Sunil Dutt
Personal details
Born	Balraj Dutt 6 June 1929(1929-06-06) Jhelum, British India
Died	25 May 2005(2005-05-25) (aged 75) Mumbai, Maharashtra, India
Political party	Indian National Congress
Spouse(s)	Nargis Dutt (1958–1981, her death)
Children	Sanjay Dutt, Priya Dutt, and Namrata Dutt
Residence	Mumbai, Maharashtra, India
Occupation	Actor, Producer, Director, Politician
Religion	Hindu
As of September 25, 2010

Sunil Dutt (सुनील दत्त (Hindi); ਸੁਨੀਲ ਦੱਤ (Punjabi)) (6 June 1929 – 25 May 2005), born Balraj Dutt, was an Indian Hindi movie actor (also acted in some Punjabi movies), producer, director and politician. He was the cabinet minister for Youth Affairs and Sports in the Manmohan Singh government (2004–2005). His son, Sanjay Dutt, is also an actor.^[1]

In 1984 he joined the Congress (I) party and was elected to Parliament for five terms from the constituency of Mumbai North West. In 1968, he was honoured with the Padma Shri by the Government of India.

Early life[link]

Sunil Dutt was born on 6 June 1929 in the village of Khurd in the Punjab District of Punjab, British India now in Pakistan, in a Mohyal Brahmin family.

After the Partition of India his family settled in a small village on the bank of river Yamuna called Mandoli in what was Ambala district of East Punjab (now Yamuna Nagar district of Haryana). The Partition had a great toll on his family who had lost all their wealth and, in fact, he was left begging in the streets of Delhi before he re-joined his family. Later he moved to lucknow and spent a long time in Aminabad Galli during graduation and to fulfill his dreams he moved to Bombay. In Bombay, he joined Jai Hind College as an undergraduate and took up a job.

Career[link]

Starting out in radio, Sunil Dutt was a hugely popular on the Hindi Service of Radio Ceylon, the oldest radio station in South Asia. He moved to acting in Hindi films and got introduced to the film industry in the 1955 film Railway Platform. He shot to the stardom in the 1957 film Mother India in which he co-starred with Nargis, whom he married on 11 March 1958. In the film, Dutt played a short-tempered, angry son of Nargis. During the making of this film a fire accident happened on the sets. It is believed that Dutt braved the raging fire to save Nargis and thereby won her love.

He had one son Sanjay Dutt, also a successful film actor and two daughters, Priya Dutt and Namrata Dutt(Anju). His daughter Namrata married Kumar Gaurav, son of Rajendra Kumar. The two fathers were good friends and also co-stars in Mother India.

Dutt was one of the major stars of Hindi Cinema in the late 1950s and 1960s and continued to star in many successful films which included Sadhna (1958), Sujata (1959), Mujhe Jeene Do (1963), Khandaan (1965) and Padosan (1967). His collaboration with B.R. Chopra proved to be successful in films such as Gumraah (1963), Waqt (1965) and Hamraaz (1967). One of his favourite writers and friend until the end was Aghajani Kashmeri who wrote his Ghazal, Mujhe Jeene Do, Yeh Raaste Hain Pyar Ke, among others. Aghajani had a special connection to him because Sunil's wife Nargis was launched by Aghajani in a movie he wrote for the famous director-producer Mehboob Khan, called Taqdeer. Aghajani and Mehboob visited Nargis' mother's home on Marine Drive in Bombay as she came home from school and both decided she would play the lead role. "It was a heart rending letter of condolence that Sunil Dutt wrote to me", says Kashmeri's son Zuhair Kashmeri when the former died in 1998 in Toronto, Canada.

He created a record of sorts by directing and starring in the unique film Yaadein (1964) in which he was the only actor in the cast. He later turned producer of the 1968 film Man Ka Meet which introduced his brother Som Dutt who was unsuccessful in films. In 1971 he produced, directed and starred in the big-budget period romantic film Reshma Aur Shera (1971) which was a huge failure at the box office.

He bounced back when he continued to star in hit films which included Pran Jaye Par Vachan Na Jaye (1974), Nagin (1976), Jaani Dushman (1979) and Shaan (1980).

He also starred in a series of Punjabi religious movies in the 1970s: Man Jeete Jag Jeet (1973), Dukh Bhanjan Tera Naam (1974), and Sat Sri Akal (1977).

He launched his son Sanjay's career with the film Rocky in 1981 which was a success. However shortly after its release his wife died of pancreatic cancer. He set up Nargis Dutt foundation in memory of his wife for the cure of cancer patients. He was also a sponsor of the India Project, a Nobel Peace Prize-nominated organization akin to Operation Smile for the treatment of Indian children with facial deformities.

In 1982 he was appointed as the Sheriff of Bombay, an apolitical titular position, a position bestowed on him by the Maharashtra government for the period of a year. He turned character actor in the 1980s often playing an elderly police officer or family patriarch at the centre of family feuds. He retired from the film industry in the early 1990s to turn to politics after his last few film releases including Parampara (1992) and Kshatriya (1993).

His political career was halted for some years in the early 1990s when he worked to free his son from jail after he was arrested following Hindu-Muslim clashes in Mumbai.

In 1995 he won the Filmfare Lifetime Achievement Award for his contribution to the film industry for four decades.

He returned to films shortly before his death in the 2003 film Munna Bhai M.B.B.S.. In this film he shared the screen with son Sanjay for the first time although they had both appeared earlier in Rocky (1981) and Kshatriya (1993) but did not appear in any scenes together.

He died of a heart attack ^[2] at his residence in Bandra, Mumbai in his sleep. His seat in Parliament was contested by his daughter, Priya Dutt who eventually won it and is a Member of Parliament from North West Mumbai. His death coincided with the death of film producer Ismail Merchant who was famous for his Merchant-Ivory productions.

Awards and honours[link]

• 1963 - Filmfare Best Actor Award for Mujhe Jeene Do
• 1965 - Filmfare Best Actor Award for Khandaan
• 1967 - BFJA Best Actor for Milan ^[3]
• 1968 - Padma Shri
• 1982 - Sheriff of Mumbai
• 1995 - Filmfare Lifetime Achievement Award
• 1997 - Star Screen Lifetime Achievement Award
• 1998 - Rajiv Gandhi National Sadbhavana Award^[4]
• 2000 - Lifetime Achievement Award at the Anandalok Awards
• 2001 - Zee Cine Award for Lifetime Achievement
• 2005 - Phalke Ratna Award by the Dadasaheb Phalke Academy.^[5]
• Dutt was a recipient of the Glory of India Award by IIFS, London.^[6]

Selected filmography[link]

Co-stars[link]

• Meena Kumari
• Nargis
• Vyjayanthimala
• Nutan
• Waheeda Rehman
• Sadhana
• Mala Sinha
• Asha Parekh
• Saira Banu

Further reading[link]

• Mr. and Mrs. Dutt: Memories of our Parents, Namrata Dutt Kumar and Priya Dutt, 2007, Roli Books. ISBN 978-81-7436-455-5.^[7]
• Darlingji: The True Love Story of Nargis and Sunil Dutt, Kishwar Desai. 2007, Harper Collins. ISBN 978-81-7223-697-7.

See also[link]

• Radio Ceylon
• List of Hindi broadcasters of Radio Ceylon

References[link]

External links[link]

Wikimedia Commons has media related to: Sunil Dutt

• Sunil Dutt at the Internet Movie Database

Kishore Kumar (4 August 1929 – 13 October 1987), born Abhas Kumar Kanjilal Ganguly was an Indian film playback singer and an actor who also worked as lyricist, composer, producer, director, screenwriter and scriptwriter. Kishore Kumar sang in many Indian languages including Bengali, Hindi, Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam and Oriya. He won 8 Filmfare Awards for Best Male Playback Singer and holds the record for most number of Filmfare Awards won in that category. He was awarded the "Lata Mangeshkar Award" by the Madhya Pradesh government and from that year onwards, the Madhya Pradesh Government initiated a new award called the "Kishore Kumar Award" for contributions to Hindi cinema.

Early life[link]

Kishore Kumar was born into the Ganguly family in Khandwa, Central Provinces and Berar (now in Madhya Pradesh) as Abhas Kumar Ganguly.^[1] His father Kunjalal Ganguly (Gangopadhya) was a lawyer. His mother Gouri Devi came from a wealthy Bengali family. Kishore was the youngest of four siblings, the other three being Ashok Kumar (the eldest), Sati Devi, and Anoop Kumar. The composer Bappi Lahiri is also related to Kishore Kumar on his mother's side.

While Kishore was still a child, Ashok Kumar became a Bollywood actor. (Later, Anoop Kumar also ventured into cinema with the help of Ashok Kumar). Spending time with his brothers, Kishore also started to take a keen interest in movies and music. He became a fan of singer-actor Kundan Lal Saigal, whom he considered his guru, and tried to follow Saigal's singing style.

Career[link]

After Ashok Kumar became a Bollywood star, the Ganguly family used to visit Bombay regularly. Abhas Kumar changed his name to Kishore Kumar and started his cinema career as a chorus singer at Bombay Talkies, where his brother worked. Kishore Kumar's first film as an actor was Shikari (1946), in which Ashok Kumar played the lead role. Music director Khemchand Prakash gave Kishore Kumar a chance to sing "Marne ki duayen kyon mangu" for the film Ziddi (1948). After this, Kishore Kumar got many other assignments, but he was not very serious about a film career.^[2] In 1949, he decided to settle in Mumbai.

Kishore Kumar played hero in the Bombay Talkies film Andolan (1951), directed by Phani Majumdar. Although Kishore Kumar got some assignments as an actor with help of his brother, he was more interested in becoming a singer. He was not interested in acting, and his elder brother Ashok Kumar wanted him to be an actor like himself.^[3]

He starred in Bimal Roy's Naukri (1954) and Hrishikesh Mukherjee's directorial debut Musafir (1957). Salil Chowdhury, the music director for Naukri was initially dismissive of him as a singer, when he came to know that Kishore Kumar didn't have any formal training in music.^[4] However, after hearing his voice, he gave him the song Chhota sa ghar hoga, which was supposed to be sung by Hemant Kumar.

Kishore Kumar starred in films New Delhi (1957), Aasha (1957), Chalti Ka Naam Gaadi (1958), Half Ticket (1962), and Padosan (1968). Chalti Ka Naam Gaadi, his home production, starred the three Ganguly brothers and Madhubala. The film is about romance between a city girl (Madhubala) and a car mechanic (Kishore Kumar), with a subplot involving the brothers.

Music director S. D. Burman is credited with spotting Kishore Kumar's talent as a singer, and advancing his singing career. During the making of Mashaal (1950), Burman visited Ashok Kumar's house, where he heard Kishore imitating K. L. Saigal. He complimented Kishore and told him that he should develop a style of his own, instead of copying Saigal.^[3] Kishore Kumar did not have a formal training in music.^[5] He kept Burman's advice in mind and eventually developed his own style of singing, which featured the yodeling that he had heard on the gramophone records of Tex Morton and Jimmie Rodgers bought by his brother Anoop Kumar.^[6]

S. D. Burman recorded with Kishore for Dev Anand's Munimji (1954), Taxi Driver (1954), House No. 44 (1955), Funtoosh (1956), Nau Do Gyarah (1957), Paying Guest (1957), Guide (1965), Jewel Thief (1967), Prem Pujari (1970), and Tere Mere Sapne (1971). He also composed music for Kishore Kumar's home production Chalti Ka Naam Gaadi (1958). Some of their initial films included the songs "Maana Janaab Ne Pukara Nahin" from Paying Guest, "Hum Hain Rahi Pyar Ke" from Nau Do Gyarah (1957), "Ai Meri Topi Palat Ke Aa" from Funtoosh, and "Ek Ladki Bheegi Bhaagi Si" and "Haal Kaisa Hai Janaab Ka" from Chalti Ka Naam Gaadi (1958).^[7] Asha Bhosle and Kishore Kumar performed duets composed by S. D. Burman including "Chhod Do Aanchal" from Paying Guest (1957), "Ankhon Mein Kya Ji" from Nau Do Gyarah (1957), "Haal Kaisa Hai Janaab Ka" and "Paanch Rupaiya Baara Aana" from Chalti Ka Naam Gaadi (1958), "Chhedo Na Meri Zulfein" from Ganga Ki Lahren (1964), and "Arre Yaar Meri Tum Bhi Ho Gajab" from [Teen Devian|Teen Deviyan] (1965).

C. Ramchandra was another music director who recognized Kishore Kumar's talent as a singer.^[4] Their collaborations include "Eena Meena Deeka" from Aasha (1957). Kishore Kumar's work includes "Nakhrewaali" from New Delhi (1956) by Shankar Jaikishan, and "C.A.T. Cat Maane Billi" and "Hum To Mohabbat Karega" from Dilli Ka Thug (1958) by Ravi.

Kishore Kumar produced, directed, and acted in Jhumroo (1961). He wrote the lyrics for the title song, "Main Hoon Jhumroo," and composed music for all the songs in the film. Later, he produced and directed Door Gagan Ki Chhaon Mein (1964). He wrote the script and composed music for the film. Its based on the relationship between a father (Kishore Kumar) and his deaf and mute son (played by his real-life son, Amit Kumar). He made another two films called Door Ka Rahi (1971) and Door Waadiyon Mein Kahin (1980).

In the 1960s, as an actor, Kishore Kumar built up a notoriety for coming late for the shootings, or bunking them altogether.^[8] His films flopped frequently, and he landed in income tax trouble.^[3] As a singer, his work in this period includes "Zaroorat Hai Zaroorat Hai" from Manmauji (1961), "Gaata Rahe Mera Dil" from Guide (1965), and "Yeh Dil Na Hota Bechara" from Jewel Thief (1967).

In the late 1960s, Rahul Dev Burman worked together on the soundtrack of the film Padosan (1968), in which Kishore Kumar sang the songs "Mere Saamne Wali Khidki Mein" and "Kehna Hai." Padosan was a comedy film starring Kishore Kumar as a dramatist-musician, Mehmood as a Carnatic music and dance teacher, and Sunil Dutt as a simpleton named Bhola. Kishore Kumar's character in was inspired by the personality of his uncle, Dhananjay Bannerjee (a classical singer).^[2] The highlight of the film was a musical, comical duel between Kishore Kumar-Sunil Dutt and Mehmood: "Ek Chatur Nar Karke Singaar."

In 1969, Shakti Samanta produced and directed the film Aradhana, for which the music was composed by S. D. Burman. Burman fell ill after recording some duet songs with Mohammed Rafi, Asha Bhosle, Lata Mangeshkar and Kishore Kumar. Afterwards, his son and assistant Rahul Dev Burman took over the recording. R. D. Burman got Kishore Kumar to solo sing the songs "Mere Sapno Ki Rani" and "Roop Tera Mastana". Kishore Kumar won his first Filmfare award for the song "Roop Tera Mastana."

1970s and 1980s[link]

In 1970s and 1980s Kishore Kumar sang for Rajesh Khanna, Amitabh Bachchan, Dharmendra, Jeetendra, Sanjeev Kumar, Dev Anand, Shashi Kapoor, Randhir Kapoor, Rishi Kapoor, Mithun Chakraborty, Sanjay Dutt, Sunny Deol, Anil Kapoor and Jackie Shroff.

S. D. Burman and Kishore Kumar continued to work together, including "Phoolon Ke Rang Se" and "Shokhiyon Mein Ghola Jaaye" from Prem Pujari (1969), "Aaj Madhosh Hua Jaaye Re," "Khilte Hain Gul Yahan" and "O Meri Sharmilee" from Sharmilee (1971), "Meet na mila" from Abhimaan (1973), "Pyaar Ke Is Khel Mein" from Jugnu, "Phoolon Ke Dere Hain" from Zameer (1974}. In 1975, S. D. Burman composed his last song for Kishore Kumar. S. D. Burman went into a coma for the second time, soon after Kishore recorded the song "Badi Sooni Sooni Hai Zindagi" for the film Mili.^[4]

R. D. Burman frequently used Kishore Kumar as the male singer and recorded several songs with him in the 1970s. Some Kishore Kumar-R. D. Burman songs include "O Maajhi Re" from Khushboo, "Yeh Shaam Mastaani" and "Yeh Jo Mohabbat Hai" from Kati Patang (1971), "Chingari Koi Bhadke" and "Kuchh To Log Kahenge" from Amar Prem (1972), "Raat Kali Ek Khwab Mein Aayi" from Buddha Mil Gaya (1971), "Musafir Hoon Yaaron" from Parichay (1972), "Diye Jalte Hain" from Namak Haraam (1973), "Meri Bheegi Bheegi Si" from Anamika (1973), "Zindagi Ke Safar Mein" from Aap Ki Kasam (1974), "Agar Tum Na Hote" and "Humein Tum Se Pyaar Kitna" from Kudrat, "Mere Naina Saawan Bhadon" from Mehbooba, and "Chingari Koi Bhadke (Amar Prem)" and "Jab Bhi Koi Kangana" from Shaukeen (1986).

R. D. Burman recorded several duets pairing Kishore Kumar with Asha Bhosle and with Lata Mangeshkar. Some of these duets include "Panna Ki Tamanna" from Heera Panna (1973), "Neend Chura Ke Raaton Mein" from the film Shareef Budmaash, "Kya Yehi Pyaar Hai" from Sanjay Dutt's debut film Rocky (1981), "Sagar Kinare" from Sagar in [1985], "Aap Ki Aankhon Mein Kuchh" from Ghar, "Jaane Ja Dhoondta" and "Nahi Nahi" from Jawani Diwani, "Kharoshoo" from Harjai (1982).

Apart from the Burmans, Kishore Kumar worked with other music directors as well. The composer duo Laxmikant-Pyarelal (L-P) composed many songs sung by him. Some of their songs include "Mere Mehboob Qayamat Hogi" from Mr. X In Bombay, "Mere Naseeb Mein Aye Dost" from Do Raaste, "Yeh Jeevan Hai" from Piya Ka Ghar, "Mere Dil Mein Aaj Kya Hai" from Daag: A Poem of Love, "Nahi Mai Nahi Dekh Sakta" from Majboor, "Mere diwanepan ki bhi" from Mehboob Ki Mehndi, "Naach Meri Bulbul" from Roti, "Chal Chal Mere Haathi" from Haathi Mere Saathi, "Gaadi Bula Rahi Hai" from Dost, "Ruk Jaana Nahi" from Imtihaan, "Ek Ritu Aaye" from Gautam Govinda, "My Name Is Anthony Gonsalves" from Amar Akbar Anthony, "Bahut Khoobsurat Jawan Ek Ladki" from Dostana and "Om Shanti Om" as well as "Paisa Yeh Paisa" from Karz. Laxmikant-Pyarelal composed several Kishore-Lata duets, including "Achchha To Hum Chalte Hain" from Aan Milo Sajna, "Gore Rang Pe Na Itna" from Roti, "Main Solah Baras Ki" from Karz, and "Din Mahine Saal" from Avtaar, "Tu Kitne Baras Ki" from Karz. L-P also got Kishore Kumar and Mohammed Rafi to sing duets for the films Dostana, Ram Balram and Deedaar-E-Yaar. L-P composed a duet with Kishore Kumar and Alisha Chinoy, "I love you (Kaate Nahin Katate Yeh Din Yeh Raat)" from Mr. India in (1987). Salil Chowdhury recorded songs like "Koi Hota Jisko Apna" from Mere Apne and "Gujar Gaye Din Din" from Annadata. Ravindra Jain recorded "Ghungroo Ki Tarah" and the duet "Tota Maina Ki Kahani" from Fakira. Khaiyyaam recorded beautiful duets with Lata Mangeshkar such as "Hazar Rahein" from Thodisi Bewafai, Aankhon Mein Humne Aapke Sapne Sajaye Hain, Chandani Raat Mein Ek Bar. Hridaynath Mangeshkar recorded Zindagi Aa Raha Hoon Main from Mashaal. Kalyanji-Anandji recorded several songs with Kishore Kumar including Zindagi Ka Safar and Jeevan Se Bhari Teri Aankhein, from Safar, Pal Pal Dil Ke Paas from Black Mail, Apne Jeevan Ki Uljhan from Uljhan, Mera Jeevan Kora Kagaz from Kora Kagaz, O Saathi Re from Muqaddar Ka Sikandar, Khaike Paan Banaraswala from Don, Neele Neele Ambar Par from Kalakar and Pal Bhar Ke Liye from Johny Mera Naam.

Other composers including Rajesh Roshan, Sapan Chakravarty, Jaidev, Chitragupta (composer), Usha Khanna, Sohnik Omi, Prem Dhawan, Vanraj Bhatia and Bappi Lahiri also worked with Kishore Kumar. Rajesh Roshan's film Julie featured songs sung by Kishore Kumar, Bhool Gaya Saab Kuchh (duet with Lata Mangeshkar) and Dil Kya Kare Jab Kisise. Their other songs include Chhookar mere man ko from Yaarana, Tune Abhi Dekha Nahin from Do Aur Do Paanch and Kahan Tak Ye Man Ko Andhere Chhalenge from Baaton Baaton Mein. Bappi Lahiri also recorded many songs with Kishore Kumar, including Pag Ghunghroo Bandh from Namak Halal (1982), Manzilen Apni Jagah Hai from Sharaabi (1984) and Chalte Chalte Mere Ye Geet from Chalte Chalte (1976), Saason Se Nahi Kadmose Nahi from Mohabbat in (1987) and duets with (Lata Mangeshkar)) like Taa thaiya from Himmatwala in (1984), Albela Mausam from Tohfa in (1985) and another duet Pyar Ka Tohfa from the same film.

During the Indian Emergency (1975–1977), Sanjay Gandhi asked Kishore Kumar to sing for an Indian National Congress rally in Mumbai, but he refused.^[9] As a result, Information and broadcasting minister Vidya Charan Shukla (1975-1977) put an unofficial ban on playing Kishore Kumar songs on the All India Radio and Doordarshan from 4th May, 1976 till the end of the Emergency.^[10][11]

Later years[link]

Kishore Kumar produced and directed some movies in the late 1970s and early 1980s, such as Badhti Ka Naam Daadhi (1978), Zindagi (1981) and Door Wadiyon Mein Kahin (1980): His last appearance as an actor.

With patronage from R. D. Burman and Rajesh Roshan, Kishore Kumar's son Amit Kumar became a Bollywood singer in the 1980s. Kishore Kumar also continued singing for several actors. He also did some stage shows, apparently to earn money to pay his income tax arrears.^[8] Kishore Kumar stopped singing for Amitabh Bachchan in the mid-1980s, after Bachchan did not do a guest appearance in a film produced by him but called a truce with him by singing for him in Toofan.^[12] He also temporarily stopped singing for Mithun Chakraborty, after Yogeeta Bali divorced him and married Chakraborty.^[13] However, later Kumar sang for him in many films like Disco Dancer, Muddat, and Pyar Ka Mandir.

In the mid-1980s, Kishore Kumar sang for Anil Kapoor in Kapoor's debut film as a leading man, Woh Saat Din and also recorded Mr. India. He sang a duet with Alka Yagnik, "Tumse Badhkar Duniya Mein Na Dekha" for Kaamchor in (1986). He also recorded some songs for the film Saagar with R. D. Burman. By this time, he had decided to retire and was planning to go back to his birthplace, Khandwa.^[8]

On 13 October 1987, his brother Ashok's 76th birthday, he died of a heart attack in Mumbai at 4:45 pm. His body was taken to Khandwa for cremation. He had recorded his last song a day before he died. The song was Guru Guru, a duet with Asha Bhosle, for the film Waqt Ki Aawaz (1988) composed by Bappi Lahiri for Mithun Chakraborty and Sridevi.

Kishore Kumar's song Pal Bhar Ke Liye from the film Johny Mera Naam (1970) was used in an episode of The Simpsons titled "Kiss Kiss, Bang Bangalore."^[14] His songs have been featured in several films, including Such a Long Journey (1998) and Side Streets (1998).^[15] Sony TV organised the television singing contest K for Kishore to search for a singer like Kishore Kumar.

Personal life[link]

Kishore Kumar married four times. His first wife was Bengali singer and actress Ruma Guha Thakurta aka Ruma Ghosh. Their marriage lasted from 1950 to 1958.

Kishore's second wife was actress Madhubala, who had worked with him on many films including his home production Chalti Ka Naam Gaadi (1958) and Jhumroo (1961). When Kishore Kumar proposed to her, Madhubala was sick and was planning to go to London for treatment. At this time, she didn't know that she had a ventricular septal defect, and her father wanted her to wait and consult the London doctors first. Furthermore, at the time he was married to Ruma. After his divorce, because Kishore Kumar was Bengali Hindu and Madhubala Muslim, they had a civil wedding ceremony in 1960. His parents refused to attend. The couple also had a Hindu ceremony to please Kumar's parents, but Madhubala was never truly accepted as his wife. Within a month of her wedding she moved back to her bungalow in Bandra because of tension in the Kishore Kumar household. They remained married but under great strain for the remainder of Madhubala's life. The doctors in London told Madhubala that she would not live for long. The marriage lasted for nine years, and ended with Madhubala's death on 23 February 1969.

Kishore Kumar's third marriage was to Yogeeta Bali, and lasted from 1976 to 4 August 1978. Kishore was married to Leena Chandavarkar from 1980 until his death. Kishore Kumar sired two sons, Amit Kumar (playback singer) with Ruma, and Sumit Kumar with Leena Chandavarkar.

Kumar is said to have been paranoid about not being paid.^[2] During recordings, he would sing only after his secretary confirmed that the producer had made the payment.^[16] Once, when he discovered that his dues hadn't been fully paid, he landed up for shooting with make-up on only one side of his face. When the director questioned him, he replied "Aadha paisa to aadha make-up." (Half make-up for half payment).^[2] On the sets of Bhai Bhai, Kishore Kumar refused to act because the director M V Raman owed him five thousand rupees. Ashok Kumar persuaded him to do the scene. But, when the shooting started, he walked across the floor and, each time he walked a few places, he said, Paanch Hazzar Rupaiya (five thousand rupees) and did a somersault. After he reached the end of the floor, he went out of the studio, jumped into his car, and ordered his driver Abdul to drive away.^[17] On another occasion, when producer R. C. Talwar did not pay his dues in spite of repeated reminders, Kishore turned up at Talwar's residence one morning and started shouting "Hey Talwar, de de mere aath hazaar" ("Hey Talwar, give me my eight thousand"). He did this every morning until Talwar paid him.^[16]

The film Anand (1971) was originally supposed to star Kishore Kumar and Mehmood Ali in the lead.^[18] Hrishikesh Mukherjee, the director of the film, was asked to meet Kishore Kumar to discuss the project. However, when he went to Kishore Kumar's house, he was driven away by the gatekeeper due to a misunderstanding. Kishore Kumar (himself a Bengali) hadn't been paid for a stage show organized by another Bengali man, and had instructed his gatekeeper to drive away this "Bengali", if he ever visited the house. When Hrishikesh Mukherjee (also a Bengali) went to Kishore Kumar's house, the gatekeeper drove him away, mistaking him for the "Bengali" that Kishore Kumar had asked him to drive away. Consequently, Mehmood had to leave the film as well, and new actors (Rajesh Khanna and Amitabh Bachchan) were signed up for the film.^[18]

In spite of his "no money, no work" principle, sometimes Kishore Kumar recorded for free even when the producers were willing to pay. Such films include those produced by Rajesh Khanna and Danny Denzongpa.^[19] On one occasion, Kishore Kumar helped actor-turned-producer Bipin Gupta, by giving him Rs. 20,000 for the film Dal Mein Kala (1964). When actor Arun Kumar Mukherjee died, Kishore Kumar regularly sent money to his family in Bhagalpur.^[17] Mukherjee was one of the first persons to appreciate Kishore's singing talent.^[17]

Many journalists and writers have written about Kishore Kumar's seemingly eccentric behavior.^[20][21] Kishore Kumar had put a "Beware of Kishore" sign at the door of his Warden Road flat, where he stayed for some time while his bungalow was being done up. Once, producer-director H. S. Rawail, who owed him some money, visited his flat to pay the dues. Kishore Kumar took the money, and when Rawail offered to shake hands with him, he reportedly put Rawail's hand in his mouth, bit it, and asked "Didn’t you see the sign?". Rawail laughed off the incident and left quickly.^[17] Kishore Kumar was a loner, and in an interview with Pritish Nandy (1985), he said that he had no friends – he preferred talking to his trees instead.^[22] Once, when a reporter made a comment about how lonely he must be, Kishore Kumar took her to his garden. He then named some of the trees in his garden, and introduced them to the reporter as his closest friends.^[17]

According to another reported incident, once Kishore Kumar was to record a song for producer-director G. P. Sippy. As Sippy approached his bungalow, he saw Kishore going out in his car. Sippy pleaded him to stop his car, but Kishore only increased the speed of his car. Sippy chased him to Madh Island, where Kishore Kumar finally stopped his car near the ruined Madh Fort. When Sippy questioned his strange behavior, Kishore Kumar refused to recognize or talk to him and threatened to call police. Sippy had to return. Next morning, Kishore Kumar reported for the recording. An angry Sippy questioned him about his behavior on the previous day. However, Kishore Kumar insisted that Sippy must have seen a dream, and claimed that he was in Khandwa on the previous day.^[23]

Once, a producer went to court to get a decree that Kishore Kumar must follow the director's orders. As a consequence, Kishore Kumar obeyed the director to the letter. He refused to alight from his car until the director ordered him to do so. Once, after a car scene in Mumbai, he drove on till Khandala because the director forgot to say "Cut".^[17] In the 1960s, a financier named Kalidas Batvabbal, patently disgusted with Kishore Kumar's alleged lack of cooperation during the shooting of Half Ticket, gave him away to the income tax authorities. Kishore had to face a raid at his house. Later, Kishore invited Batvabbal home, tricked him by asking him to enter a cupboard for a "chat" and locked him inside. He unlocked Batvabbal after two hours and told him "Don’t ever come to my house again."^[17]

Filmography[link]

List of songs[link]

Awards[link]

Filmfare Awards

Winner:

Nominated:

Bengal Film Journalists' Association Awards

Winner:

• 1971 - Best Male Playback Singer for Aradhana^[24]
• 1972 - Best Male Playback Singer for Andaz^[25]
• 1973 - Best Male Playback Singer for Hare Rama Hare Krishna^[26]
• 1975 - Best Male Playback Singer for Kora Kagaz^[27]

See also[link]

• Kishore Kumar filmography
• List of songs by Kishore Kumar
• List of Indian playback singers
• Hindi songs

References[link]

Further reading[link]

• Bose, Derek (2004). Kishore Kumar: Method in Madness. New Delhi: Rupa & Co.. ISBN 978-8129105264. OCLC 57429780. 
• Valicha, Kishore (1998). Kishore Kumar: The Definitive Biography. New York/New Delhi: Penguin Books/Viking. ISBN 978-0670882649. OCLC 40164015. 
• Nerurkar, Vishwas (2004). Kishore Kumar: The Many Faces of a Genius (The Ultimate Book which includes his complete filmography, discography, unreleased material, and film posters of his films). Gayathri Publications. 

External links[link]

• Kishore Kumar at the Internet Movie Database

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Meena Kumari (1 August 1932 – 31 March 1972), born Mahjabeen Bano, was an Indian movie actress and poetess. She is regarded as one of the most prominent actresses to have appeared on the screens of Hindi Cinema. During a career spanning 30 years from her childhood to her death, she starred in more than ninety films, many of which have achieved classic and cult status today.

Kumari gained a reputation for playing grief-stricken and tragic roles, and her performances have been praised and reminisced throughout the years. Like one of her best-known roles, Chhoti Bahu, in Sahib Bibi Aur Ghulam (1962), Kumari became addicted to alcohol. Her life and prosperous career were marred by heavy drinking, troubled relationships, an ensuing deteriorating health, and her death from liver cirrhosis in 1972.

Kumari is often cited by media and literary sources as "The Tragedy Queen", both for her frequent portrayal of sorrowful and dramatic roles in her films and her real-life story.^[1][2]

Early life[link]

Meena Kumari was the third daughter of Ali Baksh and Iqbal Begum; Khursheed and Madhu were her two elder sisters. At the time of her birth, her parents were unable to pay the fees of Dr. Gadre, who had delivered her, so her father left her at a Muslim orphanage, however, he picked her up after a few hours.

Her father, a Shia Muslim, was a veteran of Parsi theater, played harmonium, taught music, and wrote Urdu poetry. He played small roles in films like Id Ka Chand and composed music for films like Shahi Lutere.

Her mother was the second wife of Ali Baksh. Before meeting and then marrying Ali Baksh, she was a stage actress and dancer, under the stage name, Kamini.

Career[link]

Early work[link]

When Mahjabeen was born, Ali Bakhsh aspired to get roles as an actor in Rooptara Studios. At the urging of his wife, he got Mahjabeen too into movies despite her protestations of wanting to go to school. Young Mahjabeen is said to have said, "I do not want to work in movies; I want to go to school, and learn like other children."

As Mahjabeen embarked on her acting career at the age of 7, she was renamed Baby Meena. Farzand-e-Watan or Leatherface (1939) was her first movie, which was directed for Prakash Studios by Vijay Bhatt. She became practically the sole breadwinner of her family during the 1940s. Her early adult acting, under the name Meena Kumari, was mainly in mythological movies like Veer Ghatotkach (1949), Shri Ganesh Mahima (1950), and fantasy movies like Alladin and The Wonderful Lamp (1952).

Breakthrough[link]

Meena Kumari gained fame with her role as a heroine in Vijay Bhatt's Baiju Bawra (1952). This heroine always negated herself for the material and spiritual advancement of the man she loved and was even willing to annihilate herself to provide him the experience of pain so that his music would be enriched. She became the first actress to win the Filmfare Best Actress Award in 1953 for this performance.

Meena Kumari highly successfully played the roles of a suffering woman in Parineeta (1953), Daera (1953), Ek Hi Raasta (1956), Sharda (1957), and Dil Apna Aur Preet Parayi (1960). Though she cultivated the image of a tragedienne, she also performed commendably in a few light-hearted movies like Azaad (1955), Miss Mary (1957), Shararat (1959), and Kohinoor (1960).

One of her best-known roles was in Sahib Bibi Aur Ghulam (1962), which was produced by Guru Dutt. Kumari played Chhoti Bahu, an alcoholic wife. The film was a major critical and commercial success, which was attributed by critics to Kumari's performance, which is regarded as one of the best performances of Hindi Cinema.^[3] The role was famous for its uncanny similarity to Meena Kumari's own life. At that time, she herself was on a road to gradual ruin in her own personal life. Like her character, she began to drink heavily, though she carried on. In 1962, she made history by getting all the three nominations for Filmfare Best Actress Award, for her roles in Aarti, Main Chup Rahungi, and Sahib Bibi Aur Ghulam. She won the award for Sahib Bibi Aur Ghulam. Upperstall.com wrote about her performance,

"While each of the performances are spot on, if there is one person who is the heart and soul of the film, it is Meena Kumari. Her portrayal of Chhoti Bahu is perhaps the greatest performance ever seen on the Indian Screen. The sequence where Chhoti Bahu dresses for her husband singing Piya Aiso Jiya Main is a poignant exploration of a woman's expectations and sexual desire. And later on when she has become a desperate alcoholic, you cannot help but cry with her in the sequence where she pleads with her husband to stay with her and then angrily turns on him to tell him how she has prostituted her basic values and morals to please him. However the common factors between the actress's life and Chhoti Bahu are too dramatic to be merely coincidental - The estranged marital relationship, the taking of alcohol, turning towards younger male company, the craving to be understood and loved - all elements evident in Meena Kumari's own life."^[4]

Later work[link]

For four more years, Kumari performed successfully in Dil Ek Mandir (1963), Kaajal (1965), and Phool Aur Patthar (1966), all of which earned her Filmfare nominations, with Kaajal garnering her a fourth and last win of the Best Actress award. However, after divorcing her husband in 1964, her addiction to alcohol became stronger, and she often dulled her senses with liquor. She also relied more and more on intimate relationships with younger men like Dharmendra. Her subsequent releases, including Chandan Ka Palna and Majhli Didi did not do well.^[1]

Kumari's heavy drinking had badly damaged her liver, and in 1968 she fell seriously ill.^[1][5] She was taken to London and Switzerland for treatment. Back home, she started settling her debts and made peace with her estranged sister, Madhu, whom she had not spoken to for two years.^[5] Because of her heavy drinking, she increasingly lost her good looks, and when she returned, she began playing character roles in movies like Jawab (1970) and Dushmun (1972).^[1]

She developed an attachment to writer-lyricist Gulzar and acted in his directorial debut Mere Apne (1971). Kumari presented an acclaimed portrayal of an elderly woman who got caught between two street gangs of frustrated, unemployed youth and got killed, her death making the youth realise the futility of violence.

Pakeezah, starring Kumari and directed by her ex-husband Kamal Amrohi, took 14 years to reach the silver screen. First planned by Amrohi in 1958, the film went on the studio floors in 1964, but the shooting came to a standstill after their separation in March 1964, when it was more than halfway complete.^[5] In 1969, Sunil Dutt and Nargis previewed some reels of the shelved film and convinced the estranged Amrohi and Kumari to complete it.^[1] Hindustan Times described the meeting which Dutt had organised between the two:

"Not much was said, but streams of tears were shed... Amrohi greeted her with a token payment of a gold guinea and the promise that he’d make her look as beautiful as the day she had started the film."^[5]

Gravelly ill, Kumari was determined to complete the film and, well aware of the limited time left for her to live, went out of her way to complete it at the earliest. Despite her rapidly deteriorating health, she gave the finishing touches to her performance. Initially, after its release in February 1972, Pakeezah opened to a lukewarm response from the public; however, after Meena Kumari's death less than two months later, people flocked to see it, making it a major box-office success. The film has since gained a cult and classic status, and Kumari's performance as a golden-hearted Lucknow prostitute drew major praise. She posthumously received her twelfth and last Filmfare nomination.

Throughout her life, Kumari had a love-hate relationship with movies, and besides being a top-notch actress, she was a talented poetess, and recorded a disc of her Urdu poems, I write, I recite with music by Khayyam.

Death[link]

Three weeks after the release of Pakeezah, Meena Kumari became seriously ill, and died on 31 March 1972 of liver cirrhosis. At her death, she was in more or less the same financial circumstance as her parents at the time of her birth: It is said that when she died in a nursing home, there was no money to pay her hospital bills. She was buried at Rahematabad Qabristan located at Narialwadi, Mazgaon, Mumbai.

Relationship with Kamal Amrohi[link]

In 1952, on the sets of one of her films, Meena Kumari fell in love with and married film director, Kamal Amrohi, who was fifteen years elder than her and was already married. She wrote about Amrohi:

"Dil saa jab saathi paya
Bechaini bhi woh saath le aaya"

(When I found someone like my heart
He also brought sorrow with him)

Soon after marriage, Kamal Amrohi and Meena Kumari produced a film called Daera (1953), which was based on their love story. They also planned another film, Pakeezah. However, it took sixteen years (1956 to 1972) before Pakeezah reached the silver screen. (The scenes in Pakeezah's popular song, Inhi logon ne, were originally filmed in black and white, and were later reshot in color.)

It is said that Amrohi did not want children with Meena Kumari because she was not a Syed. They raised Kamal Amrohi's son, Tajdaar, who was greatly attached to his chhoti ammi (younger mother).

Due to their strong personalities, however, Meena Kumari and Kamal Amrohi started to develop conflicts, both professionally and in their married life. Their conflicts led to separation in 1960, and ultimately divorce in 1964. Highly affected Meena Kumari, who, once a happy woman, became depressed and found solace in heavy drinking. They remarried, but Meena Kumari had become an alcoholic by then.

She expressed her sorrows prominently in her poetry. About Kamal Amrohi she wrote:

"Tum kya karo ge sun kar mujh se meri kahani
Bay lutf zindagi ke qissay hain pheekay pheekay"

(Why do you want to listen to my story:
Colourless tales of a joyless life)

At the time of the divorce, she wrote:

"Talaaq to day rahay ho Nazar-e-qehar ke saath
Jawani bhi meri lauta do Mehar ke saath"

(You are divorcing me with rage in your eyes
Return to me, also, my youth along with the alimony!)

Filmography[link]

• Gomti Ke Kinare (1972) .... Ganga
• Pakeezah (1972) .... Nargis/Sahibjaan
• Dushmun (1971) .... Malti R. Din
• Mere Apne (1971) .... Anandi Devi/Auaji (Aunt)
• Jawab (1970) .... Vidya
• Saat Phere (1970)
• Abhilasha (1968) .... Mrs. Meena Singh
• Baharon Ki Manzil (1968) .... Nanda S. Roy/Radha Shukla
• Bahu Begum (1967) .... Zeenat Jahan Begum
• Chandan Ka Palna (1967) .... Shobha Rai
• Majhli Didi (1967) .... Hemangini 'Hema'
• Noorjehan (1967)
• Phool Aur Patthar (1966) .... Shanti Devi
• Pinjre Ke Panchhi (1966) .... Heena Sharma
• Bheegi Raat (1965)
• Jadui Angoothi (1965)
• Kaajal (1965) .... Madhavi
• Purnima (1965) .... Purnima V. Lal
• Maain Bhi Ladki Hun (1964) .... Rajni
• Benazir (1964) .... Benazir
• Chitralekha (1964) .... Chitralekha
• Gazal (1964) .... Naaz Ara Begum
• Sanjh Aur Savera (1964) .... Gauri
• Akeli Mat Jaiyo (1963) Seema
• Dil Ek Mandir (1963) .... Sita
• Kinare Kinare (1963)
• Aarti (film) (1962) .... Aarti Gupta
• Main Chup Rahungi (1962) .... Gayetri
• Sahib Bibi Aur Ghulam (1962) .... Chhoti Bahu
• Bhabhi Ki Chudiyan (1961) .... Geeta, Shyam's wife
• Pyaar Ka Saagar (1961) .... Radha/Rani B. Gupta
• Zindagi Aur Khwab (1961) .... Shanti
• Bahaana (1960)
• Dil Apna Aur Preet Parai (1960) .... Karuna
• Kohinoor (1960)
• Ardhangini (1959) .... Chhaya
• Chand (1959)
• Char Dil Char Raahein (1959) .... Chavli
• Chirag Kahan Roshni Kahan (1959) .... Ratna
• Jagir (1959)
• Madhu (1959)
• Satta Bazaar (1959) .... Jamuna
• Shararat (1959)
• Farishta (1958)
• Sahara (1958) .... Leela
• Savera (1958)
• Yahudi (1958) .... Hannah
• Miss Mary (1957) .... Miss Mary/Laxmi
• Sharada (1957) .... Sharada Ram Sharan
• Bandhan (1956)
• Ek-Hi-Rasta (1956) .... Malti
• Halaku (1956) .... Niloufer Nadir
• Mem Sahib (1956) .... Meena
• Naya Andaz (1956)
• Shatranj (1956)
• Adl-E-Jahangir (1955)
• Azaad (1955) .... Shobha
• Bandish (1955) .... Usha Sen
• Rukhsana (1955)
• Baadbaan (1954)
• Chandni Chowk (1954) .... Zarina
• Ilzam (1954)
• Daera (1953) .... Sheetal
• Dana Paani (1953)
• Do Bigha Zamin (1953) .... Thakurain
• Foot Path (1953) .... Mala
• Naulakha Haar (1953) .... Bijma
• Parineeta (1953) .... Lalita
• Aladdin Aur Jadui Chirag (1952)
• Baiju Bawra (1952) .... Gauri
• Tamasha (1952) .... Kiran
• Hanumaan Pataal Vijay (1951)
• Lakshmi Narayan (1951)
• Madhosh (1951) .... Soni
• Sanam (1951)
• Anmol Ratan (1950)
• Hamara Ghar (1950)
• Magroor (1950)
• Shri Ganesh Mahima (1950)
• Veer Ghatotkach (1949) .... Surekha
• Bichchade Balam (1948)
• Piya Ghar Aaja (1947)
• Bachchon Ka Khel (1946)
• Duniya Ek Sarai (1946)
• Lal Haveli (1944)
• Pratiggya (1943)
• Garib (1942)
• Bahen (1941) (as Baby Meena) .... Bina
• Kasauti (1941)
• Nai Roshni (1941)
• Ek Hi Bhool (1940)
• Pooja (1940)
• Leatherface (1939)

Filmfare Awards[link]

• Filmfare Best Actress Award – Won
  1954 Baiju Bawra – Gauri
  1955 Parineeta – Lolita
  1963 Sahib Bibi Aur Ghulam – Chhoti Bahu
  1966 Kaajal – Madhavi
  

• Filmfare Best Actress Award – Nominated
  1956 Azaad – Shobha
  1959 Sahara – Leela
  1960 Chirag Kahan Roshni Kahan – Ratna
  1963 Aarti – Aarti Gupta
  1963 Main Chup Rahungi – Gayetri
  1964 Dil Ek Mandir – Sita
  1967 Phool Aur Patthar – Shanti Devi
  1973 Pakeezah – Nargis / Sahibjaan (posthumous nomination)^[6]
  

Bengal Film Journalists' Association Awards[link]

Meena Kumari has won several awards at the Bengal Film Journalists' Association Awards (BFJA)

• 1963 Best Actress (Hindi): Aarti
• 1965 Best Actress (Hindi): Dil Ek Mandir
• Special Award: Pakeezah^[7]

Biography[link]

One of the first biographies of Meena Kumari was written just after her death by Vinod Mehta in the year 1972. It was simply titled Meena Kumari.

References[link]

External links[link]

• Meena Kumari at the Internet Movie Database
• Meena Kumari at Manas: Culture of India
• Collection of verses by Meena Kumari

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B. Saroja Devi (Kannada: ಬೀ. ಸರೋಜಾ ದೇವಿ) is an Indian actress. She has acted in Kannada, Tamil, Telugu and Hindi movies. She is referred to as Abinaya Saraswathi by Kannada film industry and as Kannadathu Paingili (meaning Kannada's Parrot) by Tamil Film Industry. She has acted in nearly 200 films in a period of more than three decades.^[1]Saroja Devi is one of the most successful female film stars in the history of Indian cinema and she was at her peak as the main female lead in films in the period 1958-85.Saroja Devi received Padma Bhushan,third highest civilian award, in 2002 and in 1969, she was honoured with the Padma Sri, the fourth-highest civilian honour, by the Government of India.

Early life[link]

Saroja Devi was born in Karnataka on 7 January 1938 to Bhairappa and Rudramma. Her father worked for the police department. Saroja Devi was their fourth daughter. But this wasn't a happy occasion for her family, especially her grandfather, Mayanna Gowda. Bhairappa managed to overrule him and insist on raising the child.^[2] Her father asked her to learn dance and encouraged her to venture into films when film offers started coming to her. A young Saroja Devi was often chaperoned to studios by him. He frequently tied her salangais, and often massaged her swollen feet after her dancing stints.^{[citation needed]}

Saroja Devi was first spotted by B.R. Krishnamurthy singing at a function at the age of 13.^[3] Initially, she declined his offer to act in movies. She debuted with the Kannada film Mahakavi Kalidasa in 1955

Film career[link]

Early career as lead actress(1955–69)[link]

Saroja Devi's first big break came in the Honnappa Bhagavatar's Kannada film, Mahakavi Kalidasa, in 1955, for which she won a National Award. It was followed by B R Panthulu's Thanga Malai Ragasiyam, where her eyes enacted a magical drama, in a dance sequence.Her debut movie in Telugu was Panduranga Mahatyam (1957) in which she acted opposite N.T. Rama Rao.After this she came under the notice of the MGR for the very first time, on K Subramaniam's sets and MGR casted her in Nadodi Manan(1958).

People doubted her ability to speak Tamil, but MGR had faith in her and encouraged her to learn and speak Tamil and casted her in his home production Nadodi Mannan in 1958 as well.It was the Tamil film Nadodi Mannan opposite MGR in 1958 that catapulted Saroja Devi to superstar status in Tamil Film industry.After this she immediately received offer to make her Hindi debut opposite Dilip Kumar in Paigam(1959). She never allowed any one to dub for her and insisted that she would speak by herself as a result none of her Tamil movies her voice was dubbed by any other artiste since the beginning of her career.Then she gave hits opposite Gemini Ganesan in Manalane Mangayin Bhagyam, Kalyana Parisu, Ode Velaiyadu papa, Kairasi and opposite Sivaji Ganeshan in Baga Pirivinai,Vidi Velli,Palum Pazhamum, Iruvar Ullam(1958 till 1960).After this she started getting offers from Tamil,Kannada, and Telugu films. She was working more than 20 hours a day in this peak period of her career(1960–69).^[4]She became the number one female lead actress of the period 1959-69 in Tamil films.

She was cast always opposite the much high in demand stars of respective film industries :NTR, ANR in Telugu, MGR, Sivaji Ganeshan, Gemini Ganesan in Tamil and Rajkumar in Kannada.Saroja chose to do more films in Tamil in the period 1958-1969 and after her mairrage she was more active in Kannada and Telugu films from (1970–1984).

Saroja Devi's energetic performance as a patriotic queen raging against the British in Kannada flick Kittooru Rani Chennamma, which won the national award for Best Film in 1963, brought her much acclaim.^[4] Her Telugu hits were Seetha Rama Kalyanam and Jagadeka Veeranukatha in 1961 with NTR, while her hits in Hindi films included Paigham (1959), Sasural (1960), Opera House (1961), Pareeksha, Pyar Kiya To Darna Kya(1963) and Beti Bete (1964) and in addition Kannada hits like Chintamani(1957), School Master(1958), Jagajyothi Basaveshwara (1959), Kitturu Chennamma (1962).It was at this time in 1962 that she was crowned Chaturbhaasha Taare, because of her popularity in these four languages. She had mincing accent, smart and perky attitude and this made her popular among the audience of all the four languages.She concentrated more in Tamil films as a result though she had all her films as hits in Hindi, after Preet Na Jane Reet opposite Shammi Kapoor she did not do more Hindi films.

Another leading Telugu actress Krishna Kumari had dubbed her voice in Panduranga Mahatyam for Saroja devi and few more films in the initial part of her career in Telugu Films. But in subsequent years, without any external source of dubbing, Saroja Devi acted in her Telugu films.For her films in Hindi, Kannada and Tamil she always dubbed for herself since the beginning of her career.

MGR Saroja Devi established a popular on screen pair and had back to back superhits from 1958-1967.The pair who began with Naadodi Mannan, went on to give back to back 27 blockbusters^[5] the most popular being Thirudathey, Thai Sollai Thattathey, Paasam,Thaayaikaatha Thanayan, Asai Mugam, Periya Idathu Penn, Dharmam Thalaikkakkum, Neethikku Pin Pasam, Pannakkara Kudumbam,Padakoti, Nadodi, Thalibahakiyam, Naan Anayittaal, Petralthaan Pillaiya and Parrakkum Pavai. Her best performances opposite MGR were the 'rich girl' roles in Anbe Vaa, Enga Veettu Pillai, En Kadamai, Pana Thottam and Thayin Madiyil.She made a fashion statement too as women adored her dressing sense and her saris and blouses, ornaments, hairstyles were copied by girls and women.^[6]

Later career as lead actress(1970–85)[link]

After Jayalalitha become a star and her pair with MGR was appreciated and after Saroja got married in 1967, Sarojadevi did not get the opportunity to work opposite MGR. Saroja Devi's last film oppsoite MGR was Arasa Katalai, which also starred Jayalalithaa. However Saroja continued having hits opposite Sivaji like En Thambi, Anjal Petti 520, Thenum Palum, Arunothayam and with Gemini in Panamaa Paasama, Thamarai Nenjam, Malathy, Kann Malar etc. She was cast with younger heroes like Ravichandran in Odum Nadhi(1969) and R.Muthuraman in 1974 in Paththu Matha Bandham(her last film in Tamil) which were successful too.

From 1970,she started to get few offers in Tamil Cinema.But this only resulted in she becoming the highest paid actress in Kannada films and was more active in Kannada films in seventies.She acted in films such as Sri Renukadevi Mahathme, Gunavanthudu, Shani Prabhava and Katha Sangama.She won accolades from critics in films opposite Dr. Raj Kumar in Kannada for her performances in MalamaPavada (1969), Nyayave Devaru(1971), Sri Srinivasa Kalyana(1974), Babruvahana(1977), Bhagyavantharu(1977) and with Vishnuvardhan in Shani Prabhava, Rudra Naga, Ugra Naagu (1985) and in other films like Thande Makkalu, Papa Punya, Chiranjeevi etc.(from 1971–1984).She accepted in an interview that she excelled in roles that challenged her with tremendous range. In her long career she chiefly opted for sentimental films.

She mesmerized audience of all sections with her lively action, eye-catching looks and sweet articulation and got critical acclaims for her roles in the few Telugu films she did like Rahasiyam and in Aathma Balam and Amarashilpi Jakanna, both with A Nageshwara Rao. From the late sixties till mid 70's she formed popular on screen pair with NTR in Telugu films with Dagudu moothulu,Shakuntala,Bahakiyachakaram, Mayani Mamata and Daana Veera Shoora Karna.

Later Career (1986-2011)[link]

Saroja Devi accepted supporting roles in very few films.She took up very few assignments and even those films turned out to be popular.The most notable being Anuragasangama, Agni I P S, Mangala Suitra in Kannada and in title role in the Tamil film Thaimel Aanai and again opposite Sivaji Ganeshan in Parambhariyam and Once More (where Saroja was paired opposite Sivaji Ganesan in with her scenes in Iruvar Ullam too infused in the movie).

She said in an interview 'I have four homes in Chennai: the residences of MGR, Sivaji Ganesan, Gemini Ganesan, and MR Radha,' she had once said. 'But now, they have all gone—and I remain alone, with only their memories in my heart, and tears in my eyes.'^[7]

B. Saroja Devi was Chairperson of the Karnataka Film Development Corporation. She was also the chairperson of Kantheerava Studios, Bangalore.^[8][9]

Personal life[link]

Saroja Devi was married to Sri Harsha, an engineer by profession who worked with Bharat Electronics Limited, on 1 March 1967.Her husband had reportedly no qualms about her star status, and was a 'complete gentleman'. She was careful not to involve herself in too many controversies and scandals obviously helped.^[10] Their marriage lasted till her husband's death in 1986.The couple have three children, daughters Bhuveneshwary, Indira and son Gautam.

Social causes[link]

Saroja Devi has organized many donation camps in the name of her late husband Sri Harsha, daughter Bhuvaneshwari and her mother and has organized Charitable Trusts, Rehabilitation centers and health programs.^[11]

Awards[link]

• Life Time Achievement Award in 2008 by the Government of India
• Padma Bhushan in 1992
• Padma Sri in 1969
• Dr.Rajkumar National award by the Government of Karnataka in 2009
• Life time achievement award by the Government of Tamil Nadu in 2010
• N.T.R. National Award from Government of Andhra Pradesh for the second time for the year 2009.
• Honorary Doctorate from Bangalore University in 2006
• Dinakaran award for All-round Achievement in 2003
• N.T.R. National Award from Andhra Pradesh Government for the year 2001.
• Tamil Nadu Government’s M.G.R award in 1997
• Cinema Express award in 1997
• Filmfare award for All-round Achievement
• Karnataka Government’s Rajyothsava award in 1989
• Abhinandana-Kanchana Mala award in 1980
• Honoured as a title "Abinya saraswathy" by Karnataka government in 1965

Filmography[link]

References[link]

External links[link]

• B. Saroja Devi at the Internet Movie Database

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (June 2009)

Bappi Lahiri
Bappi Lahiri at Will to Live Music Launch
Background information
Birth name	Alokesh Lahiri
Born	(1952-11-27) 27 November 1952 (age 59)
Origin	Calcutta, West Bengal, India
Genres	Film score, Theatre
Occupations	Music director & singer
Years active	1972–present
Website	bappilahiri.com

Bappi Lahiri or Alokesh Lahiri (Bengali: বাপ্পী লাহিড়ী), born 27 November 1952, is a music director in the Hindi film industry. He popularized the use of synthesized disco music in Indian cinema and sang some of his own compositions. He was popular in the 1980s with filmi soundtracks like Disco Dancer, Namak Halaal and Sharaabi among others.

Biography[link]

Early years[link]

Bappi. D. Lahiri was born in Calcutta, West Bengal into a family with a rich tradition in classical music. His father, Aparesh Lahiri, was a famous Bengali singer and his mother, Bansari Lahiri, was a musician and a singer who was well-versed in classical music and Shyama Sangeet. He was their only child.

At a very early age, he had the ambition to become internationally famous. He began to play the tabla at the age of three. His relatives from his mother's family include Kishore Kumar and the S. Mukherjee clan. Initially he was trained by his parents, after which he received his first opportunity in a Bengali film, Daadu (1972) at the age of 19.

Career[link]

Hindi films[link]

He moved to Mumbai when he was 19. The first Hindi film for which he composed music was Nanha Shikari (1973). The turning point of his career was Tahir Husain's Hindi film, Zakhmee (1975), for which he composed music and doubled as a playback singer. He sang a duet with Mohammed Rafi and Kishore Kumar called "Nothing Is Impossible" for the same film. The songs of his next film, Chalte Chalte, became hits. With Ravikant Nagaich's Surakksha his singing and music became even more popular.

He was the fittest musician for Mithun Chakraborty's disco dance-based films. Mithun Chakraborty and Bappi Lahiri became synonyms of Indian disco culture in the 1980s. He also scored music for many Hindi films produced from South India. He is called 'Disco King' around India.

Style of music[link]

Bappi Lahiri popularized the use of synthesized disco music in Indian cinema with an Indian flavour. Most of his songs would be rendered by singers Kishore Kumar and Asha Bhosle. He launched Vijay Benedict and Sharon Prabhakar into the music industry. He also used Alisha Chinoy and Usha Uthup extensively for his compositions.

Some of his music has often been sampled by international musicians, such as Dr. Dre, Truth Hurts, and Prodigy, among others. His Disco Dancer (1982) soundtrack has influenced songs by artists such as Devo, Ruki Vverh!, and M.I.A.. His most widely sampled song is "Come Closer" from Kasam Paida Karne Wale Ki (1984), which has been sampled by various musicians in recent years, including Dabrye, A.G., Planet Asia, Kutmasta Kurt, Masta Ace, eMC, Edu Kehäkettunen, Stig Dogg, and Onra.^[1]

Allegations of plagiarism[link]

Throughout his career Lahiri has been accused of plagiarizing music produced by other composers without giving them any credit or royalties.^[2][3]

Conversely, in one instance, portions of his song "Thoda Resham Lagta Hai" were included in a 2002 single "Addictive" by American R&B singer Truth Hurts. Copyright holders Saregama India, Ltd. sued Interscope Records and its parent company, Universal Music Group to the tune of more than $500 million. A Los Angeles federal judge subsequently barred further sales of the CD unless and until Lahiri was listed on the song's credits.^[2][4]

Career history[link]

Lahiri disappeared from the Indian film industry in the 1990s. He made a brief comeback in the Prakash Mehra produced Dalal starring Mithun Chakraborty. The song "Gutur Gutur" from the film was a big hit, though it had its share of controversies due to its suggestive lyrics.

In 2004, he brought out his album Bappi Magic - The Asli Baap Mix, featuring popular numbers such as "Gori Hai Kalaiyan" and "Jimmy Jimmy." It attained great popularity. In 2005, he composed the background score for the Jahnu Barua film, Maine Gandhi Ko Nahin Maara, thus reaffirming his identity as a very versatile composer. In 2006, he lent his voice to another composer for the first time with the song "Boombai Nagariya" which he sang for Vishal-Shekhar for the movie Taxi Number 9211. Of late, he has once again lent his voice to the title track of the Mani Ratnam film Guru, in which the music has been composed by A.R.Rahman. He has recorded songs for the movie Level Crossing produced by actor Jayaprada. In 2006, he appeared on the popular television show Sa Re Ga Ma Pa L'il Champs on Zee TV as co-judge with singers Alka Yagnik and Abhijeet. He was a judge for the 2007 edition of Zee TV's Sa Re Ga Ma Pa and Sony Entertainment Television's K For Kishore reality show that aims to find the 'heir apparent' to Kishore Kumar.

In 2010 Lahiri was back with "i am a disco dancer" in Golmaal 3 in his own voice. The track was from his previous film Disco Dancer. In 2011, he sung the song Ooo la la Ooo la lain the movie The Dirty Picture for Vishal-Shekhar, which cherishes his Disco image. In 2011, he released album Walking On Love Street featuring American Idol winner Shaun Barrows. The album features on CMJ's New Music Report Magazine charts ,Week World Chart and WONY Oneonta, New York - Top Ten Jazz Playlist.^[5]

Personal life[link]

Bappi Lahiri is married and has two children. His wife is Chitrani, daughter Rema and son Bappa. He is very fond of jewelry and is usually found wearing gold ornaments and dark glasses with a tracksuit.

His son Bappa Lahiri got married in April 2012.

Selected discography[link]

Some of the movies for which he composed successful music are:

• Morcha (1980)
• Ek Baar Kaho (1980)
• Surakshaa (1979)
• Waardat
• Armaan (1981 film)|Armaan
• Chalte Chalte
• Commando
• Ilzaam
• Pyara Dushman
• Disco Dancer
• Dance Dance
• Film Hi Film
• Saheb
• Tarzan
• Kasam Paida Karne Wale Ki
• Wanted: Dead or Alive (1984 film)|Wanted: Dead or Alive
• Guru
• Jyoti
• Namak Halaal
• Sharaabi - Winner 1985 Filmfare Best Music Director Award
• Aitbaar
• Zindagi Ek Jua
• Himmatwalla
• Justice Chaudary
• Nippu Ravva
• Rowdy Inspector
• Simhasanam
• Gang Leader
• Rowdy Alludu
• Bramha
• Hum Tumhaare Hain Sanam
• Zakhmi

Complete List of Hindi Films with music by Bappi Lahiri

Music Done for a Malayalam Film ( Kerala )

• The Good Boys - Malayalam Film

Bappi Lahiri has also done playback singing for his compositions. Some of the notable songs that he has sung include:

• "Rahi Hu Mein" (Wanted: Dead or Alive)
• "Bombai Se Aaya Mera Dost (Aap Ki Khatir)
• "Bambai Se Aaya mera Dost (Aap ki khatir)
• "Mausam Hai Gaane Ka" (Surakshaa)
• "Dil Tha Akela Akela" (Surakshaa)
• "Tum Jo Bhi Ho" (Surakshaa)
• "Tu Mujhe Jaan Se Bhi Pyaraa hai" (Wardat)
• "Yaad Aa Raha Hai" (Disco Dancer)
• "Super Dancer" (Dance Dancer)
• "Jeena Bhi Kya Hai Jeena" (Kasam Paida Karne Wale Ki)
• "Tera Mera Pehla Yaarana" (Shart)
• "Pyar Chahiye Mujhe Jeene Ke Liye" (Manokamna)
• "Raat Baaki" (Namak Halal)
• "Yaar Bina Chain Kahan Re" (Saaheb)
• "Tamma Tamma Loge" (Thaneedar)
• "Pyar Kabhi Kam Nahi Karna" (Prem Pratigya)
• "Dekha Hai Maine Tumhe Phir Se Palatke" (Wardat)
• "Dil Main Ho Tum"
• "Ji Le Le" (Tarzan)
• "Bambai Nagariya" (Taxi No 9211)
• "Oh la la la" (Dirty Picture)

Before his disco rejuvenation he also gave some of the evergreen music to the industry that include:

• "Chalte Chalte Mere Yeh Geet Yaad Rakhna" (Chalte Chalte)
• "Dil Se Mile Dil, Dil Se Mile Dil" (Dil Se Mile Dil)
• "Muskuraata Hua" (Lahu Ke Do Rang)
• "Chaar Din Ki Zindagi Hai" (Ek Baar Kaho)
• "Dheere Dheere Subah Huyi" (Haisiyat)
• "Maana Ho Tum" (Toote Khilone)
• "Teri Chhoti Si Bhool" (Shikshaa)
• "Yeh Naina Yeh Kajal" (Dil Se Mile Dil)
• "Gaao Mere Man" (Apne Paraaye)
• "Shyam Rang Ranga Re" (Apne Paraaye)
• "Pyar Hee Jeene Ki" (Armaan)
• "Pyar Manga Hai Tumhi Se" (College Girl)
• "Ke Pag Ghungroo Baandh Meera Nachi Thi" (Namak Halaal)
• "Dil Mein Ho Tum Aankhon Mein Tum"

Besides disco music, Bappi Lahiri has also produced Ghazals such as,

• "Kisi Nazar ko tera intezaar aaj bhi hai" (Aitbaar)
• "Aawaz di hai" (Aitbaar)

References[link]

External links[link]

• Official website
• Bappi Lahiri at the Internet Movie Database
• Unofficial fan club of Bappida
• Bappi Lahiri on SaReGaMaPa Challenge 2007
• Documentation of songs Bappi Lahiri copied or used as "inspiration"
• The song Nothing is Impossible from Zakhmee(1975)
• Bappi Lahiri on Facebook
• I don’t sing for awards: Bappi Lahiri
• My voice is a trendsetter: Bappi Lahiri

• Mithun, Bappi jodi is back again