#khamoshi movie best song

[monicascot]

Tum Pukaar Lo | Khamoshi | Covered By Karthik Mohan

Tum Pukaar Lo is a wonderful song from the movie Khamoshi. The song has a melancholic vibe but its all about hope. A hope that wounds will heal and those strained relationships, those strained friendships will come back to how they used to be. The protagonist is saying that I hope against all odds that you will come back and we will be the way we used to be... Tumhaara Intezaar Hai.

[bollywoodirect]

Happy Birthday, #Helen (21/11).

Helen's foray into Bollywood began with a little help from a family friend, actress Cuckoo. Starting with group dance roles in movies like "Shabistan" (1951) and "Awaara" (1951), Helen quickly became a regular in the industry. Her talent shone through, earning her solo dance spots in films such as "Alif Laila" (1954) and "Hoor-e-Arab" (1955). Notably, she also appeared as a street singer in "Mayurpankh" (1954).

A significant breakthrough came in 1958 when Helen was just 19. Her performance in the song "Mera Naam Chin Chin Chu" from the film "Howrah Bridge" captured hearts. Sung by Geeta Dutt, this song marked the start of a series of successful projects for Helen. The 1960s and 1970s saw her rise to fame, with Geeta Dutt lending her voice for many of Helen's performances. During this period, Helen often portrayed characters who would perform a song or dance and then exit the plot, paving the way for the film's lead actress.

By 1969, Helen had become a household name, even gracing the cover of Filmfare Magazine. Another prominent singer, Asha Bhosle, frequently provided playback for Helen's performances, especially during the 1960s and early 1970s. Helen's versatility wasn't just limited to dance; she was nominated for the Filmfare Award for Best Supporting Actress in 1965 for her role in "Gumnaam". Her dramatic roles in "China Town" and "Sachaai" (1969), alongside Shammi Kapoor, were box office hits. She also portrayed a compelling character in "Chhote Sarkar" (1974), co-starring Shammi Kapoor and Sadhana. Helen's hit dance numbers included 'Suku Suku' in "Junglee", 'Yamma Yamma' in "China Town", and several others.

Helen's fame wasn't confined to the Indian cinema; she performed on stages in London, Paris, and Hong Kong. In 1973, "Helen, Queen of the Nautch Girls", a 30-minute documentary by Merchant Ivory Films, highlighted her life and career. This was followed by Jerry Pinto's book "The Life and Times of an H-Bomb" in 2006, which won a National Film Award. Writer Salim Khan played a key role in Helen's career, casting her in several films he co-scripted. Her performance in "Lahu Ke Do Rang" (1979) earned her the Filmfare Award for Best Supporting Actress. In recognition of her contributions, Helen received the Filmfare Lifetime Achievement Award in 1999.

Though she officially retired in 1983, Helen made occasional appearances in films like "Khamoshi: The Musical" (1996) and "Mohabbatein" (2000). She also appeared alongside her real-life step-son #SalmanKhan in "Hum Dil De Chuke Sanam" and in "Humko Deewana Kar Gaye" (2006). Her contributions were further acknowledged when she was selected for the Padma Shri in 2009, alongside Aishwarya Rai and Akshay Kumar. Helen also served as a judge in the semifinals and finals of India's 2009 "Dancing Queen" television series.

[keepalivebollywood]

10 Timeless Bollywood Classics By The Legendary Lata Mangeshkar You Should Listen Today

For more than seven decades, Lata Mangeshkar has been an iconic voice of Indian film music. As the most recorded artist in history, she’s had a hand in making some of Bollywood’s most beloved classics. Today, we’re taking a look at 10 of her timeless tracks that have stood the test of time and still inspire listeners.

Introduction to Lata Mangeshkar

Lata Mangeshkar is a legendary Indian playback singer. She has recorded songs for over a thousand Hindi films and has sung songs in over thirty-six regional Indian languages. She is one of the best-known and most respected playback singers in India.

Mangeshkar was born on September 28,1929 in Indore, Madhya Pradesh, into a Marathi family. Her father, Pandit Deenanath Mangeshkar, was a classical singer and her mother, Shevanti, was a homemaker. Mangeshkar’s elder sister, Meena Khadikar, was also a playback singer.

Mangeshkar started singing at an early age and made her film debut when she was just thirteen years old. She has recorded songs for films in various Indian languages, including Hindi, Marathi, Bengali, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam and Oriya. 

Mangeshkar has won several awards for her contributions to Indian cinema, including the Padma Bhushan (1969), the Padma Vibhushan (1999) and the Bharat Ratna (2001). She has also been awarded the National Film Award for Best Female Playback Singer five times.

Mangeshkar’s career spans more than seven decades. She has sung songs for some of the biggest names in B

List of the top ten Lata Mangeshkar songs that have stood the test of time 

Lata Mangeshkar is a legendary playback singer in India who has sung thousands of songs in her career spanning over seven decades. Her voice has been heard in some of the most iconic Hindi film songs of all time. Here is a list of the top 10 songs by Lata Mangeshkar that have stood the test of time:

1. Aye Mere Watan Ke Logo: This patriotic song was composed by C. Ramchandra and written by Kavi Pradeep. The song commemorates Indian soldiers who died during the Sino-Indian War in 1962. The song is still remembered today as one of the most emotional and patriotic songs ever sung.

2. Lag Jaa Gale: This romantic ballad was composed by Madan Mohan and written by Raja Mehdi Ali Khan. It was picturized on  Manoj Kumar, Sadhana and released in 1964. The song is still popular today for its soulful melody and lyrics.

3. Chhup Gaye Sare Nazare: The song is a romantic ballad and is one of the most memorable songs sung by Lata Mangeshkar. Her voice is so beautiful and expressive that it perfectly conveys the emotions of the characters in the song.

4. Tere Bina Zindagi Se Koi: This evergreen love song was composed  by R.D. Burman and written by Gulzar. It was picturized on Sanjeev Kumar and Suchitra Sen from the film “Khamoshi” and released in 1975. The song is still popular today for its soulful composition and meaningful lyrics.

5. Bahon Mein Chale Aao: The lyrics of the song are very heartwarming and describe the feeling of being in love. The song is from the movie Anamika. Bahon Mein Chale Aao is one of those songs that will stay with you long after you’ve heard it.

6. Yeh Galiyan Yeh Chaubara:  This melodious song is from the movie Prem Rog. The song is sung by Lata Mangeshkar, and the music is composed by Laxmikant Pyarelal. 

7. Ek Pyar Ka Nagma Hai: This song is one of the most popular songs sung by Lata Mangeshkar and Mukesh from the movie Shor and was released in 1972. The lyrics of the song are penned by Santosh Anand and the music is composed by Laxmikant-Pyarelal. It is a perfect track to listen to when you’re feeling romantic or missing your loved one.

8. Kora Kagaz Tha Yeh Man Mera: The song  was sung by Lata Mangeshkar and Kishore Kumar, and picturised on Sharmila Tagore and Rajesh Khanna. The song starts off with a simple melody that gradually builds up into a crescendo. The lyrics are written in a simple yet emotive style, which perfectly captures the feelings of love and longing. The two singers have done a phenomenal job of conveying these emotions through their voices. The music is also very catchy and will stay with you long after you’ve heard it.

9.  Yeh Kahan Aa Gaye Hum: This is a classic Bollywood song that has been sung by Amitabh Bachhan and Lata Mangeshkar. The song is from the movie Silsila and is one of the most popular songs of all time. The lyrics of the song are very meaningful and the tune is very catchy. The song has a very strong emotional impact on the listeners.

10.  Tujhse Naraz Nahi Zindagi: This song from the movie Masoom is sung by Lata Mangeshkar.  The song is a beautiful ballad that has a message of hope and resilience. It is a perfect song for someone who is going through a tough time in their life. The lyrics are very relatable and the melody is very soothing. This is one of those songs that you can listen to over and over again and never get tired of it.

Describe what makes Lata Mangeshkar’s voice so unique and special

Lata Mangeshkar is often referred to as the Nightingale of India and is one of the most celebrated playback singers in Bollywood history. Her unique voice has been described as “honey-coated” and “clear as a bell”, with a wide range and perfect pitch. Lata Mangeshkar began singing at a young age and made her film debut in “Paa laagu kar jori re” from “Aapki Sewa mein” (1947). She went on to record songs for hundreds of Hindi films and has sung in over 20 languages. Mangeshkar’s voice is truly one of a kind and her contributions to the world of Bollywood music are immeasurable.

How Her Songs Are Still Relevant Today

Lata Mangeshkar is often referred to as the Nightingale of India and has been praised for her exceptional vocal abilities. She has recorded songs in over a thousand Hindi films and has sung in multiple languages .

One of the things that makes Lata Mangeshkar’s music timeless is her ability to connect with her listeners. Her songs are full of emotion and resonate with people even today. In a world where Bollywood movies are increasingly becoming more formulaic, her songs offer a much needed respite. They are a reminder of a simpler time when movie songs were truly reflective of the human experience.

Some of Lata Mangeshkar’s most popular songs include “Bhigi Bhigi Rato Me”, “Tum Aa Gaye Ho Noor Aa Gaya”, “Zindagi Pyar ka Geet Hai”, “Gum Hai Kisike Pyar Me” and “Dil To Hai Dil”. These songs are still relevant today because they deal with universal themes such as patriotism, love, heartbreak and longing. No matter what language you speak or where you’re from, these songs will speak to you on a deep level.

The continued influence of her music and how it has impacted subsequent artists

Lata Mangeshkar is one of the most prolific and respected playback singers in India. She has sung hundreds of songs in Hindi and other Indian languages over her career, which spans more than seven decades. Her music has been influential to subsequent generations of Indian artists, both in terms of her vocal style and the choice of songs she has recorded.

Mangeshkar’s influence can be heard in the work of many contemporary Indian singers. For example, Sunidhi Chauhan has cited Mangeshkar as an inspiration, saying “I grew up listening to Lataji’s songs and try to emulate her style in my own singing.” Similarly, Shreya Ghoshal has said that “Lataji is my biggest inspiration… There is no one who can match her versatility or expressiveness.”

Lata Mangeshkar’s work has also been referenced by a number of international artists. In a 2013 interview, Beyoncé said that she was influenced by Mangeshkar when she was growing up: “My mom used to play a lot of Hindi movie music around the house… I definitely remember being fascinated by the sound of Mangeshkar’s voice.” .

Conclusion

Lata Mangeshkar has been an iconic figure in the Indian music industry for over 70 years, and her influence on popular culture will no doubt continue for generations to come. Her timeless songs have touched the hearts of millions, transcending boundaries of language and geography. There is no denying that Lata Mangeshkar was a pioneer when it came to Bollywood music, and she deserves all the respect and admiration that has been bestowed upon her by fans around the world.

[ofhunter290]

Shalimar 1978 Songs Pk

Shalimar 1978 Songs Pk Songs

Shalimar 1978 Songs Pk Subban

Shalimar 1978 Songs Pk Song

This will remove all the songs from your queue. Are you sure you want to continue? Clear currently playing song. One Two Cha Cha Cha(From 'Shalimar') Lyrics. Old songs indeed have an unmatchable aura from the rest of the songs. These songs, with the combination of meaningful lyrics and melodious tunes, helped in creating a great hype for their film. While some songs are famous by their title, some are famous by the cast that performs in the songs. SUBSCRIBE for the best Bollywood videos, movies, scenes and songs, all in ONE channel: On the run from the police, S.S. Kumar, a thief, comes across a private invitation to. About Us Shalamar Hospital is committed in the delivery of its tripartite mission of exemplary patient care, high-impact research and education. Over the last 44 years, Shalamar Hospital has evolved into a premier tertiary care medical facility with 500.

Category :Bollywood Songs

A number of songs about turmoil in relationships have been made in Hindi films. It’s not easy to get back to normal after a split with the one you love. This article showcases a detailed perspective of the best Bollywood Breakup songs and Heartbreak songs.

Parting ways with the one you love is never easy. Not every love story has a happy ending. The sentiments associated with a breakup have been expressed colloquially in Hindi films. Since its early days the Hindi film industry has depicted varied emotions centrifugal to lovers parting ways. Emotional turmoil is an aspect that has been thoughtfully captured through songs in Hindi films. Since the black and white era, songs about breakup and heartache have been exceedingly popular. Songs about lovers parting ways are exceedingly popular with Bollywood aficionados. People are able to relate with lyrics in breakup songs, and that’s why these songs are close to the heart of many.

Listeners are able to connect with emotions and feelings conveyed through breakup songs. Heartache and breakups is a bitter slice of reality that is painful, and it’s this pain that is expressed poetically through Bollywood breakup songs. The Hindi film industry is known for its high caliber lyricists. Lyricist’s give new life and meaning to songs with words. Lyrical melodies in Bollywood songs have charmed audiences in different decades. The warmth of emotion that oozes forth in Bollywood breakup songs has mesmerized audiences belonging to different age groups.

Breakup songs and heartbreak songs are popular with both youngsters and the older generation. While youngsters relate to present day songs, the older generation loves listening to sad songs from the decades gone by. The sentiments expressed through breakup songs in Hindi films have touched hearts. Emotive lyrics in breakup songs bring back memories of the past. Listening to songs about breakups or heartbreak help you deal with life as it comes. While opinions differ in regard with whether listening to breakup songs impact a person positively or negatively, the truth of the matter is lyrics in songs about heartbreak can only make you stronger and move forward for a better life.

The lines below showcase a comprehensive list of the best Bollywood breakup songs.

100 Greatest Bollywood Breakup Songs and Heartbreak Songs

Tadap Tadap Ke- Hum Dil De Chuke Sanam (1999)

Jag Soona Soona Lage- Om Shanti Om (2007)

Tanahayee- Dil Chahta Hai- (2001)

Jeena Yahan Marna Yahan- Mera Naam Joker (1970)

Bin Tere- I Hate Love Stories- (2010)

Yeh Duniya Yeh Mehfil- Heer Ranjha (1970)

Kabira- Yeh Jawaani Hai Deewani- (2013)

Tum hi Ho- Aashiqui 2 (2013)

Saathi Re Tere Bina Bhi Kya Jeena- Muqaddar Ka Sikandar (1978)

Tu Jaane Na- Ajab Prem Ki Ghazab Kahani- (2009)

Jaane Tu Meri Kya Hai- Jaane Tu… Ya Jaane Na (2008)

Agar Tum Saath Ho- Tamasha (2015)

Teri Meri- Bodyguard (2011)

Tujhe Bhula Diya- Anjaana Anjaani- (2010)

Mora Piya- Raajneeti (2010)

Tere Bin- Bas Ek Pal (2006)

Pyaar Hai Ya Sazaa- Salaam-e-Ishq (2006)

Bhula Dena- Aashiqui 2 (2013)

Jab Rulana Hi Tha- Aggar (2007)

Tujhe Yaad Na Meri Aaye- Kuch Kuch Hota Hai (1998)

Pardesi Pardesi Jaana Nahin- Raja Hindustani (1996)

Tujhe Sochta Hoon- Jannat 2 (2012)

Woh Lamhe Woh Baaten- Zaher (2005)

Chaha Hai Tujhko- Mann (1999)

Tune Jo Na Kaha- New York (2009)

Dil Ke Armaan Aanshuo Main Beh Gaye- Nikaah (1982)

Sunn Raha Hai- Aashiqui 2 (2013)

Hasi- Hamari Adhuri Kahani- (2015)

Tere Liye- Veer Zaara (2004)

Zindagi Ka Safar- Safar (1970)

Laal Ishq- Goliyon Ki Rasleela…Ramleela (2013)

Hone So Batuyaan- Fitoor (2016)

Tere Naam- Tere Naam (2003)

Manchala- Hasee Tooh Phasee (2014)

Kaise Main Kahon Tujhse- Rehna Hai Tere Dil Main (2001)

Ae Dil Hai Mushkil- Ae Dil Hai Mushkil (2016)

Ab Tere Bin- Aashiqui (1989)

Lambi Judaai- Hero (1983)

Main Shayar Badnaam- Namak Haram (1973)

Alvida- D- Day (2013)

Main Tenu Samjhawan- Humpty Sharma Ki Dulhania (2014)

Chingari Koi Bhadake- Amar Prem (1971)

Re Piya- Aaja Nachle (2007)

Koi Yeh Kaise Bataye- Arth (1983)

Tere Bina Zindagi Se Koi- Aandhi (1975)

Din Dhal Jaaye Haaye- Guide (1965)

Hum Bekhudi Mein Tumko Pukare- Kala Pani (1958)

Jiye Toh Jiye Kaise- Saajan (1991)

Pyar Manga Hai Tumhi Se- College Girl (1978)

Waqt Ne Kiya Kya Hansi Sitam- (Kaagaz Ke Phool) (1959)

Mera Kuchh Saaman- Ijaazat (1988)

Dooriyan- Love Aaj Kal(2009)

Justjoo Jiski Thi Usko- Umrao Jaan (1981)

Teri Galiyon Mein Na Rakhenge- Hawas (1971)

Poochoo Na Kaise Maine- Meri Surat Teri Aankhen (1963)

Abhi Mujh Mein Kahin- Agneepath (2012)

Laayi Ve Ne Gayi, Tey Nibhayi Vi Na Gayi- Chalte Chalte (2003)

Bhare Naina- Ra. One (2011)

Do Pal- Veer Zaara (2004)

Yun Hasraton Ke Daag- Adalat (1958)

Zindagi Mein Koi Kabhi Aaye Na Rabba- Musafir (2004)

Dil De Diya Hai- Masti (2004)

Priya Priya- Dil (1990)

Toote Huye Khwabon Me- Madhumati (1958)

Hum Bewfa Hargiz Na Thay- Shalimar (1978)

Jiyien Kyun- Dum Maaro Dum (2011)

Aaoge Jab Tum Sajna- Jab We Met (2007)

Teri Yaad Aati Hain- Saudagar (1991)

Jeena Jeena- Badlapur (2015)

Jeeta Tha Jiske Liye- Dilwale (1994)

Dil Mera Churaya Kyon- Akele Hum Akele Tum (1995)

Who Shaam Kuchj Ajeeb Thi- Khamoshi (1969)

Mujhe Teri Mohabbat Ka Sahara- Aap Aye Bahaar Aye (1971)

Tu Pyaar Hain Kisi Aur Ka- Dil Hai Ki Maanta Nahi (1991)

Zindagi Ke Safar Mein Guzar Jaate- Aap Ki Kasam (1974)

Jaane Kahan Gaye Who Din- Mera Naam Joker (1970)

Koi Hota Jisko Apna- Mere Apne (1971)

Kya Hua Tera Wada- Hum Kisise Kam Naheen (1977)

Shikaayat Hain- Jism (2003)

Sach Keh Raha Hai Deewana- Rehnna Hai Tere Dil Mein (2011)

Aur Is Dil Mein Kya Rakha Hai- Imaandaar (1987)

Chod Gaya Balam- Barsaat (1949)

Banake Kyun Bigada Re- Zanjeer (1973)

Chupana Bhi Nahi Aata- Baazigar (1993)

Mere Toote Huye Dil Se- Chhalia (1960)

Mere Dushman Tu Meri Dosti Ko Tarse- Aaye Din Bahaar Ki (1966)

Mere Piya- Tere Mere Sapne (1996)

Toh Phir Aao- Awarapan (2007)

Shisha Ho Ya Dil Ho- Aasha (1980)

Awaarapan Banjarapan- Jism (2003)

Dil Lagane Ki Do Na Saza- Anmol (1993)

Achha Sila Diya Tune Mere Pyaar Ka- Sanam Bewafa (1993)

Yeh Safar- 1942: A Love Story- (1994)

Mera Yaar Mila Dey Saaiyaan- Saathiya (2002)

Koi Jab Tumhara Hriday Tod De- Purab Aur Paschim (1970)

Aye Ajnabi Tu Bhi Kabhi- Dil Se (1998)

Hum Thay Jin Ke Saharay- Safar (1970)

Ab Naam Mohabbat Ke Ilzaam Yeh Aaya Hain- Ghulam (1998)

Tota Tota Sajan Se Kehna- First Love Letter (1991)

Rula Ke Gaya Sapna Mera- Jewal Thief (1967)

Let us know how you like this article. Like it and Rate it below.

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Post Your Comment

tumbou

Oh my God Tujhey Bhula Diya is my all time favourite. It hits the cord straight of my heart. It's lyrics has so much reality in it. Zindagi Kay safar main guzar jaatay is another reality based song that brings tears

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biju

Music has become an integral part pf our daily life. If you listen music, you would not feel any pain.

Shalimar 1978 Songs Pk Song

reply 0

[salmankhanholics]

★ 'Radhe' song ‘Dil De Diya’ choreographer Shabina Khan: Wherever I am today, it is because of Salman Khan !

May 7, 2021

Choreographer Shabina Khan, who has worked with Salman Khan in films like ‘Jai Ho’, ‘Prem Ratan Dhan Payo’, and ‘Tubelight’, is currently enjoying the accolades coming her way for her work in 'Radhe: Your Most Wanted Bhai' song, ‘Dil De Diya’. The song that features Salman, Jacqueline Fernandez, and Randeep Hooda, has garnered a lot of attention for its music and choreography. In fact, Jacqueline and Salman’s quirky dance moves are already all the rage online. In an exclusive interview with ETimes, Shabina shares how she went about choreographing for the song, Randeep’s moonwalk, and her long association with Salman.

'Dil De Diya' is a hit and even the choreography is being appreciated...

It feels great to see the kind of response I am getting for the song. We have put a lot of effort into this song. In these testing times, when we are surrounded by so much negativity, the song has managed to bring a smile to people's faces. Speaking about the song, I am really happy with the response it has been getting. During ‘Prem Ratan Dhan Payo’ too, fans had been appreciative of my work, but this time, the happiness has doubled.

In the behind-the-scenes video of the song, you might have seen Jacqueline getting injured on the sets while dancing. Even my team got injured during the process. We wanted to come up with something different and unique, which was challenging. Prabhudheva is a taskmaster and also my guru. So, I had to give him the best that I could. Both Salman and Prabhudheva gave inputs and suggested changes, if they were required. When they give an 'ok', 90 per cent of my work gets done because whenever they agree, the song turns out to be a hit. Randeep Hooda’s moonwalk was also suggested by them. There is a story in the song and they wanted Randeep’s character to dance in that manner. Fans have been sending me messages on social media. They are telling me that the dance steps are so good that they want to try it, even if it's difficult. A few of them have even requested me to come online and teach them the steps from the song. I have been planning the same with my team and will do something about it soon. You have worked with Salman earlier. What kind of steps does he like? Salman has managed to create his unique dancing style. There is nothing that he cannot do. We always keep in mind that the dance moves we give him are such that his fans can easily relate to and copy. Every time he dances, be it in ‘Dabangg’ or ‘PRDP’, his hook steps go viral. Even he gives his inputs while we shoot for a song, which are just perfect. He doesn’t even rehearse for the song, he comes on the sets, we show him the moves, and he nails it like a boss! I I have been working with him since I was 8-9 years old; I started working as an assistant to Ganesh Hegde for his film ‘Khamoshi’. It has contributed immensely to my career.

I would call him the best dancer! Woh jo kar le, vo step ho jaati hai aur vo hit hai (Whatever he does, becomes a step and is an immediate hit with the masses). My kids and nephews copy his steps. How has your journey with him been so far? I first saw him on a movie set, when I was in school. I come from a very conservative family and we were not even allowed to watch films. I am the only one from my family who is working in the film industry. I started working with Salman in ‘Khamoshi’ and then later, continued working with him. I feel I have a natural connection with him. I have done a lot of songs but after doing ‘Prem Ratan Dhan Payo’, I got recognition. Before that, I did a lot of songs like ‘Aashiq Bananya Aapne’ and others. I even got nominated for several awards, I was also called the best young choreographer, but ‘PRDP’ was a milestone film for me. After that, I made sure to deliver the best and do better. Because if I am able to do a good job, only then will be call me for his next project. Today, wherever I am in my career, it is because of him. Like Salman Khan, you also have a charitable foundation... Last year (when the country went under a lockdown), there was no such foundation. I was just trying to help people voluntarily. We tried to provide essential help to people, like providing rooftops, so that they can protect themselves during the rains, and distributed ration kits. So, last year I got an opportunity to help the needy, and this year, we decided to take it ahead. Now, I have a foundation named Shabina Khan Foundation. Even this time, we have distributed monthly essentials, helped underprivileged women with their pregnancies. It's such a sad state; families are struggling for food, how can they afford hospital expenses? I wanted to help maximum people which is why I decided to start this foundation. Since the country is facing other issues like oxygen and bed scarcity, I thought of taking care of providing food and essentials in every possible home that needs it. Inshallah, we'll try to grow the foundation further. Go on…

I receive multiple requests for help, so my team goes to every family to verify it. Due to the pandemic, we advise people to connect via social media and we have given out our phone numbers as well. I have even distributed masks and sanitizers to people. What’s next for you? Next, I have two songs in Salman Khan and Aayush Sharma’s ‘Antim’. I will not be able to talk much about it now. I also have other projects but they are all stuck due to the pandemic.

[owentaylorqeet-blog]

Heart-Warming Hindi Movie Songs

The advent of technology has created a huge platform called the Internet to download heart-warming Hindi movie songs. There are many music websites and online sources from where Hindi songs lovers can download the entire range existing in the music industry. Some of these websites are completely free but the quality of songs may not be good at times because a huge number of music files are compressed to save space that plays a major role in the computer world.

Punjabi Music

Apart from these free websites there are paid sources also that offer the best sound quality of audio as well as video downloads. But the question arises how many people buy songs online? Hardly a few counted numbers! Everyone in the present generation try to grab maximum of their needs free of cost. Then why will music lovers lighten their pockets if they can get the same song completely free of cost. Yet there are few numbers who go for excellent sound quality and download songs from paid websites.

Punjabi Mp3 Download

All the music websites have a huge collection of Hindi movie songs ranging from the first song of the movie 'Alam Ara' to the entire range of latest movie songs. The movie Alam Ara was released in 1931 and since then a number of Hindi movies are directed with utmost excellence. All the movies have atleast one song that is known as the title song. Apart from the title song there are a good number of sound tracks in almost all the Hindi movies that gear up various issues like national causes, friendship, patriotism, love, and relationship.

As time passed by, many songs came into picturization that helped in popularizing a good number of Hindi movies. Some of the super duper hits like DDLJ, Hum Aapke Hain Kaun, Khamoshi, Maine Pyar Kiya, and even the latest movie 3 Idiots also hold credit to the track numbers they embrace. The amazing songs of these films also increased the popularity of specific musicians, singers, and composers.

With so many songs its actually not possible to list all the songs at one place but internet definitely has the entire list. Whether the song is from a old hit or from the mid 90s Hindi movie or the latest 20th century movie, from the internet music lovers can download any desired Hindi movie song and create his or her own personlized music album.

[juliankhloesfdf-blog]

Download Heart-Warming Hindi Movie Songs

The advent of technology has created a huge platform called the Internet to download heart-warming Hindi movie songs. There are many music websites and online sources from where Hindi songs lovers can download the entire range existing in the music industry. Some of these websites are completely free but the quality of songs may not be good at times because a huge number of music files are compressed to save space that plays a major role in the computer world.

Tamil Songs

Apart from these free websites there are paid sources also that offer the best sound quality of audio as well as video downloads. But the question arises how many people buy songs online? Hardly a few counted numbers! Everyone in the present generation try to grab maximum of their needs free of cost. Then why will music lovers lighten their pockets if they can get the same song completely free of cost. Yet there are few numbers who go for excellent sound quality and download songs from paid websites.

Tamil Songs Mp3

All the music websites have a huge collection of Hindi movie songs ranging from the first song of the movie 'Alam Ara' to the entire range of latest movie songs. The movie Alam Ara was released in 1931 and since then a number of Hindi movies are directed with utmost excellence. All the movies have atleast one song that is known as the title song. Apart from the title song there are a good number of sound tracks in almost all the Hindi movies that gear up various issues like national causes, friendship, patriotism, love, and relationship.

As time passed by, many songs came into picturization that helped in popularizing a good number of Hindi movies. Some of the super duper hits like DDLJ, Hum Aapke Hain Kaun, Khamoshi, Maine Pyar Kiya, and even the latest movie 3 Idiots also hold credit to the track numbers they embrace. The amazing songs of these films also increased the popularity of specific musicians, singers, and composers.

With so many songs its actually not possible to list all the songs at one place but internet definitely has the entire list. Whether the song is from a old hit or from the mid 90s Hindi movie or the latest 20th century movie, from the internet music lovers can download any desired Hindi movie song and create his or her own personlized music album.

[anambaloch3783-blog]

Watch & Listen Best Quality Songs & movies of salman with this app "salman khan songs & movies". You Find here Top movies of Salman Khan in this app "salman khan songs & movies". some of the famous and hot movies are "tiger zinda hai", "Tubelight", "Sultan", "Bhajrangi bhaijaan", "Prem ratan dhan payo", "Kick", "Jai ho", "Danbang 2", "Ek tha tiger", "Tere Naam" , "Hum Dil De Chuke Sanam", "Saajan", "Judwaa", "Maine Pyaar Kiya", "Hum Aapke Hain Koun", "Pyaar Kiya To Darna Kya", "Hum Saath Saath Hain" , "Prem Ratan Dhan Payo" , "Maine Pyar Kiya" , "Jai Ho", "Karan Arjun", "Tumko Na Bhool Paayenge", "Mujhse Shaadi Karogi", "Har Dil Jo Pyar Karega", "Kuch Kuch Hota Hai", "kyon ki movie", "Chori Chori Chupke Chupke", "Khamoshi", "Chal Mere Bhai", "Dabangg 3", "race 3" ,"Ready", "Bodyguard", "Danbang", "Veer", "Wanted", "Salame e ishq", "Jaaneman", "No entry" and many others. We added hit songs of Salman Khan like "Tere Naam Hum Ne Kiya Hai", "Maye Ni Maye", "Chori Kiya Re Jiya", "Mashallah", "Tere Mast Mast Do Nain", "Banjaara", "Munni Badnaam", "Tadap Tadap Ke", "Character Dheela", "Udd Udd Dabaang", "Aaja Sham Hone Aayi", "Fevicol Se", "Dagabaaz Re", "Mere Rang Mein Rangne Waali","Dil Deewana", "Humko Pyar Hua", "teri meri prem kahani", "saiyaara", "jag ghoomeya", "main hoon hero tera", "hum tumko nigahon mein", "bulleya", "chand chupa badal mein", "tadap tadap", "Kabootar Ja Ja" "JaDekha Hai Pehli Baar" and others. You Can Also Search To Use These Keywords.. "salman khan Movies" "salman khan Video songs" "hits of salman khan" "Best of salman khan" "Salman khan all movies songs" "Salman khan movie songs" "Salman khan Songs" "salman khan game" "salman khan wallpaper" "Hindi romantic songs" "Bollywood 90s Hit Songs" "80s 90s love song" "60s 70s 80s 90s music free download" "Old Hindi Songs" "Hindi Sad Songs" "90s Hindi Songs" "Old Hindi Filmi Songs" "Hindi Filmi Songs" "Evergreen Old Hindi Songs" "Sadabahar Gane" "Old Hindi Filmy Songs" "Old Hindi Movies" "Free online Movies" "Sad Songs" "kumar sanu all songs" "udit narayan hit songs" "alka yagnik all song" "sp balasubrahmanyam" "hariharan hit songs"

[waqarmughalg-blog]

Watch & Listen Best Quality Songs & movies of salman with this app "salman khan songs & movies". You Find here Top movies of Salman Khan in this app "salman khan songs & movies". some of the famous and hot movies are "tiger zinda hai", "Tubelight", "Sultan", "Bhajrangi bhaijaan", "Prem ratan dhan payo", "Kick", "Jai ho", "Danbang 2", "Ek tha tiger", "Tere Naam" , "Hum Dil De Chuke Sanam", "Saajan", "Judwaa", "Maine Pyaar Kiya", "Hum Aapke Hain Koun", "Pyaar Kiya To Darna Kya", "Hum Saath Saath Hain" , "Prem Ratan Dhan Payo" , "Maine Pyar Kiya" , "Jai Ho", "Karan Arjun", "Tumko Na Bhool Paayenge", "Mujhse Shaadi Karogi", "Har Dil Jo Pyar Karega", "Kuch Kuch Hota Hai", "kyon ki movie", "Chori Chori Chupke Chupke", "Khamoshi", "Chal Mere Bhai", "Dabangg 3", "race 3" ,"Ready", "Bodyguard", "Danbang", "Veer", "Wanted", "Salame e ishq", "Jaaneman", "No entry" and many others. We added hit songs of Salman Khan like "Tere Naam Hum Ne Kiya Hai", "Maye Ni Maye", "Chori Kiya Re Jiya", "Mashallah", "Tere Mast Mast Do Nain", "Banjaara", "Munni Badnaam", "Tadap Tadap Ke", "Character Dheela", "Udd Udd Dabaang", "Aaja Sham Hone Aayi", "Fevicol Se", "Dagabaaz Re", "Mere Rang Mein Rangne Waali","Dil Deewana", "Humko Pyar Hua", "teri meri prem kahani", "saiyaara", "jag ghoomeya", "main hoon hero tera", "hum tumko nigahon mein", "bulleya", "chand chupa badal mein", "tadap tadap", "Kabootar Ja Ja" "JaDekha Hai Pehli Baar" and others. You Can Also Search To Use These Keywords.. "salman khan Movies" "salman khan Video songs" "hits of salman khan" "Best of salman khan" "Salman khan all movies songs" "Salman khan movie songs" "Salman khan Songs" "salman khan game" "salman khan wallpaper" "Hindi romantic songs" "Bollywood 90s Hit Songs" "80s 90s love song" "60s 70s 80s 90s music free download" "Old Hindi Songs" "Hindi Sad Songs" "90s Hindi Songs" "Old Hindi Filmi Songs" "Hindi Filmi Songs" "Evergreen Old Hindi Songs" "Sadabahar Gane" "Old Hindi Filmy Songs" "Old Hindi Movies" "Free online Movies" "Sad Songs" "kumar sanu all songs" "udit narayan hit songs" "alka yagnik all song" "sp balasubrahmanyam" "hariharan hit songs"

[aruneshgoyal]

Just as I had promised, this is really super cooled super chilled FM awaiting U all here today October 13 year 2020 AD, as we crossover to Tuesday afternoon local time now exactly 12:07. A very pleasant and good afternoon, to U all, the listeners, the viewers, the audience and anybody who is at least somewhat interested in these proceedings being live wired to U as and exactly as it is happening....

 First of all, our usual invocation (myself ARUNESH shall lead from the front and show U the way in case you happen to miss out somewhere; so, just don’t worry, relax N just be with me for the time we R together along here on Radio FM channel):

  GURURA BRAHMA GURURA VISHNU GURURA DEVO MAHESHWARA GURURA SAKSHAT PARBRAHMA TASMAI SHRI GURUVEH NAMAH|

TASMAI SHRI GURUVEH NAMAH||

  And, now for our usual fun & frolic part too:

WOHEI SHAAMEI KUCCHEI AJEEBEI THIEI

YEI SHAAMEI BHIEI AJEEBEI HAIEI

WOHEI KALLEI BHIEI AAS_PAASEI THIEI

WOHEI AAJEI BHIEI KAREEBEI HAIEI

WOHEI SHAAMEI………………………………

 JHUKIEI HUIEI NIGAHEI MEI KAHINEI MERAEI KHYALEI THAAEI

DABIEI HUIEI SIEI CHAAHEI MEI HASEENEI SAAEI GULALEI THAAEI

MAINEI JAANTAEI HOONEI MEREI SAATHEI GAAEI RAHIEI HAIEI WOHEI

YAHIEI KHYALEI HAIEI MUJHEI KIEI MUSKURAEI KEI PAASEI AAEI RAHIEI HAIEI WOHEI

MAINEI JAANTAEI HOONEI MERAEI NAAMEI GUNGUNAEI RAHIEI HAIEI WOHEI

YAHIEI KHYALEI HAIEI MUJHEI KIEI MUSKURAEI RAHIEI HAIEI WOHEI

WOHEI SHAAMEI……………………………………..

  DABIEI HUIEI SIEI CHAAHEI MEI KAHINEI MERAEI KHYALEI THAAEI

JHUKIEI HUIEI NIGAHEI MEI KOIEI AJEEBEI SAAEI SWALEI THAAEI

MAINEI JAANTAEI HOONEI MUJHEI PUKAREI RAHIEI HAIEI WOHEI

YAHIEI KHYALEI HAIEI MUJHEI KEI KYONEI ITNIEI KHAMOSHEI HAIEI WOHEI

MAINEI JANTAEI HOONEI KIEI ISSEI KADAREI BEBASEI KHAMOSHEI HAIEI WOHEI

YAHIEI KHYALEI HAIEI MUJHEI KEI MUJHKOEI BINAEI RUKEI PUKAREI JAAEI RAHIEI HAIEI WOHEI

WOHEI SHAAMEI……………………………….

 WOHEI SHAAMEI KUCCHEI AJEEBEI THIEI

YEI SHAAMEI BHIEI AJEEBEI HAIEI

WOHEI KALEI BHIEI PASS-PASSEI THIEI

WOHEI AAJEI BHIEI KAREEBEI HAIEI

WOHEI SHAAMEI……………………………………

  Well, I mentioned fun & frolic. But, the situation here is rather silently ironical or ironical silence, whichever way you might like to have IT or put It, it’s your take N I’m not going to take chances with mine, i.e., my take! My only take away from IT is that I chose this rather ironical full of tragic emotions N absolutely beautiful sentimental song just per se but sentiments & emotions, people don’t like these days, rather they abhor them like anything N have no time for such emotionally sweet sentiment wise superb hit enchanting dear melodies as they don’t believe in the evergreen so ever true and the gospel Truth that “Our sweetest songs are those which speak or portray the saddest things”!

 Now, what does one do with such a sad tale or sorry state of affairs? Except perhaps murmur the lovely brilliant song(s) in his own ears N let the world go to hell, as is its destiny or fate, sooner or later! So, let the whole world be damned N I’m left once again all alone on myself with nobody to keep me company (here of course, by company, of course, I imply good company; bad company you can have any day any time as most of the world in fact 99.99% is bad! So, what do you do with the rest of the GOOD world per se, merely a narrow 00.01% of this huge N large but rather out N out selfish world, I would say!!)!!

 But, just wait a moment! Why be in such a hurry to arrive at such melodramatic hurried decisions, man? Your songs R your best company! GOT IT??

 YES! I truly N fully sensibly got it right at least this time around, just for once, I believe OR is my destiny OR fate going to change around for the better, for all time to come!! Who knows? Nobody! None @ALL!! Anyway, I’m NOT going to stick my neck out OR even make a prediction!!! It’s just always best to do your bit just as well as you can N always, remember always, leave the REST to God, who is a keen observer of ALL these proceedings, going on as they R unrelentingly N overwhelmingly odd or even, how do I care!!!!

 This particular song is unique in the sense that it is not only liltingly melodious but leaves a deep haunting effect on you long after you have given IT ear to listen to! Sung by the versatile evergreen super cool KISHORE Kr., this song owes to its composer HEMANT DAA full credit for the lilt, rhythm, tone, tenor N tune it is set to by the latter N of course, this song is taken from “KHAMOSHI”, the classical movie of yester years, which people have very conveniently forgotten N assigned to the nearest trash basket at the earliest opportunity they could lay their hands upon N over with!!

  As we march on to our very next, the third slide of the day here on Radio FM channel, local time now exactly 42 minutes past 12 noon, remains Tuesday October 13, 2020 AD.  

[monicascot]

Tum Pukaar Lo | Khamoshi | Covered By Karthik Mohan

Tum Pukaar Lo is a wonderful song from the movie Khamoshi. The song has a melancholic vibe but its all about hope. A hope that wounds will heal and those strained relationships, those strained friendships will come back to how they used to be. The protagonist is saying that I hope against all odds that you will come back and we will be the way we used to be... Tumhaara Intezaar Hai.

[mredlich21]

Bit of a controversial one, sorry if you like it, but I just don’t! And if you also don’t like it and have a hard time articulating why, maybe this review will help you.

Okay, I’ve talked about all the important Devdases, all the good ones that are closely related to the novel and deal with the ideas of hidden tragedies and casual disasters and all those cool things.  Time to deal with the one that is just really really really pretty!

This might end up being my shortest Devdas post of them all, partly because there is less to discuss and partly because I already said so much in my previous posts about the novel and the other interpretations and how this one relates to them.  But on the other hand, it may end up being the post that is most read, since the Bhansali Devdas is the one people are most familiar with.  At least, English reading people who might find my blog.

Here’s the problem with Bhansali’s Devdas in a nutshell: it’s too pretty!  And here’s the best part of Bhansali’s Devdas: it’s so pretty!  So, there’s a conflict there.

Or not.  It can be pretty and still a bad film, because a film should be more than prettiness.  Really, the problem with Bhansali’s film, and this is true for most of his movies, is that if you removed the prettiness, there would be nothing else there.  Get rid of the costumes, the songs, the make-up and jewelry.  Get rid of the elegant dialogue and gorgeous stars.  And, what’s left?  Is there anything at the core of the movie, any soul to the story or the characters that can support this whole pretty pretty infrastructure?  Generally, no.

I love Khamoshi, and I love Hum Dil De Chuke Sanam.  I think they had really interesting things to say, and the characters made me believe in real pain, not just poetic romantic pain.  When (SPOILERS) Manisha’s little brother dies in Khamoshi, or when (SPOILERS) Salman loses Aishwarya at the end of Hum Dil De Chuke Sanam, (SPOILERS OVER) that felt like it was more about these characters and how they felt, than about Bhansali standing back and saying “Now, if I make this happen next, I can paint this pretty picture about it.”

(Also, this song is better than anything in Devdas.  Especially the opening and closing. An old woman trying to cheer up her grandchildren and hide her own feelings while the piano she loves is sold to raise money for the household, that makes me feel something)

I can understand Bhansali’s temptation to make movies that are just about the pictures, because his pictures are really really pretty.  But I wish he would stop trying to hang them on top of characters and story, because the story and characters always ends up getting short shrift.  If he just went full MF Hussain and did movies that were abstract loosely connected concepts just in service of the images, I wouldn’t mind as much.

(pretty!  And ultimately meaningless!  Besides providing us with a moment of beauty.  Also, a more realistic vision of the life of a prostitute than anything in Devdas)

Devdas is where Bhansali first switched over for me to feeling like he started with the images and dialogue he wanted, and filled in the plot later.  And, unfortunately, when he filled in the plot, he decided to use the same names for his characters as in the novel Devdas, and lift a few images from Bimal Roy and Barua’s earlier versions.

Or maybe he started with Devdas, with the loose outline of a boy and girl who had a push-pull relationship since they were neighbors as children, almost got engaged as adults but it fell apart, and then he went on to be an alcoholic who hung out with a Tawaif who fell in love for him, while she went on to marry a rich widower.  And then the boy died lying in front of the gate of his childhood friend.  He kept that outline, but then built and built and built on it, until it was basically hidden.  Feel free to ask in the comments, “was this bit in the novel?  Or this?  Or this?”  But really, you can safely assume NONE OF IT was in the novel.  Or any previous version.  90% of the plot is a complete invention of Bhansali.

That wouldn’t be such a problem, I mean Kashyap also invented all kinds of things and made a bunch of crazy changes, but Bhansali’s changes show that he missed the point of the story entirely.  The point of the story is too look past the surface, that the disgusting alcoholic may be hiding a kind nature that makes him too weak to fight for his own rights, whether it is his inheritance or his true love.  That the boring matron, beloved by her children and her charities, might be hiding a passionate nature that once would have done anything for love.  That the glamorous Tawaif may be hiding a practical sense of money and tender nursing skills.  And, most of all, that the most boring everyday story can hide a certain beauty.  The beauty isn’t supposed to be right there on the surface wopping us in the face all the time!

(Wop! Wop!  Wop!  THEY ARE THE MOST BEAUTIFUL AND DRAMATIC AND PERFECT LOVERS OF ALL TIME!!!  BOW DOWN IN ENVY OF THEM!!!)

Devdas is supposed to be a drama-less tale.  A poetry-less tale.  No one besides Dev and Paro even knows their hearts were broken.  That is their tragedy, that they are awkward and unable to convey their emotions.  That they don’t want to make any issues or cause concerns for their family, so they never tell anyone how they feel and keep it all inside.

(Bhansali’s Paro.  Not exactly keeping her feelings to herself.)

Now, if you only saw the Bhansali version, did you get any of that?  Here’s some other things that were important in the novel and the previous versions: Paro is so beloved by her new family and children, that her son is even willing to break with his new wife over a perceived slight to her; Chandramukhi is good at her job, but is a somewhat average Tawaif, a little over the hill and small time without much in savings, forced to economize when she gives up her career because of her love for Dev; Dev by halfway through is such an unpleasant addict, begging his brother for money, dangerously thin, and full of nervous energy that his old friends find him kind of gross and only Chandra can put up with him.  Did you get any of that either?

Back in my first post, I broke down the 5 important points, as I saw them, from Devdas the novel that were carried through into the most important Hindi Devdas adaptations, Barua in 1936, Bimal Roy in 1955, and Dev D in 2009.  Here they are again:

Childhood as a time of innocence and happiness and promise, although already over-shadowed by personality flaws that will ultimately destroy them.

A failed romance that never even really starts in adulthood, truly over before it began, before they can fully grasp what they have lost.

Chandramukhi as a figure who starts as a one dimensional fantasy, and slowly becomes more solid and practical and “real” than anyone else, the only character to talk about rent and groceries and money.

Dev as a figure who becomes not just tragic, but kind of gross.  He is described in the novel, and somewhat played in the ’36 and ’55 and Dev D films, as being ill, unpleasant to look at, with sunken eyes and cheeks and an odd demeanor.  In the novel, after death, his body is half-burned, then pecked by vultures and then fought over by dogs.  It’s not exactly a lovely “dying with his hand outstretched!” image.

Paro as a character who becomes kind of sapped of life.  She is good and generous and charitable, but she also retires to become the sort of dowager of her home, on her wedding night she tells her husband not to worry about their age difference because “Women age quickly”, which is exactly what happens to her.

(Chandra, having given up her career now that love for Dev makes it feel empty, is living on 20 rupees a month and struggling to get by with the bare minimum, while Paro has grown old before her time, is the respected dowager of the house, beloved by her grown children and only interested in her charitable works.  Two women who would never make you think of romance or tragedy are hiding their secret in their hearts, never to be spoken or even hinted at, while society overlooks them.  That’s what this song makes you think of, right?)

So, basically every point there is missed by Bhansali.  I think it’s that point 1 where he lost his way.  The novel, and the Roy adaptation have this bright shining beautiful view of childhood, and their passionate connection, and long days spent together.  It is the loss of that, the loss of their beauty and passion and faith and love, that is like 70% of the novel, and the films.  The romance happens so fast, it is over before the realize what they have lost, and then the rest of their life is spent slowly discovering how their lives were forever changed.

But Bhansali just really liked the idea of the beauty and passion and love and kind of got stuck in that mode and couldn’t let it go.  It would be like if someone made an adaptation of A Christmas Carol and just made it about Scrooge going around being cheap and miserly for two hours, and then ended.

But, okay, I’m going to try to set aside what this adaptation could/should have been, and deal with it on its own, as though it were an original story.

And you know, I still don’t really like it!  Ram-Leela is more or less an original story, and I don’t like that.  Same for Bajirao.  I just don’t like Bhansali!  Well, latter-day Bhansali.

Here’s my problem with Devdas, setting aside the missing the point of the source.  I never get a sense of these people as characters who, like, go to the bathroom.  Or get hungry.  Or sometimes just don’t feel like talking.  They are all perfect all the time, like it is their life’s goal to be beautiful and charming and clever.  Isn’t that just kind of shallow?  To have no purpose in life besides beauty and “loooooooooooooooove”?

I know this sounds like a silly complaint, since isn’t that what all romance characters are like?  But, no!  They aren’t!  Especially not in Indian romances.  Romance isn’t just about “looooooooove”, it’s about what that love means for society, how it can break up society or make it stronger, how it can shake people up and give them greater goals, how it can make you a better deeper person in ways unrelated to your love story.

Like, Sultan!  That film laid it out very clearly.  He cared what Anushka thought about him, which made him look at himself and care about how he was seen in the world, which made him into a better person.  It started with caring about her, making a connection outside of his regular circle, but it lead him on a journey to making a better world.

Devdas, not so much!  Dev himself just drinks and drinks and drinks and never really gets any better (or worse) than he was in the beginning.  Paro is beautiful and faithful, and that’s kind of it, start to finish.  Chandra is lovely and elegant and “fun”, and that’s all she is, start to finish.

(She’s wearing slightly plainer clothes, and doing it with a different purpose, but she is still dancing and singing for men just like before.  She isn’t struggling for money and only dancing when she has to, in order to survive.  And saving Dev through careful nursing, and paying for his expenses and financial support)

Okay, I have to do another novel/other versions comparison.  Not because it “should” have been like the novel, but just to give you another example on how this could have worked for the characters, how their broken hearts could have made them better people.  In this, Chandra saves Dev’s life by “distracting” him, the doctor tells her never to let him be bored.  So she is even more constantly fun and amusing than she was in the beginning.  In the other versions, she comes back to the city after living in a village just to find him, and then nurses him back to health through, you know, nursing!  Messy, unpleasant, unpretty nursing.  In the end, Dev goes from seeing her as just a distracting, a fake woman, to seeing her as noble and generous and enduring, and with a depth at the heart of her that no other man has been allowed to see.

Paro goes from a flighty flirty passionate woman who is always getting into fights, to one with great compassion and generosity.  Once she loses Dev, she doesn’t want anything for herself, which makes her incredibly generous both to strangers (through charities and so on) and to her family, being wise and compassionate and giving to her new daughter and sons and daughter-in-law.  Her broken heart turns her into a better person.

(She dresses plainly and gives all her jewelry to her daughter and daughter-in-law.  She tells her daughter to think of her as “just another servant” in the house.  She gives so many clothes to charity, her daughter-in-law is forced to take control of the household accounts.  Yeah, that’s what I think when I see this picture)

And then there’s Dev.  He slowly loses all the fight in him.  In Bhansali’s version, he walks out of his house after a huge knock down drag out fight with his family over money.  In all the other versions, there is no fight.  That’s the point.  He signs away his inheritance without a second thought, because he doesn’t want to cause a bother, to demand anything from anyone.  It is the same reason he never calls for help from Chandramukhi or Paro at the end of his life.

(A man who lets his inheritance go through just not caring enough to ask for it, slowly fading from the lives of all who knew him.  Or, not)

But in Bhansali’s version, “love” makes no real change in any of these people.  They suffer for it, sure, in the most cinematic and dramatic fashion possible.  But this suffering never teaches them anything, and they never seem to really fight against it, instead they glory in it.  It’s selfish, really.  Enjoying their misery with no thought as to how it affects others or why they should try to be better.

And boring!  Who wants to spend time with people who are all “Dev Dev Dev” “Paro Paro Paro” “Dev Dev Dev” all the time?  Get some other interests, for goodness sake!

There is one thing that Bhansali really nails, the song sequences.  Because song sequences are all about evoking one solitary emotion to the nth degree.  His songs convey what he is too unimaginative to evoke in the rest of the film.  Well, some of them.  He also falls into the trap of conveying the same thing over and over and over again until I have had surfiet of it.

(Right there for the first 2/3rds of this song.  And then by the end Paro is holding the lamp out of the paliquin and Shahrukh is helping to carry it, and I am thinking “Oh just GET OVER YOURSELVES!!!”)

Oh!  That’s what I am thinking of!  Twelfth Night!  Now, in case you don’t remember the original play, Viola is in disguise working for Orsino, who thinks he is in love with Olivia.  But the point is, he isn’t!  He is always swanning around, asking for the musicians to play on “if music be the food of love, play on; give me excess of it, that, surfeiting, the appetite may sicken, and so die.”

Orsino thinks love means being miserable, playing music, reciting poetry.  But Viola knows it is something different, it is about actually doing something, making an effort.  This is her suggestion for how to court Olivia: “Make me a willow cabin at your gate, and call upon my soul within the house; write loyal cantons of contemned love, and sing them loud even in the dead of night; halloo your name to the reverberate hills, and make the babbling gossip of the air cry out ‘Olivia’ O, you should not rest between the elements of air and earth.”

By the end of Twelfth Night, the lovers have been sorted into fools and fakes, and real loves with successful stories versus fake loves that ended in a laugh at how silly it all was.  Orsino ends up with Viola, not Olivia.  Olivia ends up with Sebastian, not Viola who she thought she loved, mistaking Viola’s love for Orsino for love for her.  It is that second half which is missing in Bhansali’s Devdas.  These are all fools!  Terrible shallow fake fools who would rather play music and wait for their love to die away, than make an effort to be happy.  But Bhansali’s film never seems to recognize or acknowledge their shallowness, or invite us to laugh at them.

I have some other problems with this film, like the fetishization of Indian history in an almost “Look!  It’s Colonial Calcutta Disneyland!” way.

(Bhansali’s idea of prostitutes/courtesans in colonial Calcutta, versus PC Barua’s version as someone who actually, you know, hung out with high class prostitutes in colonial Calcutta)

Or the way it was packaged and sold to the west as “the” Indian film, as though this pretty people having pretty problems in olden times is all there is to the entire history of Indian film.  And this is in a year when Company came out!

(The “other” break out hero of India in 2002.  Less dreamy romance, more gangster struggling for survival and afraid to let any weakness show, even love. And also the “other” break out director of 2002, less about big dreamy expensive scenes than brilliantly filmed dirt cheap and dead simple)

Or the way it minimizes the female characters even more than the male, making Chandramukhi into yet another prostitute who just does it for, I don’t know, fun?-instead of economic necessity.  And Paro into yet another rich socialite who only cares about her broken heart and never considers using all her wealthy to do any good in the world.  And that’s not even talking about how all the older woman in the film are shown to be short-sighted, petty, and status-focused.

(Meanwhile, that same year, Jaya Bachchan in Koi Mere Dil Se Pooche is encouraging her daughter-in-law to remarry even if it means she has to kill her own son.)

But, as I said, very pretty!  A very pretty film.  I could watch the songs over and over again.  And have.  I only hope I still can, now that I know the movie that surrounds them.

(Thank goodness, Madhuri is still wonderful)

  Shahrukh Day Once More! My Least Favorite Shahrukh Film Bit of a controversial one, sorry if you like it, but I just don't! And if you also don't like it and have a hard time articulating why, maybe this review will help you.

[shankarjaikishanfansassnintl]

INFINITE SHADES OF GREY :  A tribute to Hemant Kumar on his 100th birthday

Monday, June 15, 2020

Flashback of my long meeting with Hemant Kumar 34 years ago

by

Raju Korti

After years of longing, I finally managed to catch up with legendary composer, singer and producer Hemant Kumar in 1984, just five years before he passed to leave an unfilled vacuum. He was well past his prime then but his composing and singing instincts were as impeccable. As a keen devotee of film music, thanks to those golden fifties, sixties and early seventies, I nursed an abiding regret of not being able to meet the man about whom I had read and heard so much. As I write this blog, there is a tangential satisfaction to that anguish that it is better late than never. I have no answer to why I didn't write about the intensive interaction I had with him all these years but as an apology of a consolation, I am happy that this blog coincides with his 100th birthday today (June 16).

I will never forget the long, searching look Hemant Da gave me when we met. Dressed in white pyjamas and a long kurta, his six-plus feet lanky frame towered above my diminutive 5-plus feet. Having recovered from an acute heart condition, he looked pale, drawn and weak. Apparently, he was incredulous that someone who had just stepped into his thirties could even think of talking to a veteran who was been-there-done-that. I had to pull myself together before I lent credence to his apparent misgivings. He was accompanied by playback singer Aarti Mukherjee (of 'Saara mora kajra chhudaya tune' fame) who did not take any part in the three-hour conversation except occasional nods and smiles. "Hemant Da, they always talk about the two faculties that you straddled so brilliantly -- as a composer and a singer. So who's better between the two?" I asked him. "I can't put my finger on any one of them. Both are an inseparable parts of my musical instincts. Although, I began as a short story writer, my mind was into music. So I quit Engineering despite vehement opposition from my father. Mind you, one of my short stories won critical literary acclaim when I was barely sixteen but I was prepared to chuck that talent for Rabindra Sangeet." Hemant Da's predilection towards his passion was right on target as within a year he became a singer for All India Radio, his deeply baritone vocals tailor-made to take on the depth of Tagore's compositions. "In those days, my singing hero was Pankaj Mullick and I use to ape him so well that I was nicknamed Chhota Pankaj. But beyond this hero worship, I regret I could not get my teeth into rigorous classical music. It is a regret I will carry to my grave," he said. Having followed Hemant Da's career closely, I could see that the lack of adequate classical music -- by his own admission -- was no handicap, especially in films. In the early forties, his contemporary was King Talat Mehmood whose chaste Urdu diction and rendition of ghazals had made him a darling of the masses. Mohammed Rafi, who later went on to become the premier singer of the industry, was just struggling to gain a toehold while Mukesh had just got going. Kishore Kumar was nowhere on the scene. As someone carrying the stamp and legacy of Rabindra Sangeet, Hemant Da found himself at variance with the genre of film songs. That, however, wasn't a handicap as he had the prime examples of Sachin Dev Burman and Salil Choudhury, both Dadas in every sense of the word. Another Dada was in the making to join this exalted company. "It was in the early forties that I hitched onto the Indian People's Theatre Association (IPTA), a Left-leaning  body which had composer and song writer Salil Da as one of its mainstays. I was in the midst of some musical greats and it was particularly satisfying that Rabindra Sangeet was a common chord that ran through us," Hemant Da recalled. "I wasn't doing badly at all, composing for Bengali films, but when Filmistan made Anandmath in 1951 and I was asked to compose its music, I decided to explore Mumbai, the Mecca of film music. The film was a moderate success but a then raw Lata's Vande Mataram struck perfect patriotic notes and made people sit up and take notice. Then came Shart where I did my own bidding with Na ye chaand hoga." "But wasn't this a turning point for you? Dev Anand happened," I asked him. "Na ye chaand hoga was just the platform. Ye raat ye chaandni (Jaal), Chup hai dharti chup hai chaand sitaare and Teri duniya mein jeene se  (House No 44), Hai apna dil to awaara (Solva Saal) and Na tum hame jaano (Baat Ek Raat Ki) happened because Burman Dada was convinced I could fit on Dev Anand's lips," Hemant Da reminisced, pointing out that in the years to come, he steered himself with his own talent through Naagin, Duniya Jhukti Hai, Bees Saal Baad, Bin Badal Barsaat, Kohra and Anupama. The interesting aside here is this was the same Burman Dada who before being a guide to Hemant Da was contemplating to quit and go back to Calcutta because the scene in Mumbai didn't appeal to his Bengali ethos. Such was Hemant Da's unflinching belief in the potential of Rabindra Sangeet that in those days he was considered as only next to Mullick in the intricacies of that genre ahead of seniors like Burman Dada and Salil Da. This hierarchy was also with its anomalies. Burman Da understood little or nothing of Hindi. He needed to understand the mood of the song and its words written in Bengali before he could employ his compositional genius. Hemant Da was in comparison much more comfortable, having come from the Hindi hinterland of Benares. He was also very much in tune with the musical philosophy of Salil Da and although it didn't show much in his (Hemant Da's) compositions, he had as much flair and understanding of the symphonies, notably among them being Bach. Naagin made Hemant Da a household name. For many, that was no big surprise as composer Ravi who he assisted for many years, told him that given his talent, it was time he started going his own way. The film's feet-tapping music with a string of Lata hits as also his solos and duets, was a revelation as against the three-hour visual atrocity on the viewers. People rather went to 'hear' the movie than 'see' it. The film won him a Filmfare Award. But Hemant Da preferred to dwell on mid-1955 when he sang four solos for the legendary Uttam Kumar. It was the beginning of an enduring friendship and their chemistry showed they were the most poplar singer-actor combination holding an unchallenged sway for almost a decade. Hemant Da lapsed into nostalgia as I mentioned to him that period when he was composing for a lot of Bengali and Hindi films while jealously guarding his roots in Rabindra music. "I was at the peak of my career then as a composer and singer. The best was I was singing for maestros like Nachiket Ghosh, Robin Chatterjee and Salil Choudhury. Some of my songs were remakes or improvisations of the Bengali original. I also hobnobbed with production. Bees Saal Baad, Kohra and Khamoshi were produced by me. Neel Akasher Neeche was directed by Mrinal Sen and went on to bag the President's Gold Medal after an unsavoury controversy." Bees Saal Baad and Kohra forged a wonderful relationship with Biswajeet. After almost an hour, Hemant Da was coming to the perception that for a youngster, I had done my home work fairly well as I mentioned his one song after the other in the course of the meeting. A faint smile creased his face when I mentioned to him that in the bevy of beauties that he sang, my favourites happened to be the 1955 Sardar Malik beauty filmed on Prem Nath 'Mai garibo ka dil hoon watan ki zubaan' (Aab-e Hayat) and a duet with Geeta Dutt from Detective (1958) 'Mujh ko tum jo mile ye jahaan mil gaya' (Fabulous use of Hawaii guitar). He had a word of lament for Mukul Roy, Geeta's brother and the composer of that dulcet duet. "He was such a talented music director and understood the nuances of film music so well but it beats me why his career didn't pick up." In an era when he rubbed shoulders with the likes of Shankar Jaikishen, OP Nayyar, C Ramchandra, Naushad, Madan Mohan, Roshan, Hemant Da did not even once go in for lavish orchestrations. His accompaniments were minimal and the song carried itself on the weight of its sweetness. Hemant Da was particularly delighted when I pointed out how sublime Lata sounded in 'Chhup gaya koi re door se pukar ke' in that obscure film Champakali (1960). He seemed touched when I said it could give Madan Mohan's 'Chaand maddham hai' (Railway Platform/1957) a stiff competition. "I think Burman Dada's influence rubbed off on me. Even when it came to the choice of singers. I remember how he had singled me out to sing for Dev Anand when everyone else felt that my voice wouldn't suit his persona. See how Burman Da stood vindicated. In my career as composer, my choices have been guided by the demands of the song per se rather than factors like who was lip-synching the song and how many instruments I must employ to embellish it." "You tuned so well with Burman Dada and sang 12-13 songs for Dev Anand. What happened thereafter? I asked him. Hemant Da paused a little but the gentleman in him came to the fore. "I don't know what happened after Baat Ek Raat Ki. He never called and I didn't ask. I didn't think too much about it and got busy with my own work." Was it that on Burman Dada's exacting scale Hemant Da's voice had lost its baritone edge? Unlikely, as you know that the quality of his voice was still replete with the same refined sensitivity. I can vouch as I heard him in flesh and blood. "I used Mohammed Rafi and Kishore Kumar sparingly even at the peak of their careers. For that matter, I sang my own song only when it was absolutely called for. I shared a great working rapport with them and I was devastated when I lost two dear younger brothers -- Rafi and Uttam Kumar -- in a span of just one week. They were giants. Why didn't I work with them more? I loved Rafi's Dil ki aawaaz bhi sun (Humsaaya), Manna's Piya maine kya kiya (Us Paar), Mukesh's Woh tere pyaar ka gham. Even an otherwise exuberant Kishore was polite when he teamed up with me. He knew exactly what I wanted to deliver in Kashti ka khamosh safar hai (Girl Friend). I have memories of Rafi walking up to me and wanting to know the pronunciation of some Bengali words before he sang those songs. He was one singer who knew how to use the mike well -- like when to sing from the throat and when to sing from his navel." For all his modesty, Hemant Da could run a quick temper at times and did not hesitate to mince words. He revealed how he had warned Guru Dutt against the latter's penchant for changing his singers and composers at the last minute, citing the example of the 1962 classic Sahib Bibi Aur Ghulam that had adultery as its theme. "I agreed only after Guru gave me an undertaking saying that only I was equipped to handle the music since it was set in the backdrop of Bengal." History was made before it was written. For a man on whom the Government of India issued a stamp posthumously in 2016 and had won a spate of awards and recognition, including two national Awards, Hemant Da didn't make much of this memorabilia. He never mentioned any of his songs when asked about his favourites. Having refused Padmashri in the 1970s, he also shunned Padma Bushman which was three years after I met him. More than three decades after his death music companies keep releasing his albums, repackaging his old songs. There are dime a dozen who copy Rafi, Kishore, Mukesh and don't admit so but I personally know many who take a great delight in unabashedly conceding that they love to imitate Hemant Da's style but are nowhere near. Close your eyes and hear the Kishore Kumar composed 1964 beauty from Door Gagan Ki Chhaon Mein: 'Raahi tu mat ruk jaana, toofan se mat ghabrana Kabhi to milegi teri manzil Kahin door gagan ki chhaon mein..' It may have been incommoded by KK's own 'Jin raaton ki bhor nahi hai' but has in sharp contrast hope and tranquility that make the song a quintessential Hemant Kumar from a school of music that qualifies to be a university of its own. PS: It needed a Hemant Kumar song for a film to be qualified as 'haunting'. And since the man was too modest to speak about his own songs, I will labour over my favourite HK solos and duets which I am sure might raise eyebrows for skipping songs which have hit higher popularity charts. Partly, my choices are influenced because you don't get to hear them much. So here I go. 1) Mai garibo ka dil hoon watan ki zubaan (Aab-e-Hayat/1955/Solo) 2) Mujh ko tum jo mile, ye jahaan mil gaya (Detective/1958/With Geeta Dutt) 3) Aa neele gagan tale pyaar hum kare (Baadshah/1954/With Lata) 4) Baharo se pucho nazaaro se pucho dil kyo deewana mera ho gaya (Fashion/1959/With Lata) 5) Nai manzil nayi raahen naya hai karvaan apna (Hill Station/1957/With Lata) 6) Raahi tu mat ruk jaana (Door Gagan Ki Chhaon Mein/1964/Solo) 7) Dekho wo chaand chup ke karta hai kya ishaare (Shart/1954/With Lata) 8) Zindagi kitni khubsoorat hai (Bin Badal Barsaat/1963/Solo HK version) 9) Jab jaag uthe armaan to kaise neend aaye (Bin Badal Barsaat/1963/Solo) 10) Ye nayan dare dare, ye jaam bhare bhare (Kohra/1964/Solo)

[bollywoodirect]

Happy Birthday, Helen Ji.

Helen Ann Richardson (born 21 November 1938), popularly known as only Helen, is a Burma-born Indian film actress and dancer, working in Hindi films. She has received two Filmfare awards and has appeared in over 700 films, and is often cited as the most popular nautch dancer of her time. She was the inspiration for four films and a book.

Helen was introduced to Bollywood when a family friend, an actress known as Cukoo, helped her find jobs as a chorus dancer in the films Shabistan and Awara (1951). She was soon working regularly and was featured as a solo dancer in films such as Alif Laila (1954) and Hoor-e-Arab (1955).

She got her break in 1958, aged 19, when she performed the song "Mera Naam Chin Chin Chu" in Shakti Samanta's film, Howrah Bridge, which was sung by Geeta Dutt. After that, offers started pouring in throughout the 1960s and 1970s. During her initial career, Geeta Dutt sang many songs for her. The Bollywood playback singer Asha Bhosle also frequently sang for Helen, particularly during the 1960s and the early 1970s. She was nominated for the Filmfare Best Supporting Actress Award in 1965 for her role in Gumnaam. She played dramatic roles such as the rape victim in Shakti Samanta's Pagla Kahin Ka (1970).

Writer Salim Khan helped her get roles in some of the films he was co-scripting with Javed Akhtar: Immaan Dharam, Don, Dostana, and Sholay. This was followed by a role in Mahesh Bhatt's film Lahu Ke Do Rang (1979), for which she won a Filmfare Best Supporting Actress Award. In 1999 Helen was given India's Filmfare lifetime achievement award. Helen officially retired from movies in 1983, but she has since then appeared in a few guest roles such as Khamoshi: The Musical (1996) and Mohabbatein (2000). She also made a special appearance as the mother of real-life step-son Salman Khan's character in Hum Dil De Chuke Sanam. She also appeared in Humko Deewana Kar Gaye in 2006. Helen was selected for the Padma Shri awards of 2009 along with Aishwarya Rai and Akshay Kumar.

Like बॉलीवुड डायरेक्ट Bollywoodirect

[urduclassic]

Gulzar

Sampooran Singh Kalra (born 18 August 1934), known popularly by his pen name Gulzar, is an Indian poet, lyricist and director.[1] He primarily writes in Hindustani (Hindi-Urdu) and Punjabi; besides several dialects of Hindi such as Braj Bhasha, Khariboli, Haryanvi and Marwari. Gulzar was awarded the Padma Bhushan in 2004 for his contribution to the arts and the Sahitya Akademi Award in 2002. He has won a number of National Film Awards and 20 Filmfare Awards. At the 81st Academy Awards, he won the Academy Award for Best Original Song for "Jai Ho" (shared with A.R.Rahman), for the film Slumdog Millionaire. On 31 January 2010, the same song won him a Grammy Award in the category of Grammy Award for Best Song Written for a Motion Picture, Television or Other Visual Media.

 Gulzar's poetry is partly published in three compilations: Chand Pukhraaj Ka, Raat Pashminey Ki and Pandrah Paanch Pachattar (15-05-75). His short stories are published in Raavi-paar (also known as Dustkhat in Pakistan) and Dhuan (smoke). As a lyricist, Gulzar is best known for his association with the music directors Rahul Dev Burman, A. R. Rahman and Vishal Bhardwaj. He has also worked with other leading Bollywood music directors including Sachin Dev Burman, Salil Chowdhury, Shankar Jaikishan, Hemant Kumar, Laxmikant-Pyarelal, Madan Mohan, Rajesh Roshan, Anu Malik, and Shankar–Ehsaan–Loy. Along with lyrics, he has also contributed in many films as script, story and dialogue writer. Films directed by him have also won numerous awards and have been critically acclaimed. He also had worked on small screen by creating series Mirza Ghalib and Tahreer Munshi Premchand ki among others. He wrote lyrics for several Doordarshan serials including Hello Zindagi, Potli Baba ki and Jungle Book.

Early life

Gulzar was born in a Kalra Arora Sikh family, to Makhan Singh Kalra and Sujan Kaur, in Dina, Jhelum District, British India, in what is now Pakistan. Before becoming an established writer, Sampooran worked in Mumbai as a car mechanic in a garage.[2] His father rebuked him from becoming a writer saying "As a writer you will have to depend on your brothers".[3] He took the pen name Gulzar Deenvi after becoming an author.

Career

Gulzar is best known in India as a lyricist for songs that form an integral part of Bollywood. He began his career under the directors Bimal Roy and Hrishikesh Mukherjee. His book Ravi Paar has a narrative of Bimal Roy and the agony of creation. Gulzar started his career as a songwriter with the music director Sachin Dev Burman for the movie Bandini (1963).[4] Shailendra who has penned rest of the songs of the movie urged Gulzar to write the song "Mora Gora Ang Layle". This was picturised on Nutan. Gulzar's most successful songs as a lyricist came out from his association with Sachin Dev Burman's son Rahul Dev Burman, whom he described as the anchor in his life.[5]Gulzar has had award-winning associations with the music directors Salil Chowdhury (Anand, Mere Apne), Madan Mohan (Mausam) and more recently with Vishal Bhardwaj (Maachis, Omkara, Kaminey), A. R. Rahman (Dil Se.., Guru, Slumdog Millionaire, Raavan) and Shankar–Ehsaan–Loy (Bunty aur Babli).

 Gulzar was a song writer or dialogue writer for several Doordarshan programmes for kids such as Jungle Book, Alice in Wonderland, Guchche and Potli Baba Ki with Vishal Bhardwaj. He has more recently written and narrated for the children's audiobook series Karadi Tales.[6] For the peace campaign (Aman ki Asha) jointly started by India's and Pakistan's leading media houses, he wrote the anthem "Nazar Main Rehte Ho", which was recorded by Shankar Mahadevan and Rahat Fateh Ali Khan.[7]Gulzar has written ghazals for Ghazal Maestro Jagjit Singh's albumbs "Marasim" and "Koi Baat Chale". Both these albums were a great success.

As director

After writing dialogues and screenplay for films like Aashirwad, Anand, Khamoshi and more, Gulzar directed his first film Mere Apne(1971). The film was a remake of Tapan Sinha's Bengali film Apanjan(1969). Meena Kumari played the lead role of Anandi Devi, an old widow caught in between the local fights of unemployed & tormented youngsters. Anandi Devi's death in one of the fights makes them realize the futility of violence. The film was rated "Above Average" at the Box Office.[8] He then directed Parichay and Koshish. Parichay was based on a Bengali novel, Rangeen Uttarain by Raj Kumar Maitra[9] and inspired from the Hollywood film The Sound of Music. Written by Gulzar, Koshish told a story full of struggle of a deaf-dumb couple. Sanjeev Kumar won National Film Award for Best Actor for his performance in it.[10] Year 1973 saw his another directorial venture named Achanak. Inspired by the real-life sensational 1958 murder case KM Nanavati v State of Maharashtra,[11] the story writer K.A. Abbas earned a Filmfare nomination for Best Story.

 Gulzar's Aandhi, based on the Hindi novel "Kaali Aandhi" by Kamleshwar, told a story of a couple separated against the backdrop of politics. Along with various wins and nominations, the film also won Filmfare Critics Award for Best Movie. Although believed to be based on the life of Ex-Indian Prime Minister Indira Gandhi, the film was based on life of Tarkeshwari Sinha.[12] However in the 1975's emergency, the film was banned from theatres.[9] Inspired from Sharat Chandra Chattopadhyay's Pandit Mashay was his next film Khushboo. Mausam that won National Award for 2nd Best Feature Film,[13] Filmfare Best Movie and Filmfare Best Director awards, along with other six Filmfare nominations was loosely based on the story "Weather", from the novel, The Judas Tree, by A.J. Cronin. Sharmila Tagore for her roles of Chanda and Kajli received The Silver Lotus Award at the 23rd National Film Festival. In his 1982's film Angoor, Gulzar took the story of Shakespeare's play The Comedy of Errors.

 None of the Gulzar's film were "Blockbuster Hits" on the Indian Box Office. His films told stories of human relationships entangled in social issues. Libaas was a story of extra-marital affair of an urban couple. Due to its objectionable subject the film never got released in India.[14] Mausam pictured a story of a father who tries to improve the life of his prostitute-daughter. In Maachis, a young Punjabi boy pick up to terrorism to fight the situations only to realize its temporary nature. Hu Tu Tu dealt with corruption in India and how a man decides to fight it.[15]Gulzar uses "flashback" in the narration of his stories very effectively (Aandhi, Mausam, Ijaazat, Machis, Hu Tu Tu). He also has mutual partnerships with various actors and other crew. The Gulzar - Sanjeev Kumar partnership resulted in few fine films (Koshish, Aandhi, Mausam, Angoor, Namkeen) which represent Sanjeev Kumar's finest work as an actor.[16] Actors like Jeetendra (Parichay, Khushboo, Kinara), Vinod Khanna (Achanak, Meera, Lekin) and Hema Malini (Khushboo, Kinara, Meera) worked with Gulzar to gain respectability as artists and delivered some of their best and most introspective work in films.[16] With his situational lyrics and quality music composed by various famous Bollywood musicians in Gulzar's films, his songs have always been the key point. R D Burman composed songs for almost all the movies directed by him in the 1970s and the 1980s (Parichay, Khushboo, Aandhi, Angoor, Ijaazat, Libaas). Many of their popular songs were sung by Kishore Kumar, Lata Mangeshkar and Asha Bhosle. These include "Musafir Hoon Yaron" (Parichay), "Tere Bina Zindagi Se Koi" (Aandhi), and "Mera Kuch Samaan" (Ijaazat). Gulzar says,

"Music has a natural place in our lives. Right from the shloka you recite in your morning puja and the milkman who comes whistling on his cycle, to the fakir singing as he begs for alms and your mother humming around the kitchen...Music fills our spaces naturally. It will always be dear to us." [16]

Although an Urdu writer, Gulzar's directorial venture shows inspiration from various Bengali writers. In 1988, he directed an eponymous television serial Mirza Ghalib starring Naseeruddin Shah, shown on Indian television channel Doordarshan. About the serial he says,

"...My TV serial on poet `Ghalib' was based on history, though the earlier movie version treated him as a myth."[12]

As Poet

Gulzar has vast knowledge of Urdu Poetry. He is creator of a new type of stanza named as Triveni. Few examples of which are, 01-

"... ज़मीं भी उसकी,ज़मी की नेमतें उसकी,

ये सब उसी का है,घर भी,ये घर के बंदे भी,

खुदा से कहिये,कभी वो भी अपने घर आयें!"

02-

"...मां ने जिस चांद सी दुल्हन की दुआ दी थी मुझे,

आज की रात वह फ़ुटपाथ से देखा मैंने,

रात भर रोटी नज़र आया है वो चांद मुझे!"

[elijahaddisondas-blog]

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