#Best Love Songs of Mumtaz

[gmqazi19739]

Mumtaz Molai - Bio, Top 10 Best Sindhi Folk Music

The name Mumtaz Molai deeply captures the soul of Sindhi music. His journey from humble beginnings to becoming a renowned Sindhi folk singer is a story of passion, perseverance, and immense talent. Known for his unique style of blending traditional Sindhi folk music with contemporary elements. Mumtaz Molai has left an indelible mark on the world of Sindhi music.

Best Mumtaz Molai Sindhi Folk Music Download

Biography and Early Life Originally named Mumtaz Ali Chandio, Mumtaz Molai was born in Khairpur Sindh in 1980. His childhood was not easy, and financial difficulties forced him to work in a sewing shop as a child Despite all these challenges, Molai's love for poetry and folk music flourished from an early age. His journey took a dramatic turn when he moved to Saudi Arabia in pursuit of better opportunities. During his six-year stay in Saudi Arabia, Molai worked as a driver, a job that gave him the strength to return to his passion for poetry when he returned to Sindh. The beginning of a musical journey Molai's love of poetry was more than just a hobby; That is the calling. He started writing poetry in 1990, and his verses soon caught the attention of leading Sindhi artists. The first to sing his poetry was the legendary Ustad Jalal Chandio. This collaboration marked the beginning of Molai’s journey in the world of music. Rise and make a name for yourself Mumtaz Molai’s rise to fame was swift and well-deserved. His songs, which often expressed his own experiences and feelings, endeared him to the people of Sindh. His popularity rose when his songs were aired on leading Sindhi TV channels like Kashish Sindhi Channel, Sindhi TV, and KTN Sindhi Channel. These platforms played an important role in bringing Molai’s music to a wider audience, making him a household name in Sindh. Mumtaz Molal's unique style of music One of the defining characteristics of Mumtaz Molai’s music is his ability to blend traditional Sindhi music with contemporary sounds. Molai’s music is heavily influenced by the works of Sindhi Sufi poets, and this influence is reflected in the spiritual depth and emotional intensity of his music. Influence of Sindhi Folk Songs Mumtaz Molai has played a pivotal role in popularizing Sindhi classical and folk songs. His contributions go beyond just music; He played a pivotal role in expanding the audience of Sindhi music, making it accessible to people unfamiliar with the genre. By incorporating elements of Sindhi pop music into his work, Molai ensured that traditional Sindhi classical music is relevant in modern times. Personal life and struggle Beyond his fame and success, Mumtaz Molai’s personal life has been full of struggles and heartbreak. His songs often reflect his emotional journeys, especially his experiences with love and heartbreak. One of the most touching moments of his life was when he fell in love and proposed, only to be rejected. This heartbreak inspired him to channel his pain into his music, creating some of his most powerful and evocative music. Mumtaz Molai, King of Sindh Mumtaz Molai's contribution to Sindhi music earned him the prestigious title of "King of Sindh". This title not only reflects his musical talent but also his deep connection with the people of Sindh. mola's ability to express the joys and sorrows of life through his music has endeared him to his fans and made him one of the most beloved figures in Sindhi culture Awards and recognition In 2018, Mumtaz Molai received the first major award from Siraj Durrani, a prominent politician in Sindh. The award was a testimony to his outstanding contribution to Sindhi classical songs. Contribution of Mumtaz Molai to Sindhi Culture Mumtaz Molai’s impact on Sindhi culture goes beyond music. He promoted and preserved the rich cultural heritage of Sindh through his music. His work keeps Sindhi tradition alive, passing it on to future generations. Famous beyond Sindh Mumtaz Molai is a household name in Sindh, but his popularity extends beyond the borders of his home province. His music has captivated audiences in India and Dubai, where he performed to rapturous crowds. Whose work is relevant in modern times Mumtaz Molai’s music is as relevant today as it was when he first started his career. His music is a source of comfort and inspiration for many, especially in times of crisis. The themes of love, loss, and resilience that are prevalent in his work speak to a universal human experience, making his folk songs timeless. For younger generations of Sindhis, Molai’s work is a reminder of their rich cultural heritage and the power of music to bring people together across generations Legacy of Mumtaz Molai The legacy of Mumtaz Molai is one of profound impact and lasting impact. Molai's ability to blend traditional and contemporary elements in his music has distinguished him as a true innovator. Conclusion Mumtaz Molai’s contribution to Sindhi folk classical music and culture is nothing short of spectacular. From his humble beginnings to becoming the "King of Sindh", his journey is a testament to the power of perseverance and passion. Through his music, Molai has given voice to the joys and sorrows of life, creating a lasting legacy that will inspire and enrich many generations. FAQs Who is Mumtaz Molai? Mumtaz Molai is a renowned Sindhi folk singer and poet known for his contributions to Sindhi classical, folk, and pop music. Why is Mumtaz Molai famous? Mumtaz Molai is known for his unique blend of traditional Sindhi melodies and contemporary sounds, as well as deeply emotional and spiritual lyrics How did Mumtaz Molai influence Sindhi music? Mumtaz Molai played a pivotal role in popularizing Sindhi classical and folk music, expanding its audience and ensuring its relevance in modern times. What awards has Mumtaz Molai won? Mumtaz Molai received his first major award from Sindhi politician Siraj Durrani in 2018, as well as other accolades throughout his career. Read the full article

[indiatajtours]

Taj Mahal Day tour by India taj tours Company.

Take an enthralling day trip to the Taj Mahal with India Taj Tours Company, where each minute is designed to fully submerge you in the grandeur and background of this famous structure.

Arrival in Agra: Your trip starts with a leisurely early morning departure from Delhi, making sure you arrive in Agra rested and prepared to explore. Enjoy the beautiful scenery of Northern India while traveling in air-conditioned comfort.

Arrival in Agra: Our experienced guide will meet you at the airport and stick with you for the duration of the day. Mughal heritage abounds in Agra, which beckons with its fascinating stories and stunning architecture.

Of course, the Taj Mahal—one of the Seven Wonders of the World and a UNESCO World Heritage site—is the tour's high point. Admire this magnificent landmark as the beautiful morning light reveals it to you. Unmatched in beauty, the Taj Mahal was constructed by Emperor Shah Jahan as a memorial to his beloved wife Mumtaz Mahal. Your guide will share details about its construction, architecture, and the touching love story that led to its development.

Seeing the Taj Mahal is just the first stop on your tour of UNESCO World Heritage sites. Next, explore Agra Fort. The Mughal emperors' primary residence was this red sandstone fort, often known as the Red Fort of Agra. Discover its fascinating history and strategic significance while touring its magnificent palaces, courtyards, and gardens.

Gain cultural insight and experience the local food by enjoying a hearty lunch at a restaurant in the area. Traditional Mughlai cuisine is well-known for its flavorful dishes and fragrant spices. While interacting with regional artists and perusing the busy marketplaces selling handicrafts and mementos, bask in the warmth and hospitality of Agra.

Travel back to Delhi: As the day comes to an end, unwind and think back on the splendor and depth of culture you were able to witness on your day trip to the Taj Mahal. With memories of a day that will always remain in your heart, our luxurious transportation guarantees that you return home safely and comfortably.

In summary, India Taj Tours Company's Taj Mahal Day Tour offers an unforgettable opportunity to see India's rich cultural legacy, with a focus on the enduring beauty of the Taj Mahal. This tour guarantees that you will see the best of Agra in a single day, guided by our dedication to excellence and client satisfaction, whether you're a history fan, a photography enthusiast, or just looking for an engaging cultural experience.

Along with us on this incredible adventure, you will leave with priceless memories and a greater understanding of India's architectural and cultural marvels as the majesty of the Taj Mahal captivates your senses.

ALSO READ-

Chappell Roan is a person. Her name should undoubtedly be on your radar if you enjoy listening to new, intriguing music. With her distinct sound and captivating performances, up-and-coming musician Chappell Roan has been creating waves in the music business. This piece will examine her career in greater detail, from her early years to her ascent to fame, and will also look at what makes her unique in the congested music industry.

Childhood and Upbringing Cappell Kayleigh Rose Amstutz, the mother of Roan, was born in Willard, Missouri. Her early years were filled with the ease and allure of country living because she was raised in a small town. She was up surrounded by music, and her family supported her in following her passions. She showed an incredible gift for singing and writing songs at an early age, frequently appearing in talent shows and local events.

Influences from music Early influences played a significant role in Roan's musical development. A wide variety of musicians, including indie faves Florence Welch and Lana Del Rey and pop icons Madonna and Stevie Nicks, served as influence for her. She was able to create a sound that is entirely her own by fusing pop, indie, and electronic components thanks to these varied influences.

Career Start-Ups Chappell Roan started posting her songs to YouTube, which marked the official start of her career as a musician. Listeners were immediately drawn to her emotional words and beautiful voice, and she soon developed a devoted internet following. Her signing with Atlantic Records, a significant turning point that signaled the start of her professional career, was made possible by her online presence.

A breakthrough instance Roan's life took a drastic shift after her single "Good Hurt" was released. Both reviewers and listeners were strongly moved by the song's unsettling melody and unfiltered emotion. Her ability to write songs that are both universally relevant and introspective was demonstrated. Roan became well-known as a rising star in the music industry when "Good Hurt" saw substantial radio and streaming figures.

distinct musical taste Chappell Roan's ability to meld several musical styles into a unified and enthralling sound is what makes her stand out from other performers. Introspective lyrics that delve into themes of love, sorrow, and self-discovery are frequently paired with opulent, atmospheric production in her songs. Due to the rich, emotional tone of Roan's voice, her songs gain depth and connect with listeners on a very intimate level.

List of discs Roan has an impressive discography that is continually expanding. A larger audience was exposed to her with her debut EP, "School Nights," which featured notable songs like "Die Young" and "Sugar High." Every new song on her albums since then has demonstrated her growing skill, as they have all continued to build upon this foundation. tunes such as "Pink Pony Club" and "California" demonstrate her talent for writing meaningful pop tunes that are memorable even after just one hearing.

Partnerships and Highlights Chappell Roan has enriched her voice and broadened her creative horizons through her career-long collaborations with a diverse range of musicians and producers. Known for his work with prominent pop musicians, producers like Justin Tranter are among the notable people with whom they have collaborated. Her position in the industry has been further cemented by these collaborations, which have improved her music and exposed her to new audiences.

Live Exhibitions Live performances of Chappell Roan are nothing short of spectacular. She creates an amazing performance experience with her dynamic stage presence, powerful vocals, and ability to connect with the crowd. She is skilled at establishing a mesmerizing ambiance that captivates audiences and holds their attention throughout her performance, whether it is at a smaller location or a bigger event.

[justsomething07]

Top Tourist Attractions in India

India, a land of many cultures, rich history and breathtaking scenery, offers several tourist attractions. From ancient temples to vibrant cities and peaceful havens, here are some of the best tourist destinations in India that every traveler must explore. 

1. Taj Mahal, Agra A UNESCO World Heritage Site, Taj Mahal is the most famous monument in India. Built by Emperor Shah Jahan in memory of his wife Mumtaz Mahal, the white marble mausoleum is a symbol of eternal love. Intricate carvings, inlaid jewels and beautiful gardens make it a masterpiece of Mughal architecture. Visiting the Taj Mahal at sunrise or sunset offers mesmerizing views as the monument shimmers in the changing light. 

2. Jaipur, Rajasthan Known as the Pink City, Jaipur is a vibrant mix of old and new. The city's historic forts, palaces and bustling markets offer a glimpse of India's royal past. The main attractions are Amber Fort, a magnificent building on top of a hill, and Hawa Mahal, a magnificent palace with a facade resembling a honeycomb. The City Palace and Jantar Mantar Astronomical Observatory are also must-sees. 

3. Varanasi, Uttar Pradesh 

​​​​​​​​​​Varanasi, one of the oldest continuously inhabited cities in the world, is also a spiritual center for Hindus. Situated on the banks of the Ganga River, the city is known for its gorges where pilgrims perform rituals and ceremonies. The evening Ganga Aarti at Dashashwamedh Ghat is a mesmerizing experience where priests perform elaborate rituals accompanied by songs and music. Ancient temples and vibrant local life unfold as you explore the narrow lanes of Varanasi. 

4. Remote backwaters of Kerala 

God's own country, Kerala is known for its beautiful backwaters. A network of interconnected canals, rivers and lakes offers a peaceful escape. Houseboat cruises on the backwaters of Alleppey or Kumarakom offer a unique experience where travelers can witness lush landscapes, traditional villages and diverse wildlife. The peaceful atmosphere and natural beauty make it an ideal holiday. 

5. Goa 

Goa, India's smallest state, is a popular destination for its beautiful beaches, lively nightlife and Portuguese heritage. From the lively beaches of Baga and Anjuna to the peaceful sandy beaches of Palolem, Goa has something for every traveller. The state's colonial churches such as the Basilica of Bom Jesus add to its cultural charm. Goa's bustling markets, beach huts and water sports ensure a fun-filled holiday. 

6. Ladakh 

Ladakh, popularly known as 'High Passes', is a region of extraordinary beauty. The dramatic landscapes of Ladakh in the Himalayas include rugged mountains, clear blue lakes and high deserts. The main attractions are Pangong Lake, Nubra Valley and Hemis and Thiksey Monasteries. Adventurers can enjoy hiking, rafting and motorcycling in the challenging terrain. 

The various tourist attractions of India offer countless experiences to travelers. Whether you're exploring historic monuments, enjoying picturesque landscapes or immersing yourself in local culture, each destination offers a unique glimpse into the country's rich heritage and natural beauty. Plan your trip to these top attractions and discover the fascinating charm of India..

Discover more content and updates beyond this blog.Click here to explore.

Keen to explore further? Click here for related articles and helpful resources

[ralfreinhardt4-blog]

Take Advantage Of Indian Drama Serial - Read These 10 Tips

Indian drama serials often seem to glorify toxic behaviour. For example, many Colors shows Udaariyaan Written Update show women being abused by their men. This is a bad message to send out.

Humsafar enthralled a nation and launched Mahira Khan and Fawad to superstardom. This remarkable serial showcased director Sarmad Khoosat’s unique artistic and allegorical directorial style.

Read the Storyline

The most important thing to look for in a good drama is a good storyline. A great script can elevate even the lowest quality serial. In addition, a good director can make a huge difference to the overall quality of a drama.

Dastaan is a wonderful example of how a good drama can stand out from the crowd. This powerful drama tells the story of Hassan and Bano, torn apart by events beyond their control. The drama is beautifully acted and directed, with superb performances from Osman Khalid Butt and Maya Ali.

The storyline is very realistic and is easy to follow. It is also not cheesy and doesn’t have any unnecessary scenes. This is a huge advantage over some other Indian TV serials, where it seems like the main characters are always fighting or getting angry.

Watch the Episodes

There are some great Indian TV serials but there are also a lot of horrible ones. Some of them have a very melodramatic way of dealing with things and can be very irritating to watch. For example, they tend to show women getting slapped and kicked by males in front of their relatives all the time!

Humsafar enthralled a nation and launched Fawad Khan into superstardom. It also showcased Sarmad Khoosat’s unique and artistic directorial style. The story was powerful and touching, revealing how jealousy and love can turn into hate and despair. The cast was outstanding, with brilliant performances from Faysal Qureshi and Samiya Mumtaz. This serial shows that budget shouldn’t limit quality. It also proves that a harrowing subject can still be handled in an intelligent and captivating manner. It’s a must-see for anyone who loves dramas.

Watch the Actors

If you are looking for some good acting, you should watch some of these serials. The actors in these serials have been well trained and can really act. They do not put on a lot of melodrama or wear a lot of makeup, so you can actually see their facial expressions and reactions.

Another reason why these dramas are popular is that they tend to have a more realistic approach to romance. This is something that appeals to viewers across the border.

One such example is the popular television show Buniyad, which deals with the everyday lives of a middle-class family. It stars Alok Nath (Master Haveli Ram), Anita Kanwar (Radha), and Goga Kapoor (Kaderbhai). The show also tackles issues of women in India and the role that the media plays in society. The show also focuses on the importance of family and relationships.

Listen to the Music

The drama serial is a good opportunity to listen to the music that appears in each episode. This music helps to set the mood of each scene, and it also reflects the emotions of the characters in the story. Some of the best music from Indian dramas comes from fusion artists. Others come from traditional musicians.

Some of the best Indian dramas are based on real-life events. One example is Hum Log (Us People). This popular drama told the story of an average family in India. It was the first soap opera on Indian television. Another popular drama is Diya Aur Baati Hum (You are the lamp and I am the wick). This drama tells the story of a determined woman who overcomes adversity to become an IPS officer.

Watch the Trailers

Some of the best Indian TV shows feature a lot of drama. Some of these serials are melodramatic and have loads of Bollywood songs playing in the background. Others focus on serious issues, such as child abuse and domestic violence. Some of these shows also highlight how important it is to take care of children.

There are a few serials that stand out above the rest, such as Dastaan. This epic love story takes place during the tumultuous time of partition and independence. It stars Fawad Khan and Sanam Baloch in powerful performances.

Other popular serials include Naagin and Aunn Zara. Naagin tells the story of a girl who forms a friendship with her landlord’s daughter, but that friendship eventually turns into hatred. It features outstanding performances from Samiya Mumtaz and Faysal Qureshi. Aunn Zara is a powerful reminder of how terrible child rape can be.

Watch the Promos

If you’re interested in learning more about Indian TV serials, it’s a good idea to watch the promos for them. These previews will give you an idea of what to expect from the show, including its plot and cast members. They may also include a sample of the music featured in the episode.

One of the most popular Indian dramas is Yeh Hai Mohabbatein, a soap opera about a rich family and their complicated love lives. The show features a hero and heroine who initially hate each other, but fate brings them together in the end. The show is a prime example of the cliched dialogues that characterize many Indian TV shows.

Get a Copy of the Episodes

If you're looking for a way to experience Indian dramas without having to pay for them, there are plenty of ways to do so. One popular option is to download a serial from an online site. These sites offer a variety of serials, and many of them have a free trial period so you can test the waters before you commit to a full subscription.

Dastaan is a powerful story about the love between two people torn apart by events beyond their control. It is a reminder of how important it is to stay true to yourself, and to never give up on your dreams. The writing in this show was also superb, and the performances were top-notch. This is a must-see serial for any fan of Bollywood dramas! A masterpiece that proves budget shouldn't limit the quality of a drama.

Watch the Trailers

Unlike Indian TV shows, which have to fill the air time with songs and dancing by their stars, Pakistani dramas keep it simple and real. Their actors don’t wear huge bindis, pitch black eye shadow and Kanjivaram sarees and look more believable in the process.

Nukkad is a popular serial about the friendship between poor girl Ichcha and landlord’s daughter Tapasya and how it eventually turned into hatred. It starred Priya Tendulkar and was telecast on DD National.

This sexy and rousing drama starring Wajid Ali is a must-watch. It combines history, sex and love in one gripping story of power, ambition and revenge. It’s available to watch on Hotstar India.

Watch the Promos

There are some TV serials that have so many cliches that it is impossible to watch them without cringing. For example, there is always a cunning mother-in-law that will try to ruin the happiness of the hero and heroine. There are also many shows where the hero and heroine are constantly fighting and argue with each other. There is also the hero and heroine who are married to each other but can’t get along with their in-laws.

This brilliant drama reaffirmed that budget should never be an obstacle for a good story. Its amazing performances by the leads and excellent direction make this show a must-watch. This drama is one of the most influential serials in Pakistan and India, proving that great performances can overcome even the most challenging stories. It was nominated for a number of awards and is considered to be the best Indian TV series ever produced.

Stay Updated

Many Indian dramas use Bollywood songs to fill up air time and keep the viewers glued to their TV screens. This practice can lead to a never-ending storyline that is difficult for audiences to follow. The best way to stay updated on new episodes is to subscribe to the show’s channel or its website.

This Indian original series is based on the short stories of Satyajit Ray. The four episodes range from a psychological thriller to a satire about a kleptomaniac. The Netflix series is sure to captivate viewers with its captivating performances and compelling narrative. It is also a great choice for viewers who want to learn more about the history of India. The show is available for streaming on Amazon Prime. It was a hit in both countries and showed that good scripts and strong performances can make a serial a success.

[sweetsmellosuccess]

TIFF 2022: Day 6

Films: 3.5 Best Film Of The Day: Holy Spider

Joyland: A Pakistani film from Saim Sadiq that suggests the path to self-knowledge and acceptance can be paved with chunks of broken glass and razor wire. Hader (Ali Junejo) is an unassuming man, living at home with his wife, Mumtaz (Rasti Farooq) who works at a makeup salon, and the rest of his extended family, including his overbearing father, and domineering older brother, his wife, and their many children. Given an opportunity for a job working as a back-up dancer for the Trans performer Biba (Alina Khan), who performs routinely at a nearby nightclub, Hader jumps at the chance before he quite knows what he’s doing (or can even dance, particularly). To his astonishment, however, he finds not only that he enjoys performing, he also falls pretty hard for Biba, of whom he feels far more passion than for his wife of nearly a decade. When Mumtaz unexpectedly gets pregnant, it throws Hader’s new lifeplan into a Cuisinart, as well as making the already criminally unfulfilled Mumtaz feel even more trapped in a world she wants no part of. As Biba and Hader’s relationship grows into something more dangerous, the entire family is forced to reevaluate their place together. Sadiq has created a compelling narrative that speaks eloquently to the idea of repression, be it political, sexual, or familial, and the ways we are held back from actually achieving self-fulfillment (by the end, the best example of such freedom is exemplified by Biba, a woman loathed and mocked nearly everywhere she goes, save for the nightclubs she performs in), as dangerous a notion in such a rigid society as a hand gernade. 

Empire of Light: To be fair, I had to leave Sam Mendes’ would-be opus about twenty minutes before it came in to a landing (the late-starting screening time forced me to choose between finishing this one or seeing the new Koreeda  —  and it was pretty clear to me which was the better bet), but to speak briefly as to the sections I watched, it felt a good deal like the sort of heavy-handed, Big Picture drama designed to get attention come awards time. Set in 1980, at a grand cinema on the coast of southern England, it offers us Hilary (Olivia Colman), a sweet-minded woman with a schizophrenia diagnosis, who diligently works at said cinema, running the concessions for a stuffed-shirt manager (Colin Firth), who nevertheless invites her regularly into his office for closed-session nookie. She befriends the newest employee, a handsome Black usher named Stephen (Michael Ward), a relationship that eventually turns romantic. Amidst the political uproar at the time (the rise of Thatcherism, and with it, the accompanying xenophobic rage that fueled many a race riot), Hilary ‘s condition begins to worsen after dropping her Lithium prescription, which leads to  —  one supposes  —  a rising dramatic climax as all of her relationships come under the purview of her disease. Just how those things all reseove themselves, I cannot say, but it was pretty clear what Mendes is going for here (including a special paeon to cinephiles with his romanticizing of the old Big Movie Houses, with marquees touting the arrival of films from Stir Crazy to Raging Bull). It wouldn't be the first such film to gun so unapologetically for an Academy Award, but it doesn’t make it any more worthy. 

Broker: It’s sort of curious that Hirokazu Koreeda, a director known for his penchant for ramshackle, thrown-together families in his films (see Shoplifters), takes as his lovable protagonists for this one a pair of child traffickers and the mother who abandoned her months-old son to them. To be sure, we are meant to sympathize with them  —  from their perspective, Sang-hyeon (Song Kang-ho), the ‘mastermind’ and his assistant, Dong-soo (Dong-won Gang), are doing a helpful, righteous thing, taking sad childless parents and the offloaded offspring of overwhelmed young mothers, and combining them into a loving match (nevermind the nature of the transaction, where they stand to make large sums of money on the black market)  —  and see that deep down they aren’t bad people, but Koreeda’s ability to make humorous and charming out of scallywags feels a bit more dicey on this occasion. As affable and likable as he seems, Sang-hyeon has a young daughter of his own he more or less abandoned to her mother, seemingly in favor of the reject bunch he’s spending time with now. Koreeda is able to make a better case for the baby’s mother, So-young (Ji-eun Lee), a young woman forced into prostitution by an uncaring older woman manager, whose baby son is the progeny of a high-ranking Korean mafia don. She begins as some sort of monster  —  a woman who leaves her helpless baby outside a drop box in the middle of the night  —  but gradually becomes more sympathetic as we gather more details about her story. Like Raising Arizona, the baby is treated like some kind of Maltese Falcon, the singular plot element that powers the rest of the film’s universe. In addition to the traffickers, the mother, and a young kid (Seung-soo Im) they inadvertently pick up from the orphanage, the group is also enjoined by a pair of cops (Bae Donna and Lee Joo-young), who are trying to snare them in a sting operation. It’s all well-done, with a kind of rollicking energy (never quite dipping into farce, but presenting a world in which most people seem basically decent and generous in nature), but it doesn’t hit the more transcendent notes of some of his best work. 

Holy Spider: There is a lot of darkness in Ali Abbasi’s Iranian serial killer picture, the kind of ink-black shadows that permeate the frame and fill you with dread. For good reason, it turns out. Based on real events that took place in the city of Mashhad at the turn of the 21st century, the film follows the investigation of a serial killer known as the Spider, a construction worker named Saeed (played here by Mehdi Bajestani), who wages a one-person jihad against the women who walk a desolate section of the city at night as sex workers. He strangles them with their own neck scarves and dumps their bodies where they can be easily found (to this end, he also calls the crime editor of the local paper after each murder to let him know where the body has been deposited). He wants the murders well-documented because he’s after the attention and reverence given to martyrs for his unholy fatwa. After ten bodies are found over a period of nearly half a year with no progress made by the (likely corrupt, certainly unmoved) police department, Rahimi (Zar Amir Ebrahimi, in a role that earned her Best Actress at Cannes), a female journalist from Tehran arrives to help cover the case. Living under the tight regime of the “morality police”  — she is first unable to get her hotel room as a single female until she reveals her profession  —  she must contend with far more than the investigation, including the shameful behavior of the police chief, a smarmy man who seems to have little interest in the case itself, beyond giving him the opportunity to menacingly hit on her. With no progress otherwise, Rahimi decides the best course of action is to put garish levels of makeup on her face and use herself as bait (with her editor meant to watch after her carefully from nearby) in order to lure the Spider into making a move. Harrowingly enough, that turns out to be an effective strategy, such that the last act of the film is the criminal trial for the captured killer, resulting in his final sentence. Curiously, Abbasi chooses to focus a large portion of screentime to the killer, and his loving family, humanizing him in a way that makes his desperate bid for martyrdom that much more horrific. We come to know a fair amount more about him than the steely Rahimi, who has come to this situation after an altercation with her former editor, who tried to blackmail her into sleeping with him. There is much made of the Spider’s eventual notoriety  —  naturally, many of the conservative factions in the city find in him a hero, ridding the world of the “filth” of women walking the streets, as opposed to the men who engage their services  —  such that it’s difficult to watch it and not think about similar American figures (e.g. Kyle Rittenhouse, exonerated and celebrated for murdering two liberal dissenters in more or less cold blood). The vision of the city is unrelentingly grim  —  for every killer brought to justice, one supposes there are many more who go about their business unfettered by the disinterested judicial system  —  and the prospect of justice under such a repressive regime nearly impossible. One killer might have been captured but there are many more, including Saeed’s own teen son, who comes to admire his father’s “work,” ready to take his place at a moment’s notice. 

Wherein the author contemplates this year’s offerings and the past decade of covering this fabulous film festival, as he’s poised to embark on a new career path that will more than likely involve him standing up in front of a group of sullen teens, espousing the glories of the Russian masters, rather than taking in a beatific week of international cinema in the early days of September. 

[srbachchan]

DAY 4501

Jalsa, Mumbai                  July 2/3,  2020                 Thu/Fri  7:24 AM

You rest .. you rest well .. you rise .. you realise the hours  .. you seek the elixir .. you devour .. you get to connect .. 

... and ..

.. you be informed in this communicative world ..

Saroj Khan has died ..

.. and an entire history of time races before you in the cerebrum ..

She was a sprightly young enthusiastic dance assistant to one of the major dance directors of the time .. of the time when I was just beginning .. of the film ‘Bandhe Haath’ with the heart throb of millions Mumtaz .. with the director OP Ralhan .. Mumtaz’s grace and acceptance to agree to work with this newbe .. she a stratospheric Star , me a nobody .. 

.. and Saroj ji in the crowd of dancers in a song .. her subtle grace when she moved .. the expressions , the delicate little intricacies of each word and movement .. she was just so exceptional .. she was pregnant with child during the shoot , but never deterred from her work .. at one point I saw her , quite alarmingly , finding the foetus had shifted in her stomach and she simply unabashedly pushed it into place , and carried on .. dancing .. 

.. and then over the years .. she excelled and attained the podium title of Dance Director .. or as the language changed , the Choreographer of film .. her moves becoming famous for each artist she worked with .. and the love and affection she gave to all that came under her guidance .. and when she would see an artist give a good shot under her care .. she would call her or him aside .. and ..

.. give a rupee coin .. as a gesture .. as a pat on the back .. a ‘shagun’ ..

.. many many years later .. during the song sequence of a film I was doing .. I became the recipient of that coin .. an immense achievement ..    

Saroj ji .. you gave us and the industry , rhythm, style, grace of movement and the art of converting the lyrics in a song to a meaning in dance ..

.. on a chance meeting many many years ago she paid me my best compliment ..

she was living in Dubai then from marriage and when DON was released she said 

“ I saw the film and then after, I would go to the theatre where it was released, at the time when your song ‘khaike paan.. was on , see it and come out .. I used to do it regularly every day .. I would tell the usher to let me in just to see the song and leave .. that is how much I enjoyed your dance moves ..” !!

coming from her was the ultimate ..

.. a legacy has passed away .. 🙏

And the show moves on .. in remembrance of those that have left us during this time of the times .. day by day they go away .. leaving us all with the happy memories of their presence .. of their immense contribution .. of their life long creativity, captured and documented on celluloid for posterity ..

I shall end for the DAY now .. the mind is filled with remorse and grief .. 

Amitabh Bachchan

[dweemeister]

Kaagaz Ke Phool (1959, India)

Almost a quarter of the way through the twenty-first century, globalization has pierced the remotest corners of the planet. The examples academics and politicians cite demonstrating this globalization are almost always economic, but the most profound examples are cultural. Once known only in South Asia, Indian cinema has burst onto a global stage. Its stars and its most popular directors seem larger than life. Reading on some of modern Bollywood’s (Hindi-language cinema) personalities, I find few of their biographies compelling beyond their unquestionable status as South Asian and international celebrities – I won’t name names here because that is for another time. That is partly a result of not watching enough Bollywood films. It is also because I am making unconscious comparisons between those modern actors to actor-director Guru Dutt. Dutt was a tragic romantic – off- and on-screen – to the point where those personas can become indistinguishable.

As an actor, Dutt can be as charming a romantic male lead as anyone, as well as lend a film the dramatic gravitas it needs. As a director, he refined his sweeping visuals and theatrical flairs over time. That artistic development culminated with Pyaasa (1957) and his final directorial effort, Kaagaz Ke Phool (“Paper Flowers” in English). The latter film is the subject of this piece. Both films elevate themselves to a cinematic altitude few movies anywhere, anytime ever accomplish. They are, for lack of a better word, operatic* – in aesthetic, emotion, storytelling, tone. In Kaagaz Ke Phool, Dutt once again lays bare his artistic soul in what will be his final directed work.

An old man enters a film studio’s empty soundstage, climbs onto the rafters, and gazes wistfully at the darkened workspace below. We learn that this is Suresh Sinha (Dutt), a film director whose illustrious past exists only in old film stock. The film is told in flashback, transporting to a time when his marriage to Bina (Veena) is endangered – the parents-in-law disdain his film work as disreputable to their social class – and he is embarking upon an ambitious production of Devdas (a Bengali romance novel that is among the most adapted pieces of Indian literature to film, the stage, and television). He is having difficulty finding someone to play Paro, the female lead. Due to this conflict, Bima has also forbidden their teenage daughter, Pammi (Kumari Naaz), from seeing Suresh. Pammi is sent to a boarding school far from Delhi (where Bima and her parents reside) and further from Mumbai (where Suresh works), without any sufficient explanations of the spousal strife.

One rainy evening, Suresh generously provides his coat to a woman, Shanti (an excellent Waheeda Rehman). The next day, Shanti arrives at the film studio looking to return the coat. Not knowing anything about film production, she accidentally steps in front of the camera while it is rolling – angering the crew who are tiring of yet another production mishap. Later, while viewing the day’s rushes, Suresh casts Shanti as Paro after witnessing her accidental, but remarkable, screen presence. She achieves cinematic stardom; Suresh and Shanti become intimate. When the tabloid gossip eventually reaches Mumbai and Pammi’s boarding school, it leads to the ruin of all.

What did you expect from an operatic film – a happy ending?

Also starring in the film are Johnny Walker (as Suresh’s brother-in-law, “Rocky”) and Minoo Mumtaz (as a veterinarian). Walker and Mumtaz’s roles are vestigial to Kaagaz Ke Phool. Their romantic subplot is rife with the potential for suggestive humor (she is a horse doctor), but the screenplay never justifies their inclusion in the film.

Shot on CinemaScope lens licensed by 20th Century Fox to Dutt’s production company, Kaagaz Ke Phool is Dutt’s only film shot in letterboxed widescreen. From the onset of his directorial career and his close collaboration with cinematographer V.K. Murthy, Dutt exemplifies an awesome command of tonal transition and control. Murthy’s dollying cameras intensify emotion upon approach: anguish, contempt, sober realization. These techniques render these emotions painfully personal, eliminating the necessity of a few lines of dialogue or supplemental motion from the actor. The effect can be uncomfortable to those who have not fully suspended their disbelief in the plot or the songs that are sung at the time. But to the viewers that have accepted that Dutt’s films exist in a reality where songs about infatuation, love, loss, and regret are sung spontaneously (and where revelations are heard in stillness), this is part of the appeal. Dutt and Murthy’s lighting also assists in directing the narrative and setting mood: a lashing rainstorm signaling a chance meeting that seals the protagonists’ fates, the uncharacteristically film noir atmosphere of the soundstage paints moviemaking as unglamorous, and a beam of light during a love melody evokes unspoken attraction. That final example represents the pinnacle of Dutt and Murthy’s teamwork (more on this later).

As brilliant as his films (including this) may be, Dutt suffered during mightily during Kaagaz Ke Phool’s production. In writings about Dutt, one invariably encounters individuals who believe Dutt’s life confirms that suffering leads to great art. Though I think it best to retire that aphorism so as not to romanticize pain, I believe that the reverse is true with Guru Dutt – his later directing career contributed to his personal tribulations. In some ways, that suffering informed his approach to what I consider an informal semiautobiographical trilogy of his films: Mr. & Mrs. ’55 (1955), Pyaasa, and Kaagaz Ke Phool. Dutt directed and starred in each of these films. In each film he plays an artist (a cartoonist, poet, and film director, respectively); with each successive film his character begins with a greater reputation, only to fall further than the last. The three Dutt protagonists encounter hardship that do not discriminate by caste, professional success, or wealth.

For Dutt’s Suresh, he is unable to consummate his love for Shanti because the specters of his failed marriage haunt him still. He never speaks to his de facto ex, but marital disappointment lingers. Why does he bother visiting his stuffy in-laws when he knows they will never change their opinions about him? Abrar Alvi’s (the other films in the aforementioned informal Dutt-directed trilogy, 1962’s Sahib Bibi Aur Ghulam) screenplay is silent on the matter. Also factoring into Suresh’s hesitation is his daughter, Pammi. Pammi is young, looks up to both her parents, and cannot fathom a parent being torn from her life. Her reaction to learning about Shanti implies that neither of her parents have ever truly talked to her about their separation. Pammi does not appear to blame herself, but it seems that her parents – intent on protecting their child, perhaps speaking to her not as a soon-to-be young adult – are loath to maturely talk about the other. In a sense, Pammi has never mourned her parents’ marriage as we see her deny the tabloid reports about Suresh’s affair and express anger towards her father when she learns the truth.

When Suresh’s film after Devdas flops, his film career is in tatters. But Shanti’s popularity is ascendant, creating a dynamic reminiscent of A Star is Born. In a faint reference to Devdas, Kaagaz Ke Phool’s final act contains anxieties about falling into lower classes. If Kaagaz Ke Phool is contemporaneous to its release date, one could also interpret this as concerns about falling within India’s caste system (reformist India in the late 1950s was dipping its toes into criminalizing caste discrimination, which remains prevalent). Suresh’s fall is stratospheric and, in his caste-conscious, masculine pride, he rejects Shanti’s overtures to help him rebuild his life and film career. This tragedy deepens because Shanti’s offer is in response to the contractual exploitation she is enduring. We do not see what becomes of Shanti after her last encounter with Suresh, but his final scenes remind me, again, of opera: the male lead summoning the strength to sing (non-diegetically in Suresh’s case) his parting, epitaphic thoughts moments before the curtain lowers.

Suresh’s and Shanti’s respective suffering was preventable. Whether love may have assuaged his self-pity and alcoholism and her professional disputes is debatable, but one suspects it only could have helped.

Composer S.D. Burman (Pyaasa, 1965’s Guide) and lyricist Kaifi Azmi (1970’s Herr Raanjha, 1974’s Garm Hava) compose seven songs for Kaagaz Ke Phool – all of which elevate the dramatics, but none are as poetic as numbers in previous Dutt films. Comments on two of the most effective songs follow; I did not find myself nearly as moved by the others.

“Dekhi Zamane Ki Yaari” (roughly, “I Have Seen How Deeply Friendship Lies”) appears just after the opening credits, as an older Suresh ascends the soundstage’s stairs to look down on his former domain. The song starts with and is later backed by organ (this is an educated guess, as many classic Indian films could benefit with extensive audio restorations as trying to figure out their orchestrations can be difficult) and is sung non-diegetically by Mohammed Rafi (dubbing for Dutt). A beautiful dissolve during this number smooths the transition into the flashback that will frame the entire film. That technique, combined with “Dekhi Zamane Ki Yaari”, prepares the audience for what could be a somber recollection. However, this is only the first half of a bifurcated song. The melodic and thematic ideas of “Dekhi Zamane Ki Yaari” are completed in the film’s final minutes, “Bichhde Sabhi Baari Baari” (“They All Fall Apart, One by One”; considered by some as a separate song). Together, the musical and narrative arc of this song/these songs form the film’s soul. For such an important musical number, it may have been ideal to incorporate it more into the film’s score, but now I am being picky.

Just over the one-hour mark, “Waqt Ne Kiya Haseen Sitam” (“Time Has Inflicted Such Sweet Cruelty On Us”; non-diegetically sung by Shanti, dubbed by Geeta Dutt, Guru’s wife) heralds the film’s second act – Suresh and Shanti’s simultaneous realization of their unspoken love, and how they are changed irrevocably for having met each other. Murthy’s floating cameras and that piercing beam of light are revelatory. A double exposure during this sequence shows the two characters walking toward each other as their inhibitions stay in place, a breathtaking mise en scène (the arrangement of a set and placement of actors to empower a narrative/visual idea) foreshadowing the rest of the film.

Dutt’s perfectionist approach to Kaagaz Ke Phool fueled a public perception that the film was an indulgent vanity exercise with a tragic ending no one could stomach viewing. Paralleling Suresh and Shanti’s romantic interest in each other in this film, the Indian tabloids were printing stories claiming that Dutt was intimate with co-star Waheeda Rehman and cheating on Geeta Dutt. These factors – perhaps some more than others (I’m not versed on what Bollywood celebrity culture was like in the 1950s, and Pyaasa’s tragic ending didn’t stop audiences from flocking to that film) – led to Kaagaz Ke Phool’s bombing at the box office. Blowing an unfixable financial hole into his production company, Guru Dutt, a man who, “couldn’t digest failure,” never directed another film. Like the character he portrays here, Dutt became an alcoholic and succumbed to depression in the wake of this film’s release. Having dedicated himself entirely to his films, he interpreted any professional failure as a personal failure.

Kaagaz Ke Phool haunts from its opening seconds. Beyond his home country, Dutt would not live to see his final directorial effort become a landmark Bollywood film and his international reputation growing still as cinematic globalization marches forth. Dutt’s most visually refined films, including Kaagaz Ke Phool, are films of subtraction. The cinematography and music make less movement and dialogue preferable. Kaagaz Ke Phool is a film defined about actions that are not taken and scenes that are never shown. The result is not narrative emptiness, but a receptacle of Dutt’s empathy and regrets. Exploring these once-discarded, partially biographic ideas is not for faint hearts.

My rating: 9/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* I use this adjective not to reference operatic music, but as an intangible feeling that courses over me when watching a film. Examples of what I would consider to be operatic cinema include: Crouching Tiger, Hidden Dragon (2000, Taiwan); Greed (1924); The Red Shoes (1948); and The Wind (1928). Some level of melodrama and emotional unpackaging is necessary, but the film need not be large in scope or have musical elements for me to consider it “operatic”.

[blogint159]

Annamalai Serial Title Song Download

Contents

1 yeh rishta kya kehlata hai cast, yeh rishta kya kehlata hai timings, yeh rishta kya kehlata hai repeat telecast timings, yeh rishta kya kehlata hai watch online, yeh rishta kya kehlata hai on star plus, yeh rishta kya kehlata hai song download:

yeh rishta kya kehlata hai cast, yeh rishta kya kehlata hai timings, yeh rishta kya kehlata hai repeat telecast timings, yeh rishta kya kehlata hai watch online, yeh rishta kya kehlata hai on star plus, yeh rishta kya kehlata hai song download:

One of the favourite television channel of Indian viewers namely “Star Plus” has been broadcasting the daily soap “Yeh Rishta Kya Kehlata Hai” worldwide on televisions from 12th January 2009 to present. It’s an Indian television drama which tells the story of a happily lived family based in Udaipur. The show is a big hit till now as it has become the part of daily routine of Indian women. The show has been successfully running on the television till now with huge TRPs. The timing of the show is from Monday to Saturday at 09:30pm- 10:00pm IST. The known tv actress Hina Khan and actor Karan Mehra are playing the female and male lead roles in the show respectively. The title theme song of the show is very famous among the audience and it can be downloaded online from various websites.

Torrent Download Mission Impossible 4 In Hindi Chupulu Kalasina Subhavela Serial All Episodes In Telugu Flexisign Mac Cracked Torrent Candy Crush Hack Cydia Repo Buderus Ecomatic 4000 Schaltplan Pdf To Word Nadodi Pattukaran Tamil Movie Songs Download Sleek. La Sonora Dinamita Discografia Completa Download Annamalai Serial Star Cast. 1992 This film introduced the now-celebrated trademark 'Super Star Rajni' graphic title card, which went on to be used in its original form in all of Rajinikanth's Tamil films till 2002 (with the exception of his films released in 1993). Hot and tasty dinner. Annamalai (Tamil: அண்ணாமலை) is a Tamil historical soap opera that aired on MediaCorp Vasantham.The series' first season was aired from 22 December 2014 to 31 March 2015 every Monday to Thursday at 10:00PM SST for 48 episodes.

Annamalai Serial Title Song Download Mp3

Tv Serial Ringtones Download,Tv Serial Ringtones free download,Tv Serial Ringtones Name Ringtones,Tv Serial Ringtones Mp3 Ringtone Download, Tv Serial Ringtones Bollywood Ringtones Punjabi Bhojpuri Bangali Ringtones.

Yeh Rishta Kya Kehlata Hai Star Cast:

The show is having a big star cast so we have mentioned below the names of only a few main characters in the show with their real names. To know about all the characters of the show, you can check out the Wikipedia:

Hina Khan as Akshara Singhania

Karan Mehra as Naitik Singhania

Rohan Mehra as Naksh Singhania

Umang Jain as Tara Shekhawat

Ashnoor Kaur as Naira Singhania

Alok Nath as Chandrabhan Singh Shekhawat

Sandeep Mehta as Raj Shekhar Singhania

Kshitee Jog as Devyani Singhania

Anshul Pandey as Naman Singhania

Priyanka Udhwani as Karishma Singhania

Annamalai Serial Title Video Song Download

For the viewer’s information, we have mentioned below the important information related to “Yeh Rishta Kya Kehlata Hai” tv serial:

Production Company & producers: The show is produced by Director’s Kut Productions which is also famous for its various daily soaps such as Tere Sheher Mein, Aur Pyaar Ho Gaya, Amrit Manthan,Kuch Toh Log Kahenge. It has been produced by Rajan Shahi.

Directed by: Romesh Kalra, Jai Kalra, Ram Pandey are the directors of this famous television series.

Written by: Saba Mumtaz, Bhavna Vyas, Ghazala Nargis and Munisha Rajpal are the main writers of the show.

Schedule & Timing of ‘Yeh Rishta Kya Kehlata Hai’, Wiki :

Show Timing :- 09:30Pm to 10:00Pm

Repeat Telecast Timing: 12:00am, 4:36am, 10:30am

Days: Monday to Saturday

Channel:- Star Plus

Genre :- Drama, Daily Soap

Language :-Hindi

Story/ Plot:

Annamalai Film

The story or plot of this daily soap revolves around the characters Akshara, Natik and their families. When the show begins, Akshara tied a knot with Naitik Singhania in an arranged marriage. But slowly with the passing of time, both fell in love with each other. In this show, the character Akshara has been tried her best to portray herself as a responsible woman, wife, and mother. The story showcases the daily happenings in the families of both Akshara and Natik. They have a big Marwari joint family who lives in Udaipur, Rajasthan. The couple faces both good and bad situations during their journey of life as husband-wife and mother-father. The one thing which kept increasing day by day is the love that they have for each other and for their family. Now, they have two sweet children who have grown to adolescent age namely Naksh and Naira.

Annamalai Tamil Serial Title Song Download

To read news and Watch latest episodes of Yeh rishta kya kehlata hai serial online on hotstar, please visit the official Website:Click Here

[shankarjaikishanfansassnintl]

RAMESH SIPPY

Courtesy

Hasan Zaheer

WHY DID THE FIRE NOT BURN AS BRIGHT AS IT BURNED THE FIRST TIME?

Some men (and women) are blessed by destiny or call it whatever that unknown power which leads human beings and no power, no force and no fear can change what is destined for them, a man like Ramesh Sippy, for example.

Ramesh was born the son of G.P. Sippy who was into the property business during the immediate post partition days and was the first to start what was called the “pugree” system by which any one could buy a home after paying an advance, pay a monthly rent and get back the advance when the room was vacated. It was a successful system which was followed by many others and did a world of good to those who did not have enough money to buy their own homes in a city like Bombay. Sippy soon started his own film production company because he saw money in it and gave breaks to a number of young directors who later went on to grow into big and powerful men in the world of films. Sippy Films, the banner he founded was an established banner within a very short time and Sippy was a leader of the film industry …

Ramesh, a graduate, was fascinated by the making of films more than the glamour and the money involved in it. He joined H.S. Rawail, a leading filmmaker of the sixties and worked as one of his many assistants during the making of his most ambitious film, “Mere Mehboob” made with Ashok Kumar, Rajendra Kumar and Sadhna. Ramesh did every thing possible to learn all that he could about filmmaking and he was one of Rawail’s favorite assistants because he had no problems in facing any problems in the line of duty and was willing to work very hard and do even the kind of jobs which spot boys did. One of his main jobs was to keep the stars happy which he believed was “better than half the battle won for a director”. He had learned enough about filmmaking during the making of “Mere Mehboob”, a Muslim social which went on to become a very big hit and he still remembers how he was excited when he saw his name in a crowd of the credit titles of the film “which was like finding your name on the list of someone who had passed a very important examination’.

Ramesh then joined his father’s company and worked in the production department and helped his father in solving all the every day problems and his father was so impressed that he gave him the post of a production executive during the making of his film “Brahmachari” directed by Bhappi Sonie, a common friend of Sippy and the leading man of the film, Shammi Kapoor. The film had Rajshri (daughter of V.Shantaram), Mumtaz, who was playing second leads or parallel roles and even the vamp because all she wanted was work to earn enough money to keep her big family going. Pran was the villain of the film. Shammi Kapoor who was a very big star took a liking for Ramesh and tried to teach him as much as he could and even told his father that Ramesh could make a very good director because he knew more than what many established directors in the industry knew. He made his first film with his favorite, Shammi Kapoor, Hema Malini who had still to find her place as a big star and the superstar Rajesh Khanna whose one song, “Zindgi ek safar hai suhana” and his sudden death leaving Hema a widow who later falls in love with Shammi who played a widower was something new for the audience which made the first film of Ramesh Sippy, the director, “Andaaz” a big hit.

Ramesh was not satisfied with all that he had learned and read all kinds of books on the making of films, read the biographies of stars and star directors and observed all the directors who made films for his father’s banner. It was during this learning period that he met a failed actor and struggling poet, Salim and Javed who were a part of what was called the “Sippy Films Story Department”. They grew into great friends and exchanged ideas whenever they were free. It was during one of their meetings that Salim and Javed who had decided to form a team as writers came up with the idea of making a female version of “Ram Aur Shyam” which was made with Dilip Kumar in his first double role and which was a very huge success. Ramesh was taken up by the idea and the only actress he could think of who could play a double role and make an impact was Hema Malini who had proved her mettle with “Andaaz”. He approached Hema with the role and she was petrified. She did not the have the courage to play a role which was played by the greatest actors of the country, Dilip Kumar. But Ramesh and his two young writers who were very good at making an impression while narrating the story of a film with every scene and dialogue finally managed to make Hema agree to play the role. Ramesh had a perfect script which was almost like “Ram Aur Shyam” but with some new changes to suit a woman in a double role. Dharmendra and Sanjeev Kumar were the two heroes of the two Hemas in the film and the film was a bigger hit than “Ram Aur Shyam” and Hema was accepted as the first female superstar.

Ramesh now wanted to try making a different kind of film. He was a very great fan of all the westerns made in Hollywood and wanted to try his hand at an Indian version of the western. He was also inspired by a small film called “Khotte Sikkey”, a film made by one of his father’s directors Narendra Bedi with Feroz Khan as the only known star and Ajit as the villain and a film made on a very low budget, shot in the jungles of Mumbai and was a success. He talked about his idea to Salim -Javed who loved it. They saw all the classic westerns made in Hollywood, they also had a look at “Khotte Sikkey” and decided that they could try and make a modern version of the Indian western and worked on a script which took them several months because they kept finding new ideas. It was finally decided to make a film with Dharmendra, Sanjeev Kumar, an upcoming actor called Amitabh Bachchan, Hema Malini and Jaya Bhaduri. But they had a major problem in finding the right villain. They did not want to have the typical dhoti- clad and turbaned typical dacoit seen in several Hindi films. Their villain would be wearing faded jeans, would have a stubble, and would wear army boots and chew tobacco whenever he had to deliver his most powerful lines. They approached actors like Vinod Khanna, Shatrughan Sinha and finally Danny Denzongpa and they not only turned down the offer but also scoffed at Ramesh’s idea of changing the image of the Hindi film dacoit. The film was ready to take off on a huge set of an entire village surrounded by mountains on the out skirts of Bangalore, but shooting was held up because of not finding the right villain. Ramesh was in despair when he suddenly thought about his college friend, Amjad Khan who was a theatre actor and the son of Jayant, one of the most handsome sophisticated villains of Hindi films. Amjad had assisted a director like K.Asif and had played a part of a crowd scene in Asif’s film, “Love and God”. Ramesh talked him into playing the role of Gabbar Singh which Amjad accepted as a very big challenge but it was a bigger challenge for Ramesh because the first man to object to his choice was his own father and when he was introduced to the rest of the cast they all felt Ramesh was destroying the film by casting a new actor who they said was too weak to face the challenge of heroes like Sanjeev Kumar, Amitabh Bachchan and above all Dharmendra, but Ramesh stuck to his guns and refused to change his choice of Amjad. The film was made entirely on a set of a village specially built for the film on the outskirts of Bangalore, and called Rampur. Ramesh worked like a general going to war during the making of the film and completed it in a record time in spite of all the hassles he had to face. The film was released on August 15, 1975.

Ramesh held a grand premiere for all the celebrities of the industry and was shocked to see the reaction. It looked as if the industry had decided to take a decision to call the film a flop and that was what it was for the first three days, a very big flop. But as if like a miracle the film picked up on the third day and then did not look back for the next five years. The same people who ran down the film called it a classic and a cult film and all those who laughed at Amjad Khan accepted him as the most successful villain and Gabbar Singh became a house hold name. The film was a bigger hit than “Mother India “ and “Mughal-E-Azam” and Ramesh Sippy the director with the Mida’s touch. ..

It took Ramesh a long time to think about making his next film because he knew how high the expectations had soared. In one of his inspired (?) moments he thought of making a city- based, sophisticated version of “Sholay”. He asked his friends Salim- Javed to write a script and the result was “Shaan”, a film starring Sunil Dutt, Shashi Kapoor, Parveen Babi, Bindiya Goswami and two new actors, Mazhar Khan and Kulbhushan Kharbanda in whom Ramesh saw his greatest villain, even a greater villain than Gabbar Singh. He did not cast any one from the cast of “Sholay” for reasons best known to him. A film made with the same passion bombed at the box -office like very few films have and people wondered if this was the same Ramesh Sippy who had directed “Sholay”. The film did not do any good to any one, especially Mazhar and Kulbhushan who saw dreams of the great time to come for them after the released of the film. ..

A shaken up Ramesh was now in serious trouble as people started suspecting his ability as a director. After several months of thinking he came up with a brand new and fresh idea of making a love story called “Saagar”. He had Rishi Kapoor and Kamal Haasan coming together for the first time and created a casting coup when he brought back the married and separated Dimple Kapadia, looking as young and much more gorgeous. The performances of the three stars, the music and that one scene in which Dimple reveals her bosom in a fleeting scene made the film a very classy film but it failed to draw the masses even though the critics gave it raving reviews..

From “Saagar” onwards, it was only one slip after another for the maker of “Sholay”. He tried making “Akayla” with Amitabh Bachchan and Amitabh himself openly asked if this was the director he had seen as the “supreme commander’ during the making of “Sholay”. He also had the unique opportunity of bringing together two of the greatest actors of Indian cinema, Dilip Kumar and Amitabh Bachchan in “Shakti” in which a young actor called Anil Kapoor played a bit role. It was a film about a major clash between crime and punishment, crime represented by Amitabh and punishment by Dilip Kumar. It was one of the most eagerly awaited films, it had naturally two of the greatest performances but still people who saw the film only concentrated on the performances and neglected the film which resulted in one of the finest chances missed by a director. Ramesh unfortunately could not even save this film. Ramesh showed that he had lost his magic touch. Neither “Akayla” nor “Zamaana Deewana” he made with the new star Shah Rukh Khan failed to bring back any of his lost glory.

The only time he could see a glimmer of hope was when he made a TV serial called “Buniyaad” which is considered a landmark in the history of Indian television. Ramesh has not been able to make another film for the last ten years. He cites several reasons which includes the rising prices of stars and the paucity of subjects, but the bitter fact remains that he has still to find that Ramesh Sippy who had once coloured the pages of Indian film history in blazing letters. Will that Ramesh return or will he always be remembered as the man who made just one great film “Sholay” and then forgot all about making great films?

More on Ramesh Sippy

- He was in love (“before I knew what it was to fall in love”) with Hindi cinema even when he was a student and made it a point to see every film possible and Dilip Kumar and Shammi Kapoor were his favorites and he often dreamt of working with them one day - When he saw “Godfather” he came out saying, “what a script, I can make ten films out of this one script, but I will never do that. If I ever succeed I will make films which will have my own touch. No copying or imitating even the greatest director for me”. - He had the chance to learn thing from some of the greatest directors of the past and also the times he was working in - He never forgot his days when he assisted H.S.Rawail and the kind of jobs he did. He remembers the firings he received from Rajendra Kumar who was the biggest star of those days, the love of Dadamoni (Ashok Kumar) and how one of his duties as an assistant was to carry the chappals of Sadhana, “the heroine who I fell in love with hopelessly” - He remembers his father telling him stories about Dilip Kumar as an actor and a man of great learning. He made those stories the source for inspiration for him and dreamt of the day when he would direct the great actor and that day came when he directed the legend in “Shakti” - He is also a great admirer of Amitabh Bachchan about whom he says, “Anyone who works with Amitabh can make any kind of film and direct the best of actors anywhere in the world”. - Ramesh says he has learned the best under the most trying circumstances when he made the fifty- two episode serial, “Buniyaad” which dealt with the partition. - Ramesh has been on the jury of several National and International Award Festivals, but has found it a very tough task because of politics and manipulation playing a very important role at all awards. - Ramesh married the daughter of Ramesh Patel, the owner of Film Center (now defunct), the leading lab of the film industry for several years. They have two children, Rohan who is a leading director today and Sheena who is an internationally known photographer and has done the stills for several leading films and some even for her father. Ramesh met a young TV actress called Kiran Juneja during the making of “Buniyaad”, fell in love with her, divorced his first wife and now lives with Kiran. The two have no children. - Ramesh broke off all ties with his father and his brother and has nothing to do with Sippy Films because he has started his own banner, R.S.Productions which has still to make a hit during the last twenty- years - He has a very good command over the English language and has his own school of philosophy called the “Ramesh Sippy school of thinking for all occasions” - He is one filmmaker who is concerned about the state of affairs in the country and wants to do something specially now when he says he sees great hope for the country with leaders like Sonia Gandhi, her son Rahul and Omar Abdullah - He is seventy-two but is a fitness freak and gives a major share of the credit for his good health to his wife Kiran - Ramesh believes that it is man who can make his own destiny - He loves living a good life and is seen at all the parties in the city, dancing with his wife Kiran, a thing he shares with his father, G.P.Sippy who loved the company of beautiful young women and good Scotch - Ramesh now has only one ambition. He will start four films, one directed by himself, one by his son Rohan and the other two by directors from outside.

R.S.PR

[thinkerowl-blog]

Must Visit places to do a Virtual Tour during Quarantine

While the world is sorting out the new normal of social distances, People, especially parents here are also trying to do it with full-time work and, childcare. For the first time in most of our lives, schools have been shut down for extended periods of time, and nobody actually knows when it will end! In particular, moms and dads suddenly discover themselves wearing far too many hats: a parent, an employee, a caregiver and a teacher are just naming a few. We know that sightseeing is not the idea, people are thinking about right now. As the world struggles to cope up with the lockdown and this covid19 serious crises, we all have been instructed to stay at home quarantined. Spring is here in the west and tourism has come to a halt. All the landmarks, destinations, flights etc. are shut. Stuck at home with cancelled vacation plans, things could look pretty tough right now. Most of us have found ourselves in our hands with a lot of time as stated in the best travel blog by Thinker Owl.

If you're trying to find a way to keep yourself engaged outside your regular Netflix and chill at-home activities, then you're not alone!

For us, we took this opportunity to really tap into Travel + Leisure's entertainment side and make our readers around the world understand that we're all far closer than it feels right now. The thought of not being able to get out and travel is daunting if you're like us, but we've noticed that virtual tours are not only enjoyable and exciting, it's letting us see and appreciate places we've always dreamed of going.

The MoMA, the Met, the Vatican as well as other museums have opened virtual doors to visitors. For that matter for people to not feel stuck during this tough time, many agencies are offering virtual tour or e -sightseeing to relax your travel instincts at the comfort of your home.

Here are few places you and your kids can visit virtually and can have great experiences!

Ultra High Definition NASA Videos:

How about a quick getaway into outer space if you're searching for a temporary break from the World? There's no need for an invitation from Elon Musk. NASA's great people have been gathering mind boggling galaxy videos from all over the universe available for ultra-HD streaming. Meet me on the Moon, take some snacks, play some liquid Ping-Pong.

Archive of Eurovision Song Contest:

With the cancellation of this year's show, fans of the most-watched and camped music festival in the world are still seeking more, more, more ... Luckily, since 1956 the comprehensive Eurovision Archives have been offering a treasure trove of fantastic, terrible or irreverent music videos and live shows.

Google Arts + Culture:

Travel might be banned right now, yet Google Arts & Culture has paired up with more than 2,500 museums and galleries to offer an exclusive look at most of the world's best prominent cultural institutions, including the Paris' Musée d'Orsay, London's National Gallery, and New York's Metropolitan Museum of Art. Experience free online virtual tours and exhibitions and other resources.

The Louvre Museum, Paris:

An attraction visited by millions of visitors in person every year, the Louver Museum has already developed a series of virtual tours focused on its permanent collections. Visit the Egyptian antiques, the ruins of the Louver Moat and the decorative arts of the Galerie d'Apollon. The tour is easy to follow, with an adjustable minimap that lets you identify the exhibits with just a few clicks. You can also figure out more about each room in The Louver, with thorough explanations that will possibly make the space you are currently sitting in a room that's frighteningly boring in comparison as stated in the top travel blogs by Thinker Owl.

A 3-minute tour of Tokyo:

What if we told you that you may ride a TukTuk, walk around the famous Shibuya crossing, win a Pikachu from a machine, and talk with a robot and all these in less than just three minutes. It may be physically difficult, but it's a breeze with VR. If you've ever decided to take a whistle-stop tour of Japan, the Japan National Tourism Organization has developed a 360-degree virtual reality experience that lets you do all of the above, and a lot more. Basically, put on a VR headset to enjoy a wild thrill ride, from feeding a deer to facing off against a sumo wrestler in a matter of seconds. The video is also viewable in 2D, so it is worth a look.

Taj Mahal, India:

Designed as a resting place for his beloved queen, Mumtaz Mahal, the Mughal Emperor Shah Jahan, this emblem of eternal love is considered to be one of the most beautiful buildings ever constructed. Interactive digital ways provide the routes across the mausoleum itself, reflecting pools, paradise landscapes and ornate magnificent red sandstone mosques. Aerial 360-degree videos incline above the lotus-topped dome and minarets for a sight of the Yamuna River as stated in the Thinker Owl`s Travel blogs with best travel information.

[the-nhstudioz]

Happy birthday Ajay Devgn.  Binge Watch best of his movies today.

We have the best ‘Ajay Devgn’ movies in store for you with trivia  to make it more interesting. 

Be ready with some popcorns and enjoy your self-quarantine.

1. Hogi Pyar Ki Jeet (1999)

Cast: Ajay Devgun, Arshadwarshi, Neha, Mayuri, Keti Dave, Mohan Joshi, Raza Murad

Director: P. Vasu

Synopsis- Two brothers reunite in order to fulfil the dying wish of their father who was bitterly humiliated and murdered by Thakur. They intend to seek revenge by marrying his two daughters.

Trivia- The only film to feature Ajay and Neha. 

Watch now on Amazon prime videos.

2. SUHAAG ( 1994)

Cast: Akshay Kumar, Ajay Devgan, Karishma Kapoor, Nagma

Director: Kuku Kohli

Synopsis- College pals Ajay and Raj always play pranks on each other and then get into trouble. One day, Ajay needs his birth certificate for his passport, but he is shocked to find out his real name.

Trivia- This was the first film which paired Ajay Devgn together with Akshay Kumar and the movie was earlier named ‘Salaakhen’ 

Watch now.

3. PARWANA (2003)

Cast: Ajay Devgan , Amisha Patel, Pooja batra, Gulshan Grover

Director: Deepak Bhary

Synopsis- Parwana, a conman, steals a bag containing explosives, which belongs to a terrorist. The police then set out to nab him as he is now labelled a terrorist.

Watch now

4. ZAMEER: THE FIRE WITHIN (2005)

Cast: Ajay Devgan,Amesh Patel,Mahima Choudhary

Director: Kamal

Synopsis- A girl gets married to her professor against all odds. Soon after, he learns that his wife was responsible for the death of his former girlfriend and he leaves her, never to return.

Trivia- It is the remake of the hugely popular Malayalam blockbuster ‘Mazhayethum Munpe’

Watch now

5. Dil Hai Betaab (1993)

Cast: Ajay Devgan, Pratibh Sinha, Amrish Puri, Vivek Mushran, Kader Khan, Mumtaz

Director: K C Bokadia

Synopsis- Meena and Raja, who are in love with each other, decide to marry. However, when her father's employer asks for Meena's hand in marriage, he accepts his proposal. Will Meena accept this alliance?

Trivia- This film features the only song that playback singer Mohammed Aziz ever sang for actor Ajay Devgan, "Tera Gham Agar Na Hota".

Watch Now

Watch all these movies right away to make your ‘Quarantine’ interesting and let us know your recommendations below.

THANK YOU 

#stayhomesavelives 

[bollywoodproduct]

Lyrics Dil Ki Baaten Dil Hi Jaane

Lyrics Dil Ki Baaten Dil Hi Jaane

Lyrics in English | Dil Ki Baaten Dil Hi Jaane | Roop Tera Mastana (1972) | Jeetendra, Mumtaz Dil Ki BaatenDil Hi JaaneAankhen ChhedeSau AfsaaneNaajuk NaajukPyaare PyareVaade HainIraade HainAaAa Mil Ke DaamanDaaman Se Baandh LeAaAa Mil Ke DaamanDaaman Se Baandh LeDil Ki BaatenDil Hi JaaneAankhen ChhedeSau AfsaaneNaajuk NaajukPyaare PyareVaade HainIraade HainAaAa Mil Ke DaamanDaaman Se Baandh…

[shankerjaikishen-the-unbeatables]

Musical review of film Yahudi

REVIEWER :hitesh.mehta@gmail.com

Director: Bimal Roy; Producer: Savak B Vacha Artistes: Dilip Kumar, Meena Kumari, Sohrab Modi, Nigar Sultana, Nazir Hussain, Kamala Laxman, Helen, Cuckoo, Tiwari, Baby Naaz, Anwar Hussain, Minoo Mumtaz, Murad, Indira Bansal, Munshi, Bikram Kapoor, Romi, Adil

This is only film Shankar Jaikishan did for Producer Savak B Vacha, who died even before this film could complete. Also its SJ’s only film for Director Bimal Roy- a legend director, who happened to be producer also for many films- notable were Do Bigha Jamin, Parakh, Devdas, Madhumati etc. He normally worked with Bengali MDs like SDB and Salil Chaudhury, but I think, for Yahudi, Savak Vacha chose SJ.

This is based on historic theme of Romans and Jews (Yahudis) rivalary in Rome thousand of years ago. SJ, master of varieties as they are, blended their music perefectly with situation and time frame of story- lot of arabian touch in music. This movie is a masterpiece, not only for its music but also direction,  acting,screenplay, sets, dialogues, acting and lyrics. Bimal Roy, as we know, was a master director. Film’s dialogues were very popular, eg. “Tumhara khun khun, hamara khun pani hai”. Two great actors of Hindi movies, Sohrab Modi and Dileep Kumar were at their best. The sets were very good and able to create scene of Rome hundreds of year ago. As usual SJ’s music was adding to magic- not only songs but background music too. On top of that simple but soulful lyrics by Shailendra- this film has 7 songs, in which 6 were written by Shailendra and he won first filmfare award for “Ye mera diwanapan hai”.

In the film title, Only Dattaram’s name appeared as Asst. Music Director, so I believe Sebastian was not assisting SJ in this particular movie. Movie start with instrumental music of song “ye duniya , ye duniya” alongwith titles. For a change, this movie doesn’t have any title song. Also there are only 7 songs and its pity, IMO it should have atleast 3 more songs because its romantic story in backdrop of roman-yahudi rivalry and there is only one song picturised on hero Dilip Kumar. Definitely hero deserved couple of more songs- IMO. Out of 7, only 4 songs are picturised on main stars, 3 went to supporting cast. But Bimal Roy used songs’ beautifully to support flow of story and nowhere they looked unnecessary or coming in the way of story.

Here are the songs and commentary on them:

1) ye duniyaa, ye duniyaa, haa_e hamaarii ye duniyaa. Singers: Muhammad Rafi, Chorus; Lyricist: Shailendra

Picturised on supporting actor, only Md. Rafi song of film- lyrics and music give voice to pain of yahudis due to excesses by Romans. Md. Rafi did justice in expressing deep sorrow and pain.

2) bechain dil kho_ii sii nazar, tanhaaiyo.n me.n. Singers: Lata Mangeshkar, Geeta Dutt; Lyricist: Shailendra

Dance song by Lata and Geeta Dutt- picturised on Helen and Cukoo (?). Its treat to see this for dance lovers. Energy of orchestra and of dancers competing to each other. Traditional orchastrisation of SJ and fast rhythem but still very melodious song. You may not impress with song in first go but after hearing few times, you will fall in love with this song.  I feel SJ should have used Geeta Dutt for more songs in their films.

3) merii jaa.n merii jaa.n pyaar kisii se ho hii gayaa hai. Singers: Lata Mangeshkar, Chorus; Lyricist: Shailendra

SJ were not getting best only out of singers but from chorus too and this is one of example. This is picturised on main heroine Meena Kumari who looks very young and beautiful and supporting actresses. Its a sheer melody and more you hear this song, more you will like it. And what a simple way to express feelings by Shailendra- “jinki nigahon ne ghayal kiya, unhi se lenge dil ki dawa, na ham muskurate na wo pas aate, uski mili hai saja kya kare….”

4) aate jaate pahluu mein aayaa ko_ii, mere dil batlaa na chhupaa. Singers: Lata Mangeshkar, Chorus; Lyricist: Shailendra

Meena Kumari sings and dances while Dilip Kumar looks at hiding. Shankar Jaikishan actually known for variety and no other MD gave so many different kind of songs so you can not associate a single style with SJ but nevertheless by hearing some songs itself, especially their orchestra, you can identify them as SJ song and this is one of them. Use of violins, mendolin, congo, bongo and dattu ka thheka (dattaram’s rhythem)- a distinctive SJ song. The tune of mukhada is not so ‘catchy’ but antaras’ tunes are more attractive, especially when Lata take alaap aa, aa, aa…..and goes back to Mukhada. The continuously  playing rhythem instruments are the main attraction of this song.

5) dil se tujhko bedilii hai…ye meraa diiwaanaapan hai. Singer: Mukesh; Lyricist: Shailendra

Most hit song of the film, Mukesh beautifully expresses romantic as well as sad feelings at same time! Only song picturised on Dilip Kumar, which is quite unusual given the stardom Dilip kumar was enjoying and looking into his fondness for songs. Mukesh used to be voice of Dilip Kumar in late 40s and early 50s when Rafi was not established- In Naushad’s 1949’s superhit Andaz, Mukesh sang 6 evergreen song for Dilip Kumar while Rafi gave playback to Raj Kapoor!!But then Rafi and Talat Mehmood became voice of him, and Mukesh started getting identified more as Raj Kapoor’s voice. In early 1950s, Mukesh volunteerly left playback to pursue Acting career but miserably failed commercially and was struggling literally to get back his foothold in playback singing. It is said that this song and same year’s “Suhana safar aur ye mausam hasin” again picturised on Dilip Kumar gave him fresh lease of life and after that he never looked back till his death. Ironically he never sang for Dilip Kumar again. It is well known fact that Dilip Kumar wanted Talat to sing this song but Shankar was putting his full weight behind Mukesh. It is said that few people associated with movie wanted Rafi for this song. Shankarji has confirmed on record that Mukesh’s name was finalised by toss but even then Dilip Kumar wanted his approval before song finally goes to film and when he heard recording in voice of Mukesh, he embraced Shankarji for his judgement- for Shankarji made this song keeping Mukesh’s vocal in mind. The moment mukesh starts with lines “dil se tujko bediili hai..” one get immersed in melody of song. Interludes of song are very good and no need to write about orchestra which is outstanding by default as per SJ standard. Two lines of song repeats at the end also.

6) aa.nsuu kii aag leke terii yaad aa_ii, jalte hu_e raag leke. Singer: Lata Mangeshkar; Lyricist: Hasrat Jaipuri

Only Hasrat song of film, a very beautiful sad song, sang perfectly by Lata Mangeshkar. There is arabian touch to orchestrisation and instruments supporting singer like ‘chorus’. This is also one of the great feature of SJ songs, where musical instruments play such prominent role in some of songs, to such extent that without them song loose its sheen. Absolute melody- classic- what to say more?

7)dil me.n pyaar kaa tuufaan na samjhe ko_ii naadaan. Singer: Lata Mangeshkar; Lyricist: Shailendra

Picturised on supporting actress, I could not recognise- may be Kamla Laxman. This is very good dance number with long prelude. SJ used big orchestra for this but still its nowhere become loud. Needless to say Lata’s rendition was very good.

In summary, this is a classic SJ album, definitely in best 15 of them. Everything in music department was great here- lyrics, orchastrisation, rhythem, background music, preludes and interludes of songs, rendition by singers and picturisation- absolutely fantastic!!! !!!!!

I have pasted lyrics of songs in devnagri lipi below. Also given the links, where by clicking you will get lyrics in english fonts too. My sincere thanks to RajPrakashji Ratnam for providing me DVD of Yahudi twice, without which this review was not possible. Due to my limited knowledge of musical instuments and raags, I have not touched that part and that is lacking in review, but hopefully our learned members will add that in their comments to make review more meaningful.

Regards Hitesh

बेचैन दिल खोई सी नज़र – bechain dil kho_ii sii nazar ( Yahudi – 1958)

बेचैन दिल खोई सी नज़र तन्हाइयों में शाम\-ओ\-सहर तुम याद आते हो दिल नहीं पहलू में रह गईं दो आँखें जाने क्या\-क्या हमसे कह गईं दो आँखें सुनसान रातों में अक्सर जब चाँद पे जाती है नज़र तुम याद आते हो दिल तो दीवाना था हम भी क्या कर बैठे मर्ज़ जाने क्या था क्या दवा कर बैठे इक आह ठंडी सी भर कर उनसे कोई कह दे जा कर तुम याद आते हो हम तो ये समझे थे ख़त्म है अफ़साना उठ चुकी है महफ़िल रह गया वीराना हमको न थी लेकिन ये ख़बर ख़ुद हम कहेंगे रह\-रह कर तुम याद आते हो बेचैन दिल खोई सी ...

आँसू की आग ले के तेरी याद आई – aa.Nsuu kii aag le ke terii yaad aa_ii (Yahudi – 1958)

आँसू की आग लेके तेरी याद आई जलते हुए राग लेके तेरी याद आई शिक़वे हज़ार ले के तेरी याद आई हाय रे कैसी जुदाई रोता है गुँचा\-गुँचा आँगन उदास है अब दिल की आरज़ू को जलवों की प्यास है आँसू की आग लेके ... दोनों जहान तेरी चाहत में छोड़ दूँ प्यार का नाज़ुक रिश्ता कैसे मैं तोड़ दूँ आँसू की आग लेके ..

आते जाते पहलू में आया कोई – aate jaate pahaluu me.n aayaa koii (Yahudi – 1958)

आते जाते पहलू में आया कोई मेरे दिल बतला न छुपा आज से मैं तुझे दिल कहूँ या दिलरुबा तेरी सुनूँ और सुनती रहूँ मैं अपनी तड़प छुपा लूँ फिर भी कहाँ तक सब्र करूँ मैं खुद को कितना संभालूँ आते जाते   ... मस्त नज़र तूने ये क्या किया लिया ये कौन सा बदला है ये शराब\-ए\-नज़र का असर कि मुझे दिल भी न संभला आते जाते   ... तेरा तसव्वुर तेरा ही ग़म लबों पे अब तेरा तराना नींद से भी अब कहती हूँ मैं तू उनको ख़्वाब में लाना आते जाते   ...

दिल में प्यार का तूफ़ान ना समझे कोई नादान – dil me.n pyaar kaa tuufaan naa samajhe ko_ii naadaan ( Yahudi – 1958)

दिल में प्यार का तूफ़ान ना समझे कोई नादान ज़ालिम घूर\-घूर के देखे दूर\-दूर से दिल में प्यार का ... जिसके लिए मैं सारी रात जागी उसने ही देखो मेरी ख़बर न ली छेड़े मीठे राग मेरे दिल में जागे आग दिल में प्यार का ... ये बेरुख़ी न दुआ न सलाम मुझको वफ़ा का मिला ये ईनाम वादा करना था आसान जा देखा तेरा ईमान दिल में प्यार का ..

दिल से तुझको बेदिली है … ये मेरा दीवानापन है – dil se tujhako bedilii hai … ye meraa diivaanaapan hai ( Yahudi – 1958)

दिल से तुझको बेदिली है, मुझको है दिल का गुरूर तू ये माने के न माने, लोग मानेंगे ज़ुरूर ये मेरा दीवानापन है, या मुहब्बत का सुरूर तू न पहचाने तो है ये, तेरी नज़रों का क़ुसूर ये मेरा दीवानापन है ... दिल को तेरी ही तमन्ना, दिल को है तुझसे ही प्यार चाहे तू आए न आए, हम करेंगे इंतज़ार ये मेरा दीवानापन है ... ऐसे वीराने में इक दिन, घुट के मर जाएंगे हम जितना जी चाहे पुकारो, फिर नहीं आएंगे हम ये मेरा दीवानापन है ...

मेरी जाँ मेरी जाँ प्यार किसी से हो ही गया है – merii jaa.N merii jaa.N pyaar kisii se ho hii gayaa hai ( Yahudi – 1958)

मेरी जाँ मेरी जाँ प्यार किसीसे हो ही गया है, हम क्या करें \-२ हम क्या करें, और कोई क्या करे, दिल जो दिया है कोई क्या करे (भोली थी मैं, हाय क्या थी खबर लूटेगी यूँ मुझे उनकी नज़र) \-२ न होते मुक़ाबिल न दिल हारते हम ये अपनी ख़ता है, ग़िला क्या करें मेरी जाँ मेरी जाँ... (जिनकी निगाहों ने घायल किया लेंगे उन्हीं से दिल की दवा) \-२ न हम मुस्कुराते न वो पास आते उसकी मिली है हमको सज़ा, क्या करें मेरी जाँ मेरी जाँ ...

[gethealthy18-blog]

6 Ways To Wear Saree Pallu In Different Styles

New Post has been published on http://healingawerness.com/getting-healthy/getting-healthy-women/6-ways-to-wear-saree-pallu-in-different-styles/

6 Ways To Wear Saree Pallu In Different Styles

Shivani K January 18, 2019

If there is one piece of clothing that every woman loves wearing, it has to be the saree. There’s something about it; as soon as you drape yourself in a saree, you begin to feel very beautiful instantly. It transforms your look in a jiffy. And of course, we know that all the men go gaga when they see a woman in saree. Be it a wedding or just another day at work, when you walk in wearing a saree, you’ll find everybody complimenting you on how lovely you look. But, there’s one problem with the saree; it’s draping it the right way! We know how hard it is to drape a saree perfectly. If you get it wrong, it makes you look very messy and not the elegant diva you’re supposed to be.

Now, don’t you all agree that it’s the pallu of the saree that catches the attention of everyone? After all it’s the most beautiful part of a saree! And we’ve put together a list of the different ways in which you can wear the pallu of your saree such that it makes you stand out. Yes, there are more than one ways in which you can flaunt the pallu of your saree. Why don’t you read on and find out for yourself? Here you go:

1. The Bengali Style

Shutterstock

Women love Bengali-style sarees, don’t they? What else do they love about them? The way a Bengali saree is draped, of, course. The saree seems to be a little loose on the waist side. The border of the saree is what catches one’s eye, as it is seen hanging at the bottom. And in this style of wearing the saree, the pleats are tucked in the back.

2. The Gujarati Style

Gujarat is known as land of colors in India. It boasts a unique culture of its own. And when it comes to Gujarati sarees, they too are worn in a unique way. The saree is draped in a manner that the pallu rests in the front on the left side, in a slanted manner. The pleats of the pallu are pinned on the left shoulder and are left to flow sideways. It resembles the shape of Japanese hand-fans.

3. The Mumtaz Style

Do you remember the evergreen Bollywood song “Aj kal tere mere pyaar ke charche” from the movie Brahmachari which was released way back in 1986? The way actress Mumtaz had draped her saree in it is considered a fashion statement even to this day. In this style of draping, the saree is draped twice or thrice in a manner that it clings to the petticoat drawing attention to one’s figure. It’s the best retro look that you can try with a saree.

4. The Dhoti Style

Right from celebrities to the most renowned fashion influencers, wearing saree in the dhoti style way has become a favorite among everybody. In this manner of wearing the saree you will have to wear a legging instead of a petticoat underneath the saree. You need to drape the saree like a dhoti and the remaining part of the saree should be used to cover the chest like it’s usually done. You will find enough video sources on the Internet to learn how to wear a saree this way.

5. The Double Saree Style

This is trend among the fashionistas. And there’s no better person than Bollywood’s fashion diva Sonam Kapoor to showcase this trend. She’s carried of this style of wearing saree like a pro. To wear your saree this way, you’ll have to first take one saree and make six small pleats out of it. Tuck these at the center and make pallu pleats as usual with the rest of the saree and hang it in a circular way on your shoulder. Now, with second saree make five pleats and overlap the pleats of the first saree. For the pallu part of the second saree, make the pallu pleats and put it on your other shoulder. We agree it’s a bit confusing, but videos are available over the internet where you can see and learn how to do it the right way.

6. The Neck Drape Style

This is a very quirky way of wearing the pallu of your saree. But, it’s the simplest way too. All you need to do is keep the length of the pallu a little longer than usual. Wear your saree the normal way. The only difference is that you will have to wear the pallu of your saree around your neck like a scarf. Cool, right?

Aren’t these styles hatke? Bookmark them ladies! Don’t just look stunning with the humble saree, turn yourself into a fashion diva by draping it in such stylish ways. Do you know of any other new way of draping? Let us know in the comments below.

The following two tabs change content below.

Latest posts by Shivani K (see all)

RELATED ARTICLES

Source: https://www.stylecraze.com/trending/wear-saree-pallu-in-different-styles/

[lazyupdates]

There have been so many moments on the silver screen when all we could do was get emotional. But Filmfare has had to overlook many gems in an effort to put forth a definite 100 films that have stood the test of time. And we assume shall continue to do so. This isn’t the list. Believe us, if we had a free hand we’d have compiled a 1000 movie list. Instead, we prefer a hot list that stands for what is the best of our cinema. Yes no amount of commiserations can console the runners up who didn’t make the cut. But every single movie featured in the following list deserves its place at the top of the marquee. 

Raja Harishchandra Year: 1913 Director: Dadasaheb Phalke Producer: Dadasaheb Phalke Cast: Dattaraya Damodar Dabke, Salunke, Bhalachandra D Phalke, P G Sane

The ad for the first Indian film read like this: Raja Harishchandra. A performance with 57,000 photographs. A picture two miles long. All for only three annas. Dadasaheb Phalke was influenced by Raja Ravi Varma’s paintings and based his film on the travails of king Harishchandra, who gave up his kingdom, his wife and children to keep his promise to sage Vishwamitra. Dadasaheb couldn’t find women to act the female parts and eventually had to settle for young boys for such roles. The film was processed in London. It’s said Phalke’s wife manually perforated the reels in the night. Live music was used as an accompaniment. The film was an instantaneous success. It opened to packed houses everywhere. Sadly, only an incomplete copy of the film exists today. Harishchandrachi Factory, a tribute to Phalke made by Paresh Mokashi, is a must-see for all cinema history buffs as it gives a fair idea about the challenges faced by the man who pioneered Indian cinema. 

DID YOU KNOW?

1. Phalke’s wife cooked food all alone for the cast and crew of more than 500 people. 2. Filmmaking as a profession was virtually unknown back then. Hence, Phalke advised his cast and crew to tell others that they were working in the factory of one ‘Harishchandra’. 

Alam Ara Year: 1931 Director: Ardeshir Irani Producer: Imperial movie tone Cast: Master Vithal, Zubeida, Jillo, J Sushila, Prithviraj Kapoor Music: Ferozshah M Mistri, B Irani

Alam Ara, as we know it was our first talkie. When it was first released on March 14, 1931 at Majestic cinema in Mumbai, police had to be brought in to control the crowds. This Ardeshir Irani film had many firsts to its name. The first song of Indian cinema, Dil de khuda ke naam par, was sung by Wazir Mohammed Khan. It was recorded live (Khan played a fakir in the film) as there was no playback then. The period film was mostly shot at night to avoid modern daytime ambient sounds. Hence, Alam Ara also started the tradition of shooting under studio lights. Hidden microphones were used to record the voices of the actors. Incidentally, two actors connected with the film, Prithviraj Kapoor and LV Prasad, went on to become giants in their own right. Both were awarded the Dadasaheb Phalke Award (Kapoor posthumously in 1972 and Prasad in 1982) for their immense contribution to Indian cinema. 

DID YOU KNOW? 1.The last known print of this film was destroyed in a fire at the National Archives of India, Pune, in 2003. 

2. Director Mehboob Khan was briefly considered for the male lead’s role, which finally went to Master Vithal.  

Devdas Year: 1936 Director: Pramathesh Chandra Barua Starring: K L Saigal, Jamuna Barua, TR Rajakumari Music: R C Boral, Pankaj Mullick

If the West has the classic Romeo And Juliet, we have Devdas. The immortal love story written by Sarat Chandra Chatterjee has seen numerous cinematic interpretations down the years. The pioneering one was this Bengali/ Hindi bilingual directed by PC Barua. The Hindi version had KL Saigal playing the doomed lover while Barua himself essayed the role in the Bengali version. The story was a critique on the prevalent cast system. Devdas couldn’t marry his childhood sweetheart Paro as she belonged to a lower caste. The dejected lover finds solace in the arms of a nautch girl, Chandramukhi who gets reformed through love. Paro is married off to a wealthy widower and a distraught Devdas, his health  deteriorated  by excessive alcohol, finally dies at her doorstep. The film helped Saigal carve his superstardom and its influences impacted all the subsequent interpretations.

Achhut Kanya Year: 1936 Director: Franz Osten Producer: Himanshu Rai Cast: Ashok Kumar, Devika Rani Music: Saraswati Devi

If Devdas talked about disparity between the classes then Achhut Kanya went a step further and tackled untouchability, which was a curse during those days and is still rampant in our social fabric. Interestingly, Ashok Kumar was cast in the film because the original actor Nazam-ul-Hassan tried to elope with the producer’s wife Devika Rani. Ashok Kumar played a Brahmin’s son in love with an untouchable girl played by Devika Rani. Director Franz Osten didn’t shrink away from depicting the truth of the situation and the film is remembered for its intense mob scenes. It’s also known for its musical score. The song, Main ban ke chidiya sung by the lead stars is popular even today. Incidentally, the music was given by Saraswati Devi, one of our pioneering women composers. 

DID YOU KNOW?

Ashok Kumar worked as a laboratory assistant in Bombay Talkies when he was asked to play the lead in the film.

Kismet Year: 1943 Director: Gyan Mukherjee Producer: Bombay Talkies Cast: Ashok Kumar, Mumtaz Shanti, Shah Nawaz Music: Anil Biswas

This can be termed as Bombay Talkies’ most successful film and earned for its protagonist Ashok Kumar the tag of the superstar. The dye for the suave, urban hero was cast and Ashok Kumar’s urban chic serves as a model to date. The film pioneered the lost-and-found formula and the ‘double role’ formula as well. Also, the public accepted that lead characters could be grey-shaded as well. The film is also known for its nationalistic song, Door hato ae duniyawalon Hindustan hamara hai. The British thought lyricist Pradeep was writing anti-German and anti-Japanese slogans in the middle of World War but the Indians got its true meaning. By the time the British realised it, it was too late. Another song, a duet between Ashok Kumar and Amirbai Karnataki, Dheere dheere, is also remembered till date. 

DID YOU KNOW?

1. Kismet ran for three years at a theatre in Kolkata.   2. The movie also has the distinction of being the first ‘double-role’ played by any Indian actor.

Neecha Nagar Year: 1946 Director: Chetan Anand Producer: Rashid Anwar Cast: Kamini Kaushal, Uma Anand Music: Ravi Shankar

The film’s top notch quality shared the Grand Prix du Festival International du Film award at the first ever Cannes Film Festival held in 1946. The film was director Chetan Anand’s magnum opus and brought to light the disparities of the millions of Indians who have next to nothing while a few rich enjoy all the benefits. In an era which thrived on escapist musicals, the maverick director brought out his Marxist leanings into play to make a grim realistic film, which stands tall with the best of  Satyajit Ray or Ritwik Ghatak products. It can be called the granddaddy of the parallel film movement that was to follow later. The film is still relevant in the sense that nothing has changed, there are parallel Indias which co-exist – the India of glass towers and the India where people don’t have access to clean water are juxtaposed. Kamini Kaushal and sitar maestro Ravi Shankar were the other two besides Chetan to begin their careers with this film. 

DID YOU KNOW?

1. The opening credit shows the certificate of the award won by the movie at the Cannes Film Festival.

2. The film starred Uma Anand,  Chetan Anand’s wife in a prominent role.

Mahal

Year: 1949 Director: Kamal Amrohi Producer: Ashok Kumar and Savak Vacha Cast: Ashok Kumar, Madhubala Kanu Roy, Vijayalaxmi Music: Khemchand Prakash

Kamal Amrohi’s classic is home to many firsts – it started off the trend for reincarnation thrillers, it turned the 16-year-old Madhubala into a superstar and made Lata Mangeshkar  a household name. It’s said that the name of the singers on record jackets started appearing only after the immense popularity of Lata’s Aayega aanewala. Music director Khemchand Prakash brought out the echo effect in the song by making the singer walk from one corner of the recording room to the mike kept in the middle. Cinematography by German cinematographer Josef Wirsching, reminiscent of German expressionist cinema added to the film’s appeal. The film was the biggest earner at the Indian box office that year, its revenue eclipsed that of Andaz and Barsaat released the same year. The film proved to be another feather in Ashok Kumar’s cap, who was also one of the producers of the film. 

DID YOU KNOW?

Mahal was the first Hindi thriler to have a song which worked as a leitmotif throughout the film. This became a trend and was followed in other such films like Madhumati, Woh Kaun Thi and Mera Saaya.

Andaz Year: 1949 Director: Mehboob Khan Producer: Mehboob Khan Cast: Dilip Kumar, Raj Kapoor, Nargis Music: Naushad

This Mehboob Khan venture was the only film in which Dilip Kumar and Raj Kapoor starred together. Andaz was a sizzling love triangle with Nargis and offered a preachy take on the flirtatious nature of modern women. The film played up the strength of its heroes. Dilip was the shy, introverted lover who takes to tragic undertones after rejection while Raj was the happy-go-lucky man who charms the heroine and later lectures her on how she shouldn’t be engaging as it lead to misunderstandings. We might find the melodrama involving missing letters and miraculous revelations a bit clichéd today but the audience went berserk seeing their favourite stars in tandem and the film’s popularity gave rise to multistarrer romances. It could be a precursor to the Yash Chopra formula of having stylised, upper class characters falling in love in exotic locales. Another highlight of the film was music director Naushad effecting a reverse by making Mukesh sing for  Dilip Kumar and Mohammed Rafi for Raj Kapoor.

DID YOU KNOW?

1. Cameraman Faredoon Irani was unhappy with Dilip Kumar’s casting and allegedly asked, “Who’s this monkey?” when Khan first walked in on the set

2. At the time of its run at the theatre, Andaz was considered an ill omen for the director and his stars, with Mehboob losing his mother and brother, Nargis losing her mother and Dilip Kumar being assaulted by goons at Worli. 

Awara Year: 1951 Director: Raj Kapoor Producer: Raj Kapoor Cast: Prithviraj Kapoor, Raj Kapoor, Nargis, Leela Chitnis, KN Singh Music: Shankar Jaikishan

The Russians loved it, the Turks loved it, the Egyptians loved it and so did the Europeans. Such was the film’s craze that it was remade in Turkey as Avaray. The song Awara hoon is still popular in the former Soviet bloc countries. Awara is touted as a premier Indian product, which found a global audience. Its lead pair  Raj Kapoor and Nargis achieved cult status abroad. The film, written by leftist writer Khwaja Ahmad Abbas, dealt with the issue of nature versus nurture. It railed against the false notion of lineage – that the son of a criminal would have crime running in his veins and vice versa. One can also interpret it as a critique about the class disparity in India. The film cut a chord with the Nehruvian socialism that was sweeping across the country at the time. Another reason for its evergreen popularity is the sizzling chemistry between Raj and Nargis, which owed much to their off-screen romance. 

DID YOU KNOW?

1. The character Raj is given prisoner number 308, which is the same as article number of Indian Penal Code for which he is charged and tried i.e.’Attempt to commit culpable homicide’ in the film.

[madihabaig-blog]

Welcome to the "Kishore Kumar Songs" and listen to the hit collection of indian songs in this application. This application "Kishore Kumar Songs" is specially designed for kishore kumar songs. Now you can get your favorite singer Kishore kumar songs at one place. This application "Kishore Kumar Songs" provides you free unlimited video songs for his fans who love to listen songs in his melodious voice.This application "Kishore Kumar Songs" is free video and audio app. We launched this application with its best features. This application is famous for its hit collection and best quality videos. You just need to download this application "Kishore Kumar Songs" which is free of any cost and enjoy these lovely songs. You can find here a best and hit collection of songs with high quality videos. To listen best songs collection you just install this application "Kishore Kumar Songs" which you will definitely love. Some of the famous songs are listed below;

1.Ek Ladki Bheegi Bhaagi Si by Kishore Kumar 2.Mere Mehboob Qayamat Hogi by Kishore Kumar old songs 3.Tere Bina Zindagi Se Koi Shikwa To Nahin by Lata Mangeshkar, Kishore Kumar 4.Bade Maze se guzar jaayegi by Mohammad Rafi & Kishore Kumar 5.Maar Gayi Mujhe Judaai - Judaai Songs - Jeetendra - Rekha - Asha Bhosle - Kishore Kumar 6.Yeh Kaisa Aaya Zamana by Mukesh, Kishore Kumar, 7.Mere Sapno Ki Rani - Aradhana - Rajesh Khanna & Sharmila Tagore 8.O Saathi Re Tere Bina Kiya Jeena- Kishore Kumar hit songs 9.Roop Tera Mastana -Kishore Kumar superhit songs 10.Gore Rang Pe Na - Rajesh Khanna - Mumtaz - Roti - Laxmikant - Pyarelal

You can also download this app with these keywords. Old hindi Songs Old Indian Songs Old hindi video songs Old Indian video songs Evergreen Bollywood songs Evergreen Old Hindi Songs Sadabahar Hindi Songs Sadabahar Gane Purane Gane Purane Hindi Gane Old indian movies Songs Old Hindi movies Songs Old bollywood songs