DASHI FUTTT 21.8
Yeh Rishta Kya Kehlata Hai - 22 Aug 2025 EDT
THAKELA LOVE 22.8
Bluffmaster IF Season 1 (Sign-up Open)
August disaster. Will Param Sundari save BW this month?
Chal jhooti; Shaadi ka Har nhi Fansi ka zehrila Fanda (pics only)
Mann main koi aur, shaadi se kisi aur
Geetmaan finally got married 😍
Vivek Agnihotri - Nobody Should Name Their Child Taimur
Danger - Param Sundari | Sidharth M, Janhvi K | SONG OUT
When you’re in love with ddp
27 years of Dil Se
Ranbir is accused of secretly following Deepika in social media 😆
🚨 Scheduled Downtime Notice 🚨
Govinda Sunita Ahuja Divorce Case Update
Important Notification regarding IF
Pick one Emraan Hashmi song
Originally posted by: TaarCheera
Are you sure Anol?
😊 TC
(If you already have the latest version of iTunes installed click on the Subscribe with iTunes button now which will directly take you to the India Forums page on iTunes Music Store)
Or
If your machine do not have iTunes you can download it at:
Anol Da, I have removed those picture will work on it later and post it again.Originally posted by: soulsoup
Some pics of Kishore da with Madhubala and Ruma GuhaThakurta please 😊
Kishore Kumar
Versatile singer and a man of different moods, Kishore Kumar has became a legend of Hindi film world with his eccentric, romantic, the depth, emotion and mettle in his voice that gave us so many songs that are beyond par excellence. In 1949, he came to Bombay from his native place in Khandwa (M.P), hoping that his elder brother and film star Ashok Kumar would introduce him to his idol - singer K L Saigal. He too wanted to be a singer, but the film industry conned him into becoming an actor.
Though Kishore Kumar hated being ordered around by directors, (who according to him didn't know their jobs most of the time) the hits followed. New Delhi (1956), Asha (1957), Chalti Ka Naam Gadi (1958), Jhumroo (1961), Half Ticket (1962), Shreeman Funtoosh (1956) and Padosan (1968). All time blockbusters, that managed to tie down Kishore to a busy acting schedule, so much so, that for a song in Sharaarat, Mohd Rafi, actually had to provide playback for him.
In an industry, where comedy was seen as a filler or diversion from the main plot, there emerged in the form of Kishore, a hero who made comic acting an evolved art. Laughing, singing and dancing, Kishore was the complete comic hero, comparable to the likes of Bob Hope and Danny Kaye. And his unconventional looks and personality only added to the fun that audiences had when watching him. Even while playing second fiddle to the hero, Kishore added an extra zing to the film. Whether it was the pan chewing ustad of Padosan, who takes on the carnatic maestro Mahmood in a musical duel or in his usually funny song and dance routine in movies like Miss Mary.
As a singer, he was unparalleled: his songs coming as naturally as laughter. His ability to yodel perfectly, freak off into nonsense rhyme and still return to the original tune was exhilarating. For those used to straightforward singing, this was heady wine. And Sachin Deb Burman, that talented music director, made him a constant playback for Dev Anand. Who does not hum those tunes even today? From Paying Guest (Mana janab ne pukara nahin) to Nau Do Gyarah (Hum hain raahi pyar ke) to Funtoosh (Ai meri topi palat ke aa), he weaved his spell. And in the films in which he starred, from Bandi, Bhai Bhai, Looko Chhori (Bengali), Shararat, New Delhi, he yodelled his way through; Eena meena deeka, Mera naam Abdul Rahman, CAT Cat, Hum to muhabbat karega and the list is too long to recollect. He is, of course, best remembered for his own production Chalti ka Naam Gadi, where he starred with his brothers Ashok Kumar and Anoop Kumar and his wife then, the fabulous Madhubala.
Kishore produced, directed, acted in and composed the music for Jhumroo, an enormous achievement. He then made an uncharacteristically serious film on the relationship between a father and his dumb son - 'Door Gagan ki Chhaon mein'. This 1964 film that Kishore directed, produced, scripted and scored music for was a sensitive offbeat drama about a war hero Shankar (Kishore Kumar) who returns home from battle to find that his family has perished in a fatal fire. Only his young son (played by his real life son - Amit) has survived. The film proceeds to sensitively delineate the father's efforts to draw his shell-shocked son out of his self-imposed exile. This film was a classic in the genre of war movies, and preceded a spate of Vietnam war inspired films of Hollywood. Critics and fans were astounded by the film which had the unstoppable funster in a serious introspective, brilliantly sensitive portrayal. 'Door Gagan Ki Chhaon Mein' went on to win many national and international awards. Its critical success was perhaps what motivated the making of 'Door Ka Rahi', another Kishore creation that throws up touches of stylistic tranquility of 'Door Gagan Ki Chhaon Mein'. The heightened expectations of his fans, of Kishore as a director, were never ever fulfilled by his other films - 'Badhti Ka Naam Daadhi' (1978) 'Zindagi' (1981) or 'Door Wadiyon Mein' (1982) The last was another surprise from the singing, dancing vocal comic - a song-less film.
The songs, of course, were immortal, tuned by S D Burman. Baboo samjho ishare (with Manna Dey), Ek ladki bheegi bhagi si, Paanch rupaiya barah anna, Jaate the Japan pahoonch gaye Cheen (again with Manna Dey) and Haal kaisa hai janab ka (with Asha Bhonsle). This surely was the most enjoyable freewheeling knockabout ever made in India. In other films too, he clowned and sang: In I S Johar's Bewaqoof and of course that great comedy Padosan, with Sunil Dutt, Mehmood and Saira Bano are some of the all time great comedies in which Kishore acted.
There are any number of Kishore Kumar tales to be heard in Mumbai. The best is how when he was shooting for a Satyen Bose film in Mahableshwar, he was supposed to come out of a bungalow, get into a car and go past the gate. After a couple of retakes, Kishore got into the car and drove past straight to Bombay while the entire unit waited for him to return. Night fell, but there was no sign of the man. To make matters worse, the car belonged to the producer.
People say he was a miser, screamed that the taxmen took away all his earnings. But very few people know that Kishore Kumar secretly sent money regularly, month after month, to the widow of Arun Kumar Mukherjee. In fact, the truth is, she depended entirely on the money Kishore sent her. She herself confessed this to a friend. If Kishore had not helped, it is likely that the family would probably have been wiped out. Incidentally, Arun Kumar Mukherjee is the same person who used to visit the Gangulys at Khandwa and who was one of the first persons to appreciate Kishore Kumar's singing talent. Kishore Kumar sent money to a few other people as well. Nobody knows who they are and he himself kept the matter under wraps. He charged one rupee less than Lata Mangeshkar to show his respect for her and her seniority. And he talked of going back to Khandwa to become a farmer.
There is a story of Kishore Kumar that reveals another side to him. Bipin Gupta, known for his many character roles in the Hindi movies produced the film Dal Mein Kala that was released in 1964. Satyen Bose was its director. The film starred Nimii and Kishore Kumar. Bipin Gupta was short of money and was compelled to cancel the shooting. Kishore Kumar, seeing the plight Gupta was in, ordered his driver Abdul to go home and bring Rs 20,000 in cash immediately. That was the amount Gupta needed. As soon as the money arrived, Kishore Kumar gave it to him personally. The film incidentally flopped, practically ruining Bipin Gupta.
He had angered former Prime Minister of India, Mrs. Indira Gandhi, when he refused to sing for the "Emergency Propoganda" during the emergency declared by her, and as a result all songs sung by him were banned by the national media at that time.
He shunned people, never smoke or drank and had only few friends. Kishore married some of the most beautiful women in India. Ruma Guha-Thakurta (the mother of his singer son Amit Kumar) was his first wife, then the beautiful Madhubala, Yogita Bali and finally Leena Chandavarkar (mother of his yongest son Summet.
Kishore Kumar was unstinting in crediting his popularity to the Burmans - father and son. It was S.D. Burman who made Kishore, the superstar singer of the seventies, when he chose him to sing 'Roop tera mastana, pyar mera diwana' for Rajesh Khanna in the superhit Aradhana. This together with the song that set the trend of wooing, 'Mere sapnon ki rani, kab ayegi tu' made Kishore the voice of the 'Chinky eyed sensation,' 'the chocolate faced hero' Rajesh Khanna. S.D. Burman did more than just make Kishore a superstar singer. He helped him out when his marriage to Ruma Devi caused a split in the family, by making him sing. 'Qusoor apka' in Bahaar and the song went to become a hit.
S.D. Burman made him the voice of Dev Anand much before Rajesh Khanna came on the scene. In Guide, Jewel Thief, Paying Guest and Munimji under S.D. Burman's expert hands, Kishore's talent was honed and fine tuned. 'Maana janab ne pukar nahin' and 'Gaata rahe mera dil' were some evergreen hits that Kishore sang for debonair Dev.
Another composer who placed implacable faith in Kishore was S.D. Burman's son, Rahul Dev Burman. The lack of basic training in music, never hampered Kishore's intuitive feel and enormous talent for music. After the decline of Rajesh Khanna, R.D. Burman and other composers were able to successfully exploit Kishore Kumar's voice for the superstar of all time Amitabh Bachchan. For Don, Sharabi, Mili, Amar Akbar Anthony, the list is endless. Kishore Kumar's ability to modulate his voice to suit the personality of his hero, and the ethos of the situation, was what made him a star. He was as much the voice of the dapper Dev, the adorable Rajesh as well as the aggressive angry young man Amitabh Bachchan.
Quite a few, who have known Kishore Kumar, put forward the view that he was not really eccentric but a very serious person at heart, very earnest about what he wanted to do. Unfortunately, he was not always understood. As Mehmood characterizes it: "He was neither eccentric not miserly, as some people seem to think. He was in fact a genius. He was a louder version of Raj Kapoor, an all-rounder who could handle every aspect of cinema but and all-rounder who enjoyed making noise and being notices..." Kalyanji, who takes a dispassionate view, says, "He had his moods, but that is an artiste's privilege. He had to be treated like a child if you wanted to get him to do anything...To get him to do what you wanted you had to tell him exactly the opposite." Anandji's version is more matter-of-fact. He says: "Kishore Kumar wasn't the least eccentric. It's just that he didn't like people cheating him of his dues."
Kishore Kumar's ardent desire in his last days was to return to his native Khandwa, but that was not to be. His sudden death took even him and many others by surprise. R.D.Burman was justify bereft when Kishoreda passed away suddenly. 'When Kishore was alive, it was so easy. Like Rafi and Mukesh he had a style of his own. In a way he was one up on the others because he could pick a tune and make it completely his own, to such an extent that you'd feel no one but he could ever sing it. Kishore Kumar's demise justify a void that imitators have failed to fill. Composers were justify holding tunes that they had composed only for Kishore and only Kishore could have sung. The R.D. Burman follower, composer Bappi Lahiri, who looked upon Kishore Kumar, as his mentor says, 'I wouldn't be here but for him. From 'Chalte Chalte' to my last song, he sang ninety percent of my compositions. His death is a great personal loss to me, but a greater professional loss. Now, I'll have to work harder to put in the fifty percent which he used to add'. And Bappi Lahiri must really know, for it was for him that Kishore Kumar recorded his last song on October 12, 1987, a day before he died.
Profile of Kishore Kumar :
Kishore Kumar Ganguly
Birth: Khandwa, MP, 4th august 1929
Death: Mumbai, Maharashtra ; 13 October 1987, heart attack
Marriage: To Ruma Guha Thakur, Madhu Bala, Geeta Bali, Leena Chandrawarkar
Brother of Anoop Kumar and Ashok Kumar ; Sons – Amit Kumar and Sumeet
Actor, Director, Playback Singer, Composer
Play back singer for more than 200 movies. Directed 8 movies. Acted in more than 50 movies.
First movie acted in 'Do Ghadi ki Mauj (1935); First song in movie: Shikari (1946)'.
Last movie acted 'Koun jeeta Koun hara (1988), last song in movie: Maalamaal (1988).
Not sure, if this has been posted somewhere else...
Remembering Kishore Kumar On His 13th Death Anniversary
by Raju Bharathan
Ashok Kumar told me something that I should have divined long before that super actor framed it in words..
"Kishore's voice hits the mike, straight, at its most sensitive point -- and that's the secret of his success as a singer without peer!" observed the vintage elder brother.
COME to think of it, this business of the singer's voice hitting the mike at its most sensitively receptive point -- had Naushad Ali not noted the same thing about Lata Mangeshkar to me?
It is this straight 'mike-hitting' trait, in fact, that made Kishore Kumar, once he was rehearsed and ready, a vocal threat to the best.
Kishore Kumar had not formally trained in music, so that Salil Chowdhury, for his intellectual Bengali part, was not even prepared to give this actor-singer a hearing, once he got to know that Kishore lacked musical grounding.
Kishore Kumar was Sheila Ramani's hero in Bimal Roy's Naukri (1954).
YET Salil Chowdhury, as the new phenom among our composers then, was dismissive of Kishore as: "I have not heard a single song rendered by you, so how could I possibly let you render my song in Naukri!"
Saying that, Salil was on the point of summoning Hemant Kumar to sing Chhota sa ghar hoga in place of our already unemployed hero of Naukri: Kishore Kumar!
It was only after Kishore Kumar virtually begged Salil Chowdhury to hear him out -- as one having met, already, the intricate tonal demands of master composer Khemchand Prakash in his very first song for films -- for Bombay Talkies' Ziddi (1948): Marne kee
duaaen kyun maangoon jeene kee tamanna kaun kare -- that Salil Chowdhury relented in the matter of Chhota sa ghar hoga.
"To Dada Burman goes the credit for having spotted the spark in the boy so early. Each one of us composers otherwise underestimated the tremendous potential of Kishore," admitted Salil, adding, "Not until the vocal results Kishore gave me, some 18
years later, in Gulzar's Mere Apne, with Koi hota jis ko apna hum apna keh lete yaaron, did I get a real idea of how totally I had misjudged the depth and dimension of the lad as a singer."
THUS a quarter century after Kishore Kumar came up with his Badi soonee soonee hai 'swan song' for S D Burman, in Mili, on Amitabh Bachchan; a near 30 years after he gave exquisite expression to son Rahul Dev-Burman's Chingaree koi bhadke to saawan use bujaaye, picturised on 'preceding' superstar Rajesh Khanna in Amar Prem; the aural aura of Kishore abides as the absolute original.
Whether singing or composing or acting, Kishore was pre-eminently Kishore, while now looking Fred Astaire, now Frank Sinatra, now Gene Kelly, now Bing Crosby.
If a valid comparison is to be drawn in this direction, Kishore Kumar is best envisioned as the Danny Kaye of our cinema.
For all that, Kishore only reminded you of the art of each one of the above great singer-actors.
Even in so reminding us of them, Kishore was but putting on an act -- and hugely enjoying doing so -- while remaining, recognisably, Kishore Kumar and no one else.
IT might have taken Kishore Kumar no fewer than 23 years to reach the top; but, once there, he stayed put for the 17 years he lived after Aradhana (1970).
And, no matter how much of an icon R D Burman be in your eyes vis--vis Kishore, disabuse your minds of this notion that Pancham did the music of Aradhana.
Nothing of the kind -- Sachin Dev-Burman allowed no one, just no one, to influence him in fashioning the tune.
Pancham therefore merely 'executed' the tunes of S D Burman, for Kishore, in Aradhana -- something that was no more than RD's job as Dada's chief assistant.
We do Pancham no justice as a composer in his own 'light', his father even less justice as the fountainhead, when we attribute the one's work to the other.
Each was a stalwart composer in his own idiom, each composed in a style that was distinctively his own.
IN fact, it was from papa Burman that Pancham learnt the art of extracting the best out of Kishore.
I recall, Pancham it was who generally carried Dada's spool-tape of the tune to Kishore's home.
S D Burman's technique was to send the spool-tape of the song to Kishore well in advance.
In his own impish way, Dada had discovered that, once he let Kishore have this tune in hand early, this singer had the amazing knack of 'acting out' the entire number in the privacy of his room -- before turning up for the first rehearsal.
Pancham himself adopted the same technique in drawing the very best out of Kishore.
Where Dada Burman was divided in his loyalties between Mohammed Rafi and Kishore Kumar, for Pancham, there existed but one male singer -- Kishore Kumar.
"There's no singer like Kishore," Pancham told me, "if you send the tape of the song to him even two days before the recording."
"Kishore wants this tape in advance, because he doesn't just sing a song; he feels it; savours it; experiences it; before entering the music room to record it."
"My best songs for Kishore," went on Pancham, "have been done this way."
"So strikingly different, in fact, was the result when I managed to send the tape to Kishore, two days in advance, that I could, here, offhand reel off the songs done this way, for me, by this my pet performer."
"I sent the tape of the tune beforehand to Kishore and he came up with O maanjhee re (in Khushboo); Zindagee ke safar mein (in Aap Ki Kasam); Raat kalee ek khwab mein aayee (in Budha Mil Gaya); Musafir hoon yaaron (in Parichay); Diye jalte hain (in Namak
Haraam); and Meree bheegee bheegee see (in Anamika)."
"Plus, in my breakthrough film, Hare Rama Hare Krishna -- as a composer with a style all my own -- Kishore came up, so notably, with Dekho o deewanon."
"This without mentioning Kishore's artistry in my other two breakthrough films: Amar Prem and Kati Patang," added Pancham.
"In fact, it was with these two films that I truly discerned how much sending the tape, in advance, to Kishore meant -- as he gave matchless results in such songs of mine as Yeh kya hua and Kuchch to log kahege; Yeh jo mohabbat hai and Pyaar deewana hota hai, not forgetting Yeh shaam mastanee."
R D Burman was not a music-maker given to self-praise -- he was, in truth, a composer with no 'sense of achievement' whatsoever.
Yet the gleam in his eye was there to see, as he narrated the tale of how he came to acquire such a special tuning with Kishore.
But, then, Pancham functioned in times when there was a spool-tape ready to hand to be despatched to Kishore.
Just look, by contrast, at the clutch of songs that papa S D Burman devised for Kishore -- with no such spool-tape facility.
SUCH captive songs hugged to the heart by a whole earlier generation as Kusoor aap ka huzoor aap ka (from AVM's Bahar: 1951); Kachchee pakkee sadkon pe meree tumtum (from Pyar); Ae meree topee palat ke aa (from Funtoosh); Mere labon pe dekhon aaj bhee tarane hain (from Navketan's Baazi: 1951); Chahe koi khush ho chahe gaaliyaan hazaar de/Mastram ban ke zindagee ke din guzaar de (from Taxi Driver); Maana janaab ne pukaraa naheen (from Paying Guest); Ek ladkee bheegee bhaagee see (from Chalti Ka Naam Gaadi); Dho le too aaj apne dil ke sab daag dho le (from Apna Haath Jagannath); and Pahli na doosree teesree pasand hai shaadee ka kar lo intezaar (from Madhbhare Nain).
What a shame the present generation cannot get a genuine first-hand feel of the above renditions by Kishore Kumar for S D Burman at a time when that composer alone -- aside from C Ramchandra -- fully believed in this singer!
No doubt, the above were songs done by S D Burman in times when it was technologically not possible to send any sort of tape to Kishore.
Yet those were more leisurely times, when SD could take Kishore to his Sion home -- for this singer-actor to get the 'histrionic' flavour of the song before recording it.
But, once it was feasible for S D Burman to send across that tape from his aptly named The Jet bungalow, in the Linking Road sector of Bandra West, Bombay, the creative collaboration of Dada and Kishore became even more hummable.
JUST think of the very special vibrance that Kishore now brought to Dada Burman numbers like Yeh dil na hota bechara (the Jewel Thief solo rejected by Guru Dutt as the theme-tune of Baharen Phir Bhi Aayengi, before replacing S D Burman with O P Nayyar as the music director of that film); Phoolon ke rang se (from Prem Pujari); Duniya o duniya tera jawaab naheen (from Naya Zamana); Dil aaj shaair
hai (from Gambler); and O meree o meree o meree (Sharmilee).
Kishore Kumar, by this 1971 stage, suddenly, was so far ahead that even a brave rearguard effort by Mohammed Rafi to catch up with this neo numero uno succeeded only up to a point.
MIND you, Rafi loyalists never gave up on him; but Kishore votaries were among the young -- and this was the age-group that made and unmade films by the seventies!
Kishore Kumar's strength lay in the fact that he had, all along, been the voice of the evergreen Dev Anand (Teree duniya mein jeene se, in House No 44).
And, once Kishore Kumar emerged as the voice of Rajesh Khanna (the megastar who broke the stranglehold of two generations of heroes), there was no holding this singing star-turned-pure playback.
In fact, Kishore Kumar, as the new singing sensation, was witness to S D Burman peaking, afresh, even as son R D Burman, at last, discovered his own composing identity -- at the turn of the seventies.
That Kishore held the vocal scale masterfully even, between father and son, is a performing measure of the man, whose vocals endure 13 years after he breathed his sonorous last -- on October 13, 1987.
It is easy enough to demonstrate Kishore Kumar's virtuosity -- it will be argued -- seeking the aid of S D Burman, on the one baton-hand, and R D Burman, on the other.
FAIR enough, so next time out, let us a attempt a piece on Kishore Kumar that will conceptualise only those songs of this actor-singer (or singer-actor) that he put over for music directors other than the Burmans!
Like, for instance, not Eena meena deeka from Aasha, but Haal tujhe apnee duniya ka nazar to aata hoga, from the same 1957 film, for the same C Ramchandra.
You will then be amazed at the range of Kishore's repertoire -- outside the euphonious fold of the Burmans.
But that is a theme song for another Kishore birthday.
A theme by which we examine, for instance, where possibly Kishore could have gone vocally wrong, in a rendition making such compulsive hearing as Savere ka sooraj tumhare liye hai (from Ek Baar Muskura Do), for O P Nayyar to have charged this singer with having "ruined my song"!
Anupamaa
Kyunki Saas Bhi Kabhi Bahu Thi 2
