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)

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

Harivansh Rai Shrivastav alias Bachchan (Hindi: हरिवंश राय बच्चन) (27 November 1907 – 18 January 2003), was a noted Indian poet of Chhayavaad literary movement (romantic upsurge) of early 20th century Hindi literature. He was also a famous poet of the Hindi Kavi Sammelan. He is best known for his early work Madhushala (मधुशाला).^[1] He is also the father of Bollywood megastar, Amitabh Bachchan.

Personal life and education[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2011)

Born in a Srivastava Kayastha family, in the village of Babupatti (Raniganj) in the district of Pratapgarh, U.P. near Allahabad in the United Provinces (modern Uttar Pradesh) he was the eldest son of Pratap Narayan Shrivastav and Saraswati Devi. He was called bachchan (meaning Kid at home). He received his formal schooling in a municipal school and followed the family tradition of attending Kayastha Paathshaalas (कायस्थ पाठशाला) to learn Urdu as the first step to a career in law. He later studied at the Allahabad University and Banaras Hindu University. In this period, he came under the influence of the independence movement, then under the leadership of Mahatma Gandhi.

Realizing that this was not the path he wanted to follow, he went back to the university. However from 1941 to 1952 he taught in the English Department at the Allahabad University and after that he spent the next two years at St Catharine's College, Cambridge, Cambridge University doing his doctoral thesis on W.B. Yeats. It was then, that he used ‘Bachchan’ as his last name instead of Srivastava. Harivanshrai’s thesis got him his PhD at Cambridge. He is the second Indian to get his doctorate in English literature from Cambridge. After returning to India he again took to teaching and also served at All India Radio, Allahabad.

In 1926, at the age of 19, Bachchan married his first wife, Shyama, who was then 14 years old. However she died ten years later in 1936 after a long spell of TB at just 24 years of age. Bachchan again married, Teji Bachchan, in 1941. They had two sons, Amitabh and Ajitabh.

In 1955, Harivanshrai shifted to Delhi to join the External Affairs Ministry as an officer on Special duty and during the period of 10 years that he served he was also associated with the evolution of Hindi as the official language. He also enriched Hindi through his translations of major writings. As a poet he is famous for his poem Madhushala (a bar selling alcoholic drinks). Besides Omar Khayyam’s Rubaiyat, he will also be remembered for his Hindi translations of Shakespeare’s Macbeth and Othello and also the Bhagvad Gita. However in Nov 1984 he wrote his last poem ‘Ek November1984’ on Indira Gandhi’s assassination.

Harivanshrai was nominated to the Indian Rajya Sabha in 1966 and received the Sahitya Akademi award three years later. In 1976 he was honoured with the Padma Bhushan for his immense contribution to Hindi literature. He was also honoured with the Saraswati Samman, the Sovietland Nehru Award and the Lotus Award of the Afro-Asian writers’ conference, for his unique contribution to the world of letters. But if ever asked to introduce himself, he had a simple introduction: Mitti ka tan, masti ka man, kshan-bhar jivan — mera parichay. (A body of clay, a mind full of play, a moment’s life - that is me.).

Bachchan died on January 18, 2003, at the age of 95, as a result of various respiratory ailments.^[2] His wife Teji Bachchan died four years later in 2007, at the age of 93.

Career[link]

Teaching career[link]

This unreferenced section requires citations to ensure verifiability.

From 1941 to 1952 he taught English Literature at Allahabad University and then spent two years at Cambridge University, at St Catharine's College. There he studied with the famous English literature don, Thomas Rice Henn, and received a doctorate in English Literature for his work on the Irish poet W.B. Yeats and Occultism. It was there that he used Bachchan as his last name instead of 'srivastava. He was the second Indian to get his doctorate in English literature from Cambridge University.

After returning to India, he taught briefly and then worked as a producer for All India Radio,mumbai In 1955, he moved to Delhi to join the Ministry of External Affairs of the Government of India and there he was closely involved with the evolution of Hindi as the official language of India.

Bachchan used to introduce himself as

List of works[link]

References[link]

• मधुशाला का मूल पाठ (विकीस्रोत पर)
• हरिवंश राय बच्चन (हिन्दी विकीपीडिया पर)
• मधुशाला (हिन्दी विकीपीडिया पर)
• हरिवंश राय बच्चन (विकीस्रोत पर)
• [2](A Collection)

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2011)

Kaifi Azmi (Hindi: कैफ़ी आज़मी; Urdu: کیفی اعظمی; January 14, 1919 - May 10, 2002) was an Indian Urdu poet. He is considered to be one of the greatest Urdu poets of 20th century. Together with Pirzada Qasim, Jon Eliya and many others he participated in many memorable mushairas of 20th century.

Early life[link]

Kaifi Azmi was born in a village Mizwaa(n) in Azamgarh, Uttar Pradesh, India.

Family[link]

Kaifi Azmi is married to Shaukhat Azmi. They have a daughter, Shabana Azmi (An Indian Actress of film, television and theatre) and Baba Azmi (Indian Cinematographer).

Career[link]

Writings[link]

At age eleven, Azmi wrote his first ghazal Itna To Zindagi Mein Kisi Ki Khalal Pade and somehow managed to get himself invited to a mushaira and over there, he recited a ghazal, rather a couplet of the ghazal which was very much appreciated by the president of the mushaira, Mani Jaisi, but most of the people, including his father, thought he recited his elder brother's ghazal. When his elder brother denied it, his father and his clerk decided to test his poetic talent. They gave him one of the lines of a couplet and asked him to write a ghazal in the same meter and rhyme. Azmi accepted the challenge and completed a ghazal. This particular ghazal was to become a rage in undivided India and it was immortalized as it was sung by legendary ghazal singer, Begum Akhtar.

Azmi abandoned his studies of Persian and Urdu during the Quit India agitations in 1942 and shortly thereafter became a full time Marxist when he accepted membership of the Communist Party of India in 1943.

During this period, the leading progressive writers of Lucknow noticed him. They were very impressed by his leadership qualities. They also saw in him a budding poet and extended all possible encouragement towards him. Consequently, Azmi started to win great acclaim as a poet and became a member of Progressive Writers' Movement of India.

At the age of twenty-four, he started activities in the textile mill areas of Kanpur. As a full time worker, he left his life of comfort, though he was the son of a zamindar. He was asked to shift his base to Bombay, work amongst the workers and start party work with a lot of zeal and enthusiasm and at the same time would attend mushairas in different parts of India. In Bombay, he joined Ali Sardar Jafri in writing for the party’s paper, Qaumi Jung.

In 1947, he visited Hyderabad to participate in a mushaira. There he met, fell in love with and married a woman named Shaukat Azmi. She later became a renowned actress in theatre and films. They had two children together, Shabana Azmi (b. 1950), a renowned actress of Indian cinema and Baba Azmi, a noted cameraman.

Poetry[link]

Like most of the Urdu poets, Azmi began as a ghazal writer, cramming his poetry with the repeated themes of love and romance in a style that was replete with clichés and metaphors. However, his association with the Progressive Writers' Movement and Communist Party made him embark on the path of socially conscious poetry.

In his poetry, he highlights the exploitation of the subaltern masses and through them he conveys a message of the creation of a just social order by dismantling the existing one. Yet, his poetry cannot be called plain propaganda. It has its own merits; intensity of emotions, in particular, and the spirit of sympathy and compassion towards the disadvantaged section of society, are the hallmark of his poetry. His poems are also notable for their rich imagery and in this respect, his contribution to Urdu poetry can hardly be overstated.

Azmi's first collection of poems, Jhankar was published in 1943. His important works including anthologies of poetry, were Aakhir-e-Shab, Sarmaya, Awaara Sajde, Kaifiyaat, Nai Gulistan, an anthology of articles he wrote for Urdu Blitz, Meri Awaaz Suno, a selection of his film lyrics, and the script of Heer Ranjha in Devanagari.

His best known poems are Aurat, Makaan,Daaera,Saanp, and Bahuroopni.

Films[link]

Azmi's work in films includes working as a lyricist, writer and actor. Azmi wrote his first lyrics for the film Buzdil, directed by Shaheed Latif, in 1952. His early work as a writer was mainly for Nanubhai Vakil's films like Yahudi Ki Beti (1956), Parvin (1957), Miss Punjab Mail (1958) and Id Ka Chand (1958).

While directors like Khwaja Ahmad Abbas and Bimal Roy strove to create the “New Cinema”, writers like Sahir Ludhianvi, Jan Nisar Akhtar, Majrooh Sultanpuri, and Kaifi changed the tenor and vocabulary of the Hindi film song, creating a fresh new wave in Hindi film lyrics that lasted many years. ^[1]

His greatest feat as a writer was Chetan Anand's Heer Raanjha (1970) wherein the entire dialogue of the film was in verse. It was a tremendous achievement and one of the greatest feats of Hindi film writing. Azmi also won great critical accolades for the script, dialogues and lyrics of M.S. Sathyu's Garam Hawa (1973), based on a story by Ismat Chughtai. Azmi also wrote the dialogues for Shyam Benegal's Manthan (1976) and Sathyu's Kanneshwara Rama (1977).

As a lyricist and songwriter, though he wrote for numerous films, he will always be remembered for Guru Dutt's Kaagaz Ke Phool (1959) and Chetan Anand's Haqeeqat (1964), India's greatest war film. Some notables films for which he wrote lyrics include Kohra (1964), Anupama (1966), Uski Kahani (1966), Saat Hindustani (1969), Shola Aur Shabnam, Parwana (1971), Bawarchi (1972), Pakeezah (1972), Hanste Zakhm (1973), Arth (1982) and Razia Sultan (1983). He also played a memorable role of Naseem's grandfather in Naseem (1995).

Azmi died on May 10, 2002 at around the age of eighty-three. He was survived by his wife, daughter and son.

His autobiography is included in a collection of his works, Aaj Ke Prashid Shayar: Kaifi Azmi.

In Media[link]

Azmi was the subject of a documentary film called Kaifi Azmi (1979), directed by Raman Kumar. In 1997, he recited his own poems for Kaifiyaat, an audio book on his collected works.

Kaifi Aur Mein, a play based on his life, his works and the memoir of his wife, Shaukat Azmi - Yadon Ki Rahguzar (Down Memory Lane), was written and performed by Javed Akhtar and Shabana Azmi, and performed in India as well as abroad in 2006.^[2] Another play, directed by Rani Balbir, Waqt Ne Kiya Kya Hasin Sitam, based Kaifi Azmi’s life and writings was staged in 2005, and received rave reviews.^[3]

Awards[link]

He was the recipient of Padma Shri one of the Indian Government's highest civilian awards. Besides he was awarded the Uttar Pradesh Urdu Academy Award and the Sahitya Akademi Award for Urdu for his collection Awaara Sajde, Special Award of Maharashtra Urdu Academy, Soviet Land Nehru Award, Lotus Award from the Afro-Asian Writers' Association, and President’s Award for national integration. In 1998, Government of Maharashtra conferred the Jyaneshwara Award on him. He was also honoured with the prestigious Sahitya Akademi Fellowship for lifetime achievement.^[1]

In 2000, he was conferred the first Millennium Award by the Government of Delhi and the Delhi Urdu Academy. He has also been honoured with a doctorate from Vishva Bharati University, Santiniketan. ^[4]

Sahitya Akademi Award[link]

• 1975: Sahitya Akademi Award: Awara Sajde ^[2]
• 2002: Sahitya Akademi Fellowship (Immortals of Literature)

National Film Awards[link]

• 1970: National Film Award for Best Lyrics: Saat Hindustani

Filmfare Awards[link]

• 1975:Filmfare Best Dialogue Award: Garam Hawa
• 1975:Filmfare Best Screenplay Award: Garam Hawa (with Shama Zaidi)
• 1975:Filmfare Best Story Award: Garam Hawa (with Ismat Chughtai)

Famous verses[link]

• Aaj ki raat bahut garam hawa chalti hai

Aaj ki raat na neend aayegi
Hum sub uthen, main bhi uthun, tum bhi utho
Koi khidki isi deewar mein khul jayegi
- Makaan

• Tu jo bejaan khilonon se behel jaati hai

Tapti saanson ki haraarat se pighal jaati hai
Paaon jis raah mein rakhti hai fisal jaati hai
Banke seemaab har ik zarf mein dhal jaati hai
Zist ke aahni saanche main dhalna hai tujhe
uth meri jaan mere saath hi chalna hai tujhe…
- Aurat (Woman)

• Waqt Ni Kiya Kya Haseen Sitam

Tum rahe na tum,Hum Rahe na Hum.
- Film Kaagaz Ke Phool 1959

• Tum Itna Jo Muskura Rahe Ho

Kya gum hai jisko Chupa rahe Ho.
- Film Arth (1982)

• <poem> zindagi bhar mujhe nafrat si rahi asko se

Meri khwabo ko tum asko me dubote keu ho? Jo meri tarha jia karte hai kab marte hai Thak gaya hu mujhe solene do rote keu ho? Soke bhi jagte rahte hai janbaz suno.

keu sazai ho chandan ke chita mere liey mai koi jism nahi jalao ge mujhe rakh ke saath bikhar jaunga dunia me thokar jahan khaogey waha paogey mujhe</poem>

Select bibliography[link]

• Kaifi Azmi- Fan Aur Shaqsiyat (Urdu), Mayar Publications, 2004.
• Kaifiyaat:Kulliyat-e-Kaifi Azmi(URDU)), Educational Publishing House,2003.ISBN 8187667788.
• Zehr-e-Ishq (Hindi), Vani Prakashan, 2003.
• Heer Ranjha (Hindi), Vani Prakshan 2003.
• Steel Man was Here, Penguin, 2002.
• Kaifi Azmi- Selected Poems and Life Sketch, Rajpal Publishers, 2002. ISBN 81-7028-395-7.
• Aaj Ke Prashid Shayar: Kaifi Azmi-Chuni Hui Shayari (Hindi), Rajpal & Sons, 2002.ISBN 8170285429.
• Meri Awaz Suno (Hindi), Rajkamal Prakashan, 2002.
• Nai Gulistan Vol.1 (Hindi), Rajkamal Prakashan, 2001.
• Nai Gulistan Vol.2 (Hindi), Rajkamal Prakashan, 2001.
• Doosra Banwas (Hindi), Diamond Pocket Books Pvt. Ltd. ISBN 81-288-0982-2.
• Awara Sajde (Hindi), Lokbharti Prakashan, 1995.
• Sarmaya (Urdu), Mayar Publications, 1994.

[5]

Articles on Kaifi Azmi[link]

• Kaifi Azmi: Symbol of resistance - Ranjit Hoskote.The Hindu, Sunday, 19 May 2002.^[6]
• Kaifi Azmi: A poet and a gentleman. The Times Of India, 10 May 2002.^[7]
• Kaifi Azmi: the last comrade-poet - Tarique Omum. The Milli Gazette. ^[8]

References[link]

• Constructing a Narrative of Love: Early Romantic Poems of Kaifi Azmi. Mazhar Hussain, Social Scientist, Vol. 31, No. 3/4 (Mar. - Apr., 2003), pp. 57–73.^[9]
• Encyclopaedia of Hindi Cinema - by Govind Nihalani, Saibal Chatterjee, Gulzar. pp 293. Popular Prakashan, 2003.
• Kaifi Azmi Biography
• Kaifi Azmi - The Library of Congress
• A Profile
• Kaifi Azmi: The End of an Era - Meera Kabir.^[10]

This biography needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2007)

External links[link]

• BAZME-KAIFI In Remember of Kaifi Azmi-> ( In Sarai Mir Mushayaras and Neshists are Being Handled In remember of Kaifi Azmi.)
• Kaifi Azmi at Kavita Kosh (Hindi)
• Kaifi Azmi at the Internet Movie Database
• Recordings of Kaifi Azmi at Library of Congress
• [11] Kaifi Aur Main, a tribute site by IPTA.
• A collection of verses and mushaira recordings by Kaifi Azmi
• Poetry of Kaifi Azmi
• Songs by Kaifi Azmi
• Urdu poet Kaifi Azmi dead
• Yeh Nayan Dare Dare ( Kohraa 1964 - Hemant Kumar - Kaifi Azmi )
• Now,Read Kaifi in Hindi on urdu.blogspot.com