Ramchandra Baryanji Dwivedi
Born	(1915-02-06)6 February 1915 Badnagar, Ujjain, Madhya Pradesh, British India
Died	11 December 1998(1998-12-11) (aged 83) Mumbai, Maharashtra, India
Other names	Kavi Pradeep
Occupation	Poet

Kavi Pradeep (1915–1998), born Ramchandra Baryanji Dwivedi,^[1] was a renowned poet and songwriter who is best known for his patriotic song, Aye Mere Watan Ke Logo, written as tribute to the soldiers who had died defending the country, during the Sino-Indian War.

His first recognition came for his patriotic lyrics for the film Bandhan (1940), though it was for writing a daringly patriotic song, "Door Haaton aye Duniya walon" (Move Away O Outsiders), in India's first golden jubilee hit, Kismet (1943), that his status as a nationalistic writer got immortalized as, as soon after the film's release, having provoked the ire of British government, he was forced to go underground to avoid arrest.^[2]

In a career span, of nearly five decades, Kavi Pradeep, wrote about 1,700 songs,^[1] nationalistic poems including the lyrics for some 72 films, including hits like, "Chal Chal Re Naujawan", film Bandhan (1940), "Aao Bachchon Tumhe Dikhayen" and "De Di Hame Azaadi Bina Khadag Bina Dhaal", film Jagriti (1954), and "Yahaan vahaan jahaan tahaan mat poochho kahaan kahaan", film Jai Santoshi Ma, (1975) for which he also did a playback version in the film.^[3][4] In 1958, HMV, released an album of 13 songs with his lyrics, soon he was made the Rashtrakavi, (Poet Laureate), and came to be known as, Kavi Pradeep ^[1]

In 1997, he was honoured by India's highest award in Cinema, the Dada Saheb Phalke Award for Lifetime Achievement.^[5]

Biography[link]

Early life[link]

Born Ramchandra Barayanji Dwivedi in 1915 into a middle-class Brahmin family in the small central Indian town of Badnagar, Ujjain in Madhya Pradesh state. Since his early student days in Madhya Pradesh, and later while pursuing graduation from University of Lucknow,^[1] he had a passion for writing and rendering Hindi poetry. He hypnotized the audience at kavi sammelans (poet's gatherings) with his inimitable style. It was during this time he changed his name to Pradeep.^[1] After graduating from Lucknow University in 1939, he decided to join a teacher's course and teaching.

Early career[link]

Pradeep was invited to a Kavi Sammelan in Bombay (now Mumbai) where he was offered his first film Kangan (1939), by the Himanshu Rai of Bombay Talkies. The film starred Devika Rani and Ashok Kumar. Pradeep shifted to Bombay and wrote four songs for the film, all of which became very popular and sung three of the songs himself.

He next film was Bandhan (1940), produced by S. Mukherjee and directed by Gyan Mukherjee, and music by Saraswati Devi. This time he wrote all the songs which became huge hits. The Most notable is "Chal chal re naujawan", which made waves since the Indian freedom movement was at a crucial juncture.^[6]

Golden era[link]

He worked on five more movies for Bombay Talkies which included Punarmilan, Jhoola, Naya Sansar, Anjan and Kismet (1943). Kismet is known for its patriotic song "Aj Himalay ki choti se phir hamne lalkara hai, door hato ae duniyawalon Hindustan hamara hai".

Mashaal was his next film and it features the extremely popular song "Upar gagan vishal, niche gahara pataal, bich mein dharati, wah mere malik tune kiya kamal..." sung by Manna Dey. Kavi Pradeep was at his creative zenith when he wrote for the films Nastik and Jagriti. He even lent his voice for the evergreen song "Dekh tere sansar ki halat kya ho gayi bhagwaan kitna, badal gaya insaan...". Jagriti is considered to be among his best work for one movie since it includes hit songs such as "Aao bachchon tumhe dikhayen jhanki Hindustan ki, is mitti se tilak karo, yeh dharti hai balidan ki...", "Hum laye hain toofan se kishti nikal ke, is desh ko rakhna mere bachon sambhal ke..." and "Dedi humein azadi bina khadak bina dhal, Sabarmati ke sant tune kar diya kamal...".

His songs were so popular that movies would get repeat audiences just to listen to his soulful songs. Kavi Pradeep always believed in writing songs with a meaning and made sure the songs he wrote fit into the situation of the movie. The popularity of his songs were also due to his down to earth lyrics and simple language that was well understood by everyone. He stayed in the Irla area of the Mumbai suburb of Vile Parle until he died.

Later life[link]

By the 1960s, the popularity of his songs was on the wane and film producers who were looking for western music and fast numbers avoided him. However he managed to prove his detractors wrong with films Talaaq, a Rajendra Kumar starrer and Paigam starring Dilip Kumar, Raaj Kumar and Vyjayantimala. With "Insaan ka insaan se ho bhaichara, yahi paigam hamara.." being a highlight. S. Mukerji’s Sambandh starring Pradeep Kumar was a movie that ran on the popularity of songs such as "Chal akela chal akela, tera mela pichche chhoota rahi chal akela...", "Jo diya tha tumne ek din, mujhe phir wohi pyar de do, ek karz mangta hoon, bachpan udhar de do" were written by Kavi Pradeep. He continued to show his brilliance in 1975, when the movie Jai Santoshi Maa was released. For a low budget movie, it matched the collections of another Block Buster Sholay. For months, theatres screening the movie, held the housefull boards high. Ladies would perform poojas when the immortal song "Main to aarti utaroon re Santoshi mata ki...." was played in the theatres. He also sang one of the songs "Yahan Wahan" from the film for which he received the award as Best Male Playback Singer from the Bengal Film Journalists' Association in 1975.^[7] Almost synonymous to his Kismet song "Aj Himalay ki choti se phir hamne lalkara hai..", the reel would be rewound and played many times to satisfy public demand.

The Patriot[link]

Kismet was his groundbreaking effort since it came at the time of the "Quit India" movement. The country was in strife with all national leaders in Jail. He cleverly wrote "Aj Himalay ki choti se phir hamne lalkara hai, door hato ae duniyawalon Hindustan hamara hai". The song was supposed to warn the Axis powers, but the Indian public understood the real meaning of the song. Theatres around the country were resounded with "once more" calls once the song ended. The reel had to be rewound and the song was screened again and again. Kismet made Box Office history for its time by running for 3½ years in one theatre. Though the song managed to pass through heavy censorship of the time,^[8] the British soon realized the true meaning of his songs and issued a warrant for his arrest. This forced Kavi Pradeep underground to avoid arrest.

He continued his patriotic zeal with renewed vigor after Independence in movies such as Jagriti, "Dedi humein azadi bina khadak bina dhal, Sabarmati ke sant tune kar diya kamal..." is considered to be his tribute to Mahatma Gandhi.

During 1962 (Indo-China) war days, he heard about Param Vir Major Shaitan Singh Bhati. He was so touched by his sacrifice and bravery that he penned down the lines "Aye Mere Watan Ke Logon" (translation: O people of my country). This song was originally supposed to be sung by Asha Bhosle, due to a misunderstanding between composer C. Ramchandra and Lata Mangeshkar. Kavi Pradeep though, was adamant about having Lata Mangeshkar sing the song, as he felt that hers was the only voice that could do justice to the number. C. Ramchandra was unsure whether Mangeshkar would agree to sing, so Kavi Pradeep began the task of convincing her to hear the song. On hearing the song she was moved so much that she instantly agreed to sing the song, on condition that Kavi Pradeep be present at the rehearsals.

Aye Mere Watan Ke Logo went on to become one of the greatest patriotic songs of the country. It was while listening to Lata Mangeshkar’s rendition of ‘Ae Mere Watan Ke Logo’ that the then Prime Minister of India - Jawaharlal Nehru was moved to tears. For writing the song he was conferred the honour of "Rashtriya Kavi" (National Poet) by the Government Of India.

The song was famously performed live, by Lata Mangeshkar, in the presence of Prime Minister, Jawaharlal Nehru at the Ramlila grounds, New Delhi, on Republic Day, 26 January 1963,^[6] and moved him to tears,^[2] and a copy of the soundtrack spool was also gifted to him on the occasion. Despite many offers, Kavi Pradeep, pledged the royalties of the song to 'War Widows Fund', and on 25 August 2005, Bombay High Court, ordered, Saregama (HMV) to pay 10 lakhs as arrears in royalty due to the Fund.^[9]

Popular Songs[link]

• “Aye Mere Watan Ke Logo” (Kangan)
• “Sooni padi re sitar” (Kangan)
• “Nacho nacho pyare man ke mor” (Punar Milan)
• “Chal chal re nau javan” (Bandhan)
• “Chane jor garam babu” (Bandhan)
• “Piyoo piyoo bol pran papihe” (Bandhan)
• “Ruk na sako to jao” (Bandhan)
• “Kheencho kaman kheencho” (Anjan)
• “Jhoole ke sang jhoolo” (Jhoola)
• “Na jane kidhar aaj meri nao chali re” (Jhoola)
• “Main to dilli se dulhan laya re” (Jhoola)
• “Aaj mausam salona salona re” (Jhoola)
• “Mere bichhade hue saathi” (Jhoola)
• “Door hato ae duniya walo Hindustan hamara hai (Kismet)
• “Dheere dheere aa re badal” (Kismet)
• “Papiha re, mere piyase” (Kismet)
• “Ghar ghar mein diwalee hai mere ghar me andhera” (Kismet)
• “Ab tere siva kaun mera” (Kismet)
• “Har har mahadeo allah o akbar” (Chal Chal Re Naujawan)
• “Ram bharose meri gadi” (Girl”s School)
• “Oopar gagan vishal” (Mashal)
• “Kiski kismet mein kya likha” (Mashal)
• “Aaj ashia ke logon ka kafila chala” (Kafila)
• “Koyal bole ku” (Baap Beti)
• “Kahna bahjaye bansari” (Nastik)
• “Jai jai ram raghurai” (Nastik)
• “Kitna badal gaya insan” (Nastik)
• “Gagan jhan jhana raja” (Nastik)
• “Tere phoolon se bhi pyar” (Nastik)
• “Sabarmati ke sant” (Jagriti)
• “Hum laye hain toofan se” (Jagriti)
• “Chalo chalen maa” (Jagriti)
• “Aao bachacho tumhen dikhayen” (Jagriti)
• “Tere dwar khada bhagwan” (Waman Avtar)
• “Kahe ko bisara hari naam, maati ke putle” (Chakradhari)
• “Doosara o ka dukhada door karne wale” (Dashera)
• “Tunnaak tunnak bole re mera ektara” (Ram Navmi)
• “Pinjare ke panchhi re” (Naag Mani) (video search)
• “Koi lakh kare chaturai” (Chandi Pooja)
• “Nai umar ki kaliyo tumko dekh rehiduniya sari” (Talaq)
• “Bigul baj raha azadi ka” (Talaq)
• “Mere jeevan mein kiran ban ke” (Talaq)
• “Mukhada dekhle praani” (Do Bahen)
• “Insan ka insan se ho bhaichara” (Paigham)
• “O ameeron ke parameshwar” (Paigham)
• “Jawani mein akelapan” (Paigham)
• “O dildaar bolo ek baar” (School Master)
• “Aaj suno hum get vida ka garaha” (School Master)
• “Sanvariya re apni meera ko bhool na jana” (Aanchal)
• “Na jane kahan tum the” (Zindgi aur khwab)
• “Aaj ke is insaan ko ye kya hogaya” (Amar Rahe Ye Pyar)
• “Sooraj re jalte rahena” (Harishchandra Taramati) (video search)
• “Toot gayee hai mala” (Harishchandra Taramati)
• “Janma bhoomi maa” (Netaji Subhash Chandra Bose)
• “Suno suno desh ke Hindu - musalman” (Netaji Subhash Chandra Bose)
• “Bharat ke liye bhagwan ka ek vardaan hai ganga” (Har har gange)
• “Chal akela chal akela” (Sambandh)
• “Tum ko to karodon saal hue” (Sambandh)
• “Jo diya tha tumne ek din” (Sambandh)
• “Andhere mein jo beithe ho (Sambandh)
• “Ye khushi leke main kya karoon” (Har har gange)
• “Sukh dukh dono rehte” (Kabhi dhoop kabhi chhaon)
• “Hay re sanjog kya ghadi dikhlai” (Kabhi dhoop kabhi chhaon)
• “Chal musafir chal” (Kabhi dhoop kabhi chhaon)
• “Jai Jai narayan narayan hari hari” (Haridarshan)
• “Pabhu ke bharose han ko gaadi” (Haridarshan)
• “Maarnewala hai bhagwan bachanewala hai bhagwan” (Haridarshan)
• “Main is paar” (Agni rekha)
• “Main to aarti utaron” (Jai Santoshi Maa)
• “Yahan wahan jahan tahan” (Jai Santoshi Maa)
• “Mat ro mat ro aj” (Jai Santoshi Maa)
• “Karati hoon tumhara vrat main” (Jai Santoshi Maa)
• “Madad karo santoshi mata” (Jai Santoshi Maa)
• “He maruti saari ram katha ka” (Bajrangbali)
• “Banjaa hoon main” (Aankha ka tara)
• “Aye Mere Watan Ke Logon” ^[10]

His songs directly address and have inspired and continue to inspire millions of Indians spanning several generations

Awards[link]

Kavi Pradeep received numerous awards throughout his life. Some of which are:

• Sangeet Natak Akademi Award - 1961
• BFJA Award Jai Santoshi Maa (1975)[2]

Quotes[link]

About the kind of songs he wrote, Pradeep once said [3] "Love is just a part of life and the love written about today talks about love between the sexes only. But do young men and women have a monopoly where love is concerned. Aren't there different kinds of love that between a mother and her children, between a father and his children, between a bhakt (devotee) and his deity, between a man and his motherland? I chose to write about all these different kinds of love."

Plagiarized works of Kavi Pradeep[link]

Many of Kavi Pradeep’s works have been plagiarized in neighboring Pakistan. Songs like “Hum Laye Hain Toofan se Kashti Nikal Ke, Is Desh ko rakhnaa mere bachchon sambhal ke”, "Aao Bachon Tumhe Dikhayen Jhanki Hindustan Ki"' have been plagiarized almost word to word with minor changes like 'desh' to 'mulk' and avoiding references like 'Bharat', 'Hind', 'Bapu' etc.^{[citation needed]}

Legacy[link]

Kavi Pradeep died at the age of 83 in Mumbai on 11 December 1998, he was survived by his wife, and two daughters, Sargam Thaker and Mitul Pradeep, who later set up the Kavi Pradeep Foundation.^[11] They are assisted in their task by former MLA, Mr Avinash Pande. He is also a distant relative of the poet. An award, Kavi Pradeep Samman, has also been constituted in his memory.^[12]

References[link]

1. ↑ ^{1.0 1.1 1.2 1.3 1.4} Singh, Kuldip (15 December 1998). "Obituary: Kavi Pradeep". The Independent (London). http://www.independent.co.uk/arts-entertainment/obituary-kavi-pradeep-1191518.html. Retrieved 2011-05-14. 
2. ↑ ^{2.0 2.1} Kavi Pradeep, master of the patriotic song, dies at 84 Rediff.com.
3. ↑ Songs from Jai Santoshi Ma 1975
4. ↑ Legendary film lyricist Pradeep dead Indian Express, 11 December 1998.
5. ↑ Remembering a patriotic poet Indian Express, 2 November 2000.
6. ↑ ^{6.0 6.1} Unforgettable songs of national fervour Hindustan Times, 14 August 2008 Kushal.
7. ↑ [1]
8. ↑ Freedom struggle through Hindi films The Tribune, 10 May 2007.
9. ↑ ‘Aye mere watan...’ legal battle ends Screen, 16 September 2005.
10. ↑ List of songs of lyrics by Pradeep www.earthmusic.net.
11. ↑ Remembering Kavi Pradeep Screen.
12. ↑ Kavi Pradeep Samman - commemorating the great poet

External links[link]

• Kavi Pradeep website
• Pradeep at Kavita Kosh - A large collection of Hindi poems

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
  1953 Parineeta – Lalita
  1954 Baiju Bawra – Gauri
  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

Pradeep Kumar (born Pradeep Batabyal; 4 January 1925 - 27 October 2001) was an Indian actor in Bengali and Hindi films.^[1][2]

Career[link]

When Kumar was 17 years old, he decided to take up acting. His started his film career in Bengali films. His notable roles in Bengali films were in Alaknanda(1947) directed by renowned filmmaker Debaki Bose and in '42 (1951).

Kumar then shifted to Bombay and Filmistan studios, and had an important role in the film Anand Math (1952). He played the lead role with Bina Rai in Anarkali (1953) and with Vyjayanthimala in Nagin (1954). Both films were very popular and had songs that added to the movies success. He had a spate of releases in the second half of the 1950s. He did not enjoy as much success in the 1960s, though Ghoonghat (1960) , Taj Mahal (1963) and Aarti were successful. He worked with Meena Kumari in 7 films i.e. Adil-E-Jahangir, Bandhan, Chitralekha, Bahu Begum, Bheegi Raat, Aarti & Noor Jahan & with Mala Sinha in 8 films i.e. Naya Zamana, Hamlet, Baadshah, Detective, Fashion, Ek Shola, Duniya Na Maane, and Mitti Mein Sona.

He did not get to act in lead roles with the newer heroines of the 1960s like Sadhana, Saira Banu, Babita or Sharmila Tagore, though he did work with Asha Parekh in Ghoonghat and Meri Surat Teri Aankhen & with Waheeda Rehman in Raakhi(1963). In 1969, he moved to character roles with Sambandh and Mehboob Ki Mehndi, but did not have many visible roles till Jaanwar and Razia Sultan in 1983.

He won the Kalakar Award-Lifetime Achievement Award (1999).^[3]

Pradeep Kumar died in Calcutta on 27 October 2001, at the age of 76. He is survived by his daughters Reena, Meena and Beena who plays character roles in movies and TV serials including Uttran, son Debiprasad and granddaughters Tanisha, Riya and Hrishita.

Filmography[link]

Bengali[link]

Pradip kumar played the role of BANDIT MOHAN ( Dosshu Mohan in Bangla) a character based on a very popular bangla crime thriller series Dossu Mohan

Hindi[link]

This list is incomplete; you can help by expanding it.

Aakhri Insaf (1979)

Aarti (1961)

Adalat (1958)

Adl-E-Jehangir (1954)

Afsana (1966)

Amar Shakati (1978)

Anand Math (1952)

Anarkali (1953)

Anjaan (1956)

Apsara (1955)

Arab Ka Saudagar (1956)

Badshah (1955)

Bahu Begum (1966)

Batwara (1961)

Bheegee Raat (1965)

Chaitali (1975)

Chambal Ki Kassam (1979)

• Chitralekha (1964)

Detective (1958)

Do Anjaane (1976)

Do Dilon Ki Dastan (1967)

Duniya Na Mane (1959)

Dur Naheen Manzil (1972)

Durgesh Nandini (1956)

Ek Jhalak (1956)

Fashion (1957)

Gateway Of India (1957)

Ghunghat (1960)

Harishchandra Taramati (1970)

Hawas (1974)

Heer (1956)

Hill Station (1957)

Jab Se Tumhen Dekha Hai (1963)

Jagte Raho (1956)

Jalte Badan (1973)

Kagaz Ki Nao (1974)

Kalabaaz (1977)

Kranti (1981)

Lok Parlok (1979)

Mahabharat (1965)

Mangetar (1972)

Mehboob Ki Mehndi (1970)

Mere Armaan Mere Sapne (1963)

Meri Surat Teri Ankhen (1963)

Miss India (1956)

Mitti Me Sona (1960)

Modern Girl (1960)

Nagin (1955)

Naya Sansar (1959)

Noor Jehan (1967)

Palaniyappa Kalluri (2007)

Purana Mandir (1984) Parmatma (1976)

Passport (1961)

Patrani (1956)

Police (1957)

Pyar Ki Rahen (1959)

Raat Aur Din (1966)

Raj Hath (1956)

Rakhi (1962)

Saheli (1965)

Sambandh (1968)

Samjhauta (1972)

Sanjog (1961)

Shirin Farhad (1956)

Subah Ka Tara (1954)

Taj (1955)

Taj Mahal (1963)

Ustadon Ke Ustad (1963

Sindbad Alibaba & Aladin (1964))

Wahan Ke Log (1967)

Zindagi Aur Maut (1999)

References[link]

External links[link]

• An article from rediff.com
• Pradeep Kumar at the Internet Movie Database

This article about an Indian actor or actress is a stub. You can help Wikipedia by expanding it. v t e

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 Bengal Engineering college 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

Mohammad Rafi (December 24, 1924 – July 31, 1980) is considered to be the greatest Indian male playback singer of all time.^[1] He was awarded the National Film Award, Best Singer Award, six Filmfare Awards and the Best Singer of the Millennium award. 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 in the 1950s and 1960s[link]

In his early career, Rafi associated with many contemporary music directors, most notably Naushad. In the late 1950s and 1960s, he 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]

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.

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][31] 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.^[32] 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, Rafi 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.

Guiness World Records controversy[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."^[33] 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.^[33] The Guinness Book entries for both Rafi and Lata were later removed in 1991.

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