Pyaasa (Hindi: प्यासा; Urdu: پیاسا; English: The Thirsty) is a 1957 Indian film produced and directed by Guru Dutt. The film tells the story of struggling poet, Vijay (Guru Dutt), trying to make his works known in post-independence India. Gulabo (Waheeda Rehman in her first major leading role in Hindi cinema), a prostitute with a heart of gold,^[1] eventually helps him get his poems published. The music was composed by S.D. Burman.

With the commercial success of thrillers like Baazi, Jaal, Aar Paar and C.I.D. as well as comedies like Mr. & Mrs. '55, Guru Dutt and his studio were financially secure and established. From 1957, he could now make movies he really wanted to make, including Pyaasa. In 2002, Pyaasa was ranked at #160 on the Sight & Sound critics' and directors' poll of all-time greatest films.^[2] In 2005, Pyaasa was rated as one of the 100 best films of all time by Time Magazine, which called it "the soulfully romantic of the lot."^[3] Indiatimes Movies ranks the movie amongst the Top 25 Must See Bollywood Films.^[4] On the occasion of Valentine's Day 2011 Time magazine has declared it as one of the top 10 romantic movies of all time.^[5]

Plot[link]

Ghosh and Shyam, Vijay's close friend, refuse to recognise him and he is committed to a mental asylum since he insists he is Vijay and is thought to be mad. Vijay's brothers too are bought off by Ghosh not to recognize him and a memorial is held for the dead poet. Vijay with the help of his friend Abdul Sattar (Johnny Walker) escapes from the mental asylum and reaches the memorial service where he denounces this corrupt and materialistic world. Seeing that Vijay is alive his friend and brothers take side with a rival publisher for more money and declare this is Vijay. At a function to honour him, Vijay becomes sick of all the hypocrisy in the world around him and declares he is not Vijay. He then leaves with Gulabo to start a new life.

Production[link]

In the original ending Guru Dutt wanted to show that Vijay left all alone but on the distributors' insistence the ending was changed. The film was originally titled Pyaas (thirst), but Guru Dutt later changed it to Pyaasa to better describe the film.^[6]

The role of Shyam was originally to be played by Guru Dutt's real life friend, Johny Walker but was then assigned to one of Guru Dutt's assistant directors. Guru Dutt wanted to film red light area scenes on locations in Kolkata (then Calcutta) but the crew was attacked by a group of pimps. Guru Dutt however recreated sets on the basis of photos taken at Kolkata.

It is also surmised that the story is based on the life of film's lyricist Sahir Ludhianvi who had failed affair with poet and writer Amrita Pritam during their college days.

Cast[link]

• Guru Dutt as Vijay
• Mala Sinha as Meena
• Waheeda Rehman as Gulab
• Rehman as Mr. Ghosh
• Johnny Walker as Abdul Sattar
• Leela Mishra as Vijay's mother
• Kumkum as Juhi
• Mehmood as Vijay's brother
• Tun Tun as Pushplata
• Moni Chatterjee as Chatterjee

Memorable quotes[link]

• Vijay: Apne shauk ke liye pyaar karti hai aur apne aaram ke liye pyar bechti hai. [She loves for a hobby and trades it for her comfort.]
• Vijay: To phir main yahan kya kar raha hun. Main kyon zinda hun, Gulabo? [What am I doing here? Why am I alive, Gulabo?]
• Vijay: These smiling flowers, these fragrant gardens, this world filled... with glorious colors. The nectar intoxicates bees. What little have I to add to this splendor... a few tears, a few sighs.
• Vijay: ...I'm not that Vijay
• Vijay: Jab Hum Chale Toh Saaya Bhi Apna Na Saath De, Jab Tum Chalo Zameen Chale Aasman Bhi, Jab Hum Ruke Toh Saath Ruke Sham-e-bekasi, Jab Tum Ruko Bahaar Ruke Chandni Bhi (When I walk, my shadow doesn't follow me; when you walk, the earth and the skies stroll with you. When I stop, stays with me the evening of incapability; when you stop, halts with you both blossom and moonlight...)

Songs[link]

The movie boasts one of the best performances of S.D. Burman, Sahir Ludhianvi, Geeta Dutt and Mohammed Rafi to produce one of the most lyrical Hindi musicals. Pyaasa marked the last collaboration of the long-lasting team of composer S D Burman and lyricist Sahir Ludhianvi.^[7]

• Jaane kya tune kahi by Geeta Dutt
• Ham aapki aankhon me by Geeta Dutt, Mohammed Rafi
• Jane who kaise log by Hemant Kumar
• Sar jo tera chakraye by Mohammed Rafi
• Aaj sanam mohe ang lagalo by Geeta Dutt
• Jinhen naaz hai by Mohammed Rafi
• Ye duniya agar mil bhi jaye to kya hai by Mohammed Rafi
• Ye Hanste Huye Phool by Mohammed Rafi
• Tang Aa Chuke Hain Kashm-e-Kashe Zindagi Se Ham by Mohammed Rafi

In 2004, the soundtrack for Pyaasa was chosen as one of "The Best Music in Film" by Sight & Sound, the British Film Institute magazine.^[8]

The film then and now[link]

• The film is based on a book written by author and poet Chandra Shekhar 'Prem', from Himachal Pradesh. It was partly based on his life story. He was a struggling poet in the 1950s at the time and took the book to Bollywood. He sold the story and its rights for Rs.500, so was never given any credit for his work. He went on to publish many books in Hindi and Urdu he was never recognised as the true author of this work. He died in 2002.
• There was a debate between writer Abrar Alvi and Guru Dutt on film’s ending. Abrar wanted the protagonist to accept and compromise with the prevailing material social reality; Guru Dutt insisted otherwise.
• Song Sar jo tera chakraye composed by S.D Burman was actually based on tune composed by his son R.D Burman.
• Pyaasa was to be made with actresses, Nargis Dutt and Madhubala in the roles Mala Sinha and Waheeda Rehman played eventually. But the two actresses couldn't decide which role they wanted to play and Guru Dutt eventually opted for two then new actresses, Mala and Waheeda.^[9]
• Guru Dutt wanted Dilip Kumar to play the leading role in the movie, which the tragedy king declined. Guru Dutt himself played and movie went on to become one of the most commercially successful movies of the year.
• The popular song "Hum aapki aankhon mein" was added to the movie on behest of distributors to bring some relief in rather pessimist film. It was never planned in original cut.^[10]
• After a slow opening, Pyaasa went on to be a major commercial success of the year. This gave Guru Dutt the confidence to make a repeat on a grand scale. However, Kaagaz Ke Phool went on to be a commercial disaster. Ironically, the movie picked up a cult following world over in 1980s much after Guru Dutt died.
• Waheeda Rahman's role in Pyaasa was based on a real life character. Abrar Alvi and his friends were visiting Bombay and they decided to visit the red light area. Alvi got talking to a girl who called herself Gulabo. According to Alvi " As I left, she thanked me in a broken voice, saying that it was the first time that she had been treated with respect, in a place where she heard only abuses. I used-her exact words in the film"^[11]
• Guru Dutt and his movies, including Pyaasa, have a large cult following in France and Germany. It was a huge commercial success during its 1984 French Premiere, ironically something Guru Dutt never witnessed during his lifetime. Since then, the movie has been screened to huge mass appeal world over, like the recent screening at The 9th International Festival of Asian Cinema held in Vesoul, in February 2003,^[12]
• Is a Time top 100 movie of all times
• Is a Time readers choice top 10 movie of all times^[13]

Related films[link]

• The theme of the film is similar to Kishore Sahu's 1943 film Raja.^[14]
• A. K. Velan remade the film in Kannada.^[15]
• The film was remade in Malayalam as Kavyamela (1965).^[14]
• The film was remade in Tamil as Devi (1968). Starring Muthuraman and Devika, it was directed by A. K. Velan.^[14]
• The film was remade in Telugu as Mallepoovu (1975).^[16]

References [link]

1. ^ Anindita Ghose (August 2006). "Of Names of Women in Hindi Cinema.: An Exploration in Semantics". e-Social Sciences. http://www.esocialsciences.com/data/articles/Document12592006460.2453272.pdf. Retrieved 2009-04-02. 
2. ^ "2002 Sight & Sound Top Films Survey of 253 International Critics & Film Directors". Cinemacom. 2002. http://www.cinemacom.com/2002-sight-sound.html. Retrieved 2009-04-19. 
3. ^ "The Complete List." All-Time 100 Movies Time Magazine. 2005
4. ^ "25 Must See Bollywood Movies - Special Features-Indiatimes - Movies". The Times Of India. http://movies.indiatimes.com/Special_Features/25_Must_See_Bollywood_Movies/articleshow/msid-1250837,curpg-20.cms. 
5. ^ Corliss, Richard (2007-02-11). "Son of the Sheik | Top 10 Romantic Movies | Entertainment | TIME.com". Entertainment.time.com. http://entertainment.time.com/2007/02/11/top-10-romantic-movies/#pyaasa-1957-2. Retrieved 2012-01-17. 
6. ^ "Lots in a movie name". Timesofindia.indiatimes.com. 2010-04-10. http://timesofindia.indiatimes.com/entertainment/bollywood/news-interviews/Lots-in-a-movie-name/articleshow/5781269.cms. Retrieved 2012-01-17. 
7. ^ "Pyaasa". Upperstall.com. http://www.upperstall.com/films/pyaasa.html. Retrieved 2012-01-17. 
8. ^ Olivier Assayas (September 2004). "The Best Music in Film". Sight & Sound. http://www.bfi.org.uk/sightandsound/filmmusic/detail.php?t=d&q=6. Retrieved 2009-04-26. 
9. ^ "Pyaasa: Guru Dutt's masterpiece". Rediff.com. http://www.rediff.com/movies/2003/jun/23dinesh.htm. Retrieved 2012-01-17. 
10. ^ "Pyaasa". Upperstall.Com. http://www.upperstall.com/films/pyaasa.html. Retrieved 2012-01-17. 
11. ^ http://www.3to6.com/final_retro/legend.htm
12. ^ Embassy Of India - Paris^{[dead link]}
13. ^ "All-Time 100 Movies". Time. http://www.time.com/time/2005/100movies/0,23220,ratethis,00.html. Retrieved 2010-05-22. 
14. ^ ^{a b c} "Kavyamela 1965". The Hindu. Retrieved 2011-03-17.
15. ^ "The dream merchant turns 85". The Hindu. Retrieved 2011-03-17.
16. ^ "Telugu Cinema - Research - Analysis - Over dose of love stories". Idlebrain.com. http://www.idlebrain.com/research/anal/anal-chakravarthy.html. Retrieved 2012-01-17. 

External links[link]

• Pyaasa at the Internet Movie Database
• Urbain Bizot, Thirst and Mourning
• "Pyaasa:Time Magazine All Time 100 Movies"
• University of Iowa article

Hemanta Kumar Mukhopadhyay (Bengali: হেমন্ত কুমার মুখোপাধ্যায়; Hemonto Kumar Mukhopaddhae) also known as Hemanta Mukherjee (16 June 1920 – 26 September 1989) was a Bengali singer, composer and producer. He sang in Hindi films under the name Hemant Kumar.

Early life[link]

Hemanta was born in the city of Varanasi, India although his family hailed from a village named Baharu in West Bengal. They migrated to Kolkata in the early 20th century. Hemanta grew up there and attended Mitra Institution school of Bhawanipore area. There he met his longtime friend, Subhas Mukhopadhyay who later became a Bengali poet. After passing the intermediate examinations (12th grade), Hemanta joined Jadavpur University to pursue Engineering.^[1] However, he quit academics to pursue a career in music, despite parental objection. He briefly tried his hand at literature and also published a short story in a prestigious Bengali magazine called Desh, but by the late-1930s he was committed entirely to music.

Early music career[link]

Under the influence of his friend Subhas Mukhopadhyay, Hemanta recorded his first song for All India Radio in 1933. The first line of the song was Amar Ganete Ele Nabarupi Chirantanii. Hemanta's music career was primarily mentored by the Bengali musician, Sailesh Duttagupta. In an interview on television in the early 1980s, Hemanta had mentioned that he had also received classical music training from Ustad Faiyaz Khan, but his tutelage was cut short by Ustad's untimely death.

In 1937, Hemanta cut his first gramophone disc under the Columbia label. The songs (non-film) on this disc were Janite Jadi Go Tumi and Balo Go Balo More whose lyrics were by Naresh Bhattacharya and music was composed by Sailesh Duttagupta. Thereafter, every year Hemanta continued to record non-film discs for the Gramophone Company of India (GCI) till 1984. His first Hindi songs were Kitana Dukh Bhulaya Tumne and O Preet Nibhanewali, released in 1940 under GCI's Columbia label. Music for these songs were composed by Kamal Dasgupta, lyrics were by Faiyaz Hashmi.

Hemanta's first film song was in the Bengali film Nimai Sanyas released in 1941. Music for this film was scored by Hariprasanna Das. Hemanta's first compositions for himself were the Bengali non-film songs Katha Kayonako Shudhu Shono and Amar Biraha Akashe Priya in 1944. Lyrics of these two songs were by Amiya Bagchi.

His first Hindi film songs were in Irada in 1944 under Pt. Amarnath's music direction. Lyrics were by Aziz Kashmiri.

Hemanta is considered a foremost exponent of Rabindrasangeet. His first recorded Rabindrasangeet was in the Bengali film Priya Bandhabi (1944).^[2] The song was Pather Sesh Kothaye. He recorded his first non-film Rabindrasangeet disc in 1944 under the Columbia label. The songs were Aamar Aar Habe Na Deri and Keno Pantha E Chanchalata.^[3]

His first movie as a music director was the Bengali film Abhiyatri in 1947. Although many of the songs Hemanta recorded during this time received critical acclaim, major commercial success eluded him until 1947. Some contemporary male singers of Hemanta in Bengali around that period were Jaganmay Mitra, Robin Majumdar, Satya Chowdhury, Dhananjay Bhattacharya, Sudhirlal Chakraborty, Bechu Dutta^[4] and Talat Mahmood.

Family[link]

Hemanta had three brothers and a sister, Nilima. His elder brother, Tarajyoti, was a short-story writer in Bengali. The youngest brother, Amal Mukhopadhyay, composed music for some Bengali movies, most notably Hospital and Abak Prithibi. He also recorded a few Bengali songs in the 1960s.^[5]

In 1945, Hemanta married Bela Mukherjee (died 25 June 2009),^[6] a singer from Bengal. Although Bela (maiden name also Bela Mukhopadhyay) had sung some popular songs in a Bengali movie, Kashinath (1943), with music by Pankaj Mullick – she did not actively pursue her musical career after marriage.

They had two children: a son, Jayant, and a daughter, Ranu. Ranu as Ranu Mukhopadhyay pursued a music career in the late 1960s and early 1970s, with somewhat limited success. Jayant is married to Moushmi Chatterjee, an Indian film actress who was popular in the 1970s.

Success and migration to Mumbai[link]

In the mid 1940s, Hemanta became an active member of the Indian People's Theatre Association (IPTA) and started an association with another active IPTA member – songwriter and composer – Salil Chowdhury. One of the main driving forces behind the establishment of IPTA was the Bengal famine of 1943 and the inaction of the British administration and wealthy Indians to prevent it from happening. In 1948, Hemanta recorded a non-film song called ganyer badhu (literally translates to 'The rural bride') that had music and lyrics by Salil Chowdhury. The six minute song recorded on two sides of a 78 rpm disc was sung at a varying pace and lacked the conventional structure and romantic theme of a Bengali song. It depicted an idyllic, prosperous and caring rural woman's life and family, and how it gets ravaged by the demons of famine and ensuing poverty. This song generated an unforeseen popularity for Hemanta and Salil in eastern India, and, in a way, established Hemanta ahead of his male contemporaries. Hemanta and Salil paired again in several songs over the next four years and almost all these songs proved to be very popular.^[7]

Around the same period, Hemanta started receiving more assignments for music composition for Bengali films. Some of these films were for a director named Hemen Gupta. When Hemen moved to Mumbai a few years later, he called upon Hemanta to compose music for his first directorial venture in Hindi titled Anandmath under the Filmistan banner. Responding to this call, Hemanta migrated to Mumbai in 1951 and joined the Filmistan Studios. The music of Anand Math (1952) was a moderate success. Perhaps, the most notable songs from this movie is vande mataram sung by Lata Mangeshkar, which Hemanta set to a marching tune. Following Anandmath, Hemanta scored music for a few Filmistan movies like Shart in subsequent years, the songs of which received moderate popularity. Simultaneously, Hemanta also gained popularity in Mumbai as a playback singer.^[8] His songs playbacked for actor Dev Anand under music director Sachin Dev Burman in movies like Jaal, House No. 44, and Solva Saal became quite popular.

Career rise[link]

By the mid-1950s, Hemanta had consolidated his position as a prominent singer and composer. In Bengal, he was one of the foremost exponents of Rabindrasangeet and perhaps the most sought after male singer. In Mumbai, along with playback singing, He also carved a niche as a composer. He composed music for a Hindi film called Nagin (1954) which became a major success owing largely to its music. Songs of Nagin remained chart-toppers continuously for two years and culminated in Hemant receiving the prestigious Filmfare Best Music Director Award in 1955. The very same year, he scored music for a Bengali movie called Shapmochan in which he also played back four songs for the Bengali actor Uttam Kumar. This started a long partnership between Hemant and Uttam as a playback singer-actor pair. They were the most popular singer-actor duo in Bengali Cinema over the next decade.

In the latter part of the 1950s, Hemanta composed music and sang for several Bengali and Hindi films, recorded several Rabindrasangeets and Bengali non-film songs. Almost all of these, especially his Bengali songs became very popular. This period can be termed as the zenith of his career and lasted for almost a decade. He sang songs composed by the major music directors in Bengal such as Nachiketa Ghosh, Robin Chatterjee and Salil Chowdhury. Some of the notable films Hemanta himself composed music for during this period include Harano Sur, Marutirtha Hinglaj, Neel Akasher Neechey, Lukochuri, Swaralipi, Deep Jwele Jaai, Shesh Parjanta, Kuhak, Dui Bhai, and Saptapadi in Bengali, and, Jagriti and Ek Hi Raasta in Hindi.

Movie production[link]

In the late 1950s, Hemanta ventured into movie production under his own banner Hemanta-Bela productions. The first movie under this banner was a Bengali film directed by Mrinal Sen, titled Neel Akasher Neechey (1959). The story of this film was based on the travails of a Chinese street hawker in Calcutta in the backdrop of India's freedom struggle. The movie went onto win the President's Gold Medal – the highest honour for a movie from Government of India. In the next decade, Hemanta's production company was renamed Geetanjali productions and it produced several Hindi movies such as Bees Saal Baad, Kohraa, Biwi Aur Makaan, Faraar, Rahgir and Khamoshi – all of which had music by Hemanta. Almost all of these, except Bees Saal Baad and Khamoshi, weren't major commercial successes. Back in Bengal, Hemanta scored music for a movie titled Palatak in 1963 where he experimented with merging Bengal Folk Music and light music. This proved to be a major success and Hemanta's composition style changed noticeably for many of his future films in Bengal such as Baghini, and Balika Badhu. In Bengali films Manihar and Adwitiya, both of which were major musical as well as commercial successes, his compositions had a light classical tinge. In 1961, for commemorating Rabindranath Tagore's birth centenary, Gramophone company of India featured Rabindrasangeet by Hemanta in a large portion of its commemorative output. This too proved to be a major commercial success. Hemanta also went on several overseas concert tours in this period including his trip to the West Indies. Overall, in the 1960s decade he retained his position as the major male singer in Bengal, and, as a composer and singer to be reckoned with in Hindi films.

Latter part of career[link]

In the 1970s, Hemanta's contribution in Hindi films was nominal. He scored music for a handful of his home productions, but none of these movies were successful nor the music of them. In Bengal, however, he remained the foremost exponent of Rabindrasangeet. His non-film output was popular in the early part of the decade. In 1971, Hemanta debuted as a film director in for his self-produced Bengali movie titled Anindita. The movie didn't fare exceedingly well at the box office. In the early to mid 1970s, two major music composers in Bengal, Nachiketa Ghosh and Robin Chatterjee, who had worked closely with Hemanta since the early 1950s, died. Simultaneously, music composed by Hemanta for Bengali films like Fuleswari, Raag Anurag and Dadar Kirti established Hemanta as the major film music composer in the Bengal movie scene. In 1979, Hemanta re-recorded some of his earlier works with composer Salil Chowdhury from the 1940s and 1950s. This album, titled 'Legend of Glory, vol. 2' was a major commercial success, despite Hemanta's aged and slightly tired voice.

In 1980, Hemanta suffered a major heart attack (myocardial infarction) that severely affected his vocal capabilities, especially his breath control. He continued to record songs in the early eighties, but his voice was a shade of its rich baritone past. In 1984, Hemanta was felicitated by different organizations, most notably by the Gramophone Company of India, for completing 50 years in music. Ironically, that very year Hemanta released his last album with Gramophone Company of India – a 45 rpm extended play disc with four non-film songs. Over the next few years, Hemanta released non-film songs under various small-time labels that had cropped up in the nascent cassette-based music industry. Only a few of these were commercially successful. He composed music for a handful of Bengali movies and one Bengali and one Hindi tele-series. However, by this time he had become an institution, a beloved personality, and a courteous and friendly gentleman. He continued to feature regularly on All India Radio, Doordarshan (TV) and live programmes/concerts during this period.

In September 1989, he travelled to Dhaka, Bangladesh to receive the Michael Madhusudan Award. He performed a concert in Dhaka as well. Immediately after returning from this trip, he suffered a major heart attack (myocardial infarction) on September 26 and died at 11:15 pm in a nursing home in South Calcutta. Interestingly, even 15 years after his death, Gramophone Company of India releases at least one album by him every year, repackaging his older songs, because of the commercial viability of his songs. His legacy still lives on through the numerous songs he has recorded, music he has composed and through many male singers in Bengal and the rest of India who continue to imitate his singing style.

English filmography as a composer[link]

• 1972: Siddhartha

Bengali filmography as a composer[link]

Total number of films: 138

• 1947: Abhiyatri, Purbaraag
• 1948: Bhuli Naai, Padma Pramatta Nadi, Priyatama
• 1949: Diner Par Din, '42, Sandipan Pathshala, Swami
• 1951: Jighansa, Paritran
• 1952: Swapno O Samadhi-(Jointly with Khagen Dasgupta)
• 1955: Shapmochan
• 1956: Suryamukhi
• 1957: Shesh Parichay, Taser Ghar, Harano Sur
• 1958: Lukochuri, Shikar, Surjatoran, Joutuk, Neel Akasher Neechey
• 1959: Deep Jwele Jaai, Khelaghar, Marutirtha Hinglaj, Sonar Harin, Kshaniker Atithi
• 1960: Baishey Shravan, Gariber Meye, Kuhak, Khoka Babur Prayabartan, Shesh Paryanta
• 1961: Dui Bhai, Agni Sanskar, Madhya Rater Tara, Punashcha, Saptapadi, Sathi Hara, Swaralipi
• 1962: Atal Jaler Ahwan, Agun, Dada Thakur, Hansuli Banker Upakatha, Nabadiganta
• 1963: Badshah, Barnachora, Ek Tukro Agun, High Heel, Palatak, Saat Pake Bandha, Shesh Prahar, Tridhara
• 1964: Arohi, Bibhas, Natun Tirtha, Pratinidhi, Prabhater Rang, Swarga Hotey Biday, Sindure Megh
• 1965: Alor Pipasa, Ek Tuku Basa, Ek Tuku Chhonya Lage, Suryatapa
• 1966: Kanch Kata Hirey, Manihar
• 1967: Balika Badhu, Dushtu Prajapati, Nayika Sangbad, Ajana Shapath
• 1968: Adwitya, Baghini, Hansamithun, Jiban Sangeet, Panchasar, Parisodh
• 1969: Chena Achena, Man Niye, Parineeta, Shuk Sari
• 1970: Deshbandhu Chittaranjan, Duti Mon
• 1971: Kuheli, Malayadan, Nabarag, Nimantran, Sansar, Mahabiplabi Arabindo
• 1972: Anindita, Shriman Prithviraj
• 1974: Bikele Bhorer Phool, Thagini, Phuleshwari
• 1975: Agniswar, Mohan Baganer Meye, Nishi Mrigaya, Raag Anuraag, Sansar Simantey
• 1976: Banhi Sikha, Datta, Sankhabish, Pratisruti
• 1977: Din Amader, Hatey Roilo Tin, Mantramugdha, Pratima, Proxy, Rajani, Sanai, Shesh Raksha, Swati
• 1978: Ganadevta, Nadi Theke Sagare, Pranay Pasha
• 1979: Shahar Theke Dooray, Nauka Dubi
• 1980: Bandhan, Dadar Kirti, Paka Dekha, Pankhiraj, Shesh Bichar
• 1981: Kapal Kundala, Khelar Putul, Meghmukti, Subarna Golak
• 1982: Chhoto Maa, Chhut, Uttar Meleni, Pratiksha
• 1983: Amar Geeti, Rajeshwari
• 1984: Agni Shuddhi, Ajantay, Bishabriksha, Didi, Madhuban, Suryatrishna
• 1985: Bhalobasa Bhalobasa, Tagari
• 1986: Pathbhola, Ashirwad
• 1987: Pratibha, Tunibou, Agaman, Boba sanai, Parasmani, Surer Sathi

Hindi filmography as a composer[link]

• A: Anand Math, Anjaan, Anupama, Arab Ka Saudagar
• B: Bahu, Bandhan, Bandi, Bandish, Bees Saal Baad, Bees Saal Pehle, Bhagwat Mahima, Bin Badal Barsaat, Biwi Aur Makaan
• C: Chand, Champakali
• D: Daku Ki Ladki, Do Dil, Do Dooni Char, Do Ladke Dono Kadke, Do Mastane, Durgesh Nandini, Duniya Jhukti Hai,Devi Choudhurani
• E: Ek hi Raasta, Ek Jhalak
• F: Ferry, Faraar, Fashion
• G: Girl Friend
• H: Hamara Watan, Hill Station, Hum Bhi Insaan Hai
• I: Inspector
• J: Jagriti
• K: Khamoshi, Kohraa, Kitna Badal Gaya Insaan
• L: Lagan, Laalten, Love in Canada
• M: Maa Beta, Majhli Didi, Miss Mary
• N: Nagin
• P: Payal, Police
• R: Rahgeer
• S: Sahara, Sahib Bibi Aur Ghulam, Samrat, Sannata, Shart
• T: Taj
• U: Us Raat Ke Baad
• Y: Yahudi Ki Ladki

Other languages filmography as a composer[link]

• Ayel Basant Bahar (1961)
• Balma Bada Nadaan (1964)

Hemant Kumar also sang several Marathi songs, notably "Mee Dolkara, Dolkara, Dolakra dariyacha raaja...." (मी डोलकर, डोलकर दर्याचा राजा) with Lata Mangeshkar. This song became immensely popular. Another popular Marathi song by Hemant Kumar, "Gomu sangatina mazya tu yeshil kay" (गोमू संगतीनं माझ्या तू येशील काय), is filmed on the famous actor Kashinath Ghanekar in the film Ha Khel Saavalyancha, हा खेळ सावल्यांचा.

References[link]

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (June 2009)

Sources[link]

1. Hemanta Kumar Mukhopadhyay, "Ananda dhara", Deb Sahitya Kutir Press, Calcutta, 1970.
2. A. Rajadhakshya and P. Wilhelm, "An Encyclopedia of Indian Cinema," 2nd ed., British Film Institute, 1999.
3. S. Bhattacharya, "Amar gaaner swaralipi," A. Mukherjee Press, Calcutta, 1988.

External links[link]

• Songs of Hemanta Mukherjee
• Hemant Kumar home page
• Mostly complete discography
• Articles on Hemanta Mukherjee
• Hemanta's Hindi Filmography
• Hemanta's Bengali Songs
• Hemanta's Bangla Gaan
• Hemanta Mukherjee's Bengali Songs

Mala Sinha (Hindi: माला सिन्हा) (born 11 November 1936) is an Indian actress who has worked in Hindi, Bengali and Nepali films. Recognised for her talent and beauty, she went on to become a popular leading actress in Hindi films from the early 1950s until the late 1970s. Sinha has starred in over a hundred film productions: popular ones include Pyaasa (1957), Dhool Ka Phool (1959), Dil Tera Deewana (1962), Gumrah (1963), Himalaya Ki God Mein (1965) and Aankhen (1968).^[1]

Early life[link]

Sinha was born to Albert Sinha, in a Indian-Nepali Christian family in Kashmir in India. They named her Alda. Her friends at school used to tease her by calling her Dalda (a brand of vegetable oil), so she changed her name to Mala.^[2] In her childhood she learnt dancing and singing.

She has never done playback singing in films but has been a singer and has done stage shows in many languages from 1947 to 1975.

Career[link]

Sinha started her career as child artist in Bengali films Jai Vaishno Devi followed by Shri Krishan Leela, Jog Biyog and Dhooli. Noted Bengali director Ardhendu Bose saw her acting in a school play and took permission from her father to cast her as a heroine in his film Roshanara (1952), her cinematic debut.

After acting in a couple of films in Calcutta, Mala had to go to Bombay for a Bengali film. There she met Geeta Bali, a noted Bollywood actress, who was charmed by her and introduced her to film director Kidar Sharma. It was Sharma who cast her as a heroine in his Rangeen Ratein. Her first Hindi film was Badshah opposite Pradeep Kumar, then came Ekadashi, a mythological film. Both failed, but her lead role in Kishore Sahu's Hamlet, paired opposite Pradeep Kumar, fetched her rave reviews in spite of it failing at the box office.^[3] Films like Lai Batti (ac­tor Balraj Sahni’s only directorial venture), Nausherwan-E-Adil where she starred as the fair maiden Marcia in Sohrab Modi’s romance about forbidden love and Phir Subah Hogi, which was direc­tor Ramesh Saigal’s adapta­tion of Dosteovsky’s Crime and Punishment established Mala Sinha's reputation as a versatile actress who took the maximum career risks by accepting unconventional roles.

Mala was a singer of some repute and used to sing for All India Radio; she was not allowed to sing playback (even for herself) in the movies with the lone exception being 1972's Lalkar.^[4] In the 1950s, she had string of hits opposite Pradeep Kumar like Fashion (1957), Detective (1958), Duniya Na Mane (1959) though their first two ventures had failed. The films she did with Pradeep Kumar were men-oriented. In 1957, noted Bollywood actor and film director Guru Dutt (the husband of Geeta Dutt) cast Mala in his film Pyaasa (1957) in a role originally intended for Madhubala. Mala gave a memorable performance as the relatively unsympa­thetic part of an ambitious woman who chooses to marry a rich man (played by actor Rehman) and have a loveless marriage rather than a poor, unsuccessful poet and her impoverished lover (played by Guru Dutt) whom she ditches. Pyaasa remains to this day a classic in the history of Indian cinema and a turning point for Sinha.

After Pyaasa her major success were Phir Subah Hogi(1958) and Yash Chopra's directorail debut Dhool Ka Phool (1959) that elevated her into a major dramatic star.^[5] There was no looking back for Sinha then as she was part of many successful movies from 1958 to the early '60s like Parvarish (1958), Ujala, Main Nashe Main Hoon, Duniya Na Mane, Love Marriage (1959), Bewaqoof (1960), Maya (1961), Hariyali Aur Rasta and Dil Tera Deewana (1962), Anpadh, Bombay Ka Chor (1962). Critics believe her career best performance was in Bahurani (1963), Gumrah, Gehra Daag, Apne Huye Paraye and Jahan Ara.^[6] Apart from pairing with Pradeep Kumar, her pairing opposite Raaj Kumar, Rajendra Kumar, Biswajit and Manoj Kumar in woman-oriented films were appreciated by audiences, with her films opposite Biswajit being the most popular. With Raaj Kumar, she gave box office hits like Phool Bane Angaare, Maryada and Karmayogi and opposite Manoj Kumar, gave commercial successes like Hariyali Aur Rasta, Apne Huye Paraye and Himalaya Ki God Mein. The hits with Rajendra Kumar were Devar Bhabhi, Dhool Ka Phool, Patang, Geet and Lalkar.

With Biswajit her popular movies include Aasra, Night in London, Do Kaliyaan, Tamanna, Nai Roshni and critically acclaimed films Pyar Ka Sapna, Paisa Ya Pyaar, Jaal and Phir Kab Milogi (1974 film). She did 10 films with Biswajit. In 2007, they won the Star Screen Lifetime Achievement Award, calling them on stage together giving due respect to their popularity as a pair who have tasted box office success.^[7]

The most remarkable feature of career of Mala Sinha was that most of her 1960s and 1970s hits were fueled by her own star power as much as the heroes and most of the times her role was more powerful than the hero. Though she was pitted opposite her seniors like Raj Kapoor, Dev Anand, Kishore Kumar, Pradeep Kumar and when she acted opposite the emerging stars from late 1950s like Shammi Kapoor, Rajendra Kumar and Raaj Kumar, she made sure her role was as good as theirs. The characters she played stood out and gave her recognition for her performances. Sinha did not mind working with newcomers as long as her role was worth it. She worked with many newcomers of her era including Manoj Kumar, Dharmendra, Rajesh Khanna, Sunil Dutt, Sanjay Khan, Jeetendra and Amitabh Bachchan. In most of her films from the 1960s, she got the first billing in the credits, even before the heroes, with exceptions being those with Guru Dutt, Raj Kapoor, Dev Anand, Pradeep Kumar and Kishore Kumar.

In 1966, Sinha went to Nepal to act in a Nepali film called Maitighar when the Nepali film industry was still in its infancy. Her hero in the film was an estate owner called Chidambar Prasad Lohani.^[8] Soon after, Mala Sinha married C. P. Lohani with the blessings of her parents. From the beginning theirs was a long-distance marriage with Lohani based in Kathmandu to look after his business and Sinha living in Bombay with their daughter Pratibha. She continued acting after her marriage.^[1]

She has been a heroine in Nepali and Bengali films. In Bengali films she has acted with Uttam Kumar as well as Kishore Kumar. Her last Bengali film as a main female lead was Kabita (1977) which featured Ranjit Mullick and Kamal Hassan; it was a super-hit at the box office. She is noted for her strong women-oriented, glamorous roles fueled by her equal star power on par with the heroes in films like Dhool Ka Phool, Suhag Sindoor,Anpadh, Phir Subah Hogi, Hariyali Aur Rasta, Bahurani, Aasra, Do Kaliyaan, Gumrah, Aankhen, Baharen Phir Bhi Aayengi, Himalaya Ki God Mein, Do Kaliyaan, Holi Aayi Re, Nai Roshni, Mere Huzoor, Kangan, Archana, Maryada amongst others.^[9]

Of her rich and varied repertoire, she mentions she is rather partial to Jahan Ara (1964), a historical movie that Meena Kumari passed on to her:

"Meenaji turned down the role saying that she would not look the part whereas I would. Given my ignorance of Urdu, I was rather skeptical but Meenaji was convinced that I could do justice to the role. Playing Mumtaz Mahal's eldest daughter entailed grueling Urdu classes and learning royal tehzeeb. It was hot on the grand sets erected at Ranjit Studio and the film had Madan Mohan's haunting music. It was a film replete with lyrical moments."^[1]

From 1974, she cut down on her assignments as the lead actresses. She accepted strong character roles in films like 36 Ghante (1974), Zindagi (1976), Karmayogi (1978), Be-Reham (1980), Harjaee (1981), Yeh Rishta Na Tootay, Babu (film) and Khel, which were popular.

In the early '90s Madhuri Dixit was promoted as new Mala Sinha in magazines. But, after 1994, she completely withdrew from industry and has given very few public appearances. In Dhool Ka Phool and B.R. Chopra’s Gumrah, she played the first unwed mother and adulterous wife respectively in Hindi cinema. As she grew older, she gracefully moved on to doing character roles that befitted her age. She was last seen in Zid (1994).^[10] Though Mala evinced as much interest in her daughter Pratibha's career as her father did in her career, she was unable to achieve the same success for her daughter.^[11]

Personal life[link]

Sinha married her co-star from Nepali films, Chidambar Prasad Lohani in 1968. The couple met when they worked together in the Nepali film Maiti Ghar (1966). Lohani had an estate agency business. After her marriage, she used to come and stay in Mumbai to shoot films while her husband stayed in Nepal running his business. She has one daughter from the marriage: Pratibha Sinha, who is a former Bollywood actress.^[12][13] From the late 1990s, the couple and their daughter have been residing in a bungalow in Bandra, Mumbai.^[14][15]

Awards[link]

• BFJA Award for Best Actress (1965) — Jahan Ara
• BFJA Award for Best Actress (1966) — Himalaya Ki God Mein^[16]
• Sikkim Samman Award by Government of Sikkim (2004)^[17]
• Felicitation by Government of Nepal (2005)^[18]
• Star Screen Lifetime Achievement Award (2007)^[19]

Nominations[link]

• Filmfare Award for Best Actress — Dhool Ka Phool (1960)
• Filmfare Award for Best Actress — Bahurani (1964)
• Filmfare Award for Best Actress — Jahan Ara (1965)
• Filmfare Award for Best Actress — Himalaya Ki God Mein (1966)^[20]

Filmography[link]

Hindi films[link]

• Zid (1994) Jai Mehta
• Radha Ka Sangam (1992) Govinda
• Khel (1992) Anil Kapoor
• Dil Tujhko Diya (1987) Kumar Gaurav
• Babu (film) (1985) Navin Nishchol and Rajesh Khanna
• Yeh Rishta Na Toote (1985) Rajendra Kumar
• Aasman (1984) Rajeev Kapoor
• Beraham (1982) Sanjeev Kumar
• Harjai (1981) Shammi Kapoor
• Dhan Daulat (1980) Rajendra Kumar
• Karamyogi (1977) Raj Kumar
• Prayeschit (1977) Parikshit Sahni
• Do Ladkiyan (1977) Sanjeev Kumar
• Zindagi (1976) Sanjeev Kumar—Sarojini
• Mazdoor Zindabad (1976) Rajendra Kumar
• Naseeb (1976) (Guest Appearance)
• Sunehra Sansar (1975) Rajendra Kumar
• Archana (1974) Sanjeev Kumar
• Kora Badan (1974) (Guest Appearance)
• 36 Ghante (1974) Rajkumar
• Nek Parveen (1974) Rakesh Pandey
• Rickshawala (1973) Sujit Kumar
• Kahani Hum Sab Ki (1973) Vinod Mehra
• Phir Kab Milogi (1973) Biswajeet
• Rivaaj (1972) Sanjeev Kumar
• Lalkaar (1972) Rajendra Kumar
• Maryada (1971) Rajkumar and Rajesh Khanna
• Sanjog (1971) Amitabh Bachchan
• Chahat (1971) Jeetendra
• Holi Aayee Re (1970) Prakash Thapa
• Kangan (1970)Sanjeev Kumar
• Geet (1970)Rajendra Kumar
• Do Bhai (1970) Jeetendra
• Paisa Ya Pyar (1970) Biswajeet
• Mere Huzoor (1969) Rajkumar/Jeetendra
• Humsaya (1968) Joy Mukherjee
• Do Kaliyaan (1968) Biswajeet
• Pyar Ka Sapna (1968) Biswajeet
• Aankhen (1968) Dharmendra
• Dillagi (1966) Sanjay Khan
• Nai Roshni (1967) Biswajeet
• Night In London (1967) Biswajeet
• Jaal (1967) Biswajeet
• Aasra (1966)Biswajeet
• Tamanna (1966) Biswajeet
• Apne Huye Paraye (1966) Manoj Kumar
• Mere Lal (1966) Dev Kumar
• Baharen Phir Bhi Aayengi (1966) Dharmendra
• Himalaya Ki God Mein (1965) Manoj Kumar — Nominated: Filmfare Best Actress Award
• Jab Yaad Kisiki Aati Hai (1965) Dharmendra
• Neela Akaash (1965) Dharmendra
• Bahu Beti (1965) Joy Mukherjee
• Main Suhagan Hoon (1965) Ajit Khan
• Jahan Ara (1964) Bharat Bhushan — Nominated: Filmfare Best Actress Award
• Suhagan (1964) Guru Dutt
• Phool Bane Angarey (1963) Rajkumar
• Pooja Ke Phool (1963) Dharmendra
• Gumraah (1963) with Sunil Dutt
• Bahu Rani (1963) Guru Dutt — Nominated: Filmfare Best Actress Award
• Gehra Daag (1963) Rajendra Kumar
• Hariyali Aur Rasta (1962) Manoj Kumar
• Anpadh (1962) Dharmendra
• Bombay Ka Chor (1962) Kishore Kumar
• Aankh Micholi (1962) Shekhar
• Gyarah Hazaar Ladkiyan (1962) Bharat Bhushan
• Dil Tera Diwana (1962) Shammi Kapoor
• Suhag Sindoor (1961) Manoj Kumar
• Maya (1961) Dev Anand
• Dharamputra (1961) Rehman
• Patang (1960) Rajendra Kumar
• Main Nashe Mein Hoon (1960) Raj Kapoor
• Bewaqoof (1960) Kishore Kumar
• Mitti Mein Sona (1960) Pradeep Kumar
• Dhool Ka Phool (1959) Ashok Kumar / Rajendra Kumar — Nominated: Filmfare Best Actress Award
• Love Marriage (1959) Dev Anand
• Duniya Na Mane (1959) Pradeep Kumar
• Ujala (1959) Shammi Kapoor
• Devar Bhabhi (1958) Rajendra Kumar
• Parvarish (1958) Raj Kapoor
• Phir Subah Hogi (1958) Raj Kapoor
• Jaalsaz (1959) Kishore Kumar
• Chandan (1958) Kishore Kumar
• Detective (1958) Pradeep Kumar
• Nausherwan-E-Adil (1957) Rajkumar
• Ek Goan Ki Kahani (1957) Abhi Bhattacharya/Talat Mehmood
• Apradhi Kaun (1957) Abhi Bhattacharya
• Lal Batti (1957) Balraj Sahni
• Naya Zamana (1957) Pradeep Kumar
• Fashion (1957) Pradeep Kumar
• Pyaasa (1957) Guru Dutt/Rehman
• Rangin Raaten (1956) Shammi Kapoor
• Ek Shola (1956) Pradeep Kumar
• Paisa Hi Paisa (1956) Kishore Kumar
• Jhanshi Ki Rani (1956) Sohrab Modi
• Ratna Manjari (1955) Mahipal
• Ekadashi (1955) Trilok Kapoor
• Riyasat (1955) Mahipal
• Badshah (1954) Pradeep Kumar
• Hamlet (1954) Pradeep Kumar/Kishore Sahu
• Suhagan (1952) Guru Dutt

Bengali films[link]

• Kabita (1977)
• Shohorer Itikotha (Uttam Kumar )
• Saathihaara (Uttam Kumar)
• Abhaya O Srikanta (1961)
• Kelaghar (1959) (Uttam Kumar)
• Lookochoori (1958)(Kishore Kumar)
• Louha Kapat (1958)
• Bondhu
• Surer Parashay (1957)
• Prithibi Amare Chaay (1957)
• Putrabadhu (1956)
• Dhuli (1954)
• Chitrangadha (1954)
• Jog Biyog (1953)
• Roshanara (1952)

Nepali films[link]

• Maitighar (1966)

References[link]

External links[link]

• Mala Sinha at the Internet Movie Database
• A Biography
• The Star Power of Mala Sinha
• Mala Sinha – Random thoughts on life as an actress
• down the memory lane with Mala Sinha

Waheeda Rehman
Born	(1936-05-14) 14 May 1936 (age 76) Chengalpattu, Tamil Nadu, British India
Other names	Waheeda Rahman
Occupation	Actress
Years active	1955–1991, 2002–present
Notable work(s)	Reshma in Reshma Aur Shera Rosie Marco/Miss Nalini in Guide Rajkumari Neel Kamal/Sita in Neel Kamal Nurse Radha in Khamoshi
Spouse	Shashi Rekhi (1974–2000 his death)

Waheeda Rehman (born14 May 1936), is an Indian film actress who appears in Bollywood movies and is known for many successful and critically acclaimed movies from 1950's, 60's and early 70's most notably C.I.D. (1956) and Guru Dutt classics such as Pyaasa (1957), 12 O'Clock (1958), Kaagaz Ke Phool (1959), Sahib Bibi Aur Ghulam. Her other notable works inculde Solva Saal (1958), Baat Ek Raat Ki (1962), Kohra (1964), Guide (1965), Teesri Kasam (1966), Aadmi and Khamoshi (1969).

Early life[link]

One of the most prominent actresses of the golden era, Waheeda Rehman was born into a traditional Muslim family in Chengalpattu, Tamil Nadu, British India.^[1] She and her sister learnt Bharatnatyam at Mumbai's Sri Rajarajeswari Bharata Natya Kala Mandir, where Guru T. K. Mahalingam Pillai, doyen among nattuvanars taught ^[2] and performed on stage together. Her father, who was a District Commissioner, died while she was still in her teens.^[3][4]

It is a common misconception that Rehman was born in Hyderabad.^[1] “It’s a long story,” she says, “When I was in Chennai, I did three to four Tamil and Telugu movies. In the first one, Kaalam Maari Pochu along with Gemini Ganesan a bilingual film which was made in Tamil and Telugu as Rojulu Maraayi, I did only a folk dance number in both Tamil and Telugu versions. However, it went on to become a hit! I was in Hyderabad celebrating its success and Guru Dutt happened to be there. He was on a lookout for new faces and heard that I could speak in Urdu. It is because he spotted me in Hyderabad that people assume I was born there.”^[1]

Her dream was to become a doctor but, due to circumstances and illness, she abandoned this goal. Instead helped by her supportive parents, she hit the silver screen with Telugu films Jayasimha (1955), followed by Rojulu Marayi (1955) and Tamil film Kaalam Maari Pochu (1956). It is in Vijaya-Suresh combines Ram aur Shyam (Remake of Telugu movie Ramudu Bheemudu) in 1967 that Waheeda acted again under the direction of the topnotch Telugu director Tapi Chanakya who incidentally directed her movies Rojulu Maaraayi in Telugu (1955) and Kaalam Maaripochu in Tamil (1956).

Career[link]

Waheeda Rehman, started her career in films in 1954 and her first successful films were the Telugu films Jayasimha (1955), followed by Rojulu Marayi (1955) and Tamil film Kaalam Maari Pochu (1956). In the success party of Rojulu Maaraayi, Guru Dutt noticed her and decided to groom her and make her act in Hindi Films. Waheeda considered Guru Dutt as her mentor.

Waheeda Rehman was discovered by Guru Dutt, after seeing her acting in Rojulu Maaraayi and was brought to Bombay (now Mumbai) and cast as a vamp in his production C.I.D. (1956), directed by Raj Khosla. A few years after joining the Hindi film industry, she lost her mother. After the success of C.I.D., Dutt gave her a leading role in Pyaasa (1957). Their next venture together, Kaagaz Ke Phool (1959), depicted the story of a successful director's decline after he falls for his leading lady. Dutt's existing marriage and her film successes with other directors caused them to drift apart personally and professionally, although they continued to work together into the 1960s Chaudhvin Ka Chand. She completed Sahib Bibi Aur Ghulam (1962) under some strain. They broke away from each other after the film's indifferent reception at the Berlin Film Festival in 1963. Soon afterward, Guru Dutt died on 10 October 1964 in Mumbai reportedly from an overdose of sleeping pills and alcohol.

Waheeda Rehman established a great working relationship with Dev Anand and together as a pair had number of successful films to their credit. The box office hits of the pair include C.I.D. (1956), Solva Saal (1958), Kala Bazar (1960), Baat Ek Raat Ki (1962) and Guide (1965) and box office duds were Roop Ki Rani Choron Ka Raja(1961) and Prem Pujari (1970). She reached in her peak with Guide (1965) and was much in demand. Rehman was cast as "Gulabi" in Satyajit Ray's Bengali film Abhijan in 1962. She was offered lead actress's role in films even opposite actors junior to her by experience like Dharmendra but they flopped. But she continued to taste success in the late sixties when she was paired with well established stars. She delivered hits opposite Dilip Kumar like Ram Aur Shyam, Aadmi and some box office duds with Rajendra Kumar and this helped her continue to get lead roles in early seventies. Her career's biggest hit Khamoshi came in 1970, opposite Rajesh Khanna.

Her career continued throughout the 1960s, 1970s, and 1980s. She won the Filmfare Best Actress Award for her roles in Guide (1965), where she hit the peak of her career and Neel Kamal (1968), but despite excellent offbeat roles in subsequent films, including a National Award winning performance in Reshma Aur Shera (1971), some of the films failed at the box office. Seeing her films being successful, Waheeda decided to experiment with roles, at this stage of career. She accepted Reshma Aur Shera, opposite her old co-star Sunil Dutt, with whom she had previously in sixties had hits like Ek Phool Char Kaante, Mujhe Jeene Do, Meri Bhabhi and Darpan. Her performance was appreciated by critics but the film failed at the box office. But Waheeda continued to experiment with roles and accepted the offer to play a mother to Jaya Bhaduri in Phagun(1973). This she regards the mistake of her career as after this film flopped, suddenly people started offering her motherly roles to heroes.

From the mid seventies, Waheeda's career as lead heroine ended and her career as character actor began. At around this time, Kamaljit who starred opposite her in Shagun (1964) proposed and then got married in 1974. After her appearance in Lamhe (1991) she retired from the film industry for 12 years.

In her new innings from seventies her successful films, where she played pivotal roles include, Kabhi Kabhie (1976),Trishul (1978), Jwalamukhi(1980), Namkeen and Namak Halaal (1982),Mashaal (1984), Chandni(1989), Rang De Basanti(2006).

In recent years she made a comeback playing elderly mother and grandmother roles in Om Jai Jagadish (2002), Water (2005) and Rang De Basanti (2006) and Delhi 6 (2009) which were all critically acclaimed.

In October 2004, a Waheeda Rehman film retrospective was held at the Seattle Art Museum and the University of Washington where Waheeda participated in spirited panel and audience discussions on her most memorable films—Pyaasa, Teesri Kasam and Guide—although her most successful film is still considered to be Khamoshi, with costar Rajesh Khanna.

Personal life[link]

After her marriage with Shashi Rekhi (screen name Kamaljeet) ^[5] on 27 April 1974, she shifted to a farmhouse in Bangalore. She bore two children named Sohail and Kashvi, who are both writers. On 21 November 2000, her husband died following a prolonged illness. She moved back to her ocean view bungalow in Bandra, Mumbai where she currently lives.

Awards[link]

• National Film Award for Best Actress for Reshma Aur Shera in 1971.
• Filmfare Best Actress Award for Guide in 1966^[6]
• Filmfare Best Actress Award for Neel Kamal in 1968^[7]
• Bengal Film Journalists' Association Awards, Best Actress (Hindi) for Teesri Kasam in 1967.^[8]
• Filmfare Lifetime Achievement Award in 1994^[9]
• NTR National Award for 2006.
• Padma Shri in 1972.
• Padma Bhushan in 2011.^[10]

Nominations[link]

• Filmfare Nomination as Best Supporting Actress — Sahib Bibi Aur Ghulam (1962)^[11]
• Filmfare Nomination as Best Actress — Ram Aur Shyam (1967)^[12]
• Filmfare Nomination as Best Actress — Khamoshi (1970)^[13]
• Filmfare Nomination as Best Supporting Actress — Kabhi Kabhie (1976)^[14]
• Filmfare Nomination as Best Supporting Actress — Namkeen (1982)^[15]
• Filmfare Nomination as Best Supporting Actress — Lamhe (1991)^[16]

Filmography[link]

Notes[link]

References[link]

• Gulzar, Govind Nihalani, Saibal Chatterjee, ed. (2003). Encyclopaedia of Hindi cinema. Popular Prakashan. ISBN 81-7991-066-0. http://books.google.co.in/books?id=8y8vN9A14nkC&pg=PT533&dq=Waheeda+Rehman&cd=1#v=onepage&q=Waheeda%20Rehman&f=false. 

External links[link]

• Waheeda Rehman at the Internet Movie Database
• Waheeda Rehman Interview
• A Film Retrospective in Seattle. October 2004 *[1]

Mohammad Rafi (December 24, 1924 – July 31, 1980) was a popular Indian playback singer.^[1] He was awarded the National Film Award and six Filmfare Awards. In 1967, he was honoured with the Padma Shri award by the Government of India.^[2] His singing career spanned about 35 years, and he is noted for his ability to sing songs of different moods and varieties:^[3] his songs ranged from classical numbers to patriotic songs, sad lamentations to highly romantic numbers, qawwalis to ghazals and bhajans. He is best known for romantic and duet songs, which he playback sings with the technique to mould the voice according to characters of the actor on the screen.^[4]

Rafi is primarily noted for his songs in Hindi-Urdu, over which he had a strong command. He also sang in other Indian languages including Konkani, Bhojpuri, Oriya, Punjabi, Bengali, Marathi, Sindhi, Kannada, Gujarati, Telugu, Maghi, Maithili and Assamese. He also recorded a few songs in foreign languages such as English, Persian, Spanish and Dutch. From available figures, Rafi sang 4,516 Hindi film songs, 112 non-Hindi film songs, and 328 private (non-film) songs from 1945 to 1980.

Early years and background[link]

Mohammed Rafi was the second youngest of six brothers. His father, Hajji Ali Mohammad and family lived in Kotla Sultan Singh, a village near Amritsar in Punjab (British India).^[5] Rafi, whose nickname was Pheeko, began singing by imitating the chants of a fakir in his village.^[5] Rafi's father moved to Lahore in the 1920s where he ran a men's salon in Noor Mohalla in Bhatti Gate Lahore.^[6] His elder brother, Mohammad Deen, had a friend, Abdul Hameed, (future brother-in-law), who spotted the talent in Rafi in Lahore and encouraged him to sing. Abdul Hameed later convinced the family elders to let Rafi move to Mumbai and he accompanied him in 1944.

Rafi learnt classical music from Ustad Bade Ghulam Ali Khan, Ustad Abdul Wahid Khan, Pandit Jiwanlal Matto and Firoze Nizami.^[7][8] His first public performance came at the age of 13, when he sang in Lahore featuring K. L. Saigal.^[7] In 1941, Rafi, under Shyam Sunder, made his debut in Lahore as a playback singer in the duet "Soniye Nee, Heeriye Nee" with Zeenat Begum in the Punjabi film Gul Baloch (the film was released in 1944).^[9] In that same year, Rafi was invited by All India Radio Lahore station to sing for them.^[10] He made his professional debut in the Shyam Sunder-directed 1941 Punjabi film Gul Baloch and the earliest debut in Mumbai film was Gaon Ki Gori in 1945.^[4]

In Bombay[link]

In 1944, Rafi moved to Bombay. He and Ahmed rented a ten-by-ten-feet room in the crowded downtown Bhendi Bazar area. During this time, poet Tanvir Naqvi introduced him to film producers including Abdur Rashid Kardar, Mehboob Khan and actor-director Nazeer.^[6] Shyam Sunder was in Mumbai and provided the opportunity to Rafi to sing a duet with GM Durrani, ‘Aji dil ho qaabu mein to dildar ki aisi taisi…’, for Gaon Ki Gori, which became Rafi’s first recorded song in a Hindi film. Other songs followed.^[11] Rafi also had brief roles in movies like Laila-Majnu (1945) and Jugnu. In Laila-Majnu, he sang Tera Jalwa as a part of the chorus.^[12]

In 1948, after the assassination of Mahatma Gandhi, the team of Husanlal Bhagatram-Rajendra Krishan-Rafi had overnight created the song "Suno Suno Ae Duniyawalon, Bapuji Ki Amar Kahani".^[11] He was invited by the Indian Prime Minister, Jawaharlal Nehru, to sing at the latter's house. In 1948, Rafi received a silver medal from Nehru on the Indian Independence Day. In 1949, Rafi was given solo songs by music directors such as Naushad, (Chandni Raat, Dillagi and Dulari) Shyam Sunder (Bazaar) and Husnalal Bhagatram (Meena Bazaar).

Rafi's first song with Naushad was "Hindustan Ke Hum Hain" with Shyam Kumar, Alauddin and others, from A. R. Kardar's Pehle Aap (1944). Around the same time, Rafi recorded another song for the 1945 film Gaon Ki Gori, "Aji Dil Ho Kaaboo Mein". He considered this song his first Hindi language song.^[10]

Rafi also appeared in two movies. In 1945, Rafi appeared on the screen for the song "Tera Jalwa Jis Ne Dekha" in the film Laila Majnu.^[10] He sang a number of songs for Naushad as part of the chorus, including "Mere Sapnon Ki Rani, Roohi Roohi" with K. L. Saigal from the film Shahjahan (1946). Rafi sang "Tera Khilona Toota Balak" from Mehboob Khan's Anmol Ghadi (1946) and a duet with Noor Jehan in the 1947 film Jugnu, "Yahan Badla Wafa Ka". Following the Partition of India, Rafi decided to stay in India and had his family flown to Mumbai. Whereas Noor Jahan migrated to Pakistan and made a pair with playback singer Ahmed Rushdi.

Rafi was influenced by the singers of that time like K. L Saigal and, most notably, by G. M. Durrani - on whose style he based his singing. He sung with his idol in some of the songs such as "Humko Hanste Dekh Zamana Jalta Hai" (Hum Sab Chor Hain, 1956)^[13] and "Khabar Kisi Ko Nahiin, Woh Kidhar Dekhte" (Beqasoor, 1950),^[14] etc.

Recording career[link]

He associated with many music directors of his time, most notably Naushad. In the late 1950s and 1960s, Rafi worked with other composers of the era such as O. P. Nayyar, Shankar Jaikishan, S.D. Burman and Roshan.

Association with Naushad

As per Naushad, Rafi came to him with a letter of recommendation from Naushad's father.^[15] Rafi’s first song for Naushad was "Hindustan Ke Hum Hain" ("We belong to Hindustan") for the film Pehle Aap in 1944. The first song for the duo was the soundtrack of the movie Anmol Ghadi (1946). Before Rafi, Naushad’s favorite singer was Talat Mahmood. Once Naushad found Talat smoking during a recording. He was annoyed and hired Rafi to sing all the songs of the movie Baiju Bawra.^[12]

Rafi's association with Naushad helped the former establish himself as one of the most prominent playback singers in Hindi Cinema.^[10] Songs from Baiju Bawra (1952) like "O duniya ke rakhwale" and "Man tarpat hari darshan ko aaj" furthered Rafi's credentials.^[9] Rafi ended up singing a total of 149 songs (81 of them solo) for Naushad.^[16]

In the 1960 film Mughal-E-Azam, Mohammed Rafi sang the song "Ae Mohabbat Zindabad", composed by Naushad, with a chorus of 100 singers.^[17]

Association with S D Burman

S. D. Burman patronized Rafi as the singing voice of Dev Anand and Guru Dutt.^[18] Rafi worked with Burman in movies like Pyaasa (1957), Kaagaz Ke Phool (1959), Tere Ghar Ke Samne (1963), Guide (1965), Aradhana (1969), and Abhimaan (1973). S. D. Burman was also another music director besides Naushad who used Rafi prolifically to sing for most of his songs.

Association with Shankar-Jaikishan

Rafi and Shankar Jaikishan was a partnership in the Hindi film industry. Under Shankar-Jaikishan, Rafi produced some of his songs for actors like Shammi Kapoor and Rajendra Kumar. Out of six Filmfare awards, Rafi won three for S-J songs, viz., "Teri Pyari Pyari Soorat Ko", "Baharon Phool Barsao", and "Dil Ke Jharokhe Mein". The song "Yahoo! Chahe Koi Mujhe Junglee Kahe" was sung by Rafi, only to be matched a fast-paced orchestra and a composition by Shankar Jaikishan. S-J made Rafi give playback for Kishore Kumar in the film Shararat ("Ajab hai daastan teri yeh zindagi"). Rafi sang a total of 341 numbers (216 solo) for Shankar-Jaikishan.^[16] Among the films of this combination, are Basant Bahar, Professor, Junglee, Suraj, Brahmachari, An Evening in Paris, Dil Tera Deewana, Yakeen, Prince, Love in Tokyo, Beti Bete, Dil Ek Mandir, Dil Apna Aur Preet Parai, Gaban and Jab Pyar Kisi Se Hota Hai.

Association with Ravi

Rafi got his first Filmfare Award for the title song of Chaudhvin Ka Chand (1960), composed by Ravi. He got National Award for the song "Babul Ki Duaen Leti Ja" from the film Neel Kamal (1968), also composed by Ravi. Rafi actually wept during the recording of this song. He, himself, admitted this in his interview to BBC in 1977.^[19]

Ravi and Rafi produced several other songs, in the films China Town (1962), Kaajal (1965), and Do Badan (1966).

Association with Madan Mohan

Madan Mohan was another composer whose favorite singer was Rafi. Rafi's first solo with Madan Mohan in Ankhen (1950), "Hum Ishq Mein Barbad Hain Barbad Rahenge".^[10] They teamed up to produce many songs including "Teri Aankhon Ke Siva", "Yeh Duniya Yeh Mehfil" and "Tum Jo Mil Gaye Ho".

Association with O. P. Nayyar

Rafi and O. P. Nayyar created music in the 1950s and 1960s. O. P. Nayyar was once quoted as saying "If there had been no Mohd. Rafi, there would have been no O. P. Nayyar".^[20] He and Rafi created many songs together including "Yeh hai Bombay meri jaan". He got Rafi to sing for singer-actor Kishore Kumar – "Man Mora Baawara" for the movie Raagini. Later, Rafi sang for Kishore Kumar in movies such as Baaghi, Shehzaada and Shararat. O. P. Nayyar used Rafi and Asha Bhosle for most of his songs. The team created many songs in early 1950s and 1960s for movies such as Naya Daur (1957), Tumsa Nahin Dekha (1957), and Kashmir Ki Kali (1964). Rafi sang a total of 197 numbers (56 solo) for Nayyar.^[21] The song "Jawaaniyan yeh mast mast" and the title song "Yun to humne lakh hansee dekhe hain, tumsa nahin dekha" of the film Tumsa Nahin Dekha. They were followed by songs like "Taareef karoon kya uski jisne tumhe banaya" from Kashmir ki Kali.^[22]

Rafi and OP had a fallout during the recording for movie "Sawan ki Ghata", as disclosed by OP during one of his interviews.^[23]

Association with Laxmikant-Pyarelal

The composer duo Laxmikant-Pyarelal (L-P) also patronized Rafi as one of their singers, right from their very first film, Parasmani (1963). Both Rafi and L-P won the Filmfare Awards for the song "Chahoonga Main Tujhe Saanjh Savere" from Dosti (1964). Rafi rendered the maximum number of songs for the music director duo Laxmikant-Pyarelal: a total of 369 numbers (186 solo) for L-P.^[16]

Once, when composer Nisar Bazmi (who had migrated to Pakistan) didn’t have enough money to pay him, Rafi charged a fee of one rupee and sang for him. He also helped producers financially. As Laxmikant (of the Laxmikant-Pyarelal duo) once observed – “He always gave without thinking of the returns”.^[24]

Between 1950 and 1970, Rafi was the most sought after singer in Bollywood.^[25] He sang for many male stars in Hindi films.^[26] In 1965, he was honoured by the Government of India with the Padma Sri award. Rafi recorded two Hindi songs in English on 7" release in 1968. He also sang a song in Creole while on his visit to Mauritius in the late 1960s.^[7] Rafi recorded two English albums as well. One of them is Pop Hits.

Association with his Contemporary Singers

Rafi associated with several of his contemporaries, singing duets with them and sometimes for them (as in case of Kishore Kumar who was also an actor). Rafi sang the maximum number of duets with Asha Bhonsle (female), Manna Dey (male) and Lata Mangeshkar (female).^[18] For the song “Man mora bawra” in the film Ragini, Kishore Kumar requested Rafi to sing this song for him because this song was a semi classical and Kishore Kumar said that "Rafi Sahab can sing this song better than me". Rafi sang the song.^[27][28] The song "Ajab Hay Dastan Teri Aey Zindagi" was first given to Kishore Kumar to sing and he sung the first half ofantara but in the second half, he faced some trouble and after many retakes, he was unable to give the effect that Shankar Jaikishan wanted, and finally the song was given to Rafi to sing.^[28] In the song "Humko Tumse Ho Gaya Hai Pyaar Kya Karein" (Amar, Akbar, Anthony), Mohd Rafi sang with Kishore Kumar, Lata Mangeshkar and Mukesh - all in one song. This was probably the only time that all of them rendered their voices for one song.^[29]

Singing career in other languages

Rafi sang several hit songs in Chris Perry's Konkani album Golden Hits with Lorna Cordeiro.^[30]

Controversies[link]

Royalty issue[link]

In 1962-1963, the popular female playback singer Lata Mangeshkar raised the issue of playback singers' share in the royalties. Recognizing Rafi's position as the leading male playback singer, she wanted him to back her in demanding a half-share from the 5 percent song royalty that the film's producer conceded to select composers. Lata's contention was that, there was no way producers and music directors could deny this singing duo, one-half share in that 5 percent song royalty to the composer. Rafi's stated that his claim on the filmmaker ended with his being paid his agreed fee for the song. After that, if the film proved a hit, the filmmaker was welcome to keep the Gramco (HMV) royalty he earned from it. If the film did not prove to be a hit, argued Rafi, that he had already been paid the same fees for his song; so later the situation is resolved. Lata viewed his stand as a stumbling block on the royalty issue and this subsequently led to differences between the two. During the recording of "Tasveer Teri Dil Mein" (Maya, 1961), Lata argued with Rafi over a certain passage of the song. Rafi felt belittled, as music director Salil Chowdhury sided with Lata. The situation worsened when Lata Mangeshkar declared that she would no longer sing with Rafi. Rafi stated that he was only so keen to sing with Lata as she was with him.^[27][28] Later, at the insistence of S. D. Burman, the two decided to reconcile and sing duets.

Guiness World Records[link]

During his last years, Rafi was involved in a controversy over Lata Mangeshkar's introduction in to the Guinness Book of World Records. In a letter dated June 11, 1977 to the Guinness Book of World Records, Rafi had challenged the claim that Lata Mangeshkar has recorded the maximum number of songs ("not less than 25,000" according to Guinness). After receiving a reply from Guinness, in a letter dated November 20, 1979, he wrote: "I am disappointed that my request for a reassessment vis-a-vis Ms Mangeshkar's reported world record has gone unheeded.".^[29] In an interview to BBC recorded in November 1977, Rafi claimed to have sung 25,000 to 26,000 songs till then.^[20] After Rafi's death, in its 1984 edition, the Guinness Book of Word Records gave Lata Mangeshkar's name for the "Most Recordings" but also stated: "Mohammad Rafi (d 1 August 1980) [sic] claimed to have recorded 28,000 songs in 11 Indian languages between 1944 and April 1980."^[31] According to the available figures, Rafi has sung 4,516 Hindi film songs, 112 non-Hindi film songs, and 328 private (non-film) songs from 1945 to 1980.^[31] The Guinness Book entries for both Rafi and Lata were later removed in 1991.

Early 1970s[link]

In early 1970s, Rafi recorded fewer songs At the same period Kishore Kumar's popularity increased due to the songs he sang for the film Aradhana.^[27][32] The music for Aradhana was composed by S. D. Burman, and he had used Rafi as the male playback voice for the first two recorded duets, "Baaghon Mein Bahaar Hai" and "Gunguna Rahen Hain Bhanwre".^[18] After these two recordings, S. D. Burman fell ill and his son and assistant, R. D. Burman, took over the recordings. R. D. Burman got Kishore Kumar to sing the solos "Roop Tera Mastana" and "Mere Sapnon Ki Rani".

During 1971-1973, Rafi's musical output decreased; however, he did sing several songs.^[33] Some of Rafi's songs of the early 1970s were with music directors like Laxmikant Pyarelal, Madan Mohan, R. D. Burman and S. D. Burman. These include "Tum mujhe Yun Bhula na Paoge" (a signature song of Rafi in 1971) from Pagla Kahin Ka, "Yeh Duniya Yeh Mehfil" from Heer Ranjha (1970), "Jhilmil Sitaron ka" from Jeevan Mrityu (a duet with Lata Mangeshkar, 1970), "Gulabi Aankhen" from The Train (1970), "Yeh Jo Chilman Hain" and "Itna to Yaad Hain Mujhe" from Mehboob Ki Mehndi (1971), "Mera mann tera pyasa" Gambler, "Chalo Dildar Chalo" from 1972 released Pakeezah, "Chura Liya Hain Tumne" from Yaadon Ki Baarat (a duet with Asha Bhosle, 1973), "Na tu Zameen Ke liye" from 1973 released Dilip Kumar movie Dastan, "Tum Jo Mil Gaye Ho" from Hanste Zakhm (1973), "teri bindiya re", from Abhimaan (1973) and "Aaj mausam bada beimaan hai" from Loafer (1973).

Later years[link]

Rafi made a comeback as a leading singer in 1974. In 1974, he won the Film World magazine Best Singer Award for the song "Teree Galiyon Mein Na Rakhenge Qadam Aaj Ke Baad" (Hawas, 1974) composed by Usha Khanna.^[16]

In 1977, he won both Filmfare Award and the National Award for the song "Kya Hua Tera Wada" from the movie Hum Kisi Se Kum Nahin, composed by R. D. Burman.^[18] Rafi sang for Rishi Kapoor in films like Amar Akbar Anthony (1977), Sargam (1979) and Karz (1980). The qawwali "Pardah Hai Pardah" from Amar Akbar Anthony (1977) was a superhit. Rafi's notable renderings in the late 1970s and early 1980s include Bairaag (1976), Laila Majnu (1976), Apnapan (1978), Suhaag (1979), Qurbani, Dostana (1980), The Burning Train (1980), Naseeb (1981), Abdullah (1980), Shaan (1980), Asha (1980), Aap To Aise Na The (1980), Zamane Ko Dikhana Hai (1982).

In December 1979, he recorded six songs for the Hindi remake of Dilip Sen's Bengali superhit Sorry Madam; unfortunately the film was never completed due to a personal tragedy in Dilip Sen's life. These songs, written by Kafeel Aazar and composed by Chitragupta, were released digitally in December 2009 by the label Silk Road under the title "The Last Songs". The physical album was released only in India by Universal.

Death[link]

On Thursday, 31 July 1980, Rafi died at 10:50 p.m., following a heart attack.^[34] His last song was "Shaam phir kyun udaas hai dost" (Aas Paas), which he had recorded with Laxmikant-Pyarelal few hours before his death.^[29][35]

Rafi was buried at the Juhu Muslim cemetery.^[36] It was one of the biggest funeral processions Mumbai had ever witnessed, with over 10,000 people attending.^[37]

In 2010, his tomb was demolished to make space for new burials. Fans of Mohammed Rafi who arrive twice a year at his tomb, on 24 December and 31 July, to mark his birth and death anniversary, use the coconut tree nearest to his grave as a marker.^[38]

Trivia[link]

• Rafi's song from the film Gumnaam (1965), "Jaan Pehechan Ho", was used on the soundtrack of Ghost World (2001). The film opens with the lead character dancing around in her bedroom to a video of Gumnaam.^[39]

• His "Aaj Mausam Bada Beiman Hai" is featured in the 2001 film Monsoon Wedding.^[40] His song "Mera Man Tera Pyasa" (Gambler, 1970) has been used as one of the soundtracks in the Jim Carrey-Kate Winslet starrer Eternal Sunshine of the Spotless Mind (2004). This song is played in the background in Kate Winslet's character's home while the lead pair are having a drink - at approx 00.11.14 runtime.^[41]

• Several of Rafi's unreleased songs will be used for an upcoming film titled Sorry Madam.^[42]

• A documentary about Rafi’s life is under production by The Films Division of India.^[43]

• In the summer of 2008, the City of Birmingham Symphony Orchestra released a double CD entitled Rafi Resurrected comprising 16 songs by Rafi. Bollywood playback singer Sonu Nigam provided the vocals for this project and toured with the CBSO in July 2008 at venues including the English National Opera in London, Manchester's Apollo Theatre and Symphony Hall, Birmingham.^[44]

• The Padma Shri Mohammed Rafi Chowk in the Bandra suburb of Mumbai and Pune (extending MG Road) is named after Rafi.^[45]

• In June 2010, Rafi was voted the most popular playback singer in the OUTLOOK Music Poll, conducted by Outlook Magazine, along with Lata Mangeshkar.^[46] The same Poll voted "Man re, tu kahe na Dheer Dhare" (Chitralekha, 1964), sung by Rafi as the #1 song.^[47] Three songs were tied for the #2 place of which two were sung by Rafi. The songs were "Tere Mere Sapne Ab Ek Rang Hain" (Guide, 1965) and "Din Dhal Jaye, hai raat na jaye" (Guide, 1965). This poll was published in Outlook Magazine. The jury included people in the Indian music industry; Abhijeet, Adesh Srivastava, Alisha Chinai, Anu Malik, Ehsaan, Gulzar, Hariharan, Himesh Reshammiya, Jatin, Javed Akhtar, Kailash Kher, Kavita Krishnamurthy, Khayyam, Kumar Sanu, Lalit, Loy, Mahalaxmi Iyer, Mahendra Kapoor, Manna Dey, Prasoon Joshi, Rajesh Roshan, Sadhna Sargam, Sameer, Sandesh Shandilya, Shaan, Shankar, Shantanu Moitra, Shreya Ghoshal, Sonu Nigam and Talat Aziz.^[48]

• In an article in Times of India, Rafi is described as "a versatile singer, who could render classical, rock and roll, indeed any kind of song with ease, he was Hindi film's, favourite male voice through the 1950s and 1960s". Music director Rajesh Roshan, who composed some of the songs with Rafi, remembers him as "a warm-hearted simple person with no ego".^[49]

• There have been appeals ^[50] to the Government of India to honour the singer, posthumously, with Bharat Ratna (India's Highest Civilian Award)^[11]

• Classical and playback singer Manna Dey, who was also a contemporary of Rafi said, "Rafi and I could sing everything, and he was such a gentleman. He was a better singer than me, and I will say this - that no one came even close to him! He deserved everything he got! We had a great understanding and it was never about one-upmanship".^[51][52]

• Veteran actor Shammi Kapoor said, "I am incomplete without Mohammad Rafi. I used to often go for the recoding of my song, which was sung by Mohammad Rafi, only because I used to like telling him how I would perform on this song on screen so that he can sing it that way. Even he liked my involvement".^[53]

• On 22 September 2007, a shrine to Rafi designed by artist Tasawar Bashir was unveiled on Fazeley Street, Birmingham, UK. Bashir is hoping that Rafi will attain sainthood as a result.^[54][55]

• Singers like Shabbir Kumar, Mohammed Aziz, and more recently, Sonu Nigam, made their names by adopting Rafi's style, and perhaps owe their entire careers to Rafi.^[56]

• After his death, seven Hindi movies were dedicated to Mohd Rafi; Allah Rakha, Mard, Coolie, Desh-Premee, Naseeb, Aas-Paas and Heeralal-Pannalal.^{[citation needed]}

• Over 9000 musical tributes were organized in July 2011 commemorating the 31st anniversary of the singer's death.^[57]

• Rafi is one of the recording artists mentioned in the 1997 song Brimful of Asha by Cornershop.

List of Songs[link]

Personal life[link]

Rafi married twice; his first marriage was to the cousin of his second wife, and took place in his ancestral village. The marriage ended when his in laws and wife migrated to Lahore, Pakistan after partition. Rafi and Abdul Hameed married each one of two sisters in Mumbai in the late 1940s. Rafi had one son from his first marriage and three sons and three daughters from his second marriage with Bilquis in Mumbai. He was very much a family man, following a recording-room, to home, to recording-room itenerary. He never attended film parties, did not smoke or drink, was religious, and was considered a humble man.^[58] He used to perform his riyaz (musical practice) regularly. His only indulgences were playing carom, badminton, and flying kites.^[11]

Awards[link]

Honorary

• 1948 - Rafi received a silver medal from the Indian Prime Minister Jawaharlal Nehru, on the first anniversary of the Indian Independence Day.^[10]
• 1967 - Honoured with the Padma Shri by the Government of India.
• 1974 - Film World magazine Best Singer Award for the song "Teree Galiyon Mein Na Rakhenge Qadam Aaj Ke Baad" (Hawas, 1974).
• 2001 - Rafi was honored with the "Best Singer of the Millennium" by Hero Honda and Stardust magazine^[59]. Rafi won with 70% of the votes.^{[citation needed]}

National Film Awards^[60]

Filmfare Awards^[61]

Bengal Film Journalists' Association Awards

Sur Sringar Award

References[link]

External links[link]

• Mohammad Rafi at the Internet Movie Database