Lata or Latha (Telugu: లత) may refer to:

People[link]

• Lata Mangeshkar, an Indian playback singer
• Lata Pada, Bharatanatyam dancer
• Latha Sethupathi, South Indian film actress
• Lata (Tenneti Hemalata), a famous Telugu writer

Places[link]

• Lata Mountain, the highest point in American Samoa
• Lata, Solomon Islands, a town
• Lata, a village in Gulripsh district of Abkhazia
• Latha Township is located in the western part of downtown Yangon

Other[link]

• LATA, a telecommunications term meaning Local access and transport area
• Lata, a nursing term, verb meaning to have one’s pump (IV infusion, enteral feeding, etc.) sucking wind
• Latha (typeface) is an OpenType font for the Tamil script

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Lata Mangeshkar
Mangeshkar in 2008
Background information
Born	(1929-09-28) September 28, 1929 (age 82) Indore, Central India Agency, British India
Genres	Film music (playback singing)
Occupations	Singer
Instruments	Vocals
Years active	1942–present

Lata Mangeshkar (born September 28, 1929) is a singer from India. She is one of the best-known and most respected playback singers in India.^[1][2] Mangeshkar's career started in 1942 and has spanned over six and a half decades. She has recorded songs for over a thousand Hindi films and has sung songs in over thirty-six regional Indian languages and foreign languages, though primarily in Hindi. She is the elder sister of singer Asha Bhosle, Hridayanath Mangeshkar, Usha Mangeshkar and Meena Mangeshkar. She is the second vocalist to have ever been awarded the Bharat Ratna, India's highest civilian honour.^[3]

Mangeshkar was featured in the Guinness Book of World Records from 1974 to 1991 for having made the most recordings in the world. The claim was that she had recorded approximately 25,000 solo, duet, and chorus-backed songs in 20 Indian languages between 1948 to 1974. Over the years, while several sources have supported this claim, others have raised concerns over its veracity, claiming that this number was highly exaggerated and that Mangeshkar's younger sister, Asha Bhosle, had more song recordings than she had.^[4][5] In 2011 Guinness officially acknowledged Bhosle as the most recorded artist in music history.^[6]

Early life[link]

Lata Mangeshkar was born in Sikh Mohalla,^[7] in the princely state of Indore, part of the Central India Agency (now part of Madhya Pradesh). Her father, Pandit Deenanath Mangeshkar who belonged to a Gomantak Maratha Samaj family from Goa, was a classical singer and theater actor. Her mother Shevanti (Shudhamati) who was from Thalner, Maharashtra, was Deenanath's second wife. The family's last name used to be Hardikar; Deenanath changed it to Mangeshkar in order to identify his family with his native town, Mangeshi in Goa. Lata was named "Hema" at her birth. Her parents later renamed her Lata after a female character, Latika, in one of her father's plays, BhaawBandhan.^[8] Lata is the eldest child of her parents. Meena, Asha, Usha and Hridayanath are her siblings in sequence.

Mangeshkar took her first lessons from her father. At the age of five, she started to work as an actress in her father's musical plays (Sangeet Natak in Marathi). On the first day in the school, she started teaching songs to other children. When the teacher stopped her, she was so angry that she stopped going to the school.^[8] Other sources cite that she left school because they would not allow her to bring Asha with her, as she would often bring her younger sister with her.

Singing career[link]

Early career in the 1940s[link]

In 1942, when Mangeshkar was 13, her father died of heart disease. Master Vinayak (Vinayak Damodar Karnataki), the owner of Navyug Chitrapat movie company and a close friend of the Mangeshkar family, took care of them

Mangeshkar sang the song "Naachu Yaa Gade, Khelu Saari Mani Haus Bhaari" which was composed by Sadashivrao Nevrekar for Vasant Joglekar's Marathi-language movie Kiti Hasaal (1942), but the song was dropped from the final cut. Vinayak gave her a small role in Navyug Chitrapat's Marathi movie Pahili Mangalaa-gaur (1942), in which she sang "Natali Chaitraachi Navalaai" which was composed by Dada Chandekar.^[8] Her first Hindi song was "Mata Ek Sapoot Ki Duniya Badal De Tu" for the Marathi film, Gajaabhaau (1943). Mangeshkar moved to Mumbai in 1945 when Master Vinayak's company moved its headquarters there. She started taking lessons in Hindustani classical music from Ustad Amanat Ali Khan . She sang “Paa Lagoon Kar Jori” for Vasant Joglekar's Hindi-language movie Aap Ki Seva Mein (1946),^[8] which was composed by Datta Davjekar. Mangeshkar and her sister Asha played minor roles in Vinayak's first Hindi-language movie, Badi Maa (1945). In that movie, Lata also sang a bhajan, “Maata Tere Charnon Mein.” She was introduced to music director Vasant Desai during the recording of Vinayak's second Hindi-language movie, Subhadra (1946).

Following the partition of India in 1947, Ustad Amanat Ali Khan migrated to newly formed Pakistan, so Mangeshkar started to learn classical music under Amanat Khan Devaswale. Pandit Tulsidas Sharma, a pupil of Ustad Bade Ghulam Ali Khan, also trained her.

After Vinayak's death in 1948, music director Ghulam Haider mentored her as a singer. Haider introduced Mangeshkar to producer Sashadhar Mukherjee, who was working then on the movie Shaheed (1948), but Mukherjee dismissed Mangeshkar's voice as "too thin."^[8] An annoyed Haider responded that in the coming years the producers and the directors would "fall at Lata's feet" and "beg her" to sing in their movies. Haider gave Lata her first major break with the song “Dil Mera Toda,” from the movie Majboor (1948).^[8]

Initially, Mangeshkar is said to have imitated the acclaimed singer Noor Jehan, but later she developed her own style of singing.^[8] Lyrics of songs in Hindi movies are primarily composed by Urdu poets and contain a higher proportion of Urdu words, including the dialogue. Actor Dilip Kumar once made a mildly disapproving remark about Mangeshkar's Maharashtrian accent while singing Hindi/Urdu songs; so for a period of time, Lata took lessons in Urdu from an Urdu teacher named Shafi.^[9]

One of her first major hits was “Aayega Aanewaala,” a song in the movie Mahal (1949), which was composed by music director Khemchand Prakash and lip-synced on screen by actress Madhubala.

1950s[link]

Mangeshkar as a young woman

In the 1950s, Mangeshkar sang songs composed by various music directors of the period, including Anil Biswas (in films such as Tarana and Heer), Shankar-Jaikishan, Naushad, S. D. Burman, C. Ramchandra, Hemant Kumar, Salil Chowdhury, Khayyam, Ravi, Sajjad Hussain, Roshan, Kalyanji-Anandji, Vasant Desai, Sudhir Phadke, Hansraj Behl, Madan Mohan, and Usha Khanna.

Mangeshkar sang many raga-based songs for Naushad in movies such as Baiju Bawra (1952), Mughal-E-Azam (1960), and Kohinoor (1960). Ae Chorre Ki Jaat Badi Bewafa, a duet with G. M. Durrani, was her first song for composer, Naushad. The duo, Shankar-Jaikishan, chose Mangeshkar for Aag, Aah (1953), Shree 420 (1955), and Chori Chori (1956). Before 1957, composer Sachin Dev (S. D.) Burman chose Mangeshkar as the leading female singer for his musical scores in Sazaa (1951), House No. 44 (1955), and Devdas (1955). However a rift developed between Lata and Burman in 1957, and Lata did not sing Burman's compositions again until 1962.^[8]

Mangeshkar won a Filmfare Best Female Playback Award for Salil Chowdhury's composition “Aaja Re Pardesi,” from Madhumati (1958). In the early fifties, Lata Mangeshkar's association with C. Ramchandra produced songs in movies such as Anarkali, Albela, Asha, Pehli Jhhalak, Shin Shinkai Bublaa Boo, Azad and Amardeep. For Madan Mohan, she performed for films like Adalat, Railway Platform, Dekh Kabira Roya and Chacha Zindabad.

1960s[link]

Mangeshkar's song "Pyar Kiya To Darna Kya" from Mughal-E-Azam (1960), composed by Naushad and picturized on Madhubala, still remains famous . The Hawaiian-themed number "Ajeeb Dastaan Hai Yeh" from Dil Apna Aur Preet Parai (1960) was composed by Shankar-Jaikishan and picturized on Meena Kumari.

In 1961, Mangeshkar recorded two popular bhajans, "Allah Tero Naam" and "Prabhu Tero Naam", for Burman's assistant, Jaidev. In 1962, she was awarded her second Filmfare Award for the song "Kahin Deep Jale Kahin Dil" from Bees Saal Baad, composed by Hemant Kumar.

On June 27, 1963, against the backdrop of the Sino-Indian War, Mangeshkar sang the patriotic song "Aye Mere Watan Ke Logo" (literally, "Oh, People of My Country") in the presence of Jawaharlal Nehru, the then Prime Minister of India. The song, composed by C. Ramchandra and written by Pradeep, is said to have brought the Prime Minister to tears.^[8][10]

In 1963, Mangeshkar returned to collaboration with S. D. Burman. She also sang for R. D. Burman's very first film Chhote Nawaab and later for his films such as Bhoot Bangla (1965), Pati Patni (1966), Baharon ke Sapne (1967) and Abhilasha (1969). She also recorded several popular songs for S. D. Burman, including "Aaj Phir Jeene Ki Tamanna Hai", "Gata Rahe Mera Dil" (duet with Kishore Kumar) and "Piya Tose" from Guide (1965), and "Hothon Pe Aisi Baat" from Jewel Thief (1967).

During the 1960s, Lata Mangeshkar continued her association with Madan Mohan which included the songs "Aap Ki Nazron Ne Samjha" from Anpadh (1962), "Lag Ja Gale" and "Naina Barse Rim Jhim" from Woh Kaun Thi? (1964), "Woh Chup Rahen To" from Jahan Ara (1964), and "Tu Jahan Jahan Chalega" from Mera Saaya (1966).

The 1960s also witnessed the beginning of Mangeshkar's association with Laxmikant-Pyarelal, the music directors for whom she sang the most popular songs in her career. She sang for Parasmani (1963) which was their first film together.

She also sang several playback songs for Marathi films, composed by Marathi music directors including Hridaynath Mangeshkar, Vasant Prabhu, Srinivas Khale, Sudhir Phadke and herself (under the name Anandghan). During the 1960s and 1970s, she also sang several Bengali songs, composed by music directors like Salil Chowdhury and Hemant Kumar.

In this period Lata Mangeshkar has recorded duets with Mukesh, Manna Dey, Mohammed Rafi, and Kishore Kumar.

1970s[link]

In 1972, Meena Kumari's last film, Pakeezah released. It featured popular songs including "Chalte Chalte" and "Inhi Logon Ne" sung by Lata Mangeshkar, and composed by Ghulam Mohammed. She recorded many popular songs for S. D. Burman's last films, including "Rangeela Re" from Prem Pujari (1970), "Khilte Hain Gul Yahaan" from Sharmeelee (1971), and "Piya Bina" from Abhimaan (1973).

Lata Mangeshkar's most notable songs in 1970s were composed by Laxmikant-Pyarelal (Laxmi-Pyare) and Rahul Dev Burman^{[citation needed]}. She recorded several songs composed by Laxmi-Pyare in 1960s and 1970s, many of them written by the lyricist Anand Bakshi. She also recorded many hit songs with Rahul Dev Burman in the films Amar Prem (1972), Caravan (1971), Kati Patang(1971), and Aandhi (1975). The two are noted for their songs with the lyricists Majrooh Sultanpuri, Anand Bakshi and Gulzar.

In 1973, she won the National Film Award for Best Female Playback Singer for the song "Beeti Na Bitai" from the film Parichay, composed by R. D. Burman, and written by Gulzar. In 1974, she sang her only Malayalam song "Kadali Chenkadali" for the film Nellu, composed by Salil Chowdhury, and written by Vayalar Ramavarma. In 1975, she again won the national award, this time for the song "Roothe Roothe Piya" from the film Kora Kagaz, composed by Kalyanji-Anandji.

From 1970s onwards, Lata Mangeshkar has also staged many concerts in India and abroad, including several charity concerts. Her first concert overseas was at the Royal Albert Hall, London, in 1974. She also released an album of Mirabai's bhajans, Chala Vaahi Des, composed by her brother Hridayanath Mangeshkar. Some of the bhajans in the album include "Saanware Rang Raachi" and "Ud Jaa Re Kaaga". In the early 70s, she released other non-film albums, such as her collection of Ghalib ghazals, an album of Marathi folk songs (koli-geete), an album of Ganesh aartis (all composed by her brother Hridaynath) and an album of abhangs of Sant Tukaram composed by Shrinivas Khale.

In late 1970s and early 1980s, she worked with the children of composers she had earlier worked with. Some of these composers included Rahul Dev Burman (son of Sachin Dev Burman), Rajesh Roshan (son of Roshan), Anu Malik (son of Sardar Malik), and Anand-Milind (sons of Chitragupt).

1980s onwards[link]

From 1980s onwards, Lata Mangeshkar worked with music directors including Shiv-Hari, Ram Laxman, and A. R. Rahman. She recorded some non-film songs, including ghazals with Jagjit Singh.

In 1990, Mangeshkar launched her own production house for Hindi movies which produced the Gulzar-directed movie Lekin.... She won her third National Film Award for Best Female Playback Singer for her rendition of the song "Yaara Sili Sili" from the film, which was composed by her brother Hridayanath. During the 1990s, she recorded with music directors including Jatin-Lalit and Nadeem-Shravan. She has sung for Rajshri Productions, including Maine Pyar Kiya (1989) and Hum Aapke Hain Koun..! (1994).

Mangeshkar has sung for almost all the Yash Chopra films and films from his production house Yash Raj Films at that time, including Chandni (1989), Lamhe (1991), Darr (1993), Yeh Dillagi (1994), Dilwale Dulhaniya Le Jayenge (1995), Dil To Pagal Hai (1997) and later on Mohabbatein (2000), Mujhse Dosti Karoge (2002) and Veer Zaara (2004).

A. R. Rahman recorded a few songs with Mangeshkar during this period, including "Jiya Jale" (Dil Se..), "Khamoshiyan Gungunane Lagin" (One Two Ka Four), "Ek Tu Hi Bharosa" (Pukar), "Pyaara Sa Gaon" (Zubeidaa), "Lukka chuppi" (Rang de Basanti) and "O Paalanhaare" (Lagaan). She made an appearance in the film Pukar singing this song.

In 1999, Lata Eau de Parfum, a perfume brand named after her, was launched.^[11]

In 1999, Mangeshkar was nominated as a member of Rajya Sabha.^[12] However, she did not attend the Rajya Sabha sessions regularly, inviting criticism from several members of the House, including the Deputy Chairperson Najma Heptullah, Pranab Mukherjee and Shabana Azmi.^[13][14] She stated the reason for her absence as ill-health; it was also reported that she had not taken a salary, allowance or a house in Delhi for being a Member of Parliament.^[13][15]

In 2001, Lata Mangeshkar was awarded Bharat Ratna, India's highest civilian honor. In the same year, she established the Master Deenanath Mangeshkar Hospital in Pune, managed by the Lata Mangeshkar Medical Foundation (founded by the Mangeshkar family in October 1989). In 2005, she designed a jewellery collection called Swaranjali, which was crafted by Adora, an Indian diamond export company. Five pieces from the collection raised £105,000 at a Christie's auction, and a part of the money was donated for the 2005 Pakistan earthquake relief.^[16] Also in 2001, she recorded her first Hindi song with the composer Ilaiyaraaja, for the film Lajja; she had earlier recorded Tamil and Telugu songs composed by Ilaiyaraaja.

Lata Mangeshkar's song "Wada Na Tod" is in the film Eternal Sunshine of the Spotless Mind (2004) and on the film's soundtrack.

On June 21, 2007, she released an album Saadgi, featuring eight ghazal-like songs written by Javed Akhtar and composed by Mayuresh Pai.^[17]

Lata Mangeshkar records songs for Madhur Bhandarkar Kitne Ajeeb Rishte Hain Yahan Par for Page 3 (2005), Daata Sun Le for Jail (2009) and, Kyun Yahan Hota Hai was recorded years ago for Corporate (2006), but is only being used in Heroine (2012).^{[18] [19]}

Non-singing career[link]

Music direction[link]

Lata Mangeshkar composed music for the first time in 1955 for Marathi movie Ram Ram Pavhane. Later in 1960s, she composed music for following Marathi movies under the pseudonym of Anand Ghan.^[20]

• 1960 - Ram Ram Pavhana
• 1963 - Maratha Tituka Melvava
• 1963 - Mohityanchi Manjula
• 1965 - Sadhi Manase
• 1969 - Tambadi Mati

She won Maharashtra State Government's Best Music Director Award for the film Sadhi Manase. The song "Airanichya Deva Tula" from the same film received best song award.^{[citation needed]}

Production[link]

Lata Mangeshkar has produced four films:

• 1953 - Vaadal (Marathi)
• 1953 - Jhaanjhar (Hindi), co-produced with C. Ramchandra
• 1955 - Kanchan (Hindi)
• 1990 - Lekin... (Hindi)

Awards and recognitions[link]

Lata Mangeshkar has won several awards and honors, including Bharat Ratna (India's Highest Civilian Award), Padma Bhushan (1969), Padma Vibhushan (1999), Dada Saheb Phalke Award (1989), Maharashtra Bhushan Award (1997),^[21] NTR National Award (1999), Bharat Ratna (2001), ANR National Award (2009), three National Film Awards, and 12 Bengal Film Journalists' Association Awards. She has also won four Filmfare Best Female Playback Awards. In 1969, she made the unusual gesture of giving up the Filmfare Best Female Playback Award, in order to promote fresh talent. She was later awarded Filmfare Lifetime Achievement Award in 1993.

In 1984, the State Government of Madhya Pradesh instituted the Lata Mangeshkar Award in honour of Lata Mangeshkar. The State Government of Maharashtra also instituted a Lata Mangeshkar Award in 1992.

In 1974, The Guinness Book of Records listed Lata Mangeshkar as the most recorded artist in the history, stating that she had reportedly recorded "not less than 25,000 solo, duet and chorus backed songs in 20 Indian languages" between 1948 and 1974. Her record was contested by Mohammed Rafi, who was claimed to have sung around 28,000 songs.^[4][22] After Rafi's death, in its 1984 edition, the Guinness Book of World Records stated Lata Mangeshkar's name for the "Most Recordings", but also stated Rafi's claim. The later editions of Guinness Book stated that Lata Mangeshkar had sung no fewer than 30,000 songs between 1948 and 1987.^[23]

Although the entry has not been printed in Guinness editions since 1991, several sources claim that she has recorded thousands of songs, with estimates ranging up to figures as large as 50,000.^[24][25] However, even the earliest Guinness claim of 25,000 songs (between 1948–1974) was claimed to be exaggerated by several other sources, with one of them stating that the number of songs sung by Lata Mangeshkar in Hindi films till 1991 was found to be 5250.^[26][27][28] Mangeshkar herself stated that she does not keep a record of the number of songs recorded by her, and that she did not know from where Guinness Book editors got their information.^[29] In 2011 Asha Bhosle was officially acknowledged by Guinness as the most recorded artist in music history, surpassing Mangeshkar.^[6]

See also[link]

• Playback singer
• Asha Bhosle
• List of Indian playback singers
• Bollywood songs

References[link]

Further reading[link]

• Bichu, Dr. Mandar (2011). Lata - Voice of the Golden Era. Popular Prakashan. ISBN 978-81-7991-625-4. 
• Bhimani, Harish (1995). In search of Lata Mangeshkar. Indus. ISBN 978-81-7223-170-5. 
• Bharatan, Raju (1995). Lata Mangeshkar: A Biography. UBS Publishers Distributors. ISBN 978-81-7476-023-4. 
• Kabir, Nasreen Munni (2009). Lata Mangeshkar: In Her Own Voice. Niyogi Books. ISBN 978-81-89738-41-9. 
• Lata, Mangeshkar (1995). Madhuvanti Sapre and Dinkar Gangal. ed (in Marathi). In search of Lata Mangeshkar. Harper Collins/Indus. ISBN 978-81-7223-170-5. . A collection of articles written by Lata Mangeshkar since 1952.
• Nerurkar, Vishwas (in Hindi). Lata Mangeshkar Gandhar Swaryatra (1945-1989). Mumbai: Vasanti P. Nerukar. .
• Bichhu, Mandar V. (1996) (in Hindi). Gaaye Lata, Gaaye Lata. Sharjah: Pallavi Prakashan. ISBN 978-81-7223-170-5. . A collection of articles written by Lata Mangeshkar since 1952.

External links[link]

Wikimedia Commons has media related to: Lata Mangeshkar

• Lata Mangeshkar at the Internet Movie Database

Awards for Lata Mangeshkar v t e Bharat Ratna laureates Sarvepalli Radhakrishnan (1954) C. Rajagopalachari (1954) C. V. Raman (1954) Bhagwan Das (1955) Mokshagundam Visvesvarayya (1955) Jawaharlal Nehru (1955) Govind Ballabh Pant (1957) Dhondo Keshav Karve (1958) Bidhan Chandra Roy (1961) Purushottam Das Tandon (1961) Dr. Rajendra Prasad (1962) Dr. Zakir Hussain (1963) Pandurang Vaman Kane (1963) Lal Bahadur Shastri (1966) Indira Gandhi (1971) V. V. Giri (1975) K. Kamaraj (1976) Mother Teresa (1980) Acharya Vinoba Bhave (1983) Khan Abdul Ghaffar Khan (1987) M. G. Ramachandran (1988) B. R. Ambedkar (1990) Nelson Mandela (1990) Rajiv Gandhi (1991) Sardar Vallabhbhai Patel (1991) Morarji Desai (1991) Abul Kalam Azad (1992) J. R. D. Tata (1992) Satyajit Ray (1992) A. P. J. Abdul Kalam (1997) Gulzarilal Nanda (1997) Aruna Asaf Ali (1997) M. S. Subbulakshmi (1998) Chidambaram Subramaniam (1998) Jayaprakash Narayan (1998) Ravi Shankar (1999) Amartya Sen (1999) Gopinath Bordoloi (1999) Lata Mangeshkar (2001) Bismillah Khan (2001) Bhimsen Joshi (2008) v t e Dadasaheb Phalke Award 1969–1980 Devika Rani Chaudhuri Roerich (1969) B. N. Sircar (1970) Prithviraj Kapoor (1971) Pankaj Mullick (1972) Ruby Myers (1973) Bommireddy Narasimha Reddy (1974) Dhirendranath Ganguly (1975) Kanan Devi (1976) Nitin Bose (1977) Rai Chand Boral (1978) Sohrab Modi (1979) Paidi Jairaj (1980) 1981–2000 Naushad Ali (1981) L. V. Prasad (1982) Durga Khote (1983) Satyajit Ray (1984) V. Shantaram (1985) Bommireddy Nagi Reddy (1986) Raj Kapoor (1987) Ashok Kumar (1988) Lata Mangeshkar (1989) Akkineni Nageswara Rao (1990) Bhalji Pendharkar (1991) Bhupen Hazarika (1992) Majrooh Sultanpuri (1993) Dilip Kumar (1994) Rajkumar (1995) Sivaji Ganesan (1996) Pradeep (1997) B. R. Chopra (1998) Hrishikesh Mukherjee (1999) Asha Bhosle (2000) 2001–present Yash Chopra (2001) Dev Anand (2002) Mrinal Sen (2003) Adoor Gopalakrishnan (2004) Shyam Benegal (2005) Tapan Sinha (2006) Manna Dey (2007) V. K. Murthy (2008) D. Ramanaidu (2009) K. Balachander (2010) Soumitra Chatterjee (2011) v t e National Film Award for Best Female Playback Singer 1968–1980 No Award (1968) P. Susheela (1969) K. B. Sundarambal (1970) Sandhya Mukherjee (1971) P. Susheela (1972) Lata Mangeshkar (1973) No Award (1974) Lata Mangeshkar (1975) Vani Jairam (1976) P. Susheela (1977) S. Janaki (1978) Chhaya Ganguly (1979) Vani Jairam (1980) 1981–2000 S. Janaki (1981) Asha Bhosle (1982) P. Susheela (1983) P. Susheela (1984) S. Janaki (1985) K. S. Chithra (1986) K. S. Chithra (1987) Asha Bhosle (1988) K. S. Chithra (1989) Anuradha Paudwal (1990) Lata Mangeshkar (1991) Vani Jairam (1992) S. Janaki (1993) Alka Yagnik (1994) Swarnalatha (1995) Anjali Marathe (1996) K. S. Chithra (1997) K. S. Chithra (1998) Alka Yagnik (1999) Jayshree Dasgupta (2000) 2001–present Bhavatharini Ilaiyaraaja (2001) Sadhana Sargam (2002) Shreya Ghoshal (2003) Tarali Sarma (2004) K. S. Chithra (2005) Shreya Ghoshal (2006) Arati Ankalikar-Tikekar (2007) Shreya Ghoshal (2008) Shreya Ghoshal (2009) Nilanjana Sarkar (2010) Rekha Bhardwaj (2011) Rupa Ganguly (2012) v t e Filmfare Award for Best Female Playback Singer 1959–1960 Lata Mangeshkar (1959) No Award (1960) 1961–1980 No Award (1961) No Award (1962) Lata Mangeshkar (1963) No Award (1964) No Award (1965) Lata Mangeshkar (1966) No Award (1967) Asha Bhosle (1968) Asha Bhosle (1969) Lata Mangeshkar (1970) Sharda (1971) Asha Bhosle (1972) Asha Bhosle (1973) Asha Bhosle (1974) Asha Bhosle (1975) Sulakshana Pandit (1976) Hemlata (1977) Preeti Sagar (1978) Asha Bhosle (1979) Vani Jairam (1980) 1981–2000 Nazia Hassan (1981) Parveen Sultana (1982) Salma Agha (1983) Aarti Mukherji (1984) Anupama Deshpande (1985) Anuradha Paudwal (1986) No Award (1987) No Award (1988) Alka Yagnik (1989) Sapna Mukherjee (1990) Anuradha Paudwal (1991) Anuradha Paudwal (1992) Anuradha Paudwal (1993) Alka Yagnik and Ila Arun (1994) Kavita Krishnamurthy (1995) Kavita Krishnamurthy (1996) Kavita Krishnamurthy (1997) Alka Yagnik (1998) Jaspinder Narula (1999) Alka Yagnik (2000) 2001–present Alka Yagnik (2001) Alka Yagnik (2002) Kavita Krishnamurthy and Shreya Ghoshal (2003) Shreya Ghoshal (2004) Alka Yagnik (2005) Alisha Chinai (2006) Sunidhi Chauhan (2007) Shreya Ghoshal (2008) Shreya Ghoshal (2009) Kavita Seth and Rekha Bhardwaj (2010) Mamta Sharma and Sunidhi Chauhan (2011) Rekha Bhardwaj and Usha Uthup (2012) v t e Filmfare Award for Lifetime Achievement 1991 – 2000 Amitabh Bachchan (1991) Dev Anand (1992) Dilip Kumar (1993) Lata Mangeshkar (1994) Shammi Kapoor & Waheeda Rehman (1995) Ashok Kumar, Sunil Dutt & Vyjayanthimala (1996) Dharmendra, Mumtaz & Pran(1997) Sharmila Tagore (1998) Manoj Kumar & Helen (1999) Vinod Khanna & Hema Malini (2000) 2001 – 2010 Feroz Khan & Asha Bhosle (2001) Gulzar & Asha Parekh (2002) Jeetendra (2003) Sulochana Latkar, Nirupa Roy & B.R. Chopra (2004) Rajesh Khanna (2005) Shabana Azmi (2006) Javed Akhtar & Jaya Bachchan (2007) Rishi Kapoor (2008) Bhanu Athaiya & Om Puri (2009) Shashi Kapoor & Khayyam (2010) 2011 - present Manna Dey (2011) Pyarelal & Aruna Irani (2012)

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, but 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." It is widely believed that this film established Kishore Kumar as a leading playback singer in Bollywood.

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 "Le Jaayenge Le Jaayenge" from Chor Machaye Shor 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 Yaadon Mein Woh from Swami, Chhookar mere man ko from Yaarana, Tune Abhi Dekha Nahin from Do Aur Do Paanch and Kahan Tak Ye Man Ko Andhere Chhalenge as well as Kahiye, Suniye (duet with Asha Bhosle) 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 978-81-291-0526-4. OCLC 57429780. 
• Valicha, Kishore (1998). Kishore Kumar: The Definitive Biography. New York/New Delhi: Penguin Books/Viking. ISBN 978-0-670-88264-9. 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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Manisha Koirala
Manisha Koirala
Born	Manisha B. Koirala (1970-08-16) August 16, 1970 (age 41) Kathmandu, Nepal
Other names	Manisha Koirala Dahal
Occupation	Film actress
Years active	1989–present
Spouse	Samrat Dahal (2010–present)
Website
http://www.manishakoirala.net.in/

Manisha B. Koirala (born August 16, 1970) is a Nepali-Indian^[1][2] actress who works in Indian films, as well as a UNFPA Goodwill Ambassador and social activist. Koirala has primarily worked in Hindi cinema, though she has appeared in several Tamil, Telugu and Malayalam films as well. She is also an accomplished Bharatnatyam and Manipuri dancer. Making her acting debut in the Nepali film Pheri Bhetaula (1989), Koirala made her Bollywood debut with the top-grossing drama Saudagar (1991). She went on to establish herself as one of the leading actresses with such mainstream films as 1942: A Love Story (1994), Agni Sakshi (1996) and Gupt (1997).^[3]

Recognised for her acting prowess, Koirala was noted for her performances in films like Bombay (1995), Akele Hum Akele Tum (1995), Khamoshi: The Musical (1996), Dil Se.. (1998) and Company (2002). She has won the Filmfare Critics' Award thrice and has received four nominations for the Filmfare Award for Best Actress so far. Although box-office collections of her films have varied considerably, critics have noted that her niche as an actor remains unharmed irrespective of her commercial potent.^[3][4] Off-screen she is frequented in the media as being a "controversy’s child" with her bohemian stance and candid comments often described as "outspoken" and "bold".^[5][6][7]

Early life and background[link]

Main article: Koirala family

Manisha Koirala was born in Kathmandu, Nepal, into the politically prominent Koirala family to Prakash Koirala and Sushma Koirala. Her grandfather Bishweshwar Prasad Koirala was the Prime Minister of Nepal during the late 1950s-early 1960s, as well as two of her late great-uncles, Girija Prasad Koirala and Matrika Prasad Koirala. She studied at Vasant Kanya Mahavidhyalaya (VKM), Varanasi until Class X. She stayed with her grandmother in Varanasi during her studies. After passing tenth standard she shifted to the Army Public School, Dhaula Kuan, New Delhi (APS).^[8] Her ambition was to be a doctor, but a modelling stint opened a career path into Bollywood.^[9]

Her brother Siddharth Koirala is also an actor, and collaborated with her once in the film Anwar.^[10]

In 2004, she returned from New York after receiving a diploma in filmmaking. She became a member of an independent documentary filmmaker's society.^[11]

Career[link]

1980s[link]

Her first film was Pheri Bhetaula (We Shall Meet Again), a Nepali movie released in early 1989.

1990s[link]

Her first Hindi movie was Subhash Ghai's Saudagar in 1991. The film proved to be a good beginning, as it was the biggest hit of the year.

She starred in a number of unsuccessful films during 1992-1993 until Vidhu Vinod Chopra's love saga 1942: A Love Story (1994) and Mani Ratnam's Tamil drama Bombay (1995) came out.^[12][13] Her performance in the latter was particularly appreciated and won her the Filmfare Critics Award for Best Performance. She was also seen in more commercial films, such as Mansoor Khan's romantic musical Akele Hum Akele Tum (1995) opposite Aamir Khan. Her role of Kiran, an ignored wife who leaves her husband and child in order to fulfill her singing talent and subsequently becomes a popular star, earned her a Filmfare nomination for Best Actress.

Koirala had a particularly successful year in 1996. She received positive reviews for her performance in the drama Agni Sakshi,^[14] where she played the role of a battered wife on the run from her mentally ill husband, played by Nana Patekar. The film became one of the biggest hits of that year at the Indian box office.^[15] Later that year, she acted in Sanjay Leela Bhansali's directorial debut, Khamoshi: The Musical. The film saw her playing the role of Annie, a caring daughter to deaf parents. Her performance was highly acclaimed,^[16] and won her a second consecutive Filmfare Best Performance Award, as well as a Star Screen Award for Best Actress. One critic from Channel 4 wrote, "Koirala... demonstrates the full range of her acting ability, rather than playing against it as she has had to do in more traditional films. The scene where she shouts at her father through the door, screaming and using sign language even though she knows he can neither see nor hear her, is extremely powerful."^[17] Filmfare magazine later included her performance in the film on its "80 Iconic Performances" list.^[18]

One year later in 1997, she played the leading role alongside Kajol and Bobby Deol in the thriller Gupt: The Hidden Truth. The film became one of the biggest hits of the year.^[19] She went on to collaborate once again with Mani Ratnam, and starred in his award-winning film Dil Se.. (1998) opposite Shahrukh Khan. Her role received similarly good reviews, and earned her several award nominations including the Filmfare Best Actress Award nomination. Despite performing poorly at the box office in India, the film proved to be a hit overseas.^[20]

Success followed for Koirala, and she went on to act in several critically and commercially successful projects. In 1999, she starred in the moderately successful Kachche Dhaage (1999), which was followed by six more releases, the most notable of them being Indra Kumar's drama Mann. She played the role of a traffic accident victim in the film, which entered into the top five highest grossing films of the year.^[21] Her performance in the film won her favorable reviews. Film critic M. Ali Ikram wrote about her performance, "If there is respite for Manisha's innumerable fans of late, this flick is it. We may not care about hits and flops, but it is painful to watch this acting virtuoso in the innumerable side roles she has been seen in of late. Indra Kumar's decision to cast Manisha here, is a case of perfect casting, and she never lets him or the audience down. This lady is truly the Meena Kumari of her generation. It is great fun watching Manisha and Aamir Khan's perfect chemistry opposite one another. The film's climax has both stars permanently molding a spot for themselves in Bollywood history, and it will have you shedding tears by the bucketful."^[22]

2000s[link]

A portrait of Koirala by Atula Siriwardane

In 2000 she hosted the TV show Sawaal Dus Crore Ka on Zee TV alongside Anupam Kher. In 2001, she starred in the drama Grahan opposite Jackie Shroff. Her portrayal of a rape victim in the film who quests for justice was appreciated, but the film, which was a much-delayed project, was a major commercial failure. She next played the main protagonist in Rajkumar Santoshi's drama Lajja along with an ensemble cast that included Rekha, Anil Kapoor and Madhuri Dixit. The film received a positive reception from critics, and so did Koirala's performance.

In 2002, she starred opposite Ajay Devgan in Ram Gopal Verma's Company. The film was a critical success, as was Koirala's performance in it, and she won her third Filmfare Critics' Best Actress Award. In that same year, she appeared in Ek Chotisi Love Story. The film was released amidst controversy as she accused the director of the film, Shashilal Nair of using her body double to shoot some love scenes in the film and portraying her in bad light by shooting positions using another actress in her place, without her approval to do so. Koirala demanded that Nair re-shoot these scenes because the double's body did not match her physique and required that these scenes be deleted from the film. She later claimed that Nair had stipulated that he would re-shoot the scenes only if she agreed to bear half of the expenses. She said, "I always believed in Shashi. I did this film out of sheer goodwill. I had nothing to gain from it financially as I did the film for free. I also gave him all the dates immediately. It was his first chance to direct a film in four years. He has a family to support and I couldn't bear to see a friend in hardship." Koirala decided to sue Nair and moved the court against him, objecting to the alleged nudity and obscene postures, and pleaded that these scenes be deleted from the film, saying she had not performed in these scenes and that Nair had made use of another actress for them.^[23] Finally, the court decided to stay the release of the film.^[24]

After years of success, in 2003 she was seen in several low budget films, yet not less challenging roles. She ventured into strong woman-oriented films in 2003, such as Escape From Taliban which won her the BFJA Award for Best Actress. She then played the main protagonist in Market (2003), a film portraying the whole life story of a young prostitute. The film was a decent success at the box office.^[25]

After receiving a diploma in filmmaking, she produced the small-budget caper-comedy Paisa Vasool (2004) in which she starred along with Sushmita Sen; this was probably the first ever chick-flick in Indian cinema in that it did not have a male lead nor a love story.

Overall, Koirala starred as the leading role in 6 high-budget, successful Tamil movies: Bombay (1994) co-starring Arvind Swamy, Indian (1996) co-starring Kamal Hassan, Mudhalvan (1999) co-starring Arjun, Aalavandhan (2001) co-starring Kamal Hassan, Baba (2002) co-starring Rajnikanth and Mumbai Express (2005) co-starring Kamal Hassan.

Since then, she has played supporting and leading roles in various unsuccessful films, some of which being well received by critics, such as the historical epic drama Taj Mahal: An Eternal Love Story (2005), the thriller Tum - A Dangerous Obsession (2005), and the horror film Anjaane - The Unknown (2006).

In Anwar, she played a supporting role along with her brother Siddharth Koirala, her only release in 2007.

In 2008, she made her comeback to films, with her first leading role since Mumbai Express (2005), in Tulsi, opposite Irrfan Khan. Although pre-release her comeback was described by the media as "shocking", and the film suffered from poor marketing,^[26] her performance as Tulsi, a young homemaker diagnosed with blood cancer, was well received. Taran Adarsh from indiaFM wrote, "Manisha Koirala sinks her teeth in this role and delivers a fine performance."^[27] She next starred in Sirf (2008), a movie about four couples from different strata of life, which portrays the lifestyle of people in metro. The film, which was released without any notice or publicity, was a major critical failure and faced a low box-office opening, with most shows being cancelled out due to its poor critical response.^[28] Her first Bengali film Khela directed by Rituparno Ghosh also released the same year along with long delayed Hindi film Mehbooba, both films released on the same day.^[29]

In December 2009, she served as the Jury member in the fifth edition of Dubai International Film Festival.^[30]

2010s[link]

In 2010, she made her foray into Malayalam cinema with Shyamaprasad's Elektra, a psycho-sensual drama based on Sophocles's ancient Greek tragic play Electra. She plays the main antagonist in the film which revolves around the concept of Electra Complex that is a daughter's psychosexual competition with her mother for her father's affection.^[31] The film premiered at the International Film Festival of India, where it was well received.^[32] Later that year, she acted in Partho Ghosh's Ek Second... Jo Zindagi Badal De?. She also acted in her native Nepali-language film Dharmaa after a gap of 22 years since her first film.^[33]

In 2011 Koirala appeared in Mappillai, her first Tamil movie in 5 years. A remake of the 1989 film of the same name, the film saw her reprising the role originally played by the late Srividya. She was next seen in director Onir's critically acclaimed anthology film I Am, sharing the screen with Juhi Chawla; noted film critic Taran Adarsh commented, "It's a delight to watch Juhi and Manisha, after a hiatus. Both deliver striking performances - even getting the language right."^[34][35][36] Her forthcoming releases include Deepti Naval's directorial debut titled, Do Paise Ki Dhoop, Char Aane Ki Barish and Rohit Kaushik's Badalte Chehere.

In recent development she is re-teaming with director Ram Gopal Verma for his upcoming 3D horror film BHHOOoo.! which is a sequel to 2003 hit Bhoot.^[37]

Personal life[link]

On June 19, 2010, Koirala married Samrat Dahal in a traditional ceremony held in Kathmandu.^[38] The couple spent their honeymoon in Finland.^[39] They met through the online social networking website, Facebook. She was reportedly engaged in 2001 to Crispin Conroy, the former Australian ambassador to Nepal, but they broke up later. There were also reports of her dating American speaker and author, Christopher Dorris, but that relationship also ended.^[38]

Social work[link]

In September 1999, Koirala was appointed as a UNFPA Goodwill Ambassador.^[9] She is actively involved in social work, specifically working with organizations to promote women’s rights, prevention of violence against women, and also to prevent the human trafficking of Nepali girls for prostitution.^[9]

Awards[link]

Won

• 1996, Filmfare Award for Best Actress – Tamil, Bombay
• 1996, Filmfare Critics Award for Best Performance, Bombay
• 1997, Filmfare Critics Award for Best Performance, Khamoshi: The Musical
• 1997, Star Screen Award Best Actress, Khamoshi: The Musical
• 2003, Filmfare Critics Award for Best Actress, Company
• 2004, Bengal Film Journalists' Association Awards, Best Actress, Escape From Taliban
• 2006, Gorkha Dakshin Bahu Honoured by the King of Nepal for achievement in the Indian Film Industry^[40]

Nominated

• 1995, Filmfare Best Actress Award, 1942: A Love Story
• 1996, Filmfare Best Actress Award, Akele Hum Akele Tum
• 1997, Filmfare Best Actress Award, Khamoshi: The Musical
• 1999, Filmfare Best Actress Award, Dil Se..

Filmography[link]