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
Madhubala (February 14, 1933 - February 23, 1969) the woman who was born on Valentine's Day and became India's sweetheart struggled to find true love all through her life is one of the most gorgeous actresses to have graced the screens of Bollywood.Madhubala is an epitome of beauty, who had an unbeatable charm. She is admired for her looks and work even by the present day generations. At a tender age of 9, Madhubala, then known as Mumtaz Begum, was signed in for the film Basant in 1942. It was only a matter of time that Madhubala shot to fame and her work in the 1949 film Mahal got her the success she rightfully deserved. She was just 16. Her life was full of struggle,when she was 9 as her father lost his job. She was one of five children in the family and her earnings helped the family to survive hard times. Her first film as child artist was Basant (1942), was a box-office success.As a child actress she went on to play in several movies. Actress Devika Rani was impressed by her performance and potential, and advised her to assume the screen name 'Madhubala'. By the time she turned 14, Madhubala was playing the leading lady (in ‘Neel Kamal’) with Raj Kapoor in 1947.
It was in 1954 when the gorgeous Madhubala was shooting for SS Vasan’s film Bahut Din Huwe and during the shooting, she vomited blood, reportedly, for the very first time. She resumed shooting soon after being treated and everybody presumed that she was perfectly alright until she fainted while shooting with Raj Kapoor for the 1957 film Chalack. It was diagnosed that she had a serious condition of cyanosis and poor oxygen perfusion, colloquially referred to as a “hole in the heart”. And it’s our collective loss that during that time, the medical community’s understanding of the condition was in its infancy and there was no available treatment. On the one hand, she was fighting for her life and doing justice to her art, and on the other, she was traversing and struggling with her personal life. Madhubala was engaged to the legendary actor Dilip Kumar. However, their relationship reportedly went south because Madhubala’s father wasn't happy with it.
Madhubala left Dilip Sahab soon after and subsequently, married Kishore Kumar. Well, things were looking up for her but the doctors soon informed her that she won’t live for long. The tragedy only deepened with Kishore Kumar buying her a house in Mumbai, only to leave her alone.
In 1960, Madhubala was at the peak of her career and popularity with the release of Mughal-e-Azam and Barsaat Ki Raat. She did have intermittent releases in the early 1960s. Some of these, like Jhumroo (1961), Half Ticket (1962) and Sharabi (1964).Her last film released was Jwala in 1971. Isn’t it ironical that the beautiful and charming leading heroine of Indian films, who was growing into a vibrant and serene actor, accumulating recognition around the world, was also slowly and simultaneously degenerating into a fragile being, who’s plight was only known to a few. Another tragedy was that She acted in 70 films but most of her films were flops.Only 15 films were hit,still she was the most saught after heroine of her time.but another irony was that she spent her last days in depression and loneliness. What was once the most beautiful face to ever grace the silver screen, full of freshness, vibrancy and youth, was left alone to perish. She succumbed to her illness on February 23rd, 1969, and passed away, leaving behind a timeless remembrance, full of beauty, grit and ‘feathers’. Best Of Madhubala's Song
Few weeks ago I wrote a Blog on R D Burman about his lust for new and different sound for his songs.These genes he inherited from his father S D Burman.Burman Dada as called by those who loved and revered him was the first music director who was always busy in experimenting in his music whether its tunes ,melody or lyrics.Sometimes, he faced opposition but stood firm, the skeptical falling in line when the experiment succeeded. Music Maestro Pt Shiv Kumar Sharma said in an interview that While composing a song, Dada would say, ‘Even if my songs flop, I will still create something new’. What Dada meant was, ‘I will not take the beaten path. I will not compose as per the existing trend. Even if my songs flop, I will still do something new’. From 1930 to 1936, over these five to six years, he composed music fusing Indian classical music and folk music, which did not resemble anybody else’s. This way,he was able to create his own brand of music”Listen to this Bengali song Mono Dukkhe Mori re Shubol (1934),composed and sung by him.This song is a Kirtan which used to be sung in semi classical style but Sachin Da throws the words in the Bangal dialect that makes it more rural to the roots. The dialect is of East Bengal with some Sanskrit words used. Such songs are sung by boatmen from that part of the world.
Mono Dukkhe Mori re Shubol (1934)
His innovative tendency were visible as early as in 1934 during a Bengal Music Conference in 1934, inaugurated by Rabindranath Tagore, Sachin Dev Burman was asked to sing after Ustad Faiyaz Khan. Ustad Faiyaz Khan had finished with ‘Jhan, jhan, jhan…’, a song that spellbound the audience. Sachin Da began with the same song in Bangla, ‘Jhan, jhan, jhan – manjira baaje’. The audience roared in unison and Karta extended the song to last more than half an hour. Sukla Devi vividly remembers how Ustad Faiyaz Khan came to the stage and hugged Sachin Da.The same tune he used in the Buzdil(1951) song sung by Lata and asked Shailendra to keep same mukhda with a slight change in words.Listen to both version
jhan jhan jhan manjira baje..S D Burman
jhan jhan jhan manjira baje by Lata from Buzdil 1951
The biggest contribution that Sachin Da carried out was to create the tune first and ask lyric writer to fill in the words to suit the meter and the situation. Earlier the film songs was that the film director and the music director would ask the writer to write lyrics based on the situation and the emotion to be conveyed. With Dada’s arrival, it all changed. Gulzar the legendary Lyricist and poet agrees that the music is the soul of a song.He believe that in any song that becomes a hit, the primary factors are the rhythm and the tune. The words follow. In fact, the quality of the words depends on how much it matches the melody and the beat. That is why I consider the role of the lyricist as secondary to that of the composer.
Another experiment he did with Ghazals.For the Baazi song he asked Sahir Ludhianvi to write Gazal for his tune. Sahir wrote the lyrics and wanted the song to be sung in a mujra style. Burman Dada composed a jazzy tune for this Ghazal. Dada also asked Geeta Roy (Dutt) to sing it. During the rehearsal Sahir didn’t like it one bit and went to complain to the director Guru Dutt, who asked Dada what the matter was. Dada asked Guru Dutt to decide who was the music director, “Sahir or I?” Guru Dutt conveyed to Sahir that Dada will do as he wishes. Sahir then and there decided that he will never write again for S. D. Burman, but changed his mind after the song became super-hit and the film too was a big draw for the audience who used to return again and again.
Song from Baazi 1950
Similar situation happened during the making of Jaal 1951 song Yeh raat ye chandni.He transformed its Ghazal mood giving it a regular stressed beat. When he sang the tune to Sahir Ludhianvi, Sahir laughed.Sahir sugested that it should be sung by Talat but Sachin Da wanted Hemant Kumar.Even when the song was recorded by Hemant Kumar, Guru Dutt wanted to re-dub the song in Rafi Sahib’s voice.Dada stuck on to his choice and the song was a very big hit.
Song from Jaal 1951
One of the most marvelous experiments that Sachinda carried out was in the song O nighahen mastana (Paying Guest -1957). Young Kishore’s voice, supported by Asha Bhosle’s humming and alaap throughout the song, adds tremendous charm to the song.The unique thing about this song is that when the second antara gets over, the interlude music and the lights start fading out till the music can be hardly heard. While the remaining lights dim out, the third antara is sung in a softer tone.It is one of the most romantic songs ever created by any music director.
Song from Paying Guest 1957
In another Navketan production Kala Pani, in the song Hum bekhudi mein tum ko pukare chale gaye. He used the rhythm of a ghazal in the mukhda and geet in the antara. This song was originally sung by Dada himself in Bengali,every body wanted Dada to sing this in hindi but he felt that rafi's voice will suit well to Dev Anand in this situation.one finds Rafi’s soothing voice with only a few instruments used by Dada – Sarangi, tabla, gunghroo, khadtal and harmonium.
Song from Kala Pani 1958
Another innovation he did was the use of different singers for the same hero or heroine singing in the same film.In 1949 film Shabnam he used the voice of Lalita Deolkar, Shamshad Begum and Geeta Roy (Dutt) for Kamini Kaushal.In Jewel Thief 1967 Kishore, Rafi, and Bhupindra Singh sang for Dev Anand.In Abhiman 1973 Kishore, Rafi and Manhar Udhas sang for Amitabh Bachchan.
Sacin Da was the composer who would understand the subject matter, the situation, and choose the voice best suited, before composing a song.Some time he would suggest the Director to change the situation.For the song Khoya Khoya Chand he sugested that Dev Anand should walk fast in the song.In the same film in the song "Apni To Har aah Ek Toofan Hai"Waheeda is travelling in a train along with her parents. Dev Anand, trying to woo her, gets into the same compartment.In this song situation Dada thought of introducing the sound of the engine-whistle in the song. Using his ingenuity, he used a flute to create that sound effect. The result was so good, that the viewers did not realize that a flute had been used.
Song from Kala Bazar 1960
Another gem of his innovation was Kaanton se kheench ke yeh aanchal, tod ke bandhan baandhi payal from Guide 1965,the song starts with an antara,it was unique in itself Very rarely would a composer dare.
Song from Guide 1965
In a song "Gum Pe Dhool Daalo" from Prem Pujari he tried a unique thing He used four different genres in the mukhda. The first two lines based on folk. The third on classical. The fourth on pop. And the last line based on qawwali
Song from Prem Pujari 1970
In the song O PANCHHI PYARE from Bandini he used the actual sound of wheat and the soop
Song from Bandini 1963
Music Director Uttam Singh who was one of his musician said in interview that In the last 50 years Piya tose naina lage re (Guide – 1965) in ‘Roopak’ taal is the only dance song composed in seven matras (beats). It is difficult, very difficult, to compose a dance song in seven matras, but not for one who is an expert in the field. No one else has attempted it so far.
Song from Guide 1965
His penchant & passion for experimenting has kept him at the forefront of the music world even at the last days of his life whereas his contemporaries, all greats, lost their way after certain period of time.Even his last released song “Chal Sapnon Ka Shahar” from Deewangi has unique kind of designing which could only be conceived by SDB.
Song from Deewangi 1979
He was innovative in Background Music also.In a scene in Kala Pani he used the actual sound of Printing press.In that scene he used the sound of Sitar along with the noise of the press.Besides using a single instrument for background music in Kala Pani, Dada used a single instrument for a scene in Bandini (1963).In an interview Music Director Pyarelal of LP, who was a violinist during those days said that his Guru Anthony Gonsalvis who was the music arranger for S D in that film,prepared some music for that scene which everyone liked. But S.D. Burman was not impressed, and rejected it.
Dada kept on thinking but nothing was coming in his mind suddenly he heard flutist Kamal Mitra, who was also getting bored, fiddling with the flute by putting his thumb on the wrong end of the flute and creating a noise, ‘tup, tup, tup’ like that. Dada asked him to do it in front of the mike, and used it as the background music for that scene. This was appreciated by Bimal Roy and everyone else.
It is said that when Tagore heard Mullick sing one of his verses `Diner Sheshey Ghumer Deshey`, the `bard` hugged him and told him that he was free to set tune to those writings of his which he would not be able to accomplish during his lifetime. The credit of taking Tagore’s songs and music, which have come to be known as 'Rabindra Sangeet', to the masses goes to 'Mukti'. The unprecedented popularity of Kanan Devi & Pankaj Mullick songs in 'Mukti' played a major role in creating a mass appeal for this kind of songs which were hitherto unknown. Pankaj Mallik was born on 10th May 1905 in Calcutta. He started his early training in Indian classical music under the tutelage of Durgadas Bandopadhaya. An important turning point in his life came when, after finishing his studies, he came in contact with Dinendranath Tagore, who was Rabindranath Tagore's great-nephew. This led to Pankaj Mullick's lasting interest in Rabindra Sangeet. Rabindranath Tagore, in turn, grew fond of him, and soon Mullick became known as one of the leading exponents of Tagore's songs. He started his career with the Indian Broadcasting Corporation in Calcutta in 1927, the forerunner of All India Radio (AIR), along with composer R. C. Boral, where he contributed as a music director and artist for nearly fifty years. Along with RC Boral, Pankaj Mullick helped New Theatres dominate the film industry in the 1930s. They worked together on a few films and one of the best examples of their combined brilliance was President. He was a man of many talents. Other than composing music, he played the lead role in afew films and was an excellent singer. Undeniably, though, the highlights of his career werethe songs he composed for KL Saigal.The two legendary songs in Zindagi were the musical opposites of each other. In ‘Main Kya Janoon Kya Jadoo Hai’and ‘So Ja Rajkumari’, on the other hand, was slow and sonorous. Pankaj Mullick innovated not only the Tonga rhythm, but was also the first to breathe the locomotive breath into a Hindi film song. Amazingly, he did both in the same film, Doctor. He was awarded the Padma Shri in 1970, followed by the Dadasaheb Phalke Award (India's highest award in cinema, given by the Government of India) in 1972 for lifetime contribution to Indian cinema.He died on 19th Feb 1978.
Here is my pick of Ten Pankaj Mullick songs that bring out the essence of his talent.
Whistling is an old art used in songs started in 1930s and 40s. A whistle can be used to express happiness or woo a beloved.Many a times whistling is a part of hero’s introduction song, where he is shown to whistle happily, either walking or riding a bicycle, or driving a car. When we talk about whistling in Hindi films,one image immediately comes to our mind of Dev Anand. As a matter of fact whistling was quite in vogue in most of the Dev Anand films and before the advent of the music from electronic instruments, whistling formed an integral part of the world of Hindi music. Kishore kumar and Hemant Kumar are other two singers and composer who gave us some great songs. In the modern era the whistling after passing away of Pancham revived in a big way with Vishal Bhardwaj's ''Chod aaye hum wo galiyan.. from the film MACHIS sung competently by Suresh Wadekar and it again was a song that conveyed the sprit of vagabond and gay-abandon, what whistling signifies. It was followed by ''Pahli pahli Baar from DIL TO PAAGAL HAI which was composed by Anand Milind. Among other great songs based on whistles that the Hindi cinema has produced in the recent memory is '' Kiska Hai ye Tumko Intezaar main hoo Na''. from MAIN HOON NA, and ''Chand Sifarish Jo Karta Hamari''...from FANAA. Here are 25 Great Whistling Songs I think this is the first whistle song of bollywood. This was from the film Khajanchi released in 1941 sung by Shamshad Begum,Khan Mastaan and chorus.
Song from Khajanchi 1941
This song is sung by Arun Kumar Mukherji. from 1944 film Caravan.“Seetee” figures prominently in the lyrics and one can also hear whistling in this song.Music of this innovative song is composed by Bulo C Rani.
Song from Caravan 1944
Humour fills the whistling in the Chaplin-esque song sequence of ‘Aana meri jaan Sunday ke Sunday’ (Shehnai 1947).
Song from Shehnai 1947
Whistling is an interlude that can have an esoteric story of its own to tell. So there is the gentle teasing of a statuesque Madhubala on a surreal stage by Kishore Kumar in ‘Nakhrewali’ in New Delhi (1956)
Song from New Delhi (1956)
The 1957 film Nau Do Gyarah begins with Dev Anand driving a truck and whistling a part of the famous song ‘Hum hain rahi pyaar ke, humse kuch na boliye’.
Song from Nau Do Gyarah 1957
Another song from the same film, a romantic one with elements of ‘Chhed-Chhad’ in it. Plenty of whistling to listen to
Song from Nau Do Gyarah 1957
The whistling in this song has become an identity of the song and it’s very exciting to listen to it.Here we find the ladies whistling happily along the roads of Old Bombay (Marine Drive).
Song from Dekh Kabira Roya 1958
Madhubala mouthing a whistle along with Ashok Kumar in this song from Howrah Bridge released in 1958
Song from Howrah Bridge 1958
The same year released Ghar Sansar and similar whistling sound is also heard in ‘Yeh hawa, yeh nadi ka kinara’
Song from Ghar Sansar 1958
Another whistling song was seen in Aakhari Dao (1958).Thesong picturised in a car on Nutan. Nutan is seen enjoying the ride with Shammi, the latter whistling throughout the song.
Song from Aakhari Dao (1958)
After the above big hit songs Raj Kapoor walks the city in the Anari (1959) song ‘Jeena isi ka naam hai’, complete with whistling interludes.
Song from Anari (1959)
This particular song has a very freshening touch to whisling, Asha’s voice just lingers through out the song.
Song from Picnic (1966)
In this hit song whistling can be heard in the last,the song was sung by Asha Bhosle and picturised on Sharmila Tagore and Manoj Kumar
Song from Sawan Ki Ghata 1966
Whistling in this song from Khamoshi has a sense of foreboding; unlike the other songs it carries no cheerful promise, only loneliness for the protagonist withdrawing from the scene.
Song from Khamoshi 1969
Among the greatest Whistling song is‘Yeh Shaam Mastani’ from Kati Patang (1970), Rajesh Khanna serenades Asha Parekh, whistling the tune before he breaks into the song. His whistle and words capture their forbidden attraction away from the public gaze.
Song from Kati Patang (1970)
How whistling can make a career is a perfect example to Nagesh Surve who for the first time whistled in Julie After that he never looked back.Having whistled in over 1,500 Hindi film songs,Surve became Hindi film industry's chief whistler, collaborating with top notch music directors, right from Lakshmikant-Pyarelal and Shankarlal-Jaikishan to Shankar-Ehsaan-Loy and Pritam.
Song from Julie 1975
Another whistle song is‘Zindagi mil ke bitayenge’ from Satte Pe Satta (1982)
Song from Satte Pe Satta (1982)
In this song the tense moments are eased out with the sound of whistle.
Song from Tezab 1988
Song from Maachis 1996
Surve's whistling not only immortalised music tracks of films like Karz (Ik haseena thi), Hero (Ding dong), Kuch Kuch Hota Hai (Hai hai re hai yeh ladka), Satya (Sapne me milti hai),
Song from Satya 1998
Song from Dil To Pagal Hai 1997
Song from Fana 2006
Song from 3 Idiots 2009
Song from Dabang 2 (2009)
The latest whistling song is from the film Heropanti 2014
Today on Valentine's Day nothing is better than music to show your someone special what you feel for his or her.Bollywood has always been admirer of Love & Romance start from Black & White Era. Hundreds of romantic songs were written,composed and Picturised. Some have become immortal.On this occasion I have selected 25 such songs that look certain to last for a long, long time, perhaps even forever. We hope you enjoy this presentation. The first song on my list isin chaste Sanskritised Hindi, which I think is quite appropriate and extremely suitable for a song of this nature. It is a rare song that deserves to be better known among music lovers. To those who may be wondering, this song is about a ras ka lobhi bhanwra getting trapped inside a flower. The lady is wondering why the lotus flower is swaying despite there being no breeze, and the gentleman (King Vikramaditya most probably) explains that is a bhanwra, trapped inside the flower that is trying to come out. Very nice imagination from the poet.Singers are Rajkumari, Manna Dey, Lyrics byRamesh Gupta, MD-Shankar Rao Vyas.The film is Vikramaditya(1945)
Song from Vikramaditya 1945
This is a rare song picturised on Shyam and Naseem Bano,mother of Saira Bano.from the film Shabistan released in 1951.Chitalkar sings the first line and then Talat sings for Shyam (last line may also be CR). Geeta sings for Naseem. So its a trio.
Song from Shabistan 1951
Song from Anmol Ghadi 1946
Enjoy this romantic superhit song from the 1949 movie Andaz starring Dilip Kumar, Raj Kapoor and Nargis.
