aradhana ( 1969 film )
film: aradhana year: 1969 singer: kishore kumar composer: s. d. burman
rajesh khanna and farida jalal get sassy in the uncut version of baaghon mei n bahaar hai from the 1969 film aradhana .
song: mere naseeb mein... film: do raaste (1969 )
roop tera mastana – film: aradhana, year: 1969, singer: kishore kumar, composer: s. d. burman
number one is a 1969 american film drama released by united artists and directed by tom gries .
this film is counted among the 17 consecutive hit films rajesh khanna between 1969 and 1971, by adding the two hero films marayada and andaz to the 15 consecutive solo hits he gave from 1969 to 1971 .
in 1969 three of his film were playing to house full boards at the same time - - aradhana, do raaste and ittefaq. he was the first hindi film star who had golden jubilee hits in non - hindi speaking places like madras, hyderabad .
aradhana is a romantic drama film directed by shakti samanta, starring sharmila tagore and rajesh khanna. it was voted as the best film of the year by the filmfare awards .
1969 - film aradhana and the song roop tera mastana represent another important milestone in the evolution of hindi film music. true, it is the song which began the superstar - innings for rajesh khanna, but even more importantly, it is the song which resurrected kishore kumar’s singing career .
song: roop tera mastana film: aradhana (1969) with sinhala subtitles director: shakti samanta cast: sharmila tagore, rajesh khanna music: s. d burman song: kishor kumar lyrics: anand bakshi song awards: film fare award (1970) for best male playback singer: kishor kumar
aradhana was one of the classic and block bluster of all times of super star rajesh khanna .
aradhana (1969) by shakti samanta kaka plays a dashing pilot who falls in love with sharmila tagore. the story opens with him chasing a coy tagore, crooning mere sapnon ki raani. aradhanawon best film of the year and tagore her first best actress filmfare award .
the hindi film song is also an avenue of gauging the pulse of a generation. when rd burman’s fifth film
aradhana is a 1969 hindi film directed by shakti samanta, starring sharmila tagore & rajesh khanna in lead roles and sujit kumar & farida jalal in supporting roles. music composed by s. d. burman. aradhana bagged 3 filmfare awards i. e. best movieaward, best actress award (sharmila tagore) and best male playback award (kishore kumar for ‘roop tera mastana’) .
film on actor: british broadcasting corporation (bbc) had made a film on him called' bombay superstar in 1974’ .
i have kind of grown up on these films. but the first film i would remember is aradhana, watching it on television in 1981. and then perhaps namak haram .
as the lead which was also written by sachin bhowmick. much to his surprise this film had similar ending as his own film. the following day samanta decided to scrap his film, when writers
shakti samanta’s romantic drama aradhana (1969), which traces the journey of an unwed mother, was a landmark film in more ways than one. its lead actor, rajesh khanna, sealed his superstar status with the movie. kishore kumar’s career as a playback singer turned around. the film also marked the beginning of a strong second wind in sd burman’s career as a music composer .
ajanabee is a romantic bollywood film produced by girija samanta and directed by shakti samanta. the film stars rajesh khanna and zeenat aman .
[ the sky entertainment dvd of aradhana features a good quality print of the film. optional english subtitles are, happily, provided for all song lyrics as well as for dialogues. ]
samanta later teamed up tagore with rajesh khanna for movies such as aradhana (1969) and amar prem (1972). other directors paired them together in safar (1970), daag (1973), and maalik (1972). the pair of khanna - sharmila gave 7 box office hits – aradhana, safar, amar prem, chhoti bahu, daag, “raja rani” and avishkaar .
many of them. i divided his life by decades - - the' 60s,' 70s and' 80s. one got an idea from the' 60s by seeing aradhana, baharon ke sapne and aakhri khat. but there is a film between raaz and aradhana called aurat. it has padmini as the lead .
in their time, producer - director shakti samanta and actor rajesh khanna were the best of friends and worked on eight super - hit films together. and though most veteran actors today are against their hit films being remade, khanna asked samanta’s son ashim to make a modern version of aradhana (1969), perhaps their most memorable film together .
ittefaq (1969) by yash chopra kaka plays a painter who is being tried for murdering his wife. the film also stars nanda in the lead. it is one of the first films sans any singing or dancing .
bandhan (1969) by narendra bedi this was the second film starring kaka and mumtaz in the lead. reportedly, the film grossed nearly rs 2. 8 lakh at the bo, which was big moolah at the time. it was also one of the few films where mahendra kapoor lent his voice to kaka .
she has received two national film awards and two filmfare awards for her performances .
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song: ek ajnabee hasina se... film: ajnabee (1974 )
song: gore rang pe na... film: roti (1974 )
khamoshi (1969) by asit sen kaka plays a manic patient under the care of nurse radha portrayed by waheeda rehman. the black - and - white film is remembered especially for hemant kumar’s haunting melodies like tum pukar lo. . tumhaara intezaar hai
’) to enunciating trends and serving as the biggest sampler of a forthcoming film, the hindi film song has a rich legacy. may its stardom never diminish .
only after that would finance for a film flow. so it was as finance for
sharmila tagore is an indian film actress known for her works predominantly in hindi cinema .
she was one of the international competition’s jury members at the 2009 cannes film festival .
film: slumdog millionaire year: 2009 singer - composer: a. r. rahman
melodies have saved many a film, many an actor from being relegated entirely to obscurity. kumar gaurav, actor rajendra kumar’s son, made quite a splash with his first film
ittefaq is a 1969 film directed by yash chopra, produced by b. r. chopra starring rajesh khanna and nanda in lead roles. the music was composed by salil choudhury. it was a remake of 1965 hollywood film signpost to murder. the film won two filmfare awards i. e. best director (yash chopra) and best sound (m. a. shaikh). the other nominations for the film were for best actor (rajesh khanna), best actress (nanda) and best supporting actress (bindu) .
about a year ago, i chanced upon an online discussion that centred around the chartbuster mere sapnon ki rani from the 1969 film aradhana. no, it wasn’t about how the song, which spiralled a then little - known rajesh khanna to dizzy fame, was shot without sharmila tagore (common fodder for many a film trivia conversation). this debate, a little more unusually, focused on the book that the coquettishly dimpling tagore is shown to be reading in the train as khanna serenades her from a jeep running alongside .
aap ki kasam is a 1974 hindi film directed and produced by j. om prakash .
i f it weren' t for gulshan nanda, aradhana - - among samanta' s signature works - - would have never been made ,
says ashim .
just a day before aradhana was to start, surinder kapoor (producer and anil kapoor' s father) invited dad to see his new film ek shriman ek shrimati starring shashi kapoor .
dad was shocked to see that the climax was the same as aradhana' s. it was possible because both films were written by the same writer - - sachin bhowmick. the next day, samanta had made up his mind to scrap aradhana .
it so happened that writers gulshan nanda and madhusudan kalelkar dropped into his office that day and they noticed that he was tense .
originally, aradhana was to have rajesh khanna die at the interval point and a new hero would come in. instead, gulshan nanda suggested why not have a double role of father and son. dad loved the idea and went on to make the film .
while actors spend years and do films before that one elusive hit that launches them to stardom, in case of rajesh khanna success came in only with his fourth film — aradhana (1969). as arun driving an open - jeep, serenading vandana (sharmila tagore) to the strains of ‘ mere sapno ki rani kab aayegee tu... ’ through the winding routes of a hill train in darjeeling, he became an instant favourite. also in the film, rajesh khanna made pre - marital sex permissible for the first time on the screen in an age of conventions and conformism. aradhana catapulted him to glory and made him the first superstar of the bollywood. his do raaste was released within weeks of aradhana and he was established as a major star with both the films celebrating a silver jubilee. after this, there was no looking back for khanna who became a phenomenon .
he first achieved acclaim in aradhana (worship, 1969), playing two roles – the husband and grown - up son, both air force pilots, of the established star sharmila tagore. notable among the romantic drama' s musical numbers was the sexy roop tera mastana (your beauty is intoxicating), recorded in a single take, a first for hindi cinema .
hindi cinema has done much to acknowledge the music composer’s importance. a cursory look at film credit sequences over several decades shows the composer’s name generally appearing just before the director’s, thus highlighting his eminence as the second - most important technician in the hindi film universe. even today, music maestro ar rahman’s presence in a forthcoming release is enough to create a buzz about the film. to this extent, a film’s musical score is not just an avenue to create excitement or to advertise the film, but also an opportunity for film producers to sell music rights and recover costs .
no, not at all. amar prem may feel a bit dated, but if you see aradhana today it works well. namak haram is far more relevant today .
doli (1969) by adurthi subba rao kaka once again plays a middle class hero, this time round romancing babita kapoor. however, things get a bit complicated when prem chopra arrives on the scene .
ashim was planning his son aditya’s acting debut and thought about casting him in the remake of aradhana. “but i realised that people would compare him to rajesh khanna. so i am launching him in yeh jo mohabbat hai and making aradhana later (with aditya in the lead), ” he says. ashim has also spoken to khanna about another film, which will have the actor in an important role, but it depends on the actor’s health .
aradhana was khanna’s third film and his biggest hit. the actor essays the role of an airforce officer, arun varma, who has a secret wedding with vandana (sharmila tagore), and dies in an air - crash leaving a pregnant wife behind. in the film, he also plays the son suraj, who after many hardships, finally accepts vandana as his mother .
kati patang is a romantic film directed by shakti samanta. it stars asha parekh, rajesh khanna .
? while the film’s publicity before its release had pictures of guru dutt and waheeda rehman featured prominently on its posters, ludhianvi’s lyrics were quite the rage after the film’s release. one advertisement even propped up
commercially, aradhana and kati patang did exceptionally well, featuring rajesh khanna at his romantic best with a soundtrack that remains at the very core of why we love those two films .
do raaste (1969) by raj khosla kaka plays the dutiful son and mumtaz his love interest. the story revolves round the challenges faced by a lower middle class family, and places a premium on oldfashioned values .
most of them are available on dvds because there is a great interest in old hindi cinema. of course, many of them are on youtube channels, including aradhana and amar prem .
plans for the film were announced in 1966 to be made by the same team as the war lover .
film: teesri manzil year: 1966 singers: mohd. rafi, asha bhosle composer: rahul dev burman
as ‘a lyrical new high in film music’. or consider that it is in lyricist shailendra’s songs, ‘
bombay was produced simultaneously in tamil and hindi by mani ratnam with the production crew from kodampakkam. aradhana, had a tamil remake with sivaji ganeshan in the lead called' sivahamiyin selvan.'
while dad was upset and had decided to move on from aradhana, gulshan nanda told him not to fret and advised him to start another film. for that purpose, he narrated the story of kati patang .
dad jumped at it. first, they reworked the second half of aradhana in the next few hours and then, they discussed kati patang at length. two of his finest films were created in that evening, within a gap of few hours ,
says ashim .
is a family drama film directed by raj khosla. it stars rajesh khanna as the dutiful son and mumtaz .
jai ho – film: slumdog millionaire, year: 2009, singer - composer: a. r. rahman
record hits: he made the world record of having 17 successive super - hits in three years from 1969 - 71 that included 15 consecutive solo super - hit films and two solo - hero films namely' andaz' and' maryada' .
we round up the bollywood superstar' s most memorable roles in remembrance of his varied and consistently successful film career .
the film stars rajesh khanna and mumtaz in lead roles and sanjeev kumar, rehman, asrani and a. k. hangal in supporting roles. the film was nominated for the 1975 bfja awards for best actor (rajesh khanna) .
’ had never been heard before. the novel nature of the musical arrangement in these songs caught on with moviegoers. the film’s soundtrack gained iconic appeal in no time. likewise, when rahman first appeared on the hindi film landscape with
in 1931, the hindi film song has served several purposes. from being the only good thing about nondescript films like
ashim claims, “yes, rajesh khanna asked me to remake aradhana with a new boy and girl. he even said that he would help me with the screenplay and music. we were planning to start work on the film last november when he was well. as soon as he recovers, we will begin the project. ”
it is not difficult to find out whether the selected hindi film is a dubbed version or whether there is a tamil version of the particular film. to say otherwise is to say that those who are responsible are idiots. are they ?
avtaar is a 1983 hindi film directed and produced by mohan kumar. the film stars rajesh khanna and shabana azmi in lead roles. avtaar was rajesh khanna’s biggest hit film in terms of box office collections after his bad phase from 1976 - 1978. rajesh khanna was nominated for the 1984 filmfare award for best actor and the 1984 bfja awards for best actor .
films like aradhana, amar prem, kati patang, kashmir ki kali and an evening in paris were not only blockbusters of their age but have also transcended their time to find resonance among viewers of different generations .
now here’s a thought. what if the latter part of aradhana had indeed leapt into the eighties? what imaginary war situation would the scriptwriter have conjured up for the junior iaf officer? back in 1969 when the film was made, no one could have guessed that the last official war of the century would be fought two years later, and that all subsequent hostilities calling for the army’s intervention would have to do with cross - border terrorism, internal insurrections and the like. decades later, it would indeed have been diverting to check if at all the scriptwriter’s imagination coincided with reality .
some pioneer tv stations repeatedly telecast one tamil film for a record number of times - perhaps to recall their pioneering days .
by his filmmaker uncle, writer - producer - director nasir husain. he went on to act in husain’s next big film—
( 1981), it was burman junior’s music that often catapulted a film’s fortunes from good to great. if amitabh bachchan’s
anand is a 1971 film written and directed by hrishikesh mukherjee. it was produced by hrishikesh mukherjee and n. c. sippy. it was the first film where there was no lead heroine opposite rajesh khanna and the first film in which rajsh khanna eventually dies in the end. anand bagged a record of six filmfare awards (best movie, best actor, best supporting actor, best story, best editing and best dialogue) and one national award (best feature film in hindi) .
after aradhana' s super success, khanna once again worked with the director shakti samanta in this movie. with its complicated but engrossing storyline, kati patang went on to become one of the top grossers of the year .
son, pancham, had used a prestigious film of his, aradhana, to tilt the scale, decisively, in favour of kishore. and dada burman had nothing against kishore, his own discovery - - now that this singer, realising his full potential late in his performing life, had become regular in the matter of both rehearsing and recording .
this list collects every film from the starting list that became they shoot pictures don' t they' s 1000 greatest films. this…
this isn’t to suggest that lyricists have contributed in any small measure to songs as the intangible star in a hindi film. what is
( 1992), film audiences had suffered an entire decade of the 1980s, with banal, often plagiarised songs ruling the roost .
( “adoration, worship”) 1969, hindi, 180 minutes produced and directed by shakti samanta story and screenplay: sachin bhowmick; dialogue: ramesh pant; lyrics: anand bakshi; music: s. d. burman; art direction: shanti das; cinematography: aloke das gupta
rajesh khanna, affectionately called as kaka ji, has given many hits in his career. the heartthrob of million fans entered hindi cinema in 1960’s. he made his film debut in 1966 with chetan anand directed film ‘aakhri khat. aakhri khat was india’s entry for the best foreign language film at the 40th oscar academy awards in 1967. it was a great achievement for a new comer like rajesh khanna .
the hysteria he created with his crinkling eyes and lily - white smile drove fans into raptures. more than four decades after aradhana and many other blockbusters, there has never been anyone to rival the appeal of rajesh khanna in his heyday .
kati patang is a 1970 film produced and directed by shakti samanta, starring asha parekh and rajesh khanna in lead roles. the music was composed by r. d. burman. the film was nominated for six flimfare awards i. e. best director, best actor, best story, best lyrics, best male playback singer and best actress. asha parekh won filmfare best actress award for this film .
put you on the game was the final single off the documentary, the debut album from west coast rapper the game. this was the first single to be released from the game after his break - up with the group g - unit. the game left the group after a beef with fellow band member 50 cent over denying 50 writing credits on four songs on the documentary. the timberland - produced song put you on the game caused problems as well. the song samples from the 1969 hindi film aradhana, which was a re - make of hollywood' s 1946 film to each his own. the samples were not cleared, and two years after put you on the game was released, the rapper, the producer and the labels were slapped with lawsuit from a major indian record company .
she led the indian film censor board from october 2004 till march 2011. in december 2005 she was chosen as an unicef goodwill ambassador .
in 1991 baz luhrmann' s hollywood musical moulin rouge! was released starring nicole kidman and john leguizamo. the film (and soundtrack) features the song hindi sad diamonds. the song samples lyrics from chamma chamma baje re - a song out of the 1998 bollywood film china gate. the film was inspired by the 1954 film seven samurai, and is said to be a tribute to the films of late director akira kurosawa. china gate is famous for the chamma chamma baja re song, where indian sex symbol urmila matondkar dances while playback star alka yagnik signs .
bawarchi is a drama film directed by hrishikesh mukherjee starring rajesh khanna and jaya badhuri with asrani, a. k. hangal, usha kiran .
having studied urdu for 12 years, tom has written an urdu script for a film he wants to make. interestingly, the film which traces the friendship of a padri, a maulvi and a pandit, has been inspired by a faiz ahmed faiz couplet: “ek fursat - e - gunaah mili woh bhi chaar din; dekhe hain hamne haunsale parvardigaar ke. ” the film will feature naseeruddin shah, benjamin gilani, besides tom .
“i am bad at comedy, ” says the actor, who will shortly feature in three films — “hawaein”, a film set in the backdrop of 1984 riots, directed by amitoj mann; asambhav, a thriller by rajiv rai and aitbaar, a vikram bhatt film that also features amitabh bachchan .
sachaa jhutha is a comedy film directed by manmohan desai. the movie was a box - office blockbuster. the movie stars rajesh khanna and mumtaz .
here is my approach towards this query. for me, the 5 songs that define hindi film music are the 5 songs that would encapsulate the entire evolution of hindi film music, right from the time it began way back in the 1930s to its current status in the post - millennium era .
enjoy this super hit hindi classic romantic old song mere sapno ki rani sung by kishore kumar from classic bollywood blockbuster movie aradhana (1969) starring rajesh khanna & sharmila tagore. music composed by s. d. burman & lyrics by anand bakshi. rest of the notable cast: sujit kumar, farida jalal, madan puri, ashok kumar, asit sen. directed and produced by shakti samanta. subscribe to rajshri - urltoken follow us on g + urltoken like us on facebook - urltoken follow us on twitter - urltoken follow us on pinterest - urltoken visit rajshri' s website - urltoken
anand is an indian drama film co - written and directed by hrishikesh mukherjee. it stars rajesh khanna in the lead role and amitabh bachchan in supporting .
this path - breaking film which shot rajesh khanna to' superstar' status, won 3 filmfare awards - best film for shakti samantha, best actress for sharmila tagore, and best male playback singer for kishore kumar. kishoreda won this award for roop tera mastana which was rd burman' s key contribution when he took over the reins after sd burman fell ill during the progress of the film / music production. my humble tribute through this song ...
aaja aaja main hoon pyar tera – film: teesrimanzil, year: 1966, singers: mohd. rafi, asha bhosle, composer: rahul dev burman
interestingly, it is the evergreen nature of the film’s songs that has kept vijay and monto alive, to whatever extent, in public memory. vijay’s character was enacted by vijay arora, a graduate from the film and television institute of india (ftii), who hardly made an impact in hindi cinema outside
“aradhana”, a major hit of 1969, was the main turning point in the careers of both rajesh khanna & kishore kumar. the rich & melodious songs of the movie became a national craze in the year of its release. the song “mere sapno ki rani” is still used as an introduction for kishore da and rajesh khanna in various stage shows and tv programmes even today. apart from the musical merit of the movie, it also had a career best performance from sharmila tagore in the tough role of a sacrificing mother, for which she deservingly won filmfare best actress award at that time .
recently mtv telecast kaadalan, roja and bombay, all hindi versions, with the usual tags saying
subtitled in sinhala .
last week, itn telecast aradhana, a hindi film. again with subtitles .
perhaps because the majority of our country can' t understand hindi, let alone tamil. some understand english and quite a few more understand tamil as there is a tamil speaking population in this country, if i am correct .
the tone of aradhana shifts between realism and melodrama, sometimes abruptly, but the changes are not distracting. rather, they make the movie operate on two levels. in its more delicate, realistic moments, aradhana is a sad story about a very likeable woman and the losses she endures over her liftime. the movie also invokes some of the usual improbable filmi tropes, the most notable of which is that renu' s beau is vandana' s lost son, suraj, now grown into a dashing fighter pilot who is the spitting image of his father (and is of course also played by rajesh khanna). when it becomes more filmi, aradhana evokes its grander themes of balance, purity, and the dignity of motherhood. and it works splendidly on both levels, not least because sharmila tagore is a skilled actor who shifts effectively between these two storytelling modes .
haathi mere saathi is a drama film directed by manmohan desai. the movie was a box - office blockbuster. the movie has a disneysquare appeal with an indian twist .
amar prem is a romantic film directed by shakti samanta. it stars sharmila tagore (pushpa), rajesh khanna (anand babu) music: r. d burman .
when saigal sang jab dil hi toot gaya under naushad’s baton in the 1946 - film shah jehan, he was fighting a losing battle against alcoholism. in a few months after the film’s release, he bade final goodbye to this world. a legend goes that it was saigal’s last wish that the song should be played at his funeral !
in the opening song sequence, sharmila tagore is seen reading a book while seated in the train. the book' s name is when eight bells toll, a thriller novel written by alistair maclean published in the year 1966. the film was released in 1969, so it is clear that the flashback was shown in a time which was actually a
flash - forward
, which is impossible. she should have been shown reading the heart of the matter (1948), a novel by the english author graham greene .
moving away from his acting, he’s also an author with three books to his credit – two novels and one on cricket – why hasn’t he written film scripts. the answer is quite startling. “i have three film scripts ready, all my own. one day i will make them into films. ” but he doesn’t commit to a timeframe .
tagore began her career as an actress in satyajit ray’s 1959 bengali film apur sansar (the world of apu), as the ill - fated bride of the title character .
namak haram is a 1973 film directed by hrishikesh mukherjee and produced by jayendra pandya, rajaram and satish wagle. the film stars rajesh khanna and amitabh bachchan in lead roles and rekha, asrani, raza murad, a. k. hangal, simi garewal and om shivpuri in supporting roles. rajesh khanna won the 1974 bfja awards for best actor .
in the opening song sequence, sharmila tagore is seen reading a book while seated in the train. the book' s name is when eight bells toll, a thriller novel written by alistair maclean published in the year 1966. the film was released in 1969, so it is clear that the flashback was shown in a time which was actually a
flash - forward
, which is impossible. she should have been shown reading the heart of the matter (1948), a novel by the english author graham greene. see more »
khanna, who died on july 18, is the only indian actor to have delivered 15 consecutive hits as a solo hero between 1969 and 1971. he almost always played a gentle romantic, leaving the angry young man image to others like bachchan. that said, he did not shy away from different kinds of roles: psychotic murderer (red rose), jealous husband (aap ki kasam) and a convict on the run (ittefaq). he briefly dabbled in politics and film production but he is most known for his indubitable superstar status .
according to music and film expert rajesh subramanian, in
roop tera mastana
, kersi lord played the accordion, homi mullan played the duggi and manohari singh played the saxophone .
khanna was given a filmfare lifetime achievement award in 2005, and the same honour at the international indian film academy awards in 2009. he is survived by his wife and daughters .
in the 1980s he started working in multi - star cast films, because that had become the norm and until then he had never done a two - hero film. the first film was kudrat and by then it was too late. whereas, if you look at the first 10 years of amitabh bachchan he was only working in multi - star films .
his most recent release was rajesh shera’s “ocean of an old man” based on the 2004 tsunami that caused such damage in the andaman & nicobar islands. alter plays an old schoolteacher living on one of the islands who loses five of his students and his wife in the disaster. the film was very well received in the festival circuit and released in india last month. alter is brutally frank in saying that the film saw a commercial release only because of the strike. he adds, “it is a beautiful and evocative film, not made to run to full - houses in bombay or anywhere else but people did watch it. i have received the most wonderful reactions; it is a work of beauty a pioneering film. ”
the film won sharmila tagore her first and only filmfare best actress award. in 1947, olivia de havilland had won her first academy award for best actress for playing the same role in
kudrat is a 1981 hindi film directed by chetan anand and produced by b. s. khanna. the film stars rajesh khanna and hema malini in lead roles and raaj kumar, priya rajvansh and vinod khanna in supporting roles. kudrat won all - india critics association (aica) best actor award in 1982 at calcutta and nominated for the 1982 bfja awards for best actor .
on your call, sharmila tagore discusses the prevalent attitude towards women in the society and how it can be changed. she also reminisces about her acting career and time in the film industry .
avtaar is a drama film director and story by mohan kumar starring rajesh khanna and shabana azmi. it was directed by mohan kumar, and the music was by laxmikant pyarelal. rajesh khanna .
after that, his film activity slowed down, and he served the new delhi constituency as an indian national congress mp from 1992 to 1996. he remained an activist after losing his seat .
“from the firmly rooted to the indian earth jab dil hi toot gaya and barsaat mein humse mile tum, to increasingly westernized aaja aaja and roop tera mastana, and finaly to the free - flying globalized jai ho, it is an interesting journey which captures the major artistic influences and milestones in hindi film music’s evolution. that’s why these 5 songs define hindi film music to me! ”
bollywood - also known as hindi film cinema, is one of the largest film production centers in the world. bollywood is not the only film producer in india, but it is one of the largest. bollywood is located in mumbai, india - formally known as bombay. the name was created by combining the
b
from bombay with hollywood. the history of bollywood goes back to the early 1930' s when it was called tollywood - the film industry was based in tallygunge, calcutta at the time. in the 1970' s bollywood was heavily focused on producing commercial cinema, and america fell second to india in film production. by the 2000' s bollywood was popular across the world, and big investments were made in technology. most bollywood movies are musicals, usually the music is produced in a studio, and the actors lip - sync for the films. the music from these movies has been heavily sampled, particularly in hip - hop music .
number one had never been issued on dvd for many years, but old copies on vhs existed. on november 12, 2015 however, mgm released the film on dvd for the first time .
kishore kumar’s smoulderingly passionate rendition of roop tera mastana (and for that matter his other aradhana - renditions like mere sapnonki rani and kora kaagaz tha yeh man mera) brought in a new macho romanticism. his easy - going, straight - to - heart singing now became the preferred style over mohd. rafi’s more intricate yet nuanced style. as a singer, for almost two decadeskishore had stayed in rafi’s shadows. there were even times (as in ragini and shararat) when composers had used rafi’s playback for his screen persona. but aradhana’s success changed all that. kishore kumar was the new rage of nation and he emerged as the voice, who would dominate the 70s and the 80s .
khanna plays a jealous husband in this film, not a role that would endear him to one and all. he played it convincingly, overshadowing sanjeev kumar, an undoubtedly better actor. the film is also remembered for its foot - tapping number jai jai shiv shankar with his co - star mumtaz where, high on bhang (a drink made with cannabis), they prance on a hill .
aaja aaja main hoon pyar tera from 1966 - film teesri manzil ushered in another new era. it was the breakthrough composition for rahul devburman, a man who would go on to give a new dimension to hindi film music with his innovative fusion of various musical styles. pancham had debuted five years before teesri manzil but his early compositions had failed to separate him from his father sachin dev burman’s towering shadow .
the loquacious lover of aradhana and andaz, who swept the heroine off her feet with his charm and simplicity, acquired a serious countenance in aap ki kasam and safar. in aap ki kasam, it was a marriage soured by suspicion. khanna slipped into the soul of the character so unobtrusively that the audience felt it was a chunk from his real life .
mere jeevan saathi is a 1972 film directed by ravikant nagaich and produced by vinod shah, starring rajesh khanna and tanuja in lead roles and sujit kumar in supporting role. rajesh khanna plays the lead role as a blind person. the music composed by r. d. burman was all time hit. the most popular songs of the film are ‘o mere dil ke chain’ and ‘chala jata hoon’ sung by kishore kumar
i watched
to each his own
in the later part of the 60s, enjoyed the story and acting very much. then watched aradhana in the early 70s, also a well made and acted movie. i noticed the storyline was identical in many aspects. it became a tremendous super hit in india and shakti samantha received accoladaes for writing such a fresh storyline .
you think zanjeer is the first time you see amitabh' s angry young man, but it is in namak haram (both film were released in 1973) that the angry young man finally comes into his own .
hindi cinema is replete with innumerable such instances. songs in hindi films have been the invisible stars, with the power to do much more than entertain. not only have they boosted the fate of lacklustre films, they have made fortunes for filmmakers and actors alike. in many cases, for decades after the film itself has been forgotten, its music has remained fresh and as much loved as it was when the film was released .
aan milo sajna (1970) by mukul dutt kaka plays a local peasant and asha parekh is his love interest. the film is remembered especially for its songs like aan milo sajnaand achcha to hum chalte hain among others .
if one artiste is to be credited for this mind - boggling paradigm shift, it would have to be a. r. rahman. with his genius, this mozart from madras has blurred the musical boundaries between bollywood, kollywood and hollywood. he has changed hindi film music like no one has. his critics may be right when they say that under his influence hindi film music has no longer remained hindi (or hindustani) in its essence .
aradhana set me thinking: how many earlier mainstream film - makers were meticulous enough to create two distinct eras in movies that dealt with different generations? answering that question would entail a viewing of dozens of films but one can safely make an educated guess: very, very few. off the top of my head i can think of manoj kumar’s 1970 film purab aur paschim, in which the past, beginning in the year of the quit india movement, had a distinctly different feel (it was also shot in black - and - white before switching to colour for the present, perhaps a first for a mainstream film). then there’s ramesh sippy’s television epic buniyaad, whose progression from 1915 to the 1960s was handled with the necessary changes in production design, costume, language and political - cultural references. buniyaad ’s last episode was set in 1964, the year jawaharlal nehru died, but it also had a 20 - year flash forward — the 90th birthday of its protagonist master haveli ram, who, in the continuing interests of period authenticity, is shown talking on a cordless telephone .
he continued to appear in a handful of films and tv serials until 2010, by which time he had been credited in more than 150 titles. twinkle, his elder daughter, is married to the indian film star akshay kuma .
for a long time he was trying to be relevant. he became friendly with non - film people. he joined politics in 1990 and was in mp from 1991 to 1996. and he spent a lot of time in delhi .
sachcha jhootha (1970) by manmohan desai kaka plays a village bumpkin who happens to have a crooked lookalike. the film also stars mumtaz and vinod khanna. of the tracks, dil sachaa aur chehra jhutharendered by kishore kumar is quite memorable .
mehboob ki mehndi (1971) by h s rawail kaka plays the son of a wealthy businessman and romances leena chandavarkar who portrays his nephew’s new tutor. an unforgettable tune from the film is mere diwanepan ki bhi dawa nahinsung by kishore kumar .
i liked anand. you would have to be very insensitive not to be moved by the film. but for me when i think of rajesh khanna the images that come to my mind are amar prem, namak haram and aap ki kasam .
( 1941), the film’s composer ghulam haider became something of an overnight celebrity for composing a soundtrack that merged punjabi folk with classical raagas. since then, composers like c ramchandra, naushad, sd burman, laxmikant - pyarelal and ar rahman have determined the fortunes of many a film. shankar - jaikishan were very much the dominant composer duo of the 1950s and 1960s, and it is hard, in particular, to look at raj kapoor’s legacy without their compositions for his films .
i don' t understand the praises one gets from a duplicated idea... . i would however understand a truthful acknowlegement from the filmakers that the story is based on an original version and place a footnote in the titles saying so... . due credit should be received for one' s original work. in this case aradhana only become a success because of it' s storyline, and of course the actors .
s amanta was keen on madhubala for howrah bridge but he didn' t know her personally. so, he told ashok kumar to put in a word. samanta went to meet her with rs 20, 000 as a signing amount (she used to charge rs 75, 000 those days) .
dad started the narration with her character, that of a christian girl who speaks like,' humko tumse pyaar maangta hai.' when madhubala heard that, she burst out laughing and agreed to do the film without actually hearing the story .
she even refused to accept any payment before the film' s shooting .
she asked dad for one rupee as a signing amount and said the rest he can pay after the film is complete .
the contention here is that if the tamil films - subtitled in sinhala - were telecast the tamil audience too can watch, while those who can' t understand tamil can follow the subtitles. they can' t understand hindi anyway. hence it won' t make any difference whether it is a tamil film or hindi film. but it does make a difference to the tamil audience. when hindi films telecast with subtitles in sinhala the tamil audience is kept out. they can read neither hindi nor sinhala .
actor shammi kapoor is perhaps one of those greats in the hindi film industry who is known and loved entirely through his songs. the ‘rock - n - roll’, bon vivant image that the actor enjoyed was shaped by innumerable memorable hit numbers, including ‘
safar (1970) by asit sen kaka and sharmila tagore play medical students. the tenth top - grossing production of the year, the film won two filmfare awards. of the songs, the track zindagi ka safar sung by kishore kumar deserves special mention .
and i read that you then had to leave school because at that time being a film actress and then in hindi films was really looked down upon, so you actually left school? and then you went on to hindi films and then' evening in paris', which then created a sensation of a completely different kind. were you in two minds at all about taking on that role, especially because you came from very illustrious family, satyajit ray film heroine and then a very different kind of a role completely ?
admittedly, films that have a specific timeline and encompass historical events in their narrative are the ones that are more authentic in portraying different time spans. i’m guessing that in the workaday 20 - year leaps — the aradhana kinds — authenticity would actually be undesirable. for instance, sharmila tagore would probably have to dress in staid khadi and refrain from openly romancing her iaf officer among other things. too inconvenient all this for a movie whose main aim is to entertain .
and madhusudan kalelkar visited his office. upon hearing the issue, it was gulshan nanda who suggested to have a double role of father and son in the film. originally the first hero was to die by the interval and a new hero was to step in .
his 17 hits from the early period follow an interesting template. in every film he does not overshadow his co - star. the women have neatly etched roles - - in films like kati patang and amar prem. also, those films had great supporting actors .
what' s in a name? rajesh khanna' s original name was jatin khanna, while his friends and family members called him kaka at home. the name ‘rajesh khanna’ was given to him by his uncle kk talwar after his decision to join the film industry .
fuelling this addiction was the stint at film institute, pune, where tom received an offer from satyajit ray, who signed him up for shatranj ke khiladi. for those who typecast tom in the foreigner villain’s role, it’s important to know that ray chose him for his mastery over urdu. recalls tom, “the most challenging scene in the film has me playing the interpreter between richard attenborough and the mother of wajid ali shah. i am translating urdu into english and vice versa. that scene is the loveliest scene i’ve ever shot. ”
the film is on youtube and worth watching. he has long scenes with padmini who was a throwback to' 50s cinema. she is very theatrical and rolling her eyes. but you should watch it muted and see how comfortable rajesh khanna is in those emotional scenes .
the early hindi film - music of the 1930s and 40s had a distinct identity. it mostly relied on hindustani classical and folk - tunes; had sparse orchestration and had a surplus of sentimental melancholic songs. kundanlalsaigal’snasal tinged voice was undoubtedly the star voice of that era .
number one was a commercial failure, but critical reaction was mixed. the film, and particularly heston' s performance, did earn a rave review from howard thompson of the new york times, who called the
consistently engrossing
film ,
... a succinct, stinging and often strong gridiron drama... .
thompson described heston' s performance as
a brooding, scorching and beautifully disciplined tour de force for the actor... . if heston could have been better, we don' t know how.
aradhana ( english : worship ) is a 1969 indian romantic drama film directed by shakti samanta , starring sharmila tagore and rajesh khanna . it was voted as the best film of the year by the filmfare awards . sharmila tagore would win her first filmfare best actress award for playing the lead role in this film . originally released in hindi and dubbed in bengali , aradhana 's huge success led to two remakes , both starring vanisri in tagore 's role : the tamil film sivagamiyin selvan ( 1974 ) and the telugu film kannavari kalalu ( 1974 ) . this film is counted among the 17 consecutive hit films of rajesh khanna between 1969 and 1971 , by adding the two hero films marayada and andaz to the 15 consecutive solo hits he gave from 1969 to 1971 . 
aradhana (english: worship) is a 1969 indian romantic drama film directed by shakti samanta, starring sharmila tagore and rajesh khanna. it was voted as the best film of the year by the filmfare awards. sharmila tagore would win her first filmfare best actress award for playing the lead role in this film. originally released in hindi and dubbed in bengali, aradhana's huge success led to two remakes, both starring vanisri in tagore's role: the tamil film sivagamiyin selvan (1974) and the telugu film kannavari kalalu (1974). this film is counted among the 17 consecutive hit films of rajesh khanna between 1969 and 1971, by adding the two hero films marayada and andaz to the 15 consecutive solo hits he gave from 1969 to 1971.
aradhana (english: worship) is a 1969 indian romantic drama film directed by shakti samanta, starring sharmila tagore and rajesh khanna. it was voted as the best film of the year by the filmfare awards. sharmila tagore would win her first filmfare best actress award for playing the lead role in this film. originally released in hindi and dubbed in bengali, aradhana's huge success led to two remakes, both starring vanisri in tagore's role: the tamil film sivagamiyin selvan (1974) and the telugu film kannavari kalalu (1974). this film is counted among the 17 consecutive hit films of rajesh khanna between 1969 and 1971, by adding the two hero films marayada and andaz to the 15 consecutive solo hits he gave from 1969 to 1971.