Amitabh Bachchan - How an Actor Rejected by Producers and Directors became the most saught after actor

If we read this story of Amitabh Bachchan, this would be the inspiration to the younger generation not to be dejected by the failures but try & try to achieve your goal, one day success will come in your way. We elders also take a lesson from him, how he battled various injuries and illnesses in the past, including tuberculosis, Hepatitis B, myasthenia gravis, and 25 percent of the liver, he still works and keeps himself fit.
Amitabh Bachchan was rejected in 1967 when he came to Bombay for Filmfare and Madhuri Film Talent Contest. His voice was earlier rejected by AIR for an announcer in Radio. His photographs were rejected by many producers saying that no heroine would like to work with this tall and lanky person. Before Zanzeer all (9) of his films flopped.
In this Blog, I look into the story of the Mahanayak of Hindi film industry. How he was recommended by the then Prime Minister Mrs. Indira Gandhi.
After receiving the rejection letter from the Film Talent Contest, Amitabh Bachchan was deeply depressed. Her mother who saw her Munna (Amitabh) in that stage contacted Indira Gandhi who was her friend to recommend her son to the Bollywood. 
Mrs. Gandhi knew Nargis Dutt very well, she rang Nargis Dutt and asked her to help Amitabh Bachchan to get into Films. Nargis Dutt then contacted Mr. Raj Grover who was very close to the editor of Madhuri, the Hindi film magazine which took the Talent Contest. He collected the photograph of Amitabh from them.
Nargis Ji showed this photograph first to B R Chopra who was a big name in Bollywood. Mr. Chopra took a glimpse of the photo for a second and put the photograph on the table. He didn't say anything but it looked like that he rejected him. Mr. Raj Grover who accompanied Nargis Dutt in that meeting read the situation, he told B R Chopra that this boy has been recommended by then PM Indira Gandhi. He then immediately picked up the photo and looked for few more seconds and said "Haan Kuchh Baat Toh Hai Iske Chehre mein".He took a phone and called Mohan Sehgal informing him that he would like to take audition of a young boy during his next shooting schedule.
After few days the shooting was to begin so B R Chopra informed Nargis Dutt about the dates and asked Amitabh to be there for the audition.
Amitabh Bachchan in those days was working in Bird & Co at Calcutta. He took four days leave from that company and landed at Bombay. He stayed with his friend at Colaba
This detail information I have gathered from the book The Legends Of Bollywood written by Mr. Raj  Grover who is being referred here. In this book, these 4 days are written very beautifully.
Nargis ji fixed the meeting of Amitabh with the Rajshri head Tarachand Barjatya who was planning a film at that time. She also informed him about the background of Amitabh.
When Mr. Barjatya saw Amitabh Bachchan, he looked at him and said " No heroine would like to work with you. You are very tall. You should take your famous father's footstep and write poetry like him"
On the third day, Amitabh went to Mohan Studio with Mr. Raj Grover for the audition. Mr Mohan Saigal asked Mr. Raj Grover to give him a few lines to prepare for the audition whatever he feels suitable. He was given a few romantic lines, Amitabh also added few lines from Madhushala. This audition was not approved. So Amitabh Bachchan was once again was dejected.
Before Amitabh Bachchan was to leave for Calcutta, Sunil Dutt promised him that he will give him a role in Reshma Aur Shera as soon as he will start the film. Sunil Dutt kept his photograph with him. KA Abbas the famous director was starting a film Saat Hindustani and he was looking for seven new faces for that film. Sunil Dutt recommended him for one of the seven characters 
The shooting of Reshma Aur Shera started first, though he played a dumb character in that film his voice was being appreciated by one and all unit members. It was Sunil Dutt and Manoj Kumar who were appreciative of Amitabh before any of his films released. It was Saat Hindustani completed first and released first. His performance was appreciated by many. Similarly in Reshma Aur Shera though his role was short but he was highly appreciated.
Before Reshma Aur Shera his second film Parwana was released. In this film, Amitabh plays his first negative role as an infatuated lover-turned-murderer. The film had Navin Nischal as a hero but Amitabh's performance was appreciated.
Another film released before Reshma Aur Shera was Anand of Hrishikesh Mukharji. It stars Rajesh Khanna in the lead role, with a supporting cast including Amitabh Bachchan, The role of Babu Moshay became immortal. From this film the making of a big star began.
During the shooting of Saat Hindustani Amitabh and Anwar Ali, the younger brother of Mahmood became friends. Mahmood liked Amitabh Bachchan and treated him as his younger brother, he even asked him to live in his house. He gave him a separate room to live in. He offered him the role of hero in Bombay to Goa released in 1972.
At the time of the making of Guddi, he became a friend of Jaya Bhaduri. Both of them worked together as Hero and Heroine in two films Bansi Birju and Ek Nazar released in 1972, both the films flopped but their love story was hit. In the meantime Prakash Mehra was starting Zanzeer,  he wanted to take Dharmendra as his hero but Dharmendra couldn't give him dates, then Dev Anand was approached who denied the film as there were no song situations for the hero in the film. Raj Kumar was also approached but he refused the film. It was Pran who suggested Amitabh's name and also supported by Salim Javed, the role went to Amitabh. Zanjeer proved to be the biggest turning point in Big B's life professionally as well as personally. The film not only made him a star overnight, and also tied the knot with Jaya Bhaduri.
In his Blog Amitabh Bachchan wrote that  he wanted to celebrate the success of Zanjeer with Jaya in London (they were yet to be married) when he received a diktat from his father late poet Harivansh Rai Bachchan: "Who all are going came the query from Babuji... names disclosed.. 'Jaya is also going with you... you both are alone... yes... if you have to go, marry and go',"
The year 1973 was also when he married Jaya, and around this time they appeared in several films together: not only Zanjeer but also subsequent films such as Abhimaan, which was released only a month after their marriage and was also successful at the box office. Later, Bachchan played the role of Vikram, once again along with Rajesh Khanna, in the film Namak Haraam, a social drama directed by Hrishikesh Mukherjee and scripted by Biresh Chatterjee addressing themes of friendship. His supporting role won him his second Filmfare Best Supporting Actor award.
In 1974, Bachchan made several guest appearances in films such as Kunwara Baap and Dost, before playing a supporting role in Roti Kapda Aur Makaan. Just after that his film Majboor was released. The film was a success at the box office 
In 1975, he starred in a variety of film genres, from the comedy Chupke Chupke and the crime drama Faraar to the romantic drama Mili. This was also the year in which Bachchan starred in two films regarded as important in Hindi cinema history, both written by Salim-Javed. The first released on 15 August 1975, was Sholay, which became the highest-grossing film ever in India at the time, The other was Deewaar, directed by Yash Chopra, where he worked with Shashi Kapoor, Nirupa Roy, Parveen Babi, and Neetu Singh, and earned another Filmfare nomination for Best Actor. The film became a major hit at the box office in 1975,   Now he became the most sought after Hero of Bollywood. Every producer wanted to make a film with him. 
With his brilliant acting skills and his ability to deliver blockbusters after blockbuster, Bachchan was set for the long haul. The importance of being Amitabh Bachchan is not limited to his career, although he reinvented himself and experimented with his roles and acted in many successful films.

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Here are Rare Songs from Amitabh Bachchan Films Pre Zanjeer

Songs of Saat Hindustani 1970

Songs of Pyar Ki Kahani 1971

Songs of Sanjog 1972

Songs of Ek Nazar 1972

Songs of Ek Nazar 1972

Songs of  Bansi Birju 1972

 Song of Raaste Ka Pathar 1972

Songs of  Raaste Ka Pathar 1972

 Bandhe Haath 1972

Songs of Bombay To Goa 1972

Songs of Bombay To Goa 1972

Rekha - A Rare Blend of Beauty and Talent

Almost completing 50 years in Bollywood, Rekha when came to Bollywood, was 16years old,  a dusky, obese with a 33-inch waist. No one that time could believe that one day she will become a glamour icon of Bollywood.
On the premiere of Sawan Bhadon in 1970,  Shashi Kapoor uttered in disbelief, "How is this dark, plump and gauche actress ever going to make it?" But as the film released to the public, she became a hit and called the Sex Bomb. Sawan Bhadon was released in 1970 and celebrated a jubilee run in 34 centers across the country including Chennai. And Rekha signed 18 films in a week.
She appeared in several commercially successful films at the time, including Rampur Ka Lakshman (1972) opposite Randhir  Kapoor, Kahani Kismat Ki (1973) opposite Dharmendra, Namak Haram opposite Rajesh Khanna and Pran Jaye Par Vachan Na Jaye (1974) opposite Sunil Dutt, yet she was not regarded for her acting abilities. 
Rekha ( Born on10th Oct 1954) appeared as a child (credited as Baby Bhanurekha) in the Telugu film Rangula Ratnam (1966)..Her first signed Hindi film was Anjana Safar. but Sawan Bhadon released first. Despite the success of the film, she was often scorned for her looks. She subsequently got several offers but nothing of substance, as her roles were mostly just of a glamour girl.
Rekha recalls that the way she was perceived at that time motivated her to change her appearance and improve her choice of roles: "I was called the ‘Ugly Duckling’ of Hindi films because of my dark complexion and South Indian features. I used to feel deeply hurt when people compared me with the leading heroines of the time and said I was no match for them. I was determined to make it big on sheer merit.
It was in 1974 Rekha began her lifelong obsession with her mirror. Slowly picking up the tricks of make-up, she lost weight and became svelte Rekha got a meaty role for the first time in Dulal Guha's Do Anjaane (1976), her first film opposite Amitabh Bachchan. She made people sit up with her performance as an ambitious wife who sacrifices love at the altar of ambition. The audience was floored when there was a swift change in her screen personality, as well as her style of acting.
In 1978, with her portrayal of a rape victim in the movie Ghar. a turning point came in her career. The film was considered her first notable milestone, and her performance was applauded by both critics and cine-goers. She received her first nomination for Best Actress at the Filmfare Awards.
In that same year, she attained fame with Muqaddar Ka Sikandar, in which she co-starred once again with Amitabh Bachchan. The movie was the biggest hit of that year, as well as one of the biggest hits of the decade, and Rekha was set as one of the most successful actresses of these times.
In 1980, Rekha appeared in the comedy Khubsoorat, directed by Hrishikesh Mukherjee, with whom she had developed a strong father-daughter bond during their previous collaborations. In a role written especially for her, she won her first Best Actress award. for this film.
 In 1981, she starred in Umrao Jaan, Her portrayal is considered to be one of her career-best performances, and she was awarded the National Film Award for Best Actress for it. Now Rekha was no loger a glamourous item but was being approached for challenging roles.
Rekha starred in Ramesh Talwar's family drama Baseraa, which saw her playing a woman who marries her sister's husband after the latter loses her mental balance. She appeared as Sadhna in the commercially successful Ek Hi Bhool (1981), opposite Jeetendra, playing the role of a betrayed wife who leaves her husband. In 1982, she received another Filmfare nomination for Jeevan Dhaara, in which she played a young unmarried woman who is the sole breadwinner of her extended family. In 1983, she took the supporting role of a lawyer in Mujhe Insaaf Chahiye, garnering another Filmfare nomination in the Supporting Actress category.
Shyam Benegal took her in Kalyug (1981), Govind Nihalani's in Vijeta (1982), Girish Karnad's Utsav (1984) and Gulzar's Ijaazat (1987), were few of her films where her performance was appreciated. Apart from parallel cinema, Rekha took on other increasingly serious, even adventurous roles; she was among the early actresses to play lead roles in heroine-oriented films, one such film being Khoon Bhari Maang in 1988. She won her second Filmfare Award for her performance in the film. 
In the 90s most of the actresses of her generation, like Hema Malini and Raakhee, who succumbed to playing character parts, typically of mothers and aunts, Rekha was still playing leading roles at a time when younger female stars rose to fame. Rekha retained success with her starring role as Namrata Singh, a young woman who joins the police force to avenge her husband's death in K. C. Bokadia's Phool Bane Angaray (1991). The film was a box-office hit and Rekha received a Best Actress nomination at Filmfare for her work.
In 1996 she did,  her first negative role as Madam Maya, a vicious gangster woman running a secret business of illegal wrestling matches in the US, who, during the course of the film, romances the much younger Akshay Kumar. Her portrayal earned her several awards, including the Filmfare Award for Best Supporting Actress and the Star Screen Award for Best Villain in Khiladiyon Ka Khiladi.
In the 2000s, Rekha appeared in relatively few movies. In Rakesh Roshan's science-fiction film Koi... Mil Gaya, Rekha played Sonia Mehra, a single mother to a developmentally disabled young man, played by Hrithik Roshan. The movie was a financial and critical success and became the most popular film of the year; Rekha received another Best Supporting Actress nomination at the Filmfare for her performance, 
From the giggling village belle in Saawan Bhadon to one of the country's reigning actresses, Rekha has come a long way. A  Well, known critic Omar Qureshi once said, "the term diva (in India) was coined for Rekha".

Song Sawan Bhadon 1970

Song of Rampur Ka Laxman 1972

Song of Kahani Kismat Ki (1973)

Song of Pran Jaye Par Vachan Na Jaye 1974

Song of Do Anjaane (1976)

Song of Ghar 1978

Song of Mukkadar Ka Sikandar 1978

Song of  Khoobsurat 1980

Song of Umrao Jaan 1981

Song of Ijajat 1987

Beghum Akhtar - Deewana Banana Hai to Deewana Bana De

Her first public performance was at the age of fifteen.  Her first recording was done by the Megaphone Record Company at the age of Fifteen. The famous poet Sarojini Naidu appreciated her singing during a concert that was organized in the aid of victims of the 1934 Nepal–Bihar earthquake.
Her most intoxicating composition was  Deewana Banana Hai to Deewana Bana De. It contained a captivating effervescence maddening her listeners.
She had an endless reservoir of Ghazals as she developed a deep understanding of literary nuances of Ghazals by great Urdu poets like Ghalib, Jigar, Faiz Ahmad Faiz, Kaifi Azmi, Shakeel Badauni and Hasrat Jaipuri that were introduced to her by her husband Abbasi Sahib, who was a Barrister by profession.
She also acted in a few Hindi films She was signed by East India Film Company as a singing actor. Her first film was East India Film Company’s ‘Ek Din Ka Baadshah’ (1933). This was followed by ‘Nal Damyanti’ (1933), ‘Mumtaz Begum’ (1934), ‘Roop Kumari’ (1934), ‘Ameena’ (1934), ‘Jawani Ka Nasha’ (1935), ‘Naseeb Ka Chakkar’ (1936) etc.. In all these films, she sang all her songs herself. 
After staying at Bombay for a few years she came back to Lucknow, where she was approached by the famous producer-director Mehboob Khan, to act in Roti which was released in 1942 and whose music was composed by the maestro Anil Biswas.
Begum Akhtar was India’s most refined Ghazal performer, who was honored by the titles like; Mallika-e-Ghazal (Queen of Ghazals). She bestowed an inimitable style of singing and performed mostly self-composed masterpieces like “Woh Jo Humme Tumme Quarar Tha” and the Dadras like “Hamri Atarya Pe Aao Sanwarya Deikha Deikhi Balam Hui Jaey” and “Cha Rahi Kari Ghata, Jiya Mora Laharaye Hai” and many more.
Begum Akhtar was persuaded by Madan Mohan, a famous music director to sing in two movies "Daana Paani" (1953) and "Ehsaan" (1954). The songs "Aye Ishq Mujhe Aur to Kuch Yaad" and "Hamein Dil Mein Basa Bhi Lo" were absolutely melodious and were liked by one and all. Her last movie stint was that of a classical singer in Satyajit Ray's film "Jalsa Ghar".
Begum Akhtar performed last in a concert in Ahmedabad. That day she felt that her voice was not up to the mark and raised her pitch. This put much stress on her and her health deteriorated. The situation became critical and she had to be rushed to the hospital. She breathed her last on 30th October 1974,

Deewana Banana Hai to Deewana Bana De

Ae Mohabbat Tere Naam Ko

Mere Humnafas

Woh Jo Humne Tumhe

Dil Se Teri Nigah

Hamri Ataria Pe Aao

The Fans and Admirers of DevAnand

Dev Anand was among the few Bollywood Stars who was admired and inspiration to generations. His fan following is still intact. There are millions of his fans all across the globe. There are many fan clubs all over the world organize musical programmes and photo exhibitions on his Birth Anniversary or Death Anniversary. He is among the top Bollywood heroes having the maximum number of Groups or Pages in Social media.
Writing in the Preface of his Autobiography Dev Anand says that he used to receive a lot of fan mail every day. One of his fans wrote him 3720 letters in a hope of one-day receiving a reply from me. 

Dev Anand also had admirers in various fields of life, lawyers, doctors, judges, and politicians. Pt Jawaharlal Nehru was his admirer, V.K Krishna Menon, the first defense minister of India, was also his admirer, Atal Bihar Van payee ji L.K Advani and leaders cutting across all political parties Shiv Sena supremo Bal Thackeray was also his admirer. Dev Anand knew the Shiv Sena Supremo, Balasaheb Thackeray when he was a junior cartoonist working with the Free Press Journal drawing a salary of hundred and fifty rupees and called him “Bal”. When Thackeray was at his peak,he invited him to his house  “Matoshri”. Dev was given a red carpet welcome with the entire Thackeray family present to welcome him. Nawaz Sharif, the Pakistan Prime Minister is also his admirer.

Some of the biggest stars of that era  were his unabashed fans. Stars like Sunil Dutt,Dharmendra Shammi Kapoor,Shashi Kapoor were his admirers. Jackie Shroff,Ranjeet,Amitabh Bachchan and Film maker Subhash Ghai are his admirer. 

Among the actresses who not only respected him but showed their reverence for him was Hema Malini who did six films with him, Waheeda Rehman who did seven films with him and Raakhee who did three. In fact, Hema and Raakhee used to visit temples and pray for Dev on his birthdays and especially on the days his new films were released. Tabu was the one female star of the new generation who looked up to Dev like her “godfather”.

Dev Anand was always down to earth. Style and simplicity ran parallel for him.Making the other person comfortable was his magic mantra. He always treated his fans with love and respect.His fans were his second love after movies.
One of his fan Yuvraj Shah of Pune dedicated a garden in his name which is situated on the campus of Mahavir Jain Vidyalaya Pune. The name of the garden is Sadabhaar Dev Anand Udyan.

Another great fan of Dev Anand is Anand Thirani of Kolkata.He met Dev Saab when he was studying in college many years ago, later he became a successful businessman and used to travel all over the world. He used to bring the signature scarves the star wore in many of his films.

Another fan the ex DGP of Maharashtra whom Dev treated as his son feels himself lucky to “did his duty” by performing last rites of the actor along with Dev Anand 's son by immersing his ashes in Godavari, Nashik.

Among all his fans Mr. Mohan Churiwala was his closest associate. Iin the last 15 years of the actor's life, streamlining his work, meetings with people, media management. All this for free. He accompanied him on his foreign trips. His exclusive pictures with Dev Saab were published in Filmfare September 2017 issue.

The Mahatma Gandhi’s connection with the Seven Notes of the Music

Very few people know that Gandhi was extremely fond of music and arts. Most of us have been all along under the impression that he was against all arts such as music. In fact, he was a great lover of music, though his philosophy of music was different. In his own words -
“Music does not proceed from the throat alone. There is the music of the mind, of the senses and of the heart.
Mahatma  Gandhi believed in the power of Music. He used music to bring people together. According to Mahatma "In true music, there is no place for communal differences and hostility. Music was a great example of national integration because only there we see Hindu and Muslim musicians sitting together and partaking in musical concerts. We all think that Tulsidas’s Raghupati Raghav Raja Ram was his favorite Bhajan but "Vaishnava Jana Toh, Taine Kahiye/ Peed Parayi Jaane Re" was his most favorite hymn.
This Bhajan was written by Narsi Mehta, a 15th-century poet-saint of Gujarat. Veteran Film Maker Vijay Bhatt first met Gandhiji in the late 1930s on a trip to Valsad with his friends. When Gandhiji learned that he was a filmmaker, he asked, “Why don’t you make a film on Narsi Mehta?”. He made the film in Hindi and Gujarati and released in 1940. The film was well-received and celebrated silver jubilee across India. Bhatt felt bad that he couldn’t show it to Gandhiji.   
Another favourite hymn of the Mahatma was Meerabai’s Hari tum haro, an ode to Lord Krishna. He found universal connotations in Meera’s pain. He was keen that the song be recorded by the Carnatic legend MS Subbulakshmi. After he had moved to Delhi, a 31-year-old MS had come to visit Gandhi. When the Ramdhun began, he told her “Subbulakshmi tum gao, tum shuru karo…’
The song was recorded at All India Radio (AIR) studios in Chennai, on the night of October 1, 1947, and completed at 2 am on October 2. The recording was airlifted to Delhi, where it was played to Gandhi on his 78th birthday, October 2, 1947.
There was an article written by Dr. Namrata Mishra who is Sr. Asst. Prof of Vocal Music, R.C.A. Girls P. G. College, Mathura, U.P.. She wrote that Someone once asked the Mahatma“Mahatmaji don’t you have any liking for music?”. Gandhi replied, “If there was no music and no laughter in me, I would have died of this crushing burden of my work.”
In her article, she says that when Gandhi Ji was in South Africa he had started evening prayers in the Ashram. That collection of bhajans was published under the name - 'Nitivam Kavyo'. In Satyagraha Ashram, Sabarmati, he had added “Raamdhun” as the daily prayer. The musicians of the Ashram were Pt. N. M. Khare, Mama Fadke, Sri Vinoba, and Balkoba Bhave, etc., who were great Indian classical musicians. In his ashram Bhajnawali, there were no discriminations of religion, caste, creed, region, languages etc. It was like a beautiful bouquet of flowers of variegated colours, having various fragrances, and separate features - all in the same bouquet of love, humanity, and faith.

Gandhi Ji not only liked Indian Classical but also western music, in fact, once he wrote a letter to Ravindranath Tagore, written on December 22, 1945, he had suggested in that latter to give both Hindustani music as well as Western music their due place at Shantiniketan along with Bengali music ..
How many of us know that Gandhi ji knew to play the Violin. In his autobiography, he says, "I started to learn to play the violin so that I could get a sense of the notes and beats. Three pounds went into the purchase of a violin and some more to its learning."  when I was returning back I took my violin to my violin teacher. She was most understanding. She said she would try to sell the violin for whatever value it fetched."
In the winter of 1931, on his way back from the Second Round Table Conference in London, Gandhi stopped in Villeneuve de Chillon to call on the philosopher and musical savant, Romain Rolland. The aesthete has written, "...after the prayers, Gandhi asked me to play him a little of Beethoven. I played him the Andante of the Fifth Symphony.
. 
Vaishnav jan to tene kahiye by various Artists

Lata

M S Subbulaxmi

Pt Jasraj and M S Subbulaxmi

The Mesmarizing Music of the two Great Stalwarts of Golden Era of Bollywood

13 years apart were born the two great stalwarts of Hindi Film Music, S D Burman(1st Oct 1906) and Majrooh Sultanpuri(1919). to create magic in Hindi Films. They partnered in 20 films from 1957 to 1976, leaving behind many unforgettable gems. The first song written by Majrooh and composed by Sd Burman was " Woh Sapne wali Raa"t sung by Geeta Roy in the film Pyar (1950). After a gap of 7 years, they worked together in Paying Guest (1957)., they created the song Chhod Do Aanchal Zamaana Kya Kahega after this the next song was "Mana Janaab Ne Pukara Nahin" There were 6 songs in the film, all the songs were hit.
The same year Navketan's Nau Do Gyarah released, once again the magic of both was visible. Aankhon mein kya ji, rupehla baadal became an instant hit its picturization mesmerized the audience. Other songs like Hum Hain Raahi Pyar ke, Humse Kuchh Na Boliye by Kishore,   Aaja Panchhi Akela Hai/So Jaa Nindiya Ki Bela Hai,, by Asha-Rafi are still liked.
Over the years, of course, a large chunk of their films featured Dev Anand, examples being ‘Paying Guest’, ‘Nau Do Gyarah’, ‘Kala Pani’, Manzil’, ‘Solva Saal’, ‘Bombai Ka Baboo’, ‘Baat Ek Raat Ki’, ‘Jewel Thief’ and ‘Teen Deviyan’. 
Besides the Dev Anand films, SD and Majrooh combined on such classics as ‘Chalti Ka Naam Gaadi’ (which had Kishore’s ‘Ek Ladki Bheegi Bhaagi’, the Kishore-Manna Dey song ‘Babu samjho ishaare’ and the Kishore-Asha superhit ‘Haal Kaisa Hai Janaab Ka’) and ‘Sujata’ (which had Talat Mahmood’s unforgettable ‘Jalte Hain Jiske Liye’,
The two of them also worked in films like ‘Lajwanti’, ‘Sitaron Se Aage’, ‘Talaash’, ‘Phagun’ and ‘Sagina’ (remember ‘Saala mein to saahab ban gaya’?) But their biggest hit arguably was in Hrishikesh Mukherjee’s 1973 film ‘Abhimaan’, which had ‘Tere mere milan ki yeh raina’ (Lata-Kishore), ‘Teri bindiya’ (Lata-Rafi), ‘Lutey koi man’ (Lata-Manhar Udhas), Kishore’s ‘Meet Na Mila’ and three Lata solos ‘Nadiya Kinarey’, ‘Ab Toh Hai Tumse’ and ‘Piya bina’.

Song of Paying Guest 1957

Song of Nau Do Gyarah 1957

Song of Solva Saal  1958

Song of Kala Paani  1958

Song of  Lajwanti (1958) 

Song of  Chalti Ka Naam Gaadi (1958)

Song of  Sujata (1960)

Song of  Bombai Ka Babu  (1960)

Song of   Baat Ek Raat Ki (1962)

Song of  Teen Deviyan (1965) 

Song of  Jewel Thief (1967)

Song of  Abhimaan (1973)