Remembering a legendary duo: Kalyanji-Anandji (Part II of II)

The Vijay Anand collaboration: In 1970, as mentioned K.A. got an opportunity to compose for Vijay Anand's Johny Mera Naam. Every music director would know that that is a golden opportunity for their music to shine like never before. In my opinion, there could be no bigger honour for a music director than to compose for Vijay Anand, for you can be rest assured your music will be used in the film like never before and the picturization of the songs is going to take them to a different level altogether!

K.A. grabbed their golden chance with some evergreen hits like Pal Bhar Ke Liye, O Mere Raja, Nafrat Karne Walon Ke, Babul Pyare, Govind Bolo Hari Gopal Bolo and Husn Ke Laakhon Rang. While there is no doubt that the picturization of these songs is what has made them last in people's minds forever, just the songs as a whole would still make for a wonderful album had it been someone else at the helms apart from Vijay Anand. If there is one thing for which the credit can be totally attributed to K.A., it would have to be the chilling background score. Johny Mera Naam is regarded as one of the best thrillers of all time, and any layman would also know how critical background music is to a film of this genre! Right from when the credits appear in the movie till the movie ends, the background music keeps you on the edge of your seat the whole time. This movie is what established K.A. as the masters of the thriller genre, and it is probably why Vijay Anand repeated them for Blackmail.

If K.A. had just composed this one song from Blackmail in their entire career, they would still be regarded as top-class, simply because this song is probably one of the most romantic numbers ever! There is a reason why this song is perenially on every person's lips or mind, irrespective of age or region. The song of course is the beautiful Pal Pal Dil Ke Paas. What K.A. also accomplished in Blackmail is give Shatrughan Sinha his most memorable song of his career - Sharbati Teri Aankhon Mein. A fun, crazy, Kishore Kumar romantic number, this was also the first ever time a song was picturized on Shatrughan!


The Prakash Mehra collaboration: Prakash Mehra signed K.A. for his very first directorial venture, Haseena Maan Jayegi, which became a box-office hit vastly due to it's superhit music as well as it's interesting screenplay and Shashi Kapoor's charm. With fun songs like Dilbar Dilbar and O Dilbar Jaaniye, Shashi Kapoor got some of his most recognizable songs. Bekhudi Mein Sanam was another lovely romantic composition. Just like Gopi, here too K.A. were given a special task of paying tribute. And it was none other than themselves in this case!!! Suno Suno saw Shashi Kapoor in one of his craziest getups, doing some wild things; all for some of K.A.'s songs reworded and remixed! Prakash Mehra's and K.A.'s was a partnership that would last till the fag end of Prakash Mehra's career.

Zanjeer came next and while Amitabh Bachchan took the nation by storm, it's music didn't go unnoticed and there is no reason why it should have. With songs like Yaari Hai Imaan Mera (possibly the best friendship song there has ever been), Diljalon Ka Dil Jala Ke (Bindu in one of her finest songs), Chakku Churiyaan Tez Kara Lo and Deewane Hain Deewanon Ko (two absolutely brilliant and totally different street songs), it is safe to say K.A. played just as big a part in making Prakash Mehra's masterpiece a big hit as they had earlier.

The Prakash Mehra - Amitabh Bachchan - K.A. combination continued with films like Hera Pheri (the title song being very well remembered even today) and then Muqaddar Ka Sikandar. Each song of the latter having a sad tone to it, K.A. outproved even themselves with this album, whether it be the title track of Rote Huye Aate Hai Sab or the other Kishore solo,O Saathi Re or the mesmerizing Salaam-E-Ishq Meri Jaan or the wonderfully crafted Dil to Hai Dil.
This combo then went on to make Lawaaris, which featured Amitabh as a playback singer for the first time with the ever-popular chartbuster, Mere Angne Mein Tumhara Kya Kaam Hai. This film is also famous for it's disco number, Apni To Jaise Taise and it's equally sober romantic number, Kab Ke Bichre Huye.

Apart from the Amitabh movies, K.A. served Prakash Mehra very well in other films as well, for example Haath Ki Safai which had some really sweet songs like Waada Karle Saajna and Hum Ko Mohabaat Ho Gayi Hai Tumse.


The Feroz Khan collaboration: When Feroz Khan acted in Safar, it was only two years before he would go on to direct his first film. What Safar must have done is re-affirm his decision that K.A. would be ideal for his first ever project - a musical duo that could never let him down. By then, K.A. had established themselves as the number one composers for thrillers as well, which would have only made Feroz Khan's job easier. And when Apradh hit the theatres, there would be no looking back for this team of Feroz and K.A. Songs like Tum Mile Pyar Se and Hamaare Siva Tumhare Kitne Deewane Hain are still popular and watching their videos is a real treat; after all they are some of the naughtiest romantic numbers ever!

However, as far as this combination goes, their best was yet to come.

Three years later came Feroz Khan's epic based on The Godfather, Dharmatma, and this was an album even K.A. would be very proud of. The music of this film reflected the film very well - both were all about style. Kya Khoob Lagti Ho is one of the most popular romantic numbers even today and will always remain one of the most stylishly shot songs ever. Each song of this film was a masterpiece; some that come in mind while typing are Tune Kisi Se Kabhi Pyar Kiya Hai and Tere Chehre Mein Woh Jaadu Hai. While the former is a very uniquely written romantic number aptly suiting the script situation (and it was a rather tough one - while it has to show the love of Rekha for Feroz, it has to also remind Feroz of his dead lover - so the music had to be romantic as well as have a sad nostalgic touch to it, at the same time), the latter is a song every girl would love to hear from a guy. This film also had possibly one of the first, and yet finest, 'gypsy'-style numbers with Mere Galiyon Se. Again, what transformed what would have been a very good movie into a terrific one was the thrilling background score. Watch out also for a cabaret number in this film that had no words and served it's purpose only with music.

The pair reunited for Qurbani, which was a revolution as far as music in the '80s goes. While songs like Aap Jaisa Koi and Laila O Laila were fantastic numbers shot in bars in disco style, there was also this extremely romantic number on the other hand - Hum Tumhe Chahte Hain Jaise, not to forget the title track which is as good a friendship song as the one in Zanjeer.

Their last pairing was in Jaanbaaz in 1986, which saw a very different 'avatar' of K.A. While songs like Har Kisi Ko Nahin Milta and Pyar Do Pyar Lo might have been totally 'hatke' and something totally unlike K.A. (more like something Bappi Lahiri or R.D.Burman would have done), there was no compromise on quality from their end. The story demanded steamy numbers, which would be picturized boldly, so the songs had to be enticing to say the least; and K.A. showed that they had moved on with the times and delivered just that!


The thriller genre: Come the 1970s and as mentioned, by then K.A. had established themselves as the most sought-after musical directors when the genre of the movie was thrill or suspense. Apart from the movies mentioned till now, K.A. reigned supreme in other thrillers of those times such as Victoria No. 203, which also had a recurring background theme like Johny Mera Naam and Sachcha Jhoota and also some very hit numbers, the most popular today being Do Bechare Bina Sahare, a fun number picturized on two character actors - Pran and Ashok Kumar. In fact, K.A. teamed up with the director of this movie on other occasions as well, such as Ek Se Badhar Ek, Kathputli (a drama from Brij, which was a deviation from his usual genre), Bombay 405 Miles and Chori Mera Kaam. All films had a rivetting background score and some hit numbers as well.

Gulzar signed K.A. for his thriller cum drama, Faraar. Again, composing for Gulzar's scripts is never easy because they come with so many layers, but nothing was too difficult for K.A, who justified the faith Gulzar showered on them. Gulzar didn't make too many thrillers and he always had R.D.Burman as his composer for most of his films, so when he finally made a movie about a policeman and his wife whose child is taken hostage by a murderer in their very own home, K.A. just had to deliver; and in what fine style they did. A very engrossing background score again, they also gave some superhit numbers like Main Pyaasa Tum Saawan.

K.A. gave another hit album in the form of Khoon Pasina, which had some huge hits like the title track, Khoon Pasine Ki Jo Milenge To Khayenge and Main Teri Ho Gayee Tu Mera Ho Gaya.

However, K.A.'s best for Amitabh Bachchan was yet to come - in 1978 came the cult classic, Don; and what is there to be said about this movie one already doesn't know. Each song of this film remains popular even today, be it Helen's famous item number to stall Amitabh while the police catch up on him, Ye Mera Dil Pyar Ka Deewana or the uneducated Amitabh singing Yeh Hai Bombai Nazariya Tu Dekh Babuya or about a woman seeking revenge, Zeenat singing Jiska Mujhe Tha Intezar or the very famous title track Main Hoon Don. But then, no mention of Don can be complete without the song that no one has dare change apart from just remixing it slightly when the movie was remade in various regional languages, as well as again in Hindi - Khaike Paan Banaraswala! Just this song is enough to demonstrate how much K.A. are actually present in our hearts and minds without us knowing it's them. I don't think there's any need to write about this song, and quite frankly, I don't think there are words to describe it as well!


Their other films: Despite all the work mentioned above, K.A. got offers from various other filmmakers as well. Some of the biggest blockbusters of those years or critically acclaimed movies of those times also had K.A. giving the score. While Hum Rahi, Do Anjaane, Joroo Ka Ghulam, Bairaag and Kalicharan had good scores, K.A. really shone in movies like Rafoo Chakkar which had some really fun numbers like Kisi Pe Dil Agar and Bombay Se Baroda Tak; Saraswatichandra, which had some of the most beautiful and soothing songs ever like Chandan Sa Badan and Phool Tumhe Bheja Hai Khat Mein; and Kora Kaagaz which won K.A. their only Filmfare Award. A beautiful, smart and highly emotional film, K.A.'s music immortalized the film with songs like Mera Jeeven Kora Kagaz, Roothe Roothe Piya and Mere Padhne Mein Nahin.


Viju Shah: Kalyanji's son, Viju Shah, began his Bollywood career as a music director with a bang with Tridev, maintained his tempo with Vishwaatma, Junoon and Yalgaar and followed up their success with even bigger hits like Mohra and Gupt, showing that when it comes to thrillers, he has inherited his genes from possibly the greatest of that genre. He gave chartbuster hits for films like Bade Miyan Chote Miyan, Tere Mere Sapne, Dil Ka Rishta and Pyar Ishq Aur Mohabbat.



Looking at the filmography of Kalyanji-Anandji, it is really a wonder how this duo could only land up with one Filmfare Award and one other Filmfare Nomination in their entire career. Looks like it's not just the audience who have not given them their due, but the critics as well. As I started off this lengthy article, there are some unsung heroes in every film industry. There are several in Bollywood and Kalyanji-Anandji are just two of them.

Bombai Ka Babu (1960): A forgotten gem of Indian Cinema

I was always very much looking forward to seeing Bombai Ka Babu because I just love the Raj Khosla - Dev Anand team; last week I finally got a chance to see it for the first time, and the film certainly lived up to my expectations. There are a few films that leave an impact after having seen them, and Bombai Ka Babu did just that! I saw the movie in the afternoon and my day from evening till the time I went to sleep, and even for a few hours next morning was completely wasted. I say that because this movie (especially it's ending) had me thinking about it so much I just did not have the mood to do anything else.

All I knew of the movie before I saw it were a few songs - Deewana Mastana Hua Dil, Dekhne Mein Bhola Hai, Tak Dhoom Tak Dhoom Baje, Saathi Na Koi Manzil and Chal Ri Sajni - all fantastic, but that was no lone reason to have high expectations. Raj Khosla had till then proven that he was a master story-teller, with films like C.I.D, Solva Saal and Kala Pani to his credit, and people who've followed his filmography will agree that the 50s and 60s were the years he was at his peak, and as good as any filmmaker there ever was then.

Bombai Ka Babu had a rivetting screenplay right from the first scene, and the story was very much ahead of it's times. Babu (Dev Anand) was a crook who wanted to reform himself thanks to his friendship with Inspector Malik (Manohar Deepak), but circumstances led to him accidentally killing his friend, Bali (Jagdish Raj). While on the flee from the police, he lands up in the small town of Jogendranagar, where his identity is caught by Bhagat (Rashid Khan) who blackmails him into entering a wealthy household where their son had run away from home as a kid, who must now be of his same age, with the intention of robbing the entire treasury of the house soon. The actual film begins only then, when Babu pretends he is the long-lost son of the family, and falls in love with Maya (Suchitra Sen) who is his "sister".

The screenplay was terrific, especially in scenes where Maya begins to suspect about Babu's character and his feelings for her which was definitely not just brotherly love, and she sets about to test him. With the kind of ending the filmmakers decided to give, thoughtfully picking who's going to be in the frame and when, with the quality of dialogues and acting, not to forget the song Chal Ri Sajni going about in the background, I must say the climax of this film has got to be one of the best ever!

Raj Khosla's direction was at his best, and one prime example for that is the way the song Deewana Mastana Hua Dil was picturized, with Maya singing the song because she is happy her brother has returned back after so many years and Babu on the other hand joining in, because he is so much in love with her. Well, Raj Khosla has always been very good with his song picturizations anyway, with the remaining songs also been done full justice, especially Saathi Na Koi Manzil and Chal Ri Sajni. The scene where Maya finds out the truth about Babu was shown in a very witty manner, with her moving between pillars separated by curtains in her house, recollecting many situations from the past. Also, the fact that Raj Khosla had mastered the art of filming in black-and-white just like his mentor Guru Dutt, was evident right in the first scene, when the credits appear in a sort of horizontal split screen manner, with Malik following Babu's car in his police jeep.

I don't know which department faltered even slightly in this beautiful film. Everything seemed just perfect throughout. Dev Anand once again proved that given a good director, he can be as terrific as anyone else. This film totally belonged to Dev where he was present in almost every scene and gave a splendid performance which required him to be charming, romantic, sad and troubled. Nasir Hussain and Achala Sachdev were brilliant as usual as the parents ecstatic at having their son back. Rashid Khan and Jagdish Raj were superb in their roles as well. The highlight of the film for me, however, had to be Suchitra Sen, who emoted throughout the film with just her eyes. Her playful expressions and performance in the song Dekhne Mein Bhola Hai Dil Ka Salona are unforgettable. The climax had one of the best moments in the film and Dev and Suchitra quite easily, showed their class.

The music of the film was excellent as well, every song being extremely hummable; and lyrics very smartly written to suit the storyline.

All in all, a must-watch movie for people of all ages. Sensitive people might consider sitting down with a box of tissues for this one (I'm not giving away the ending - the entire film is filled with beautiful moments). I would highly recommend everyone to buy the CD as this film is worth owning.

My rating for Bombai Ka Babu - 4 and a 1/2 stars out of 5!

Total Recall's episode of Spectacular Debuts

I've already mentioned about Total Recall, the regular weekend show on Times Now once in my blog; that is a show I absolutely adore and never miss. I have lots of respect for the Times Now folks who have decided to air such a show every weekend without fail. Sometimes I even watch it about three times that very weekend (with partly a reason being to boost it's TRPs, if my watching it is going to make much difference). What started off as a half an hour show about two years back has now extended to one hour, besides having another half an hour show specifically dedicated to songs. Not only is the show very inspirational, nostalgic (in some cases) and imformative, it's biggest achievement is probably establishing a connect between the Golden Age of Bollywood and the youngsters of today who have no idea about those times.

While I've always loved each and every episode of Total Recall, there was just this one episode that frustrated me a little. This was the episode dedicated to those actors who made a huge mark in their very first film. While this list could be endless and since Times Now acknowledged only the leading actors and actresses and not character actors, I'm going to speak only about 'heros and heroines' as well.

The episode started off with Asha Parekh whose first film, Dil Deke Dekho, became a huge box-office hit - her name obviously had to be there; and so should have been the other actress who made her big Bollywood opposite Shammi Kapoor as well - in the classic Junglee, Saira Banu.
I especially liked the inclusion of both the stars of Love In Simla - Joy Mukherjee and Sadhana. I am so glad they were not ignored, as not only was the film so sweet and their acting impeccable, but like the other two names mentioned before, this pair also made it big in Bollywood after this film.
Talk about debuts, and the one name that immediately pops up is Jaya Bhaduri in Guddi. I just wish they could have spent a couple of minutes more on her section in the show. What a performance ... and what a film!
No list of spectacular acting debuts could be complete without the names of Shabana Azmi and Naseerudinn Shah, for their performances in Ankur and Nishaant, respectively. These were probably the best ever first performances in the history of Indian cinema, in my opinion; in fact these rate quite easily in the best ever performances overall, so it's no surprise that their names were mentioned. I can never ever forget these two impactful performances by Shabana and Naseer. They had left me in a daze after the movies got over. It seriously took a while to get back to reality after watching these movies, for I was still lost in the world of these two movies and kept thinking about them for a long long time.

It was the list of actors after this that had me baffled and upset.
First of all, I don't know why Anant Nag was left out from the list even though the research team had selected Shabana for the same movie.
Also, when they mentioned some of the female stars who acted alongside Shammi Kapoor in their first movie, how could they leave out Sharmila Tagore for Kashmir Ki Kali? That was such a sweet and charming performance, just as the role demanded. They probably considered Apur Sansar as her first movie; but even if they did, that was such a great debut as well. Perhaps they decided to only concentrate on Hindi debuts ...
Next, the actors who were talked about on the show were Sanjay Dutt for Rocky, Shahrukh Khan for Deewana, Preity Zinta for Dil Se and Vidya Balan for Parineeta.
I ABSOLUTELY agree with the name of Vidya Balan on that list. Her's was a stellar performance, and really deserving of all the accolades she received.
Sanjya Dutt was good, no doubt; but he was in no way 'spectacular' as the episode wanted to convey. Moreover, if they wanted to have Sanjay Dutt in that list, then why leave out Sunny Deol (Betaab) and Kumar Gaurav (Love Story), whose films were even bigger hits?
What about Rishi Kapoor? What more can anyone do to make that list??!! Rishi, as a leading actor was the first person to win a Filmfare Best Actor Award for his first movie, he became a HUGE star immediately after Bobby released and had a huge line of producers anxious to meet him right after. The only reason I can think of the show creators not including his name there is if they considered his first movie to be Mera Naam Joker, where he made a wonderful debut as a teenage actor ... but come on!!! That was such a touching and memorable performance as well!
Also, two major actresses became overnight stars with their debut movies - Zeenat Aman (Hare Rama Hare Krishna) and Dimple Kapadia (Bobby). I am SHOCKED that their names were left out. I just don't know what was going in the makers' minds when they were making their list and came towards the '70s decade.
Talking of actresses, Preity's name for Dil Se is surprising, because not only did Preity's role end with the blink of an eye, the film too came and went by without many people knowing. If at all they had to pick Preity, then why leave out Raveena Tandon for Patthar Ke Phool. That film was a hit at the box-office and Raveena was the leading lady, who went on to become a star as well.
And lastly, Shahrukh Khan for Deewana???? You've got to be kidding me! I have no comments to add on this inclusion, however I can something about one's exclusion - Hrithik Roshan for Kaho Na Pyaar Hai!!! He became a craze in the nation after his terrific double role performance in the film, and his rubbery dance moves. How could the show creators / research team forget his name, except if they considered his first movie to be Bhagwaan Dada, or his 'actual' first roles in Aap Ke Deewane or Aasha where he just appeared for a single scene, which would be a real shame.

Again, thankfully this was just a list of leading actors; otherwise if they were to mess up with a list of powerful first performances of character actors, that would be just TOO MUCH!!!

The Tragic Love Story

Movies have generally been viewed as a source for entertainment for a good couple of hours, with people flocking to the theatres (and now just downloading them) hoping to have a good time; and somehow have a smile on their face at the end. Also, there is a romantic within all of us, so people have always liked love stories that have had a happy ending, which brings that coveted smile. Yet, there are some love stories that have always stayed in people's minds, and are quite often the more appreciated ones - the tragedies!
What makes the love stories with sad endings tick? Quite surely people who come to the movies expecting to leave in a good mood would not want to watch ones that would result in tears!

The secret of the success of tragic love stories has always dumbfounded me, but there are definitely a few reasons why I think such movies work.

For one, these movies are much more closer to reality than some larger-than-life happy-ending ones. Most humans have a history of lost or unfulfilled love. Failed love - yes, in many cases; but not necessarily. There has definitely been someone in almost everyone's lives who they wish they had approached to, spoken with and won that person over. What our real-life experience (or baggage) does is make us see ourselves in those characters in the movie. We feel for them and end the movie experience on a personal note.
For the egoists, there is then that sense of elation that it was their life that was depicted in the movie, albeit in a bit fictional manner.
The sadists would always prefer such sorry endings because this is what would make them feel good.
The tough people remember these movies fondly because it is one of the few times they remember having cried (or sobbed at the least).

While the die-hard romantics definitely connect with the movie, they also tend to talk about it a bit more. The next couple of days are always spent discussing with friends and family about the sad fate of the lovers, and playing God by wishing that had this event taken place, the ending would have different and had that event taken place, the lovers would still be together.
When there are dozens of love stories being made with happy endings, this one odd film obviously stands out as being different. Love stories that end on a good note may not be always right in some cases depending on their storyline, but the filmmakers obviously have to succumb to pleasing the audience at the end, and hence take steep deviations from their screenplay. In some cases, happy endings are hard to imagine because it is a bit weird to see parents or others who had always opposed the lovers and been cruel towards them, just melt down in a minute while at the climax.
It is this whole aura of being different that makes such movies stay in our memories forever, for I am one who certainly feels that had it been the other way round, wherein there was this one odd release with a happy ending amidst scores of tragic love stories, it would be the happy ending love story that would stand out.

MAJOR SPOILERS AHEAD!!!
CANNOT EVEN NAME THE MOVIES THAT I'VE MENTIONED FOR THAT WOULD BE A SPOILER IN ITSELF.
PLEASE READ AHEAD AT YOUR OWN RISK.

There are definitely a lot of learnings one can take from love stories that could not happen. I absolutely feel families of the lovers should forget their egos or social status which they should realize by looking at movies like Ek Duje Ki Liye, Romeo & Juliet, Qayamat Se Qayamat Tak and tons of other movies.
The fact that misunderstandings have no place in families, and that they should never be extended beyond irrepairable condition is well demonstrated in movies like Aap Ki Kasam; which real-life lovers should understand. It's best to be bold and work out problems in the beginning than save them for the end, by when it's too late.
Also, each time I see Gone With The Wind, I keep thinking to myself everytime I see Scarlett O'Hara (Vivien Leigh) treat Rhett Butler (Clark Gable) badly, or take his love for granted - since I now know the ending - that Scarlett, you keep acting like this, and when at the end you will yearn for Rhett, he won't be there, and it's all going to be YOUR fault.
And this is what I felt in that crap Hindi movie - Kya Yehi Pyar Hai (you're not likely to remember this) - as well.

Roman Holiday is one of my all-time favourite movies, and this is definitely a movie that would been well loved even if the ending were otherwise, but there is logic in the ending. Sure the princess (Audrey Hepburn) had the time of her life with the charming journalist (Gregory Peck) - but at the end of the day, she is a princess with responsibilies. I have seen this movie about ten or eleven times in the last four years, but every time I see this movie, I actually feel that this time when Gregory Peck is walking away from the palace and turning back to see if Audrey's there, she is somehow going to appear and in true filmy style throw away her crown and gloves and run towards him in tears, giving up the lifestyle she is so used to, just to be with the man she loves; but this never happens. When I come towards the climax, my brain keeps reminding me they're not going to end up together, but somehow my heart keeps asking me to have hope and that time the ending will definitely be different. I know it may sound ridiculous although this happens to everyone I know as well, but the fact is - THIS is the power of a tragic love story!

However, if a film-maker wants to get good critical acclaim and leave an everlasting memory on the audience, it is still safer to make a beautiful love story with a happy ending, because if you're going to make a tragic love story - you just HAVE to get each and every element perfect! You screw up even for a minute and the ending is going to lose it's charm. When you make a love story with a sad ending, you'd better make sure everything leads up to the audience going out in tears rather than leave cursing you for the horrible ending.
This is a genre that is very hard to make, but once you have done it right, you've made a significant contribution towards cinema.

Remembering A Legend: S.D.Burman

Music is perhaps the language that has the power to directly connect to our souls and instill some rather mysterious feelings within us right away. I say mysterious because I really don't know what happens when you listen to something so soothing and wonderful, yet at times very lively - is that how people feel when in love, or is that ecstasy? In Hindi films, the music really hit the golden age in the early 50s when the style was completely reformed from that of the 40s, and the words I used in the beginning actually made sense. Shankar-Jaikishen are probably the ones to thank for that, and they are my absolute favourites for reasons more than just that. Yet, for some reason, I am writing my first 'Remembering A Legend' article dedicated to a music-director and it's for the other maestro from the 50s; one who would mesmerize us all with his soulful music for two and a half decades - Sachin Dev Burman.

There has always been something magical in S.D's music, and that was evident right from when he really hit off in Baazi - a fantastic album of eight songs, all so brilliant and different, we knew Hindi music had evolved and a genius was discovered. S.D used both the romantic side as well as the seductive side of Geeta Dutt marvellously in songs like Aaj Ki Raat Piya, Suno Gajar Kya Gaaye and the more popular Tadbeer Se Bigdi Hui and also Shamshad Begum very finely in Sharmaaye Kaahe.
The Anand family had always used S.D.Burman for their movies prior to Baazi and had S.D. perform music right from their first Navketan production. What Baazi would do is just strengthen their belief in this extraordinarily talented musician and use him for all of their 'home movies', and this colloboration would only prove to us youngsters why that time was called the 'Golden Era of Indian film music'.
When Dada Burman composed any song, you could be rest assured of something magical, but there's no doubt that he gave his best for Navketan films. The music would turn out to be evergreen and very, very endearing. Burmanda followed up Baazi with more timeless wonders like Jaayen To Jaayen Kahaan for Taxi Driver, Jeevan Ke Safar Mein Rahi for Munimji, Chup Hai Dharti for House No. 44 and some really different compositions for Funtoosh - Dukhi Man Mere, a lovely tragic song and two crazy numbers; Ae Meri Topi Palat Ke Aa and Denewala Jab Bhi Deta.
A major reason for S.D. producing his best for the Anand brothers and Navketan could be their intelligent sense of music and writing a perfect opportunity for song-setting. This was very much evident in their future collaborations, especially when Vijay Anand would take over the reigns. Some prime examples of this period were the absolute charmers like Maana Janaab Ne Pukara Nahin, which had Dev following Nutan in a cycle in Paying Guest or the more popular song from the same film - Chhod Do Aanchal. The same year had S.D. compose for the Anands in Nau Do Gyarah, and the songs that were to come out from this film would be not only superb, but also so pleasing that they can brighten up your mood any day any time! Songs like So Jaa Nindiya Ki Bela Hai and Aankhon Mein Kya Ji have got to be two of the most romantic duets in the history of Indian Cinema!
The Navketan-Burman combo then went on to provide music for films like Tere Ghar Ke Saamne, Kaala Bazaar, Guide, Jewel Thief, Prem Pujari, Tere Mere Sapne and Gambler.
Romantics still sing to Dil Ka Bhanwar, Ek Ghar Banaoonga Tere Ghar Ke Saamne, Rimjhim Ke Taraane, Khoya Khoya Chand, Hai Maine Kasam Li and Rangeela Re with fond affection and feeling. As for Guide and Jewel Thief - what is there for me to speak about music from these films? No matter how much I write, it will be very less. All I want to add is that only S.D. could do something as genius as compose the back-to-back tracks, Saiyyan Be-imaan and Kya Se Kya Ho Gaya, from the same classical raaga to depict the same song from Raju and Rosy's (the characters of Dev and Waheeda) perspectives; and yet give them a distinct feel. Also, Piya Tose Naina Laga Re is such a wonderful musical treat - one does not feel it to be as long as it really is (about 8-9 minutes). As for Jewel Thief, that is another of S.D's best albums. If there is one fun romantic number that is always on everyone's mind, it has got to be Ye Dil Na Hota Bechaara; and what fantastic, energetic music that has in the interludes! And while Rula Ke Gaya Sapna is probably one of the best sad romantic numbers, this film has probably THE best seductress song - Raat Akeli Hai; the two numbers getting the best of the talents of the two sisters Lata and Asha respectively.
S.D. always gave his best for Dev Anand; there was no denying that; whether it was for Navketan or not, didn't really matter. S.D. surprisingly (atleast to me) made Hemant Kumar sing for Dev and the results were simply terrific - be it Hai Apna Dil To Awaara from Solva Saal or Na Tum Hamen Jaano from Baat Ek Raat Ki. The songs from Teen Devian have stood the test of time and will in all likeliness, always will - some smash hits being Likha Hai Teri Aankhon Mein, Arrey Yaar Meri Tum Bhi Ho Ghazab, Aise To Na Dekho and Khwab Ho Tum. Two other amazing and timeless duets that were to come from S.D. composing for Dev would be Deewana Mastana Hua Dil from Bombai Ka Babu and the naughty Achcha Ji Main Haari from Kala Pani, which can be heard over and over again continuously. When it came to duets, Rafi-Asha were always unstoppable and they have S.D's tunes to thank to a large extent for that, considering most of their magical romantic numbers were composed by Dada Burman.

If Dev Anand knew how to use S.D. well, how could his good friend Guru Dutt lag behind? While let's not forget Baazi was produced by Guru Dutt, true magic was experienced in probably one of the best albums of all time - Pyaasa. Songs were composed for some of the most unique situations and instructions must have been very strict from Dutt to carry the story forward in tunes that not sound very 'filmy', but in fact sound so natural that the audience don't even realize that a song has been completed right in front of them while watching the movie. Yet, these "musical words or dialogues" have become immortal - Jaane Woh Kaise Log The, Jinhe Naaz Hain Hind Par and Ye Duniya Agar Mil Bhi Jaaye To Kya Ho being two examples of this. They are simply three of the most fantastically written and composed songs ever! The lyrics have such a strong social meaning, it's hard to imagine how low the level of Bollywood songs have now stooped to, when we listen or even hum these songs. Who can forget Hum Aapki Aankhon Mein - a revolutionary method of picturizing songs in those days, and a song as sweet as that was just apt! His song Sar Jo Tera Chakraye is very popular even today, and always will. Not only is the song so wonderful, it's the subtle musical touches that contribute towards it's sheer brilliance, such as the music that corresponds to Johny Walker massaging (or drumming even) someone's head. Pyaasa is a film that used songs as a means of narrative, and that is always the hardest thing to pass off! While each song in this film can itself be a topic for a separate article, there is just no bigger example of S.D's genuis than Jaane Kya Tune Kahi - Geeta Dutt in a mischevious mood, song fitting the situation to a T and the music in the background - WOW! There are just no words to describe the beats in that song; beats that I can guarantee one would have never heard of in any other song! It is indeed tough to compose for Guru Dutt's extraordinary vision, but when given your heart and soul to it, combined with the kind of innate talent that S.D. possessed, the result would always be spectacular - such magic was re-created when Geeta rendered her voice for Waqt Ne Kiya in Kaagaz Ke Phool - everything in this song spelling G.E.N.I.U.S, be it the haunting tune, the lyrics, the singing or the picturization.

S.D. continued composing some incredible numbers for films like Ziddi, Chalti Ka Naam Gaadi, Talash and Sharmeelee, wherein each song was better and now more legendary than the other.

Burmanda continued his extraordinary run of superhit evergreen songs in films like Jugnu, Anuraag and what is probably one of the most popular albums now, the legendary Aradhana! While all songs in the film stand out, the one song that deserves mention simply for being the first in the sensualism category is Roop Tera Mastana.

But if people thought that the S.D-Navketan form was just not there in his music anymore, S.D. came back with a bang when it was time to compose for Hrishikesh Mukherjee. While the songs of Chupke Chupke were all terrific and apt for the movie situation, Dada would outdo himself in two of Hrishikesh's masterpieces - Abhimaan and Mili. The best known song in Mili today is probably Maine Kaha Phoolon Se, and only S.D. could compose such a fun-loving song; a song with a zest for life like no other. Abhimaan still remains one of the most spectacular albums of all time. This was a movie that had music as the essence of the script, and it would go wrong even if one of the songs would not live up to S.D's high standards. Each song in this movie however surpassed the standard set by him. While my personal favourites remain Teri Bindiya Re and Ab To Hai Tumse, the song that made the movie what it is would obviously have to be Tere Mere Milan Ki Raina. The film was already so emotional and the ending rested on this one song alone, which would unite the separated couple by making them sing together; this song was to be the highlight of the film, the most emotional moment in the film. And what a fantastic scene it made for!

S.D's relations with the lead singers of that time were always good and friendly, except for a brief spat with Lata Mangeshkar. Thankfully, that didn't last very long and Lata was back for some soul-touching numbers for one cannot imagine songs of Guide or Abhimaan without her.Kishore Kumar never sang for any actor till the 60s except for Dev Anand, which is why most of Kishore's classics from this era have S.D's credits on the side. Mukesh, a singer who didn't geature in most of S.D's films, is known for his sad songs; and while most of them are for Shankar-Jaikishen, one cannout discount Chal Ri Sajni from Bombai Ka Babu as being one of his greatest; quite easily comparable to the other famous sad songs of his. S.D. used Talat Mahmood very effectively; and the best example is the famous "telephone song" - Jalte Hain Jiske Liye from Sujata. Hemant Kumar too, was used as well by Dada as he used himself! So nice to see a top music director use another top music director to sing for his compositions ... and they were both so much in awe of each other! Geeta Dutt, Mohd. Rafi and Asha Bhonsle's talents were utilized to the maximum by Burman. S.D however knew when the time was most right for a voice that needed to sound a bit folk and in some of the most touching situations; which is when he sang himself. There is just so much pain in songs like Mere Saajan Hai Us Paar from Bandini, Safal Hogi Teri Aradhana from Aradhana and Wahaan Kaun Hai Tera from Guide.

His immense talent is well evident from his vast range of music - while there is the soft and sweet Thandhi Hawaayein from Naujawan and Dekhne Mein Bhola Hai from Bombai Ka Babu, and the utterly romantic Mere Sapnon Ki Rani from Aradhana, there are also some absolutely madcap numbers like Hum The Woh The, Baju Samjho Ishaare and Paanche Rupaiya Baarah Aana from Chalti Ka Naam Gaadi. While Guide had a lovely happy romantic number like Gaata Rahe Mera Dil, it also had a very sad (and beautiful) number in Din Dhal Jaaye. Chupke Chupke had a song with unusual beats (the tongue used when expressing sympathy to others in a teasing manner) in the form of Ab Ke Sajan Saawan Mein, while Meri Surat Teri Aankhen had a lovely classical number, Poocho Na Kaise Maine. While S.D. had such soothing, charming numbers like Shokiyon Mein Gola Jaaye from Prem Pujari and Bagiya Mein from Tere Mere Sapne, he also gave music to a faster romantic number like Choodi Nahin Mera Dil Hai from Gambler.

S.D's contributions to Indian Cinema extend even further than his own music or voice. One of the best movie albums of all-time, Hum Dono, was the first movie which his assistant, Jaydev, composed music for; and he would go on to become a big enough name in film music as well. Then of course, his best ever contribution would be his own son, Rahul, known simply as R.D.Burman or Pancham!

I realize now it's been almost three hours since I've been typing about S.D.Burman and am scared to even check my post later simply because I think this is going to turn out to be as long as the script of Sholay! I just want to end this article speaking about an incident I heard from Amit Kumar on Times Now's Total Recall, which I follow religiously (and I hope I remember this incident right - I certainly don't want to provide any false information on my blog). S.D. was very sick and most likely on his deathbed when the recordings of Mili were going on. There was just one song left to be composed - Badi Sooni Sooni Hai, and R.D. had been given the task to go and take his place, but S.D., from his oxygen mask, kept giving instructions to R.D saying when Kishore Kumar starts singing, please make him sing exactly the way I've always talked to you about, the beauty of the song lies in it's subtlety and the way I've imagined Kishore to sing.
That is passion! Even on his deathbed, the thing that kept going on S.D's mind was the incomplete song. That is perhaps the reason for his greatness and why his songs have always stood the test of time; and why there will never be music-directors like him anymore!

Average night ... few good memories

So the first award show of the year for Hindi films released in the calendar year of 2009 is over! As usual, the Star Screen Awards had a good attendance, some predictable nominees and a few surprise winners. Nothing too surprising to actually talk about on a blog. However, there were a lot of good memories from the show, which was not bad. Shahid Kapoor, Madhavan, Omi Vaidya (a.k.a Chatur Ramalingam) and Shahrukh Khan did a good job hosting, but quite frankly, the good moments from the show came elsewhere.

Here is the countdown of my favourite moments from the show:

7. Salman Khan dancing with kids. Yes, which other star in the industry can oblige his fans by agreeing to dance with them on stage after their request, and small children that too! In an age where stars prefer to dance either alone or with their co-actors only, Sallu bhai is a bit hatke!


6. Amitabh Bachchan and Vidya Balan's Award speeches. The only reason I've included Vidya Balan in this list is because you could feel her speech being spoken by her heart and not mind. The sheer happiness on the face with the obvious self-realization that she has gotten over her wardrobe sneers and is now on the verge of becoming the star she so truly deserves to be, was something worth watching. Amitabh Bachchan's speech was special because he signed off by praising Rajkumar Hirani, Vidhu Vinod Chopra and the entire team of 3 Idiots for making quite possibly one of the best movies of all time. An actor praising a film of which he was not even a part of, while accepting an award, is something you don't get to see very often. Hats off to Amitabh Bachchan and the entire cast and crew of 3 Idiots for making the Big B say so.

5. Vidhu Vinod Chopra making fun of himself by shouting Shut Up, Shut Up, Shut Up, with his fingers pointed at the hosts who prompted him to say so, on obvious reference to the press conference controversy just after 3 Idiots' release.

4. The Prem Chopra tribute. There was a time when SRK and Shahid were talking about heroines bathing under waterfalls and having DVDs of such movies, and that was fine. But the topic then moved to the pose given by heroines of the 70s and 80s while about to get raped in a hotel room. Now obviously, being a major Hindi film fan, the very mention of such a sentence brought up none other Prem Chopra's picture in my mind. It then changed to Ranjeet and Shakti Kapoor after some time but moved back to Prem Chopra again. Looks like the cameramen of Screen Awards too had similar thoughts going in their mind; for there on camera was seated a very smiling Prem Chopra, whose memory I'm sure would have gone back to his fun days as the womanising villain as well (and would have had a hint the cameras would be focussing on him now).

2. At number 2, I have a tie between two great moments. Javed Akhtar's speech for Lifetime Achievement and Vidhu Vinod Chopra paying tribute to Dev Anand.

Javed Akhtar, in his speech, expressed his disappointment over the songs of today, as he rightfully pointed out, there's no meaning in the songs of today. Lyrics are getting crappier day by day, and that songs of today are not an iota of the quality that old songs would have. It's a point one can easily agree on - songs of those times had fantastic lyrics, which would always suit the situation they were placed for; which is why for example, most ad-makers of today reference those older songs in their advertisements. Today's songs just don't fit situations at all! Not only do the songs have no meanings, the words too sound very amateurish! But the point I liked best was the other reality Javed saab pointed - he said that when music directors of today are questioned over the poor quality of their tunes, they immediately reply saying that this is the music the youth of today enjoy; but in reality if you were to ask the youth what they want, they would say they want songs the way they were made back in the good old days. Javed Akhtar couldn't have been more spot on in his observations about today's generation. Every person I know who has heard old Hindi songs (I'm just restricting this to Hindi movies for that's the area I'm most comfortable speaking about) always say that those songs were truly memorable and timeless. In fact, while playing Antakshari, no one even remembers a Hindi song of the same year even if it came out just a couple of months back. But songs from the 40s to the 80s - they are there on everybody's mind and tongue.

One beautiful moment came when Vidhu Vinod Chopra called the legendary Dev Anand the biggest idiot in the industry for still making films at this age (he meant it in a nice way of course. And by the way, Dev Anand is 87 years old now). He went up to him and asked him if he could ask a question. (Meanwhile SRK saw Dev Anand, rushed towards him, and touched his feet).Dev Anand immediately stood up from his seat (good manners!) and confidently asked him to ask whatever he wanted to. 87 years, and still speaking so well. He truly is evergreen! Anyway, coming back to the scene, VVC asked Dev sir for his inspiration, what keeps him going despite his age. Dev Anand replied saying it's good filmmakers and actors like you that make me want to compete with you. And the feeling you get that whatever I've done, I've given it my best! A perfect tribute to the never-say-die spirit of Dev Anand. I'm personally happy atleast someone approached him during the ceremony. A guy of his age and stature, sitting alone, can be a depressing sight for his fans ... I was real glad this conversation happened.

1. The highlight of the evening for me were the Salman-Aish moments. It all started with the nominations for Jodi Of The Decade. And the first nomination was Salman Khan and Aishwarya Rai. Aishwarya Rai, who was sitting next to her husband Abhishek and holding hands with him, had the shock of her life. You could see her getting nervous for a brief moment. But the expression on her face was something to look at! Surprisingly, it was more of happiness and pride than embarassment or anger. Well, there were plenty of surprises to come. And they arrived when the show saved for the last happened. Salman Khan was dancing with his fans and quite expectedly, the camera kept zooming towards Shahrukh and Aishwarya alternately. But Aishwarya's expressions kept surprising us each time the camera fell on her. At first, she looked really happy seeing Salman dance, later her expressions were those of pride and respect for Salman and I can swear the last couple of zoom-ins on her, she was actually blushing! She looked like a shy bride on her wedding night each time! And this is something you can verify as well. That is a sight I'll never forget in my entire lifetime!

Well, looking forward to the Filmfare Awards now. But I doubt anything could better Aishwarya blushing at the sight of Salman :)

Remembering a legend: Shammi Kapoor

Shammi Kapoor ... what do I say about him? Just the very mention of his name and I imagine a healthy man swinging to some of the most wonderful songs you can hear, a man probably the most energetic I've ever seen on celluloid, a man whose antics on screen can never make you stop laughing or smiling, a man whose hair could dance better than most of the actors India has ever seen, a man whose films will always remain evergreen, a man who could rule the industry for over a decade despite being slightly overweight, a man who paid as much attention for the various subtleties in his songs and provided a right action or step for it. This was a man who had broken away from the Kapoor tradition of socialist idealogies to the typical filmy lost-and-found themes and later on to comedies that would stand the test of time, and of course a classic suspense movie, regarded as the benchmark for thrillers. Here's celebrating the never-say-die attitude of Shammi Kapoor, a man whose love for cinema and celebrities is contagious, a man whose films and songs are so addictive!

Shammi Kapoor was quite a struggler in the beginning of his career, despite having been part of films like Laila Majnu and Jeewan Jyoti in 1953, but none of them left their mark at the box-office. It was only four years later, when Nasir Hussain cast him in Tumsa Nahin Dekha (which Dev Anand refused) that his luck changed. This movie completely rejuvenated Shammi - he now had a new look (unshaven moustache), a new style (that of the playful Shammi Kapoor we all know and love, having been forced to move out of the Raj Kapoor style of acting), a new kind of music (energetic, foot-tapping), a new singer (and from now on someone who would sing ALL his songs and form one of the most formidable partnerships the industry has ever seen - Mohammed Rafi) and for probably the first time an actress who was more junior than him in the film industry. The film became a huge hit and Shammi followed the success of this film with immediate hits like Dil Deke Dekho, Dil Tera Deewana, Basant and Chinatown. Acting talent was never at doubt as far as Shammi Kapoor went, right from the beginning, but the 'Shammi Kapoor touch' was exactly what his films and the audiences wanted.

Shammi Kapoor was now hot property and his stock went highest when we were to first see him in colour, and what a sight that was - Shammi Kapoor sliding down the snowy hills of Shimla (projected to be Kashmir in the movie) shouting Yahooooo at the top of his voice. Junglee was one of the biggest hits of that year, and a star had just been born. Shammi Kapoor then followed it up with some other huge hits like Professor, Kashmir Ki Kali, Jaanwar, Bluff Master and Rajkumar. All these films had memorable storylines, evergreen music and of course, the Shammi Kapoor touch.

By now, it was a fact that if any producer/director wanted to cast a new leading lady, Shammi Kapoor had to be the star to act alongside. This is a trait not many people have; giving breaks to newcomers and putting your own stardom at risk. But Shammi's risks (and the producers' of course!) paid off and how - we got some legendary actresses like Asha Parekh, Sharmila Tagore and Saira Banu.

The films by now had established Shammi Kapoor as an actor who could pull off comedy like no other. He had also proven his mettle in melodrama and romance, and is often considered one of the most romantic actors of all time.

However, if there was any person who was his biggest critic, he was proven wrong when Shammi Kapoor followed up these light-romantic-family movies with Teesri Manzil, which easily goes down as one of his toughest roles. A drummer accused of murder, Shammi got his act perfect when it came to balancing romance and mischief in scenes with Asha Parekh, a suspect when it came to scenes with Rashid Khan and Helen, comedy in the very famous train scene with Asha Parekh and Ram Avtar, a young naive man when it came to scenes with Prem Nath, a state of shock when he unravels the murderer's true identity (and what a scene that was!) and a true hero in the climax. He is now remembered best from that movie as a drummer and dancer who totally revolutionised the industry. The mere mention of Teesri Manzil reminds us of the rock-and-roll, foot-tapping music that took place in clubs, songs like O Haseena Zulfon Wali, Aaja Aaja and Tumne Mujhe Dekha.

However, this period saw the untimely death of Shammi Kapoor's wife, the great and legendary Geeta Bali, from small-pox, which led to Shammi's period of depression and him putting on oodles of weight. This period, even though had him being a bit overweight, saw some other great movies coming out, like Prince, An Evening In Paris and Brahmachari. In fact, Brahmachari swept many Filmfare Awards that year, including a very well-deserved Best Actor for Shammi. Shammi Kapoor's last major hit as a leading actor came in 1971; Andaz was a huge hit and a film that made stars out of Hema Malini and Ramesh Sippy, the director.

Post Andaz, Shammi voluntarily stepped down from leading roles. However, his mere screen presence was enough to delight audiences in films like Yeh Vaada Raha, Prem Rog, Shalimar, Vidhaata (for which he won his second Filmfare), Hero, Betaab, Sohni Mahiwal, Ijaazat, Prem Granth and Jaanam Samjha Karo.

With such a wonderful filmography, it's no wonder that Shammi Kapoor is rightfully considered as one of India's top stars. Many actors have come and gone, but none have left an impression quite like Shammi Kapoor has; and that impression was a product of his good nature, the true friendship he had with his colleagues, his acting work, his songs which are sung and danced to till today and a style which NO mimicry artist has ever been able to copy, and chances are, never will.

A toast ... to the most distinct star cinema has ever seen!