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
Javed along with Salim were the Super Star Jodi of Bollywood in the 70s. Rajesh Khanna is credited with giving Salim Khan and Javed Akhtar their first chance to become screenplay writers by offering them work in Haathi Mere Saathi.Before that both were employed by G P Sippy in their story department.He along with Salim the father of Salman Khan gave the film industry The Angry Young Man Amitabh Bachchan.His association with Salim Khan lasted until 1980. After this Akhtar wrote some scripts on his own, but mostly moved into writing lyrics for films, in which he achieved success. He was born on 17th Jan 1945 as Jadoo Akhtar in Gwalior, (Madhya Pradesh) to Jan Nisar Akhtar, a Bollywood film songwriter and Urdu poet, and singer Safia Akhtar, a teacher and writer.Akhtar's early years were spent in Lucknow, Aligarh and Mumbai, mostly with relatives. He was a gifted debater in college, he won the Rotary Club Prize frequently. He arrived in Mumbai on 4 October 1964. In his early years living in Mumbai, he managed to write the dialogue for a minor film for Rs. 100. Occasionally, he used to work as an assistant. He got a job as a scriptwriter on Yakeen which flopped. Akhtar then joined with his friend Salim Khan to develop the story for Adhikar. Their first big success was the script for Andaz, followed by Adhikar (1971), Haathi Mere Saathi and Seeta Aur Geeta (1972). They also had hits with Yaadon Ki Baaraat (1973), Zanjeer (1973), Haath Ki Safai (1974), Deewaar (1975), Sholay (1975), Chacha Bhatija (1977), Don (1978), Trishul (1978), Dostana (1980), Kranti (1981), Zamana (1985) and Mr. India (1987). They have worked together in 24 films including two Kannada films – Premada Kanike and Raja Nanna Raja. Of the 24 films they wrote, 20 were hits. Javed is a Urdu poet before writing songs for films he was writing poetry.It was Yash Chopra who insiisted him to write songs for his film Silsila(1981).After that he gave us many memorable songs He won 5 National Awards for his songs and also 5 Filmfare Awards for lyrics. In 2013, he received the Sahitya Akademi Award in Urdu, India's second highest literary honour, for his poetry collection Lava. He was also nominated a Rajya Sabha MP.from Nov 2009 to Nov 2015. He married to Honey Irani, with whom he had two children, Farhan Akhtar and Zoya Akhtar, both film directors and actors. The father-and-son duo have worked together in films such as Dil Chahta Hai, Lakshya, Rock On!! and Zindagi Na Milegi Dobara with Zoya.He divorced Irani and later married Shabana Azmi, the daughter of eminent Urdu poet, Kaifi Azmi. Some of his Award Winning Songs
O P Nayyar, whose evergreen numbers include “Mera Nam Chin Chin Choo”, “Aakhon Hi Akhon Main”, “Jaane Kahan Mera Jigar Gaya Jee” and “Babuji Dhire Chalna”, worked with several singers such as Geeta Dutt, Asha Bhosle, Rafi and Mahendra Kapoor — but never with Lata Mangeshkar.The heady cocktail of OP-Asha captured the imagination of music lovers as never before and swept away even powerful competition from Madan Mohan-Lata combine.
With Asha Bhonsle ggave us some of the memorable songs of Hindi Cinema,songs like ‘Jaayiye aap kahan’ (Mere Sanam), ‘Raaton ko chori chori’ (Yeh Raat Phir Na Aayegi), ‘Zara haule haule’, ‘Meri jaan tumse sadke’ and ‘Aaj koi pyar se’ (all in Sawan Ki Ghata), ‘Aayiye meherbaan’ (Howrah Bridge) and ‘Aankhon se jo utri hai dil mein’ (Phir Wohi Dil Laya Hoon) to sense the profound wavelength the two worked on. Born on 16th Jan 1926,he came to Bombay for giving music for films.initially he was offered the background score for Kaneez (1949), and 1952's Aasmaan(produced by Dalsukh M. Pancholi), was his first film as music director. His real break came with Guru Dutt's Aar Paar in 1954.After that he gave music for Mr. & Mrs. '55 (1955) and C.I.D. (1956).The songs of all these three films established him among the top composers of that time. In 1957 released Naya Daur,the music of that film became super hit,he was given Filmfare Award for that film.Same year another film Tumsa Nahin Dekha released.the grand success of these films made him among the top composers. Nayyar became one of the earliest music directors to command a lakh for a film. During 1957 and 1958 a string of successful scores like Naya Daur (for which he won the Best Music Director Award), Tumsa Nahin Dekha, Sone Ki Chidiya, Phagun, Howrah Bridge and Ragini released.But for the next 2 years none of his films clicked at the box office resulting no work for 2 years for his arrogance and insistence on a high remuneration. It was S Mukharjee .who gave him a new lease of life.It was S Mukherji's Joy Mukharjee-Sadhana musical hit, Ek Musafir Ek Haseena (1962) that brought Nayyar back into the reckoning.He gave one hit every year after that with Phir Wohi Dil Laya Hoon (1963), Kashmir Ki Kali (1964) and Mere Sanam (1965). In the late 1960s, Nayyar fell out with his favourite Mohammad Rafi but managed to conjure memorable songs even with Mukesh (Chal akela), Mahendra Kapoor (Lakhon hai yahan dilwale) and Kishore Kumar (Tu auron ki kyon ho gayee). A major blow was Nayyar's split with Asha Bhosle after the pair had reached a crescendo with the Filmfare Award winning Chein se humko kabhie in Pran Jaaye Par Vachan Na Jaaye (1974). Nayyar tried recreating the magic with new singers but musical trends had bypassed him by then He worked till 1990s but his music was not appealing to the young generation . On the later stage of his life he was living with his friend.He left his family members even asked none of his family to be present on his funeral.He died on 28 January 2007 Some Of the Great Songs of O P Nayyar
The 1935 classic DEVDAS by
actor / director P.C.Barua , made in Bengali later in 1936 Hindi version played by K L Sehgal , gave Indian
cinema its most recurrent theme : the love triangle.The story of Devdas touched millions of Indians in the 1930s who felt that his
anguish would become their own if they dared marry against parental authority. This
theme returns regularly every decade with the same name or different name. When Sarat Chandra Chattopadhyay wrote Devdas in 1917, he made an impression not only on Bengalis, but on the entire nation. Since then, the novel has lent itself to 12 official screen adaptations (10 completed and two abandoned), from the 1928 Naresh Mitra silent version produced by Eastern Film Syndicate to Sanjay Leela Bhansali. and modern day Devdas by Anurag kashyap's Dev D in 2009. K L Sehgal played the first Devdas in 1936 in Hindi version and P C Barua in Bengali version.Both the films were hit.Since then Devdas became the most sought-after role for the idols of the Indian screen. Dilip Kumar, who had specialised in tragic roles earlier (Mela, 1948; Andaz, 1949; Deedar, 1951; Daag, 1952 and Amar, 1954) was considered the ideal choice when Bimal Roy planned a remake in the mid-1950s.
Devdas 1936
In 1936 the Tamil version directed by P V Rao,in 1953 a Telegu version was made later in 1974 another Devdas was released.Another remake in Bengali was made in 1979. In 1937 an Asamese version by P C Barua was made.
Devdas 1979 bengali
The year 1953 witnessed the filming of the novel in Tamil and Telugu by the Kuchipudi dancer-choreographer-turned-filmmaker, Vedantham Raghavaiah (1919-1971) with the superstar, Akkineni Nageswara Rao as Devadas (Devadasu in Telugu) in both versions. That brilliant actress and multi-lingual star, K. Savithri was Paro while the dancer-actress, Lalitha played Chandramukhi. Both versions were major hits thanks to three factors. The excellent portrayal of Nageswara Rao who reached the heights of histrionics, the empathy-rich acting of Savithri and the memorably melodious music.Devadasu was released on 26 June 1953, and the Tamil version was released three months later, on 11 September 1953. Both versions were critically and commercially successful.
Devdasu 1953
The multi-lingual star and filmmaker, Vijayanirmala made a Telugu version in 1974 with her star husband Krishna as Devadas. She was Paro and the buxom multi-lingual star, Jayanthi played Chandramukhi. The film had excellent music (Ramesh Naidu) but it did not do as well as expected. Interestingly when this film was released, the 1953 version (``Devadasu") was also released in competition and it attracted large crowds! The prominent filmmaker, Dasari Narayana Rao made ``Devadasu Malli Puttadu!" (Telugu, 1978) in which Devadas is born again while Paro is old and alive!
In Tamil came another re-hash of the tale, ``Vaazhvey Maayam" (1982) with Kamal Hassan as the hero.The film was a blockbuster and completed 200-day run at the box office. This film was dubbed into Malayalam in the same title as that of its original.
In 2002 Sanjay Leela Bhansali made Devdas ,Shahrukh Khan played the role.Bhansali has taken further liberties. Perhaps, in keeping with his hero Shah Rukh's overseas appeal, he sends Devdas to Oxford, instead of Calcutta, for his education. And for his Oxford-returned look he has made him wear vintage suits from London.
Dev Dreleased on 6 February 2009. Written and directed by Anurag Kashyap, it was a modern-day take on Sarat Chandra Chattopadhyay's classic Bengali novel Devdas,The film is set in contemporary Punjab and Delhi, where familial ties are negotiated by the traditions of patriarchy and marriages are reduced to a game of power and "honour". Now a 3D version of Devdas is in making.It will be an added perk to watch Devdas-Paro-Chandramukhi saga again, but only this time we will literally be in the world of Devdas with its 3D release. Songs From All the Hindi Devdas
On her 112th Birth Anniversary today (14 January 1905), we look at how one of Indian cinema's strongest heroines shaped her career.In the begining of indian Cinema men used to play women in our cinema. When we got real women playing heroines in our films, they were not Indians. Anglo-Indian, Jew or Parsi women were cast. Acting was not a respectable career for women of the soil.She was a woman who came from an elite Maharashtrian family. Educated at Cathedral High School,V Shantaram decided to cast her in Ayodhyecha Raja, a bilingual remake of Phalke’s film in 1932. Incidentally, Khote was chosen to play Rani Taramati, the same role that Salunke(Male) played in India’s first film. The film was a big hit, and launched her career as a heroine.
Durga Khote debuted in a minor role in the obscure 1931 silent film Farebi Jaal, by the Prabhat Film Company, followed by Maya Machindra(1932).Shebroke away from the "studio system"and became one of the first "freelance" artistes of that era by working occasionally with the New Theatres, East India Film Co. (both at Calcutta), and Prakash Pictures.She gave a memorable performance in 1936 film Amar Jyoti. In 1937, she produced and directed a film titled Saathi, making her one of the first women to step into this role in Indian cinema.The 40s opened for her in a big way, with award-winning performances in Aachary Atre's Payachi Dasi (Marathi) and Charnon Ki Dasi (Hindi) (1941) and Vijay Bhatt's classic Bharat Milap (1942), both of which got her the BFJA Best Actress Award for two consecutive years.
Durga Khote played a wide variety of roles over a career,during later years, she played several important character roles, such as the mother of the protagonist. Her portrayal of Jodhabai, the queen of Akbar torn between duty towards her husband and love towards her son in Mughal-e-Azam (1960) was well received. her other memorable roles as mother were in Charnon Ki Dasi (1941); Mirza Ghalib; Bobby (1973) and Bidaai (1974). She also ranks among the top ten actresses in mother roles in Hindi cinema,One time she was popularly known as Dev Anand's mother.Her final memorable role was in Subhash Ghai's Karz (1980), where she played the role of the mother of Raj Kiran and later, mother to Rishi Kapoor, who played the role of Raj Kiran's reincarnation after the screen death of Raj Kiran in the movie. She was an active participant of the Indian People’s Theater Association (IPTA), the left leaning group of writers and intellectuals, and acted in several plays.In 1983 when she was awarded the Dadasaheb Phalke Award, the highest award in Indian cinema. Durga Khote died on 22-09-1991 at age of 86 in Mumbai, Maharashtra. India.
Born on 12 January 1918 in Puntamba, a small town in Ahmednagar district in Maharashtra.C Ramchandra studied music under Vinayakbua Patwardhan at "Gandharva Mahavidyalaya" and also under Shankarrao Sapre of Nagpur where he studied music alongside Vasantrao Deshpande.He was one of the pillars of the music of Golden Era of Hindi cinema.He along with Lata and Talat gave us some of the Immortal Songs.The highly popular patriotic song "Aye Mere Watan Ke Logo", which was sung by Lata Mangeshkar and penned by poet Pradeep, was a composition of Ramachandra. He himself was a great singer. For his career as an occasional playback singer he used only his surname Chitalkar. He sang some renowned and unforgettable duets with Lata such as Kitna haseen hai mausam in film Azad or Shola Jo bhadke in Albela. He wanted to become Hero, while trying to do bit movie roles to support him found himself in Mumbai, and was introduced to another Maharashtrian bit actor called Bhagvan Palav.As the luck would have it, struggling Bhagvan had secured some finance from an investor to produce a movie in, hold your breath, TAMIL language (An Indian language mostly spoken in the state of Tamilnad in South India) and asked Ramchandra to direct the music for it. He debuted as a music director in two TAMIL films "Jayakkodi" and later in "Vanamohini". Later same Bhagvan,who by now had become Ram’s close buddy, was instrumental in providing him first HINDI film, to direct its music, Sukhi Jiwan, in 1942. In between Ram did bit work here and there including the fact that he became a Harmonium accompanist for Minerva composers Bindu Khan and Habib Khan. He often got opportunities to sing and act in Marathi films of those days. He received public notice as a good composer in Bhagwan Dada's "Sukhi Jeevan", and established a long association that culminated with the musical box office hit "Albela".In Sukhi Jeevan the famous song written by Iqbal Mohammed and translated in Hindi by the famous poet Pradeep , “Sare Jahan Se Acha Hindustan Hamara” in Sukhi Jeevan had its tune composed by none other than C Ramchandra. C. Ramachandra's biggest success as a music composer was the 1953 movie Anarkali starring Beena Roy in the title role and Pradeep Kumar. The songs that he composed for this movie are today legendary. Songs of this movie like "Yeh Zindagi Usiki Hai", "Mujhse Mat Poochh Mere Ishq Main Kya Rakha Hai", "Mohabbat Aisi Dhadkan Hai", "Jaag Dard-e-Ishq Jaag" etc. went on to become huge hits and were also highly acclaimed as masterpieces. Some of His Immortal Songs
The music of India includes multiple varieties of Indian classical music, folk music, filmi and Indian pop. India's classical musictradition, including Hindustani music and Carnatic,The biggest form of Indian popular music is filmi, or songs from Indian films. In the early years of Indian cinema, the music was mainly classical and folk in inspiration, with some Western elements. The most fascinating part of Indian film music is its evolution with time. In the mid 30s the influence of Bengali music was started with the film Dhoop Chhaon.Nitin Bose along with his brother Mukul Bose and music directors RC Boral and Pankaj Mullick introduced play back singing with the song Man ki aankhein khol sung byK C Dey, Parul Ghosh and Suprabha Sarkar.
Song from Dhoop Chhaon 1935
R C Boral and Pankaj Mallick not only introduced Bengali Bhakti Sangeet but also introduced Western orchestration in the interlude music.Another remarkable innovation of RC Boral and Pankaj Mullick was very long instrumental prelude to the main song, for example Ek bangla bane nyara. Its long instrumental prelude is as charming as the song.” The music of Vidyapati, 1937. was a great hit,Kanan Devi with her typical Bengali lilt became the number one singer-star of New Theatres on par with K L Saigal with the popularity of Vidyapati’s songs. In Dhartimata (1939), Pankaj Mullick composed Duniya rang rangeeli baba, sung by KC Dey, Uma Shashi and K L Saigal. Another remarkable thing about ‘Duniya rang rangili baba’, which you can’t miss is that each antara is in a different tune – might be again the first of its kind.
Song from Vidyapati, 1937
In Bengali Music the Rabindra Sangeet is the main along with folk and bhakti.Tagore’s composition was first introduced to Hindi cinema in 1941 by Pankaj Kumar Mullick for the film titled Doctor.K L Saigal was the first non-Bengali singer to sing Rabindra Sangeet. Mullick later used the tune of Kharo vayu vayu meghe in the film Zalzala popular song Pawan Chale Zor.The far reaching influences of the Rabindra Sangeet is apparent on several music directors and not all of them were Bengali.
Song from Doctor 1941
In the 30s Anil Biswas came to Bombay established himself as a musical force in the film industry.with the success of Jagirdar (1937).He introduced Folk from North East, Boatman’s songs, farmers’ songs, palli geeti, Kirtan, Raag Pradhan compositions to Hindi films. After Anil Biswas it was S D Burman who used Bengali sangeet in Hindi films.
Song from Do Bhai, 1947
Inspired by this song of Rabindra Sangeet
Sachin Dev Burman, whose compositions tend to draw upon inspiration from Bengali folk traditions (e.g. bhatiaalii, saari, etc.), have composed several tunes derived from Rabindra Sangeet. Mera sundar sapna beet gaya (Do Bhai, 1947) draws a faint inspiration from O je maane na maana. In fact S D Burman gave us many hit songs from his Bengali Tunessuch as Ghum bhulechhi made way for the leisurely Hum bekhdudi mein tumko;Mono dilo na bondhu was turned into Jaane kya tuney kahi(Pyaasa); Dur Kon Parabase became Wahan kaun hai tera musafir jayega kahan (Guide) to name a few.
Mono dilo na bondhu
inspired version in Hindi
Song from Pyaasa 1957
Hemant Kumar who was the greatest artist of Rabindra Sangeet.gained popularity in Mumbai as a playback singer.By the mid-1950s, Hemanta had consolidated his position as a prominent singer and composer.The poignant and heart rending Na jaao sainyya chhudake bainyya by Geeta Dutt is inspired from his own Bengali hit Oliro kotha shune bokul haashe although the two songs sound very different in mood.
Oliro kotha shune bokul haashe by Hemant Kumar
Inspired song in Hindi
Song from Sahib Bibi Aur Ghulam 1962
Salil Chowdhury whois known for his eclectic combination of Bengal folk with Western classical and banked on creating honey sweet melodies.Salil Chowdhury’s Tasveer tere dil mein (Maya by Lata and Rafi) was first recorded in Bengali as a Lata solo Ogo aar kichhu to noy, O Sajana (Parakh) was inspired from Na jeyo na (both Lata) and Mukesh’s Kahin door jab din dhal jaaye (Anand) was taken from the Hemant Kumar hit Amai proshno kore neel dhroobotara to name just a few.
Ogo Ar Kichu To Nai by Lata Mangeshkar
Inspired version in hindi
Song from Maya 1961
RD Burman – recreated his creations, often his own records – the best example perhaps is Jete jete pathe holo deri, which Gulzar Saab had booked for himself the moment he heard it first. It turned into Tere bina zindagi se koi (Aandhi, 1975)– both songs are peerless.RD Burman camouflaged his Bengali tunes with such varied orchestration to make it sound different .For instance, notice the use of the typically Bengali instrument the maadol in Tere bina jiya jaaye na(Ghar, 1978), or the distinctly Bhakti sangeet beginning to a rocking fun song Kal kya hoga kisko pata (Kasme Vaade, 1978), in which Bhagwan Dada made a guest appearance complete with an ektara! Jete jete pathe holo deri, by R D Burman
Inspired version in Hindi
Song from Aandhi 1975
The influences of the Rabindra Sangeet too ran deep in RD Burman. Sample just one of those influences – the proverbial Zindagi ke safar mein guzar jaate hain jo makaam, woh phir nahin aate (Aap Ki Kasam, 1974) that draws an inspiration from Tagore’s Jaagorone jai bibhaabori. 1942 A Love Story (1994) song "Kuchh Na Kaho"had heavy Bengali influence.
Bappi Lahiri – the softer compositions of Zakhmee (1975), Toote Khilone (1978) or Lahu Ke Do Rang (1979) are more in line with the Bengal genre of music.
The music of the Basu Chatterji film Apne Paraye (1980), based on a story by Sarat Chandra Chatterjee gave Bappi Lahiri an ideal opportunity to experiment with Bengal’s Bhaktigeeti and kirtan once more. Rajesh Roshan was very much influenced by Rabindra Sangeet many of his songs were inspired by Bengali Music.One of his great songs Chhokar Mere Mann Ko from Yaarana was inspired by this song Tomar holo shuru, amar holo shara.
In the present Century of Indi Pop or Bhangra Music we can sometime hear beautiful melody from Bengal."Piyu bole" from Pareenita 2005 is one such composition from Shantanu Moitra.And thus Bengal’s music continues to leave its lyrical and melodious stamp in Hindi film music…
