Homestay is a form of tourism and/or study abroad program that allows the visitor to rent a room from a local family to better learn the local lifestyle as well as improve their language ability.^[1] While homestays can occur in any destination worldwide, some countries do more to encourage homestay than others as a means of developing their tourism industry.^[2] Hosting a homestay participant also allows the local family to earn some additional, needed income. Having low profitability, as it is, homestay can not be regarded as strictly commercial activity, but more of cross cultural exchange.^{[verification needed]} Students generally arrange a homestay with their school or educational institution, but can also informally arrange to stay with a family through social connections, and through a variety of private agencies. There are a number of online homestay agencies that connect students with hosts all over the world (usually for a nominal fee).

Types of homestays[link]

Homestay scenarios can range from a completely immersive family experience, to a very basic room rental.

In the immersive family experience a homestay student lives, eats, and shares the majority of their time in the host country with the hosts and their family. Family events such as dining out, amusement parks, camping, travel, etc. usually involve the host student who may or may not be expected to pay a portion for the participation (tickets, parking, gas, travel expenses, et al.) The student is invited to participate in Holiday festivities (Thanksgiving, Christmas, etc.) and family events (weddings, birthdays, etc.)

At the other end of the spectrum, students may simply be renting a room within a private home with minimal supervision from a host or family.

Additionally, there are a working homestay agreements where a student is expected to perform duties such as yard work, farm work, babysitting, maid services - usually in exchange for accommodation fees or as part of.

Typical contracts and agreements[link]

A clash of cultures can sometimes result between a homestay student and the host family.^{[verification needed]} To mitigate any issues, most homestay arrangements involve a contract or written agreement between the host and student. A contract will outline what is expected of the homestay student and may include items such as;

• Chores to perform (cleaning, laundering)
• Curfews
• Use of the Internet, television
• Use of the telephone
• Guest visits
• Smoking/drinking rules

as well as the details of what is being provided by the host in terms of:

• Accommodations
• Furniture/facilities
• Meal provisions
• Transportation
• Communications (Internet, telephone)
• Entertainment (TV, radio)

Generally, a host must provide a private room for sleep and study that has a lock and a washroom must be available that is convenient for the student to use. Most other items are negotiable in terms of availability and price.

Risks for the host[link]

Typically, hosting a homestay student is a rich and rewarding experience that allows the sharing of cultures, information, and experience. However, studying abroad is often the first time the homestay student is away from the parents and home country. This may result in adjustment issues for the student^{[verification needed]}. The host must be able to deal with separation issues, anxiety, and the like.

Scams on the internet are becoming fairly commonplace - when engaging in financial transactions that may require international payments, cheques, and money orders being sent there is always the possibility of making oneself vulnerable to scams and fraud. The host family is best to educate themselves on the issues, and protect themselves adequately through the use of a good contract.^[3]

A recent and common example of a scam^[4] perpetrated on host families plays as follows;

• Parents of a student email the host family to request a room - usually claiming to be from Europe/Asia.
• The host replies with availability and costs etc.
• The parent agrees to the fees, and offers to pay the fees up front.
• Usually some sort of family crisis arises, and the transaction must be handled with urgency.
• The parent sends payment with an overage, and ask the host to refund the excess payment.
• The host family refunds the payment.
• The initial payment (cheque, money order, etc.) bounces or is fraudulent.
• The host family has lost the money it has sent as a refund.

This scam can happen in any situation any time payment is required in the form of cheque/money order/cashiers cheque, etc. In-depth discussion on frauds of this type is beyond the scope of this article, but the host family is encouraged to exercise caution when dealing with overseas payments and transactions.

Risks for the student/guest[link]

There are two basic motivations for a family to engage in the operation of a homestay:

1. The family is looking to assist students, inject culture, and better understand the world and its people through a mutual exchange of traditions, knowledge and culture.
2. The family is looking to augment their income.

Usually, a family bears a healthy mix of these two reasons in opening their home to students and international visitors.

Occasionally, however, there are instances where a family, or individual, is looking only to capitalize on the financial opportunity and has little or no concern for the interests of the student.

A student is encouraged to look at the history of students and guests that the family has hosted, and to ask for a reference from a student who has recently attended their homestay. If a family refuses to give a reference, a student is advised to stay away. Also, look for a contract that not only protects the interests of the homestay host, but also the interests of the student. There should be a clear listing of the obligations of both the student and host family.

References[link]

Dev Anand
Felicitation of Dev Anand by the Indo-American Society
Born	Dharam Dev Pishorimal Anand (1923-09-26)26 September 1923 Gurdaspur, Punjab, British India (now in Punjab, India)
Died	3 December 2011(2011-12-03) (aged 88) London, England
Residence	Mumbai, Maharashtra, India
Nationality	Indian
Other names	Dev Sahaab
Occupation	Actor, producer, director, co-founder Navketan Films (1949)
Years active	1946–2011
Spouse	Kalpana Kartik (1954–2011 his death)
Signature	150px

Dharam Dev Pishorimal Anand (26 September 1923 – 3 December 2011), better known as Dev Anand, was an Indian film actor, writer, director and producer known for his work in Hindi cinema. Part of the Anand family, he co-founded Navketan Films in 1949 with his elder brother Chetan Anand.^[1][2][3]

The Government of India honoured him with the Padma Bhushan in 2001 and the Dadasaheb Phalke Award in 2002 for his contribution to Indian cinema. His career spanned more than 65 years with acting in 114 Hindi films of which 109 have him play the main solo lead hero and he did 2 English films.

Early life[link]

Dev was born Dharam Dev Pishorimal Anand on 26 September 1923 ^[4] in the Shakargarh tehsil of the Gurdaspur district in Punjab (British India) (present-day Narowal district of Pakistan). His father Pishori Lal Anand was a well-to-do advocate. Dev was the third of four sons born to Pishori Lal Anand. One of Dev's younger sister is Sheela Kanta Kapur, who is mother of Shekhar Kapur. His older brothers were Manmohan Anand (Advocate, Gurdaspur Dist. Court) and Chetan Anand and younger one was Vijay Anand. Dev Anand spent his early years in Gharota village near Gurdaspur, Gurdaspur town. He did his schooling till matriculation from Sacred Heart School, Dalhousie, Himachal Pradesh (then in Punjab) and went to college Dharamsala in Himachal Pradesh before going to Lahore to study.^[5][6] Later Dev completed his graduation in English Literature from the Government College, Lahore in British India.

Career[link]

After graduating in English Literature from the Government College, Lahore (then in British India, now in Pakistan), Anand left his hometown for Bombay in the early 1940s. He began his career in the military censor's office at Churchgate, for a monthly salary of Rs. 165. Later he joined as a clerk in an accountancy firm for a salary of Rs. 85.^[7] He joined his older brother, Chetan, as a member of the Indian People's Theatre Association (IPTA).Dev Anand aspired to become a performer after seeing Ashok Kumar's performance in films like Achhut Kanya and Kismat.^[8] Dev Anand quoted in an interview that "I remember when I gatecrashed into the office of the man who gave me the first break, he kept looking at me — Babu Rao Pai of Prabhat Film Studios. At that time he made up his mind that this boy deserves a break and later mentioned to his people that ‘this boy struck me because of his smile and beautiful eyes and his tremendous confidence."^[9] Then he was soon offered the lead role in Prabhat Films' Hum Ek Hain (1946), a film about Hindu-Muslim unity, where Dev Anand played a Hindu boy and was paired opposite Kamala Kotnis.^[10] While shooting the film in Pune, Anand befriended the actor Guru Dutt. Between them, they agreed that if one of them was to become successful in the film industry, they would help the other to be successful. They formed a mutual understanding that when Anand produced a film, Dutt would direct it and when Dutt directed a film, Anand would act in it.^[11]

Late 40s and romance with Suraiya[link]

Dev Anand and Nargis starred in Birha Ki Raat (1950).

In the late 1940s, Anand was offered a few roles starring as the male lead opposite singer-actress Suraiya in woman-oriented films. He considered himself to be lucky to get a chance to star opposite such an established actress and accepted the offers. While shooting these films, he became romantically involved with Suraiya. The two of them were paired in seven films together: Vidya (1948), Jeet (1949), Shair (1949), Afsar (1950), Nili (1950), Do Sitare (1951) and Sanam (1951), all of which were successful at the box office. In these films, Suraiya was always first-biller in the credits, indicating that she was a bigger star than Anand. She fell in love with him during the shooting of the song Kinare kinare chale jayen ge from the film Vidya—while shooting the scene, the boat they were in capsized, and Anand saved Suraiya from drowning. Their entire affair was conducted in a clandestine manner, with friends like Durga Khote and Kamini Kaushal going out of their way to engineer secret rendezvous. On the sets of the film Jeet, Anand finally proposed to Suraiya and gave her a diamond ring worth Rs 3,000. Her maternal grandmother opposed the relationship as they were Muslim and Anand was Hindu, and so, Suraiya remained unmarried. They stopped acting together after her grandmother opposed their partnership, and Do Sitare was the last film in which they appeared.^[12][13] Although the films he starred in with Suraiya had been successful, the producers and directors of those films attributed their success to the acting prowess and screen presence of Suraiya. Anand began looking for an opportunity to play the main male lead in a film where his acting skills could be demonstrated, so as to dispel scepticism about his acting abilities.

Break and the 1950s[link]

Anand was offered his first big break by Ashok Kumar. He spotted Anand hanging around in the studios and picked him as the hero for the Bombay Talkies production, Ziddi (1948), co-starring Kamini Kaushal, which became an instant success. After Ziddi's success, Anand decided that he would start producing films. It was in the film Ziddi, where the first-ever Kishore-Lata duet, Yeh Kaun Aaya Karke Yeh Sola Singhar, was recorded.^[14] This duet was an instant hit, and from here, on both the playback singers' association with Dev Anand began. It continued for next four decades. His association with Kishore Kumar started when the former sang the first solo of his playback singing career – Marne Ki Duayen – picturised on Dev Anand in the movie Ziddi. Dev had forged a very strong bond of friendship with Kishore Kumar during the making of the film. In 1949, he launched his own company Navketan Films (which means "newness"), which, as of 2011, had produced 35 films.^[15]

Dev chose Guru Dutt as director for the crime thriller, Baazi (1951). The film, starring Dev Anand, Geeta Bali and Kalpana Kartik was a trendsetter, regarded as the forerunner of the spate of urban crime films that followed in Bollywood in the 1950s. The film Baazi saw debut of Kalpana Kartik (aka Mona Singh) as the lead female actress and Guru Dutt as a director. The collaboration was a success at the box office and the duo of Dev Anand and Kalpana Kartik were offered many films to star in together. They signed all the film offers and subsequently the movies Aandhiyan, Taxi Driver, House No. 44 and Nau Do Gyarah went on to become big hits too. During the making of film Taxi Driver, the couple fell in love and Dev proposed marriage to his heroine Kalpana. In 1954, Taxi Driver was declared a hit and the two decided to marry in a quiet ceremony. The couple had a son, Suneil Anand in 1956 and later a daughter, Devina, was born. After her marriage, Kalpana decided not to pursue her acting career further. Nau Do Gyarah was the couple's last movie together.

A rapid-fire style of dialogue delivery and a penchant for nodding while speaking became Dev's style in films like House No. 44, Pocket Maar, Munimji, Funtoosh, C.I.D. and Paying Guest.^[16] In the 1950s his films were of the mystery genre or light comedy love stories or were films with social relevance like Ek ke baad ek and Funtoosh.His style was lapped up by the audience and was widely imitated. He starred in a string of box office successes for the remainder of the 1950s opposite newcomer Waheeda Rehman in C.I.D., Solva Saal, Kala Pani, Kala Bazar and Baat Ek Raat Ki. Waheeda first became a star with C.I.D becoming a hit.^[17] In 1955 he also co-starred with Dilip Kumar in Insaniyat. With his acting in Kala Pani (1958), as the son who is willing to go to any lengths to clear his framed father's name, he won his first Filmfare award for Best Actor for the film.^[18] He attempted films of tragic genre occasionally like Pocketmaar (1956), Kala Pani (1958), Bombai Ka Baboo (1960) and Sharabi (1964) and tasted success with them. Dev also played a few characters with a negative shade, like in Jaal(1952) where he played a smuggler, then as an absconding gang member in Dushman, as a black marketer in Kala Bazar.^[19] Apart from his pair with Suraiya and Kalpana Kartik, his pair with Nutan and Waheeda Rehman was popular among the audiences in late 50’s and 60’s. His films Rahee and Aandhiyaan, were screened along with Raj Kapoor's Awaara. From the early fifties till mid sixties, the trio of Dilip Kumar, Raj Kapoor and Dev Anand ruled the roost.

Romance hero image in the 60s[link]

In the sixties, Dev Anand acquired a romantic image with films like Manzil and Tere Ghar Ke Samne with Nutan, Kinaare Kinaare with Meena Kumari, Maya with Mala Sinha, Asli-Naqli with Sadhana Shivdasani, Jab Pyar Kisise Hota Hai and Mahal with Asha Parekh and Teen Deviyaan opposite three heroines Kalpana, Simi Garewal and Nanda. In the film Teen Deviyaan, Dev Anand played a playboy.

His first colour film, Guide with Waheeda Rehman was based on the novel of the same name by R. K. Narayan. Dev Anand himself was the impetus for making the film version of the book. He met and persuaded Narayan to give his assent to the project.^[20] Dev Anand tapped his friends in Hollywood to launch an Indo-US co-production that was shot in Hindi and English simultaneously and was released in 1965. Guide, directed by younger brother Vijay Anand, was an acclaimed movie. Dev played Raju, a voluble guide, who supports Rosy (Waheeda) in her bid for freedom. He is not above thoughtlessly exploiting her for personal gains. Combining style with substance, he gave an affecting performance as a man grappling with his emotions in his passage through love, shame and salvation.

He reunited with Vijay Anand for the movie Jewel Thief, based on thriller genre which featured Vaijayantimala, Tanuja, Anju Mahendru, Faryal and Helen. Their next collaboration, Johny Mera Naam (1970), again a thriller, where Dev was paired opposite Hema Malini was a big hit.^[17] It was Johnny Mera Naam which made Hema Malini a big star.^[21]

Directorial debut and the 70s[link]

His directorial debut, the espionage drama Prem Pujari, was a flop but has developed a cult following over the years. He tasted success with his 1971 directorial effort, Hare Rama Hare Krishna which talked about the prevalent hippie culture. His find Zeenat Aman, who played the mini-skirt sporting, pot-smoking Janice, became an overnight sensation. Dev also became known as a filmmaker of trenchantly topical themes. This same year, he starred with Mumtaz in Tere Mere Sapne, an adaptation of A. J. Cronin's novel, The Citadel. The film was directed by Dev's brother, Vijay and was also successful.

In the 1970s, Raj Kapoor started playing roles of father in films like Kal Aaj Aur Kal in 1971 and Dharam Karam in 1974 and had put lot of weight and films with Dilip Kumar as lead hero were failures at the box office . Some of the hurriedly-made films with Dev Anand as the leading man—three each opposite Hema Malini and Zeenat Aman and Yeh Gulistaan Hamara with Sharmila Tagore became flops and posed a threat to his career as leading man. But he delivered commercial hits again with young heroines Yogita Bali and Rakhee in Banarasi Babu (1973), Hema Malini in Chhupa Rustam (1973) and Amir Garib (1974),^[22] Zeenat Aman in Heera Panna(1973), Warrant(1975)^[23] and Darling Darling(1977) and Parveen Babi in Bullet(1976). The presence of his discoveries in the 1970s—Zeenat, and later Tina Munim, in films and his good onscreen chemistry with beautiful young stars like Rakhee, Parveen Babi, Hema Malini, Zeenat Aman in various films boosted Dev's image as the evergreen star even though he was well into his fifties.

Political activism during the Emergency in the late 70s[link]

Dev Anand has also been politically active. He led a group of film personalities who stood up against the Internal Emergency imposed by the then Prime Minister of India, Indira Gandhi. He actively campaigned against her with his supporters in Indian parliamentary elections in 1977. He also formed a party called the "National Party of India", which he later disbanded.

The 1978 hit Des Pardes, directed by Dev Anand was the debut movie of actress Tina Munim and this film’s success gave him the tag of evergreen hero. He was 55 but he shared very good chemistry with the 20 year old Tina Munim. Dev Anand was offered lead role in Man Pasand by director Basu Chatterjee. Dev Anand’s successful run at the box office continued in the 1980s with Man Pasand, Lootmaar (both opposite Tina Munim), Swami Dada (1982) being both critically acclaimed and box office hits.

Later career[link]

Felicitation of Dev Anand by the Indo-American Society

Though Dev Anand’s demand as the lead hero had not decreased even in the 1980s, he decided that it was the right time to introduce his son Suneil Anand in films as the hero. He launched his son in the Kramer vs. Kramer inspired Anand Aur Anand (1984), which was produced and directed by Dev Anand himself and had music by R. D. Burman. He expected the film to do well but the film was a box office disaster and Suneil Anand decided not to act in films any more.

But films with Dev Anand as the lead hero Hum Naujawan (1985), Lashkar (1989) continued to be box office success and was appreciated by critics.^[24] Awwal Number (1990), where Dev Anand co-starred with Aamir Khan became an average grosser. Aamir said in an interview that Awwal Number is the only film he signed without reading the script because it was being directed by his senior Dev Anand. Aamir quoted “Dev saab was an icon for many generations and entertained us throughout his life.^[25] He was already 60 years old in 1983 when he acted with Padmini Kolhapure in Swami Dada but looked half his age and shared a good on screen chemistry. In 1989, his directorial venture Sachche ka Bolbala was released. Though critically acclaimed, it was a commercial failure.

Since the 1990s except for Awwal Number, rest of the eight films directed by him were box office failures. But Sau Crore (1991) and Censor (2000) were critically acclaimed. His last film Chargesheet (2011) was panned by critics across the board. The only two hero film he acted in were Insaniyat in 1955 with Dilip Kumar and Return of Jewel Thief with Dharmendra in 1996. He also starred in English films like The Evil Within(1970) where he was paired opposite Vietnamese actress Kieu Chinh and Zeenat Aman^[7] and Guide (English Version). Off the 114 Hindi films he appeared in 6 decades, Kahin Aur Chal (1968) and multistarrer film Ek Do Teen Chaar (1980) remained unreleased and Shrimanji (1968) had him in guest appearance and 82 were box office hits and 29 were commercial failures. By 2011, he held the record for being the first actor from Hindi films who has played the central solo lead character in maximum films—109.

Comparisons with Gregory Peck[link]

Often compared to the famous actor Gregory Peck the world over,^[26] Dev Anand said that he didn't feel ecstatic bearing the tag line bestowed on him in his hey days. "When you are at an impressionable age you make idols. But when you grow out of the phase, you develop your own persona. I don't want to be known as India's Gregory Peck, I am Dev Anand".^[27]

Acquainted to the Bollywood actor, Peck's personal interactions with him spanned four to five long meetings in Europe and Mumbai.^[27][28][29]

Dev Anand and Suraiya met Peck for the first time at Mumbai's Willingdon Club,after the Filmfare Awards in 1954, on Peck's stopover in the city from a schedule at Sri Lanka after shooting for Purple Plane. He knew of the 'Indian Star' as an actor, more so probably because of his romance with Suraiya was grabbing the headlines, and they had a chat. The second time they met in Rome when Dev Anand was on his way back from the Venice Film Festival, he visited him on the sets of Roman Holiday. "I was returning from the Venice film fest. I stopped my car and joined the crowd watching the shoot, hoping that his eyes would fall on me. As expected, he nodded and I walked up to him. He remembered me and we exchanged pleasantries." The third meeting was at London on the sets of Moby Dick. However, Suraiya asked for an exclusive meeting with her idol at her house. Though Anand says jealousy was natural for anyone in love, he didn't mind that he was not invited. "I didn't quite feel anything. It wasn't as if they were going to fall in love or make love. Even if they would have, it wouldn't have mattered. I was mature enough. Moreover, he wasn't my rival. I too was a big star by then," says Anand.

Critical appraisal[link]

Dev Anand has directed 19 films and produced 35 films of which 7 directorial ventures and 18 films respectively were commercially successful at the box office. He wrote the story for 13 of his films. Critics say his directorial ventures have always been ahead of its time. Dev Anand's films are well known for their hit songs. He is known to have been an active participant in the music sessions of a number of his films. His association with music composers Shankar-Jaikishen, O. P. Nayyar, Kalyanji-Anandji, Sachin Dev Burman and his son Rahul Dev Burman, lyricists Hasrat Jaipuri, Majrooh Sultanpuri, Neeraj, Shailendra, Anand Bakshi, and playback singers Mohammad Rafi, Hemant Kumar and Kishore Kumar produced some very popular songs. S.D Burman, R.D Burman, Rafi, Pran and Kishore Kumar were his closest friends from film industry.^[30][31]

In September 2007, Dev's own autobiography Romancing with Life was released at a birthday party with the Indian Prime Minister Dr. Manmohan Singh.^[32] In February 2011, his 1961 black and white film Hum Dono was digitised and colourised and released.

Dev Anand is credited with giving actors like Zarina Wahab in Ishq Ishq Ishq, Jackie Shroff in Swami Dada, Tabu in Hum Naujawan and Richa Sharma(Sanjay Dutt’s first wife) a break into the film industry, discovered Zeenat Amaan, Tina Munim and encouraging music composer Rajesh Roshan.^[7] Amit Khanna started his career with Navketan as executive producer in 1971 and had been secretary to Dev Anand in 70's. He adds, "The uniqueness of Navketan today is that it's the only film company in the world still run by the one who started it."^[33] Shatrughan Sinha disclosed in an interview that it was Dev Anand who gave him a break in films by giving a role in 'Prem Pujari' and since Dev had given Sinha a very small role in that film, he compensated for it by giving Sinha another role in his next film 'Gambler'. Sinha quoted "Later on we worked together in 'Sharif Badmash' and it was really a privilege to work with him,".^[34] It was under Dev Anand's Navketan Banner where Guru Dutt, Raj Khosla, Waheeda Rahman, S.D. Burman, Jaidev, Sahir Ludhianvi, Majrooh Sultanpuri, Yash Johar, Shekhar Kapoor, Kabir Bedi were given breaks into Hindi films and Dev launched actors Zaheera, Zaheeda Hussain, Zarina Wahab, Natasha Sinha, Ekta Sohini, Sabrina.

Death[link]

Dev Anand died in his room at The Washington Mayfair Hotel in London at the age of 88 on 3 December 2011 (4 December 2011 by Indian Standard Time) of a cardiac arrest.^[35][36][37] His death came just months after the release of his last film, Charge Sheet.^[38] Anand was reportedly in London for a medical check up at the time of his death.^[39] Condolences poured in from all corners of the Indian film industry, with most of them remembering his positive attitude towards life.^[38][40] On 10 December, his funeral service was held at a small chapel in London after which his casket was taken to the Putney Vale Crematorium in West London for cremation. His ashes were returned to India for immersion burial in the Godavari river.^[41]

Awards, honors and recognitions[link]

Civilian Honors[link]

• 2001 – Padma Bhushan (India's third highest civilian award from the Government of India)^[42]

National Film Awards[link]

• 2002 – Dadasaheb Phalke Award, India's highest award for cinematic excellence^[43]

Filmfare Awards[link]

• 1959 - Winner Best Actor for Kalapani ^[44]
• 1967 - Winner Best Film for Guide ^[45]
• 1967 - Winner Best Actor for Guide ^[45]
• 1991 - Winner Filmfare Lifetime Achievement Award ^[46]

National honors and recognitions[link]

• 1996 – Star Screen Lifetime Achievement Award
• 1997 – Mumbai Academy of Moving Images Award for his Outstanding Services to the Indian Film Industry
• 1998 – Lifetime Achievement Award by the Ujala Anandlok Film Awards Committee in Calcutta^[47]
• 1999 – Sansui Lifetime Achievement Award for his 'Immense Contribution to Indian Cinema' in New Delhi^[48]
• 2000 – Film Goers' Mega Movie Maestro of the Millennium Award in Mumbai^[49]
• 2001 – Special Screen Award for his contribution to Indian cinema
• 2001 – Evergreen Star of the Millennium Award at the Zee Gold Bollywood Awards on 28 April 2001 at the Nassau Coliseum, New York^[50]

• 2003 – Lifetime Achievement Award for "Outstanding Achievement in Indian Cinema" at IIFA Award in Johannesburg, South Africa ^[51]
• 2004 – Legend of Indian Cinema Award at Atlantic City (United States) ^[52]
• 2004 – Living Legend Award by the Federation of Indian Chamber of Commerce and Industry (FICCI) in recognition of his contribution to the Indian entertainment industry^[53]
• 2005 – Sony Golden Glory Award^[54]
• 2006 – ANR Award by the Akkineni International Foundation^[55]
• 2006 – Glory of India Award by IIAF, London^[56]
• 2007 – Punjab Ratan (Jewel of Punjab) Award by the World Punjabi Organisation (European Division) for his outstanding contribution in the field of art and entertainment.^[57]
• 2008 – Lifetime Achievement Award by Ramya Cultural Academy in association with Vinmusiclub^[58]
• 2008 – Lifetime Achievement Award by Rotary Club of Bombay^[59]
• 2008 – Awarded at the IIJS Solitaire Awards^[60]
• 2009 – Outstanding contribution to Indian cinema at the Max Stardust Awards^[61]
• 2009 – Legend Award was given to Dev Anand by Rajnikanth^[62]
• 2010 – Phalke Ratna Award by Dadasaheb Phalke Academy^[63]
• 2010 – Rashtriya Gaurav Award^[64]
• 2011 – Rashtriya Kishore Kumar Samman from the Government of Madhya Pradesh^[65]
• 2011 – NDTV Indian of the Year's Lifetime Achievement Award with Rahul Dravid^[66]

International honors and recognitions[link]

• In July 2000, in New York City, he was honoured by an Award at the hands of the then First Lady of the United States of America, Hillary Rodham Clinton, for his 'Outstanding Contribution to Indian Cinema'.^[67]
• In 2000, he was awarded the Indo-American Association "Star of the Millennium" Award in the Silicon Valley, California.
• Donna Ferrar, Member New York State Assembly, honoured him with a "New York State Assembly Citation" for his 'Outstanding Contribution to the Cinematic Arts Worthy of the Esteem and Gratitude of the Great State of New York' on 1 May 2001.
• In 2005, he was honoured with a "Special National Film Award" by the Government of Nepal at Nepal’s first NationIndian film festival in Stockholm.
• In 2008, he was guest of honour at a dinner hosted by the Provost of Highland Council in Inverness, Scotland to celebrate 10 years since he first worked in the Scottish Highlands. He spent several days in the area, en route to Cannes, as a guest of the Highlands and Islands Film Commission.

Filmography[link]

Further reading[link]

• Cinema Modern: Navketan Story, by Sidharth Bhatia. Harpercollins, 2011. ISBN 978-93-5029-096-5.

References[link]

External links[link]

Wikimedia Commons has media related to: Dev Anand

• RIP Dev Anand – Bollywood Mourns Dev Anand’s Death
• Dev Anand at the Internet Movie Database
• Dev Anand on Twitter
• List of Dev Anand songs
• Dev Anand at Find a Grave
• The Telegraph - Dev Anand Bio and Obituary

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]