Nitin Bose
Nitin Bose
Born	(1897-04-26)26 April 1897 Kolkata, India
Died	14 April 1986(1986-04-14) (aged 88) Kolkata, India
Occupation	film director, cinematographer, screenwriter

Nitin Bose (Bengali: নীতিন বোস) (26 April 1897– 14 April 1986) was an Indian film director, cinematographer and screenwriter of the nation's film industry. He was born in Calcutta and died in the same city. In the 1930s and early 1940s, he worked with New Theatres, who made bilingual movies: in both Bengali and Hindi. Later, he moved to Bombay and directed under the banners of Bombay Talkies and Filmistan.

First use of playback singing in Indian films were in films directed by Bose in 1935: first in Bhagya Chakra, a Bengali film and later in the same year, in its Hindi remake Dhoop Chhaon. His most well-known work is Ganga Jamuna.

Early life[link]

Nitin Bose was son of Bengali entrepreneur Hemendra Mohan Bose and Mrinalini. Mrinalini was sister of writer Upendrakishore Raychowdhury, who was father of poet Sukumar Ray and grandfather of film director Satyajit Ray.

Bose had a great interest in photography from his childhood. His father, who was a keen photographer himself, nourished his son's interest in the same.^[1]

Career[link]

Bose's first venture in film direction was a documentary film on Belgian Emperor's visit to India (1921).

Bose started his film career as a cinematographer in 1926 in the movie Punarjanma.^[2] His debut as cinematographer under New Theatres banner was in the movie Devdas (1928). He was cinematographer of the only film directed by Rabindranath Tagore: Natir Puja (1932), which was based on a dance-drama composed by Tagore.^[3]

Bose worked closely with director Debaki Bose, but then Debaki Bose temporarily left New Theatres to Madan Theatres for making Seeta(1934). At this time, producer of New Theatres, B N Sircar asked Nitin Bose to venture into film direction. Bose started with remaking of Debaki Bose's Chandidas in Hindi (1934).^[1]

His 1935 film Bhagya Chakra was the first Indian film to use playback singing. The singers were K C Dey, Parul Ghosh and Suprabha Sarkar.^[2] The movie was remade in Hindi with the title Dhoop Chhaon, which was the first Hindi film to use playback singing.^[4] It was Bose who came up with the idea of playback singing. He discussed with music director Raichand Boral and Bose's brother Mukul Bose, who was the sound recordist in New Theatres, implemented the idea.^[5]

During the making of Kashinath (1943), Bose had a misunderstanding with B N Sircar. After completion of the film, he did not go back to New Theatres, with which he was associated since it was established in 1931. Eventually, Bose moved to Bombay and Sircar closed New Theatres.^[1]

Bose's first movie under Bombay Talkies banner was Naukadubi (1947), based on Tagore's novel of the same name. Hindi version of this film was named Milan, in which Dilip Kumar acted in the lead role.,^[6] and the Bengali version had Abhi Bhattacharya in the lead.^[7] His next film Drishtidan (1948) introduced Uttam Kumar, who later became superstar of Bengali Cinema.

In 1960s, Bose directed a number of movies under the banner of Filmistan. Ganga Jamuna (1961), directed by Bose, is considered one of the all-time blockbusters of Indian Cinema.^[8]

Family[link]

Satyajit Ray was a nephew of Bose and worked under him in the movie Mashaal(1950), which was produced by Bombay Talkies.^[9]

Among thirteen siblings of Bose, there were one singer, one painter, one sound recordist (Mukul Bose) and four cricketers.^[10]

Bose's brother Mukul Bose was a sound recordist who introduced many techniques in playback singing and voice dubbing.^[11] He leaves behind his wife Santi Bose, daughters Rina and Neeta and 6 grandchildren and 7 great-grandchildren.

Recognition[link]

• Bose received Dadasaheb Phalke Award in 1977.

Filmography[link]

Director[link]

• Buker Bijha (1930)
• Daku Mansur (1934) (Hindi title: Daku Manzoor)
• Chandidas (1934)
• Bhagya Chakra (1935)
• Dhoop Chhaon (1935) (Hindi remake of Bhagya Chakra)
• Badi Bahen (1937) (Hindi remake of Didi; alternative title: President)
• Didi (1937)
• Jiban Maran (1938)
• Dushman (1938) (Hindi remake of Jiban Maran)
• Desher Mati (1938)
• Dharti Mata (1938) (Hindi remake of Desher Mati)
• Kapal Kundala (1939)
• Parichay (1941)
• Lagan (1941) (Hindi remake of Parichay)
• Kashinath (1943)
• Bichar (1943) (Hindi title: Paraya Dhan)
• Mujrim (1944)
• Mazdoor (1945)
• Naukadubi (1947) (Hindi title: Milan)
• Drishtidan (1948)
• Mashaal (1950) (Bengali title: Samar)
• Deedar (1951)
• Dard-e-Dil (1953)
• Waris (1954)
• Amar Saigal (1955)
• Char Dost (1956)
• Madhabir Janye (1957)
• Kath Putli (1957)
• Jogajog (1958)
• Gunga Jumna (1961) (alternative title: Ganga Jamuna, English title: The Confluence)
• Ummeed (1962)
• Nartakee (1963)
• Dooj Ka Chand (1964)
• Hum Kahan Ja Rahe Hain (1966)
• Samaanta (1972)

Documentary[link]

• Belgian Emperor's Visit to India (1921)

Cinematographer[link]

• Devdas (1928)
• Dena Paona (1931)
• Natir Puja (1932)
• Chandidas (1932)
• Yahudi Ki Ladki (1933)
• Rajrani Meera (1933)
• Puran Bhagat (1933)
• Meerabai (1933)
• Chandidas (1934)
• Bhagya Chakra (1935)
• Dhoop Chhaon (1935)
• Didi (1937)
• Badi Bahen (1937)
• Jiban Maran (1938)
• Dushman (1938)
• Desher Mati (1938)
• Dharti Mata (1938)
• Parichay (1941)

Writer[link]

• Dhoop Chhaon (1935) (screenplay)
• Bhagya Chakra (1935) (writer)
• Didi (1937) (writer)
• Badi Bahen (1937) (writer)
• Jiban Maran (1938) (writer)
• Dushman (1938) (writer)
• Desher Mati (1938) (screenplay) (story)
• Dharti Mata (1938) (screenplay) (story)
• Parichay (1941) (writer)
• Kashinath (1943) (dialogue)
• Bichar (1943) (Hindi title: Paraya Dhan) (screenplay)

Camera and electrical department[link]

• Mohabbat Ke Aansu (1932) (camera operator)
• Bichar (1943) (Hindi title: Paraya Dhan) (camera operator)

Miscellaneous crew[link]

• Deedar (1951) (photographic treatment)

References[link]

External links[link]

• Nitin Bose at the Internet Movie Database
• IMDb page on Bhagya Chakra
• IMDb page on Dhoop Chhaon

Kidar Nath Sharma also Kedar Sharma (12 April 1910 - 29 April 1999), was an Indian film director, producer, Screenwriter, and Lyricist of Hindi films.^[1] While he had great success as a director of such movies as Neel Kamal (1947), Bawre Nain (1950) and Jogan (1950), he is often most remembered for starting the acting careers of Bollywood greats Geeta Bali, Madhubala, Raj Kapoor, Mala Sinha, Bharat Bhushan and Tanuja ^[2] .

Early life and education[link]

Kidar Sharma was born in Narowal in what was then the Punjab region of India and grew up in a life of poverty. Two brothers, Ragunath and Vishwa had died as infants and his sister, Taro, died of Tuberculosis at an early age. A younger sister Guro survived as did a younger brother, Himmat Rai Sharma, who would later work with Kidar on films before establishing himself as a successful Urdu poet. Kidar attended the Baij Nath High School in Amritsar where he became interested in philosophy, poetry, painting and photography. Upon completion of high school, he ran away from home to pursue a career in cinema in Mumbai but was unsuccessful in gaining employment. He returned to Amritsar and attended the Hindu Sabha College where he founded a College Dramatic Society which would later give him his first break in film.^[3]

Career[link]

The head of a local Temperance movement would attend one of Kidar's plays and hired him to produce a silent film depicting the evils of alcohol. Using the money he earned from this project he would receive his Masters degree in English at Khalsa College, Amritsar before joining a local theater group that earned him limited acting success in 1931. He was married in 1932 and painted to earn income. Upon seeing an early talkies film Puran Bhagat (1933) by film director Debaki Bose, he left for Calcutta hoping to get his big break at New Theatres Studios, where Debaki Bose worked. After many months of unemployment he managed to meet a then-unknown actor of New Theatres, Prithviraj Kapoor (where he would meet Prithviraj's eight year old son for the first time, Raj Kapoor). Prithviraj Kapoor introduced Kidar to his neighbor, then-unknown Kundan Lal Saigal, who through an acquaintance allowed Kidar to meet Debaki Bose. Debaki Bose hired Kidar initially to become the Movie stills photographer for the film Seeta (1934) but would give Kidar his first part in the creation of film with that of a backdrop screen painter and a poster painter for the film Inquilab (1935) where Kidar also had a bit part.^[4] Kidar would continue to work with New Theatres on films such as Dhoop Chhaon (1935) and Pujarin (1936) but a big break would come when Kidar was asked to write the dialog and lyrics for the 1936 adaptation of Devdas starring his friend Kundan Lal Saigal. Devdas was not only a hit, but songs from the film such as Balam Aaye Baso Moray Man Mein and Dukh Ke Ab Din Beetat Naahi became feverishly popular throughout the country, giving Kidar Sharma acclaim by the press and public. Kidar would later say, "Both Bimal Roy and I got our first big break in Devdas. He as the cameraman and I as the writer."^[3]

Kidar's big directing break came in 1940 when asked to complete the film Tumhair Jeet. Upon its completion he was given the opportunity to direct his own screenplay for Aulad / Dil Hi to Hai, which met with some success. He was then asked to direct Chitralekha (1941) which became a smash hit and gave Kidar credibility as a director. He would go on to begin producing his own movies, casting Raj Kapoor and Madhubala in their first film Neel Kamal. He would also cast Geeta Bali in her first movie, Sohag Raat and later he would team her with Raj Kapoor for the film Bawre Nain (1950). That same year he directed Jogan starring Nargis and Dilip Kumar. In the late 1950s Jawaharlal Nehru who had heard Sharma's lyrics, summoned him and asked him to become director-in-chief of the Children's Film Society. Kidar Sharma would work on many movies for the Children's Film Society, including the film Jaldeep which would go on to receive international acclaim.^[5] In 1958, he would work for one year directing movies in Singapore for Shaw Brothers Studio.

An outstanding poet, Sharma wrote some of the most memorable songs including Balam aayo baso more man mein, Dukh kay ab din beetat nahi, Khayalon Mein Kisike (Bawre Nain), Kabhi Tanhaiyon Mein Bhi (Hamari Yaad Aayegi) and Teri duniya mein dil lagta nahi ^[6]. Kidar would continue to contribute as a lyricist and to write and direct films through the 1990s. Ironically, many Indian film critics and historians argued that he deserved the highest cinema award from the government of India but he died a day before he was to receive the Raj Kapoor Award, named in honor of the actor he helped make a success.

His autobiography, The One and Lonely Kidar Sharma was published posthumously in 2002, edited by his son Vikram Sharma ^[2].

Awards and nominations[link]

International honours and recognitions[link]

• Part of the Indian Delegation in 1945 which travelled to England and Hollywood and met with Charlie Chaplin, Walt Disney and Cecil B. DeMille
• Best Children's Film, International Film Festival at Venice 1957 for Jaldeep ^[5]

National honours and recognitions[link]

• 1956: National Film Award for Best Children's Film: Jaldeep ^[7][8][5]
• Indian Film Directors' Association Lifetime Achievement Award
• Gold Award from Prime Minister Indira Gandhi in 1982 for contribution to Indian Cinema
• Government of Maharashtra's Raj Kapoor Award (awarded in 1999 after his death)[1]

Filmography[link]

• Inquilab (1935), Set Painter, Actor
• Dhoop Chhaon (1935), Actor, Assistant Manager
• Pujarin (1936), Actor
• Devdas (1936), Dialog and lyrics
• Vidyapati (1937), Actor
• Anath Ashram (1937), Writer
• Jawani Ki Reet (1939), Dialog
• Badi Didi (1939), Writer, Actor
• Zindagi (1940), Writer
• Tumhair Jeet (1940), Director
• Aulad (1940), Director
• Chitralekha (1941), Director
• Armaan (1942), Director
• Gauri (1942), Director
• Mumtaz Mahal (1944), Director
• Dhanna Bhagat (1945), Director
• Chand Chakori (1945), Director
• Duniya Ek Sarai (1946), Director
• Neel Kamal (1947), Writer, Director, Producer
• Sohag Raat (1948), Director
• Neki Aur Badi (1949), Director, Actor
• Bawre Nain (1950), Writer, Director, Producer
• Jogan (1950), Director
• Gunah (1953), Director
• Chora-Chori (1954), Director
• Hamari Yaad Aayegi (1961), Director
• Fariyad (1964), Director
• Chitralekha (1964), Director, Writer
• Kaajal (1965), Writer

[edit] Children's Film Society of India Contributions

• Jaldeep (Light House) (1956), Writer, Director
• Ganga Ki Lahren (1957), Writer, Director
• Bachchon Se Bate (Talking To Children) (1957), Writer, Director
• Haria (1958), Writer
• Gulab Ka Phool (The Rose Among Flowers) (1958), Writer, Director
• 26 January (India's Republic Day) (1959), Writer, Director
• Ekta (In Unison) (1959), Writer, Director
• Guru Bhakti (Devotion) (1959), Writer
• Panchtantra Ki Ek Kahani (A Story From The Panchantra) (1959), Writer
• Yatra (Journey) (1959), Writer
• Dilli Ki Kahani (The Story Of Delhi City) (1960), Writer
• Chetak (1960), Writer, Director
• Meera Ka Chitra (Portrait of Meera) (1960), Writer, Director
• Nyaya ( Justice) (1960), Camera
• Mahateerth (Great Pilgrimage) (1961), Writer, Director
• Khuda Hafiz (Goodbye) (1983), Writer, Director, Lyricist

Bibliography[link]

• The One and Lonely Kidar Sharma (an anecdotal autobiography), ed. Vikram Sharma. Bluejay Books, 2002. ISBN 8187075961.

References[link]

External links[link]

• Kidar Nath Sharma at the Internet Movie Database
• The genius of film-making named: Kidar Sharma

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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]