Let's bring back the spirit of the golden - Page 13

It's a old gem, I love this song. feel the difference in musi? I think I am making mistake even by comparing this song to today's music.

Originally posted by: charades

Try this url for listening to that Song Swar...will check my DB in the mean time..😆

http://www2.dishant.com/album/Suvarna-Sundari.html

Sharmila Tagore



Sharmila Tagore is undeniably the Bengal tigress. Millions of hearts were stolen right away when she appeared in her first film what with her glorious dimples and sassy smile.

Her repertoire includes a wide range of histrionics from being a sex symbol to a sophisticated stylish icon to a National award winner.

She debuted in the hindi film industry after being cast as an incarnation of Goddess Kali in the Satyajit Ray film Devi and in Apur Sansar. According to her those films were just an offhand chance and she acted in them out of sheer curiosity.

Sharmila began her career in Bollywood with a romantic musical, Kashmir Ki Kali, 1964, opposite Shammi Kapoor, directed by the famous director Shakti Samantha.

In 1966 she took up the titular role of Anupama in the Hrishikesh Mukherjee's film. Though she sported a stylised bouffant, she wowed everyone as the simple, shy and soft-spoken girl.

She jolted everyone in 1967 and went on to become one of the most hottest and glamorous actress of hertimes after she acted in a double role in An Evening in Paris. Millions went ga-ga over coquettish expressions in the song Akele Akele Kahan Ja rahe ho.

That movie sort of catapulted her as a trendsetter. All the women began copying her style of knotty blouses, style of hair and makeup esp those long eyelashes and the curvy dresses.

And then she had to appear on a magazine cover cald in a two-piece bikini! And was she in a storm of controversy. About that she says, "Looking back, I realize I was very different from the other actresses of my time. My behaviour was grossly misinterpreted. I'd wear clothes that were not suitable. I was accused of being snooty and arrogant, which I was not. I didn't know that one was expected to lead a certain lifestyle."

In 1968, she got married to the Nawab of Pataudi, the former Indian Captain Mansoor Ali Khan much to the disappointment of her fans. She converted to Islam and took on the name of Ayesha Sultana. She proved her detractors wrong who were sure that this marriage wont work if she were to continue acting in films. In fact her best performances were after she married and she did not keep away from the tinsel town for long.

She was back with a bang in the smash hit Aradhana with Rajesh Khanna released in 1969.In tow with director Shakthi Samantha , she went in for a complete change of image in this movie as a total deglamorised mother.

Rajesh Khanna and Sharmila were declared a hit pair and they went on to give many more super duper films like Safar, Amar Prem, Daag and the artistically acclaimed Aavishkar. There was much speculation about the rivalry between her and Raakhee while they were shooting the film Daag.

In Aavishkar, her character again mostly relied on her talent with minimum makeup, no wigs and she very ably matched Rajesh Khanna as she alternated between bouts of anger and remorse as the wife struggling to save her marriage.

In between these schedules she also gave birth to her first child Saif Ali Khan who is now a star in his own right.

The year 1975 saw Sharmila as the obscenity-spewing whore in the film Mausam, again a dual role, opposite Sanjeev Kumar directed by Gulzar. This movie also garnered her the coveted National Award. Her other movies with Sanjeev Kumar include Charitraheen, GrihaPravesh and Namkeen.

She moved to Delhi after Mausam and also had two daughters Soha and Saba.

Sharmila has also been paired with other stars like Shashi Kapoor (Aa Gale Lag Ja, Waqt, Aamne Saamne, Suhana Safar) Dharmendra (Devar, Chupke Chupke, Satyakaam and ofcourse Anupama) and the superstar Amitabh Bachchan (Faraar, Besharam and Desh Premee) but these pairs did not create as much an impact.

Settling down in Delhi, she would return to Bombay once in a while to do an occasional film like New Delhi Times and Namkeen which was directed by one of her favourite director Gulzar.

In recent times she was seen in Mann, 1999 and Dhadkan, 2000, but was a huge disappointment to her fans in not-so-well etched characters.

Nowadays, Sharmila is shooting with Raakhee, supposedly her one-time arch rival, for Shubha Muhurat, a Bengali film directed by Rituparno Ghosh.

It seems like nothing has changed for Sharmila and time has stood still on the beautiful Sharmila. She still is as stylish and elegant as ever and those dimples have deepened.

Name : Bharat Vyas
Full / Real Name : Bharat Vyas
Born : 18-Dec-1918, Churoo, Rajasthan
Died : 5-July-1982, Bombay
Notable Films : Navrang, Goonj Uthi Shehnai, Rani Rupmati, Do Aankhen Barah Haath, Kavi Kalidas, Saranga, Stree
Contributed by : Ashok Dhareshwar

Bharat Vyas was born on 18 December, 1918 in Churoo (Bikaner, Rajasthan). He did his college studies in Calcutta. After finishing his B.Com. degree, he came to Bombay and started work as a writer with producer director V.M. Vyas (no idea if they are related). His principal interest was supposed to have been in becoming a director! But circumstances and his talents inexorably led him in the direction of song-writing. A bit later in his career, he did get to direct a Hindi film, and later some Rajasthani films.

His first film as lyricist was for 'Duhaai' (1943), for which he wrote all the nine songs. The music directors were Rafiq Gaznavi, Pannalal Ghosh, and Shanti Kumar. The film starred Shanta Apte and Noorjehan. Five songs sung by Shanta Apte, including two duets with Rafiq Gaznavi, were released, but two solos by Noorjehan were not. Only source for those songs would be a print of the film, and it is not known if any print of the film exists.

After 'Duhaai', Bharat Vyas attracted the attention of a very interesting Hindi film personality of 1940s, W.Z. Ahmed. He was a producer-director, who owned Shalimar Pictures in Pune. Ahmed had collected a highly talented clutch of writers/lyricists for Shalimar, including Josh Malihabadi, Krisan Chander, Ramanand Sagar, Akhtar-Ul-Iman, and Sagar Nizami. Ahmed enticed Bharat Vyas to come to Pune and join this group, at a salary he couldn't refuse.

At Shalimar, Bharat Vyas started by writing all the 12 songs for film 'Prem Sangeet'. On the soundtrack, he also sang a solo: "ghaayal kar ke ham se poochhate ho dard hotaa hai." The biggest musical success of Shalimar Pictures was 'Man Ki Jeet' (1944), for which Bharat Vyas wrote two songs, the others being written by Josh Malihabadi. He also sang a duet with Shanta Thakkar ("chhip chhip kar mat dekho ji bh.nvar ji"). One of the two mega-hit songs of the film, both in the voice of Tara Bai, was by Bharat Vays: "aye chaand na itaraana, aate hai.n mere sajan". (The single bigggest success was Josh Malihabadi's "nagari meri kab tak yoo.N hi barbaad rahegi".)

Next film I know about from Shalimar is 'Prithviraj-Samyukta' (1946). It starred Neena as Samyukta and Prithviraj Kapoor as Prithviraj. Next came what was to be the last film of Shalimar, 'Meerabai.' The heroine, Neena, music director S.K. Pal, director, W.Z. Ahmed, singer, Tara Bai of Lucknow, who sang all the 13 songs in the film. Bharat Vyas's role was to "adapt" the bhajans of Meera in song form. Now, 'Meerabai' (1947) ought not to be confused with 'Meera' (1947)! The latter was a Hindi dub/remake of the famed Tamil film, in which singer-actress M.S. Subbulakshmi played the title role. The director was one Ellis R. Duncan and the music directors were S.V. VenkaTaramaN, Ramnath, and Naresh Bhattacharya. It had 18 or 19 songs. For this film, the role of "adapting" the songs went to Pandit Narendra Sharma.

At partition, W.Z. Ahmed and Neena left for Pakistan and Shalimar Pictures was no more. Bharat Vyas spent some time in Madras, working for Gemini for which S.S. Vasan was directing the Hindi version of 'Chandralekha'
(1948). He collaborated with poet Pandit Indra who was the principal lyricist.

After 'Chandralekha', Bharat Vyas returned to Bombay and realized his ambition of directing a film. The film was 'Rangeela Rajasthan' (in black and white), starring a young Bharat Bhushan. In addition to directing and writing, Bharat Vyas composed three songs for the film. Otherwise, he stuck with many of his earlier associates. The main music directors were S.K. Pal and B.S. Kalla. (Kalla later went on to compose a few incredibly beautiful Lata solos for a couple of South productions: 'Sansaar' and 'Bahut Din Hue.') The principal singer was Tara Bai, who after Neena's departure, was keen to emerge as a recognized playback singer and had a certain measure of success under the name Sitara of Kanpur.

After 1949 Bharat Vyas quietly settled down in his role as a lyricist and had an uniterrupted run of success for more than two decades. He developed a close working relation with Khemchand Prakash in what turned out to be the latter's last years, giving films like 'Ziddi', Sawan Aya Re', 'Bijali', 'Tamasha', 'Muqaddar', and 'Shri Ganesh Janma' (Many of these films had songs by other music directors, presumably after Khemchand Prakash died. For example, Manna Dey was a joint music director for the last-mentioned film).

The fifties were Bharat Vyas's most productive and professionally satisfactory years: The films for which he wrote the songs covered a wide range, including social (both mainstream and message-oriented), historical, mythological, and religious films; and he worked with many top directors, such as, Bimal Roy, V Shantaram, and Vijay Bhatt. Some of the major hit films of Bharat Vyas in this period include: Aankhen, Hamara Ghar, Raj Mukut, Muqaddar, Janmashtami, Nakhre, Bhola Shankar, Tamasha, Shri Chaitanya Mahaprabhu, Parineeta, Jagaduru Shankaracharya, Andher Nagari Chaupat Raja, Oonchi Haweli, Toofan Aur Diya, Janam Janam Ke Phere, Do Aankhen Barah Hath, Fashion, Kavi Kalidas, Suvanra Sundari, Mausi, Navrang, Rani Roopmati, Anguli Maal, Chandramukhi and Goonj Uthi Shehnai.

In spite of the success of many of his social films, topped by the huge commercial success of the last-mentioned film above and its music, Bharat Vyas got typecast as the lyricist for historical and mythological films and most of his 1960s output is in those genres. He continued to work all the way through the 1970s and early 1980s, but the number of films declined in this period. He passed away in Bombay Hosptial on 5 July 1982.

At the time of his death, he was involved in a project of presenting the Ramayana in poetic form, to be put to music by Shyam Sagar. He was also directing two Rajasthani films.

Note : This write up is based on an obituary article on Bharat Vyas, written by Mr. Rakesh Pratap Singh in the Golden Jubilee issue of Listeners' Bulletin (#50, September 1982). In addition, supplementary information was received from Mr. Harminder Singh 'Hamraaz' by e-mail.

An addendum for those who dont know...

Harminder Singh 'Hamraaz' is the gentleman who has compiled the HFGK ( Hindi Film Geet Kosh) and listed the details of every song in every Hindi movie...

Originally posted by: Swar_Raj

What a melody in these songs...I have tried to get KUhu Kuhu but not getting much success. If any one has that song..pl let me know. WOuld have loved to get the movie. Suvaran Sundari directed in 1957 or 58 and will also get Aamarpali

Can you imagine, these movies are much older then us and yet so wonderful that you cannot stop hearing them

Swar_Raj ji,
If you could PM me an email account that you use for uploads/downloads, I'll send over "kuhu kuhu". Also, as a bonus (an appreciation of some of your posts here on IF), I'll send another version of the same song that was sung by Ghantasala and Jikki (P.G.Krishnaveni) in the telugu version of the movie...

Originally posted by: charades

Theek kahan aapne Manju Di...

it's like comparing apples with oranges...😆

Vijay, Thanks for the link.