthimala and Balraj Sahni as lead characters. A most surprising find of the movie was Sanjeev Kumar. His performance of negative role shot to fame. He was commended for his role while a newcomer as compared with established actors like Dilip Kumar and Balraj Sahni 

Set in Varanasi, this fast-paced film talks of thugs, the expert killers who were a terror in Northern India in the 19th Century. They used to rob the pilgrims by hook or crook. Adapted from a Mahasweta Devi work, director H.S. Rawail addresses the loot that goes on at pilgrim centres in the name of faith. How the practice of sacrifice is misused for personal gains and how men compromise love for spiritual virtues – issues that are a relevant event today…issues that our films generally talk of only in hushed tones.
It is said H S Rawail the director of the film wanted Sadhna to be the heroine in this film but she was not available because of her illness. Eventually, Rawail signed Vyjayanthimala for the role. Dilip Kumar and Vyjayanthimala who had worked together for Naya Daur (1957) and Ganga Jamuna were then said to have a romantic affair. The actors parted after Vyjayanthimala worked with Raj Kapoor in the 1964 Hindi film Sangam. Thus, most of the scenes between the two actors for Sungharsh were shot separately.Sungharsh was the last film where Kumar and Vyjayanthimala worked together.

The music for all the songs is composed by Naushad and the lyrics are written by Shakeel Badayuni. The film's soundtrack has seven songs sung by Mohammad Rafi and Lata Mangeshkar with one song sung by Asha Bhosle. All are solo songs where Naushad used the music from the regions of Awadh and eastern Uttar Pradesh.

Song of Sungharsh 1968

Song of Sungharsh 1968

Song of Sungharsh 1968

Song of Sungharsh 1968