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Classic melodies collection by Meena Sheth, Tamizhagam (2025)

11/06/2025

Sachin Dev Burman ( 01 October1906 – 31 October 1975): S. D. Burman was a music composer who combined a firm grounding in Indian classical music with a mastery of Bengali and northeastern folk music to produce a body of work that had a lasting impact on the Hindi film industry. Among his many honours, he received the Sangeet Natak Akademi (National Academy of Music, Dance, and Drama) award in 1958 and the Padma Shri, one of India’s highest civilian awards, in 1969 for his contribution to music. His name also has been attached to a number of music awards from a variety of organizations. A member of the Tripura royal family, he started his career with Bengali films in 1937. He later began composing for Hindi movies and became one of the most successful and influential Indian film music composers. He composed the soundtracks for over 100 movies, including Bengali films and Hindi. Apart from being a versatile composer, he also sang songs in the light semi-classical and folk style of Bengal. His son, R. D. Burman, was also a celebrated music composer for Bollywood films. Burman's compositions were sung by the leading singers of the era, including Kishore Kumar, Lata Mangeshkar, Mohammed Rafi, Geeta Dutt, Manna Dey, Hemant Kumar, Asha Bhosle, Shamshad Begum, Mukesh and Talat Mahmood. As a playback singer, Burman sang 14 Hindi and 13 Bengali film songs. S. D. Burman was born on 1 October 1906, in Tipperah Palace, Cumilla, Bengal Presidency (in present-day Bangladesh) to Rajkumari Nirmala Devi, the royal princess of Manipur and Nabadwipchandra Dev Burman of Tripura, son of Ishan Chandra Manikya, the Maharaja of Tripura. Sachin Dev was the youngest of the five sons of his parents, who had nine children in all. His mother died when he was just two years of age. S. D. Burman's first schooling was at Kumar Boarding in Agartala, Tripura. Burman's father, Raja Nabadweepchandra Deb Burman noticed the teachers were more busy with pampering the sons of the nobility than educating them. Burman's father took him from Kumar Boarding and admitted him at Yusuf School in Cumilla, before he was admitted in Class V in Cumilla Zilla School. He completed his Matriculation in 1920 at the age of 14. He then got admitted at Victoria College, Cumilla, which is presently Cumilla Victoria Government College from where he passed his IA in 1922 and then BA in 1924. Thereafter he left for Calcutta to start an MA in Calcutta University, which he did not finish as music got the better of him for good. He started his formal music education by training under the blind musician K. C. Dey from 1925 to 1930; thereafter in 1932 he came under the tutelage of Bhishmadev Chattopadhyay who was only three years his senior. This was followed by training from Khalifa Badal Khan, the sarangi maestro and Ustad Allauddin Khan, the sarod player. He started working as a radio singer on Calcutta Radio Station in the late 20s, when his work as a singer-composer was based on Bengali folk and light Hindustani classical music. Consequently, his compositions were mainly influenced by his huge repertoire of folk-tunes from present Bangladesh and later other parts of India and around the world. His first record was also released in 1932 (Hindustan Musical Product), with "Khamaj" (semi classical), "E Pathey Aaj Eso Priyo" on one side and the folk "Dakle Kokil Roj Bihane" on the reverse side, on 78 rpm for Hindustan Records. In the following decade, he reached his peak as a singer, cutting as many as 131 songs in Bengali and also sang for composers like Himangsu Dutta, RC Boral (1), Nazrul Islam (4), Sailesh Das Gupta (2) and Subal Das Gupta. He also sang for Madhavlal Master (1) and his son R.D. Burman. In 1934, he attended the All India Music Conference, at the invitation of Allahabad University, where he presented his Bengali Thumri, all to an illustrious audience, with the likes of Vijaya Lakshmi Pandit and the inimitable Abdul Karim Khan of Kirana Gharana. Later in the year, he was invited to Bengal Music Conference, Kolkata, which was inaugurated by Rabindranath Tagore, here again he sang his Thumri and was awarded a Gold Medal. As a music composer, he started with the Bengali plays Sati Tirtha and Janani and eventually gave his first score in the film Rajgee. In 1937, his second film Rajkumarer Nirbashan (1940) became a hit. He gave music in Bengali films such as Protishodh (1941), Abhoyer Biye (1942) and Chaddobeshi (1944). In 1944, he moved to Bombay at the request of Sashadhar Mukherjee of Filmistan, who asked him to give score for two Ashok Kumar starrers, Shikari (1946) and Aath Din, but his first major breakthrough came the following year with the company's Do Bhai (1947). The song Mera Sundar Sapna Beet Gaya sung by Geeta Dutt was his breakthrough song into the film industry. In 1949 came Shabnam, his biggest hit yet with Filmistan Studios, especially noticeable for its multi-lingual hit song Yeh Duniya Roop ki Chor, by Shamshad Begum, which became a rage in those days. In the 1950s, Burman teamed up with Dev Anand's Navketan Films to create musical hits like Taxi Driver, Nau Do Gyarah (1957) and Kala Pani (1958). In addition, he gave music for Munimji (1955) and Paying Guest (1957). His songs sung by Kishore Kumar and Mohammed Rafi became highly popular. Burman composed the music for Afsar (1950). With the success of their second film Baazi (1951), he made it to the top and a long association with Navketan and Dev Anand was on its way. Baazi's jazzy musical score revealed a new facet of singer Geeta Dutt, who was mainly known for melancholy songs and bhajans. One song from the film stood out – "Tadbeer Se Bigdi Hui Taqdeer", a ghazal that was occidentalised into a seductive song. The Jaal song "Yeh Raat Yeh Chandni" sung by Hemant Kumar is an all-time great classic. The song "Thandi Hawain" from the film Naujawan (1951) sung by Lata Mangeshkar was one of his first major hits. It made Lata very famous as also poet Sahir Ludhianvi who also wrote music for Guru Dutt's film Pyaasa (1957). The soundtracks of Devdas (1955), House No. 44 (1955), Funtoosh (1956) and Solva Saal (1958) were other S. D. Burman hits. In 1959 came Sujata and S. D. created magic again with "Jalte hain Jiske Liye" film song sung by Talat Mahmood. When Guru Dutt made his sombre masterpieces – Pyaasa (1957) and Kaagaz Ke Phool (1959), he was right on target with "Jinhe Naaz Hai Hind" and "Waqt Ne Kiya Kya Haseen Sitam." In 2004, the soundtrack of Pyaasa was chosen as one of "The Best Music in Film" by Sight & Sound, the British Film Institute magazine. In Hindi cinema, his thin yet powerful voice was often used as bardic commentary to haunting results, as in "O Re Majhi Mere Sajan Hai Us Paar" from Bandini (1963), "Wahan Kaun Hai Tera" from Guide (1965) and "Saphal Hogi Teri Aradhana" from Aradhana (1969), for which he received the National Film Award for Best Male Playback Singer in 1970. In 1963, he composed the soundtrack of Meri Surat Teri Aankhen (1963), in which Manna Dey sang the song "Poocho Na Kaise Maine" in raga Ahir Bhairav. This song was inspired by the song "Arun kanti ke go yogi", a masterpiece that was created by Bidhrohi Kabi Kazi Nazrul Islam and a Ustad Mushtaq Hussain Khan's Khayal which was based on raga Ahir bhairav (morning ragaa). That movie also had a song "Nache Mon Mora Magan", sung by Mohammad Rafi; these became landmarks in Hindi film songs. In Bandini, Sampooran Singh (well known as Gulzar), made his debut as a lyricist with the song "Mora Gora Ang Lai Le", though the other songs were written by Shailendra. Guide (1965) starring Dev Anand and Waheeda Rehman was probably the best of his work during the time with all the songs super-hits as well as the film; however, it did not receive the Filmfare Award in the best music director category for that year, which remained always a discussion among the Bollywood film pandits. S. D. Burman went into a coma soon after rehearsing the song "Badi Sooni Sooni Hai" (sung by Kishore Kumar) for the film Mili. After lingering in a coma for some days, he died on 31 October 1975 in Mumbai. On 1 October 2007, marking his 101st birth anniversary, the Indian Postal Service released a commemorative postage stamp, in Agartala, where an exhibition on his life and work was also inaugurated; the state government of Tripura also confers the yearly "Sachin Dev Burman Memorial Award" in music. Sachin Dev Barman Memorial Government Music college was built in Agartala, Tripura in memory of him which is also affiliated by Tripura University and recognised by University Grant Commission. His song "Ye Duniya Agar Mil Bhi Jaye" from Pyaasa sung by Mohd. Rafi was re-used in the 2022 film Chup: Revenge of the Artist.

10/06/2025

Bina Rai (13 July 1931 – 6 December 2009): She was one of the leading actresses of the Golden 50s Black & White era of Hindi cinema. She is most known for her roles in classics such as Kalighata (1951), Anarkali (1953), Aurat (1953), Meenar (1954), Insaniyat (1955), Marine Drive (1955), Chandrakanta (1956), Durgesh Nandini (1956), Chengiz Khan (1957)Sammundar (1957), Talaash (1957), Ghunghat (1960) and Taj mahal (1963). She won the Filmfare Award for Best Actress for her performance in Ghunghat (1960). Bina Rai was born as Krishna Sarin on 13 July 1931 in Lahore, Punjab, British India (now in Pakistan). But later she was resettled in Uttar Pradesh. She went to school in Lahore and then attended IT college in Lucknow, Uttar Pradesh, India. She had to convince her parents to allow her to act in films, she claimed that she went on a hunger strike to convince her disapproving parents to let her join films and they finally relented. Bina Rai was a first year student of Arts in the Isabella Thoburn College of Lucknow in 1950, when she came across an advertisement for a talent contest, she applied and received a call from the sponsors. She had to go to Bombay to participate in the contest, where she won along with the 25,000 rupees in prize money, a leading role in Kishore Sahu's Kali Ghata (1951), which became her film debut and also featured Kishore Sahu in the lead role. Her 1st film, Kali Ghata, was released on 13 July 195. On this happy day she was engaged to Premnath. On 2 September 1952 she married Premnath, whose sister Krishna was married to the actor-director Raj Kapoor and was part of the Kapoor family. Her films with leading actor Pradeep Kumar remain her best-remembered performances, where she played the title role in Anarkali (1953), Taj Mahal and Ghunghat, for which she won the Filmfare Award for Best Actress. Bina Rai died on 6 December 2009, following a cardiac arrest.

01/06/2025

Remembering Indian film music composer from 1935 to 1965, Anil Krishna Biswas, on his death anniversary on 31st May.

He apart from being one of pioneers of playback singing, is also credited for the first Indian orchestra of twelve pieces and introducing orchestral music and full-blooded choral effects, into Indian cinema.

A master in western symphonic music was known for the Indian classical or folk elements, especially Baul and Bhatiyali in his music.

Out of his over 90 films, most memorable were, Roti (1942), Kismet (1943), Anokha Pyaar (1948), Taraana (1951), Waaris (1954), Pardesi (1957) and Char Dil Char Rahen (1959).

He was also the pioneer in using the counter melody in film scores, employing technique of western music, ‘cantala’, where one line overlaps the other in contra-melody, recitative prose songs as in Roti (1942), besides he was the first one to start extensively using the Ragmala.

Another important element that he introduced was western orchestration, using indigenous instruments both in the songs as well as in their melodic interludes, a trend that soon caught on and paved way for the musicals of Indian cinema today.

He was awarded the Sangeet Natak Akademi Award in 1986, given by the Sangeet Natak Akademi, India's National Academy of Music, Dance & Drama.

Anil Krishna Biswas was born in a small village of Barisal district in East Bengal (now in Bangladesh) in the household of J C Biswas, where at a young age he acted in a local amateur theater as a child star.

He was fond of listening to music since his childhood.

As he grew up, he displayed considerable musical talent, by 14 he was already accomplished in playing tabla, while singing and composing music at local music concerts; though soon he joined the Indian Independence Movement, while still doing his matriculation, and was repeatedly jailed for his revolutionary activities, leading to repeated disruption of his studies.

Eventually in 1930, after his father’s death he left for Calcutta in disguise to escape further arrest.

Anil Biswas first made name in Kolkata in the early 1930s, composing music for plays, later he joined 'Rangmahal Theatre', Kolkata, as an actor, singer, and assistant music director, 1932–34, during this period he sang and acted in several commercial stage productions.

By this time he had masters singing styles like, khayal, thumri and dadra, and had become an accomplished singer of devotional music, in Shyama Sangeet and Kirtan styles.

He also worked as a singer, lyricist and composer, with the 'Hindustan Recording Company', where Kundan Lal Saigal and Sachin Dev Burman, before migrating to Bombay themselves.

He got assignments from renowned Bengali poet, Kazi Nazrul Islam, all this got him into the notice of music director, Hiren Bose, and at whose behest he made his way to Bombay (Mumbai) in 1934.

This was the period when playback singing was making its debut in Indian cinema, when Anil first joined Ram Daryani's, 'Eastern Art Syndicate', and was associated in composing music for 'Baal Hatya' and 'Bharat ki Beti', before making his debut as a film composer, with Dharam ki Devi (1935) for which he composed the background music, and also acted and sang the song, Kuch Bhi Nahin Bharosa..

In 1936 he joined 'Sagar Movietones' as a composer, first starting with assisting composers, Ashok Ghosh in films Manmohan and Deccan Queen and also Pransukh Nayak, and continued with Sagar Movietones, even after it merged with the Yusuf Fazalbhoy of RCA’s newly established National Studios in 1939.

In the coming two years he did eleven films, mostly stunt films, until Mehboob Khan's Jagirdar (1937), a commercially hit, established him as a musical force in the film industry.

Soon many more independent assignments came his way, most notably, 300 Days and After, Gramophone Singer, Hum Tum Aur Woh, Ek Hi Raasta, and Mehboob Khan's Watan (1938), Alibaba (1940), the classic, Aurat (1940), Bahen (1941), before working with him again, in Roti (1942), for which he also credited with the story and concept, and which featured many songs by film's actress,

Akhtaribai Faizabadi (Begum Akhtar), though they were deleted due to a contractual conflict (the music was recorded with HMV, while she was in contract with Megaphone Gramophone Company).

In following years he gave scores for Bombay Talkies films like Jwar Bhata (1944), Dilip Kumar’s debut film, and Milan (1946) also starring Dilip Kumar and directed by Nitin Bose, who made it in Bengali, as Naukadubi.

He gave break to famed playback singer, Mukesh in Pehli Nazar (1945), singing 'Dil Jalta Hai to Jalne De', and to Talat Mahmood in Arzoo (1949), singing 'Aye Dil Mujhe Aisi Jagah Ley Chal' his first song in Bombay.

He was also behind the success of many singers such as Surendranath, Parul Ghosh, Amirbai Karnataki, Lata Mangeshkar and Roshan Ara Begum.

It was during his period that he married Asha Lata, an actress with Sagar Movietones under her maiden name Mehrunnisa who continued to act under the name Ashalata Biswas, and had three sons and a daughter, the couple later divorced.

Later it was the death of his son Pradeep in an airplane accident, in 1961, which catapulted his exit from the film industry.

Lata Mangeshkar has admitted that Anil Biswas gave her tips and trained her for breathing control during recording songs.

In 1942, he joined Bombay Talkies at an offer from Devika Rani, where he got his biggest hit, Gyan Mukherjee's Kismet (1943), starring Ashok Kumar and Mumtaz Shanti, most remembered for the song, 'Papihaare', sung by his sister Parul Ghosh (wife of the renowned flautist, Pannalal Ghosh), the patriotic hit, 'Door hato ai duniyaa waalo', and 'Dheere dheere aare badal, mera bulbul so raha hai, shorgul na macha' sung by the actor, Ashok Kumar.

In 1946, he left Bombay Talkies and set out as a freelancer, and later under the banner, ‘Variety Pictures’ owned by his wife, AshaLata Biswas, worked for four films, Laadli (1949), Laajawaab (1950), Badi Bahu (1951) and Humdard (1953), with KA Abbas Rahi (1952), songless Munna (1954), where he gave the background score, and Indo-Russian joint production, Nargis starrer, Pardesi (1957) and Char Dil Char Rahen (1959).

By now, the kind of music perfect by Anilda, as he was now called in the industry as, was fast changing, and so he gradually grew disillusioned by the changing dynamics of the film industry.

In early 1960s, he retired from the cinema, while still at the peak of his game, he shifted base to New Delhi, though he did one or two films in between like Mahesh Kaul's, Sautela Bhai (1962), his final film as a composer was, actor Motilal's directorial venture, Chhoti Chhoti Baatein (1965), starring Nadira and with Mukesh's 'Zindagi Khwab Hai Tha Hamein Bhi'.

Motilal died before its release, and the film flopped at the box office, though it did get a National Film Award.

In Delhi, he became director of the National Orchestra at the All India Radio (AIR) in March 1963 and remained Chief Producer -Sugam Sangeet (light Hindustani classical music) at AIR, Delhi till 1975.

Though later, he composed music for Doordarshan's pioneering TV series Hum Log (1984) and a number of documentaries for the Films Division as late as 1991,and remained the Advisor (Music) in the rank of a Professor at Jawaharlal Nehru University for 2 years.

He won the Sangeet Natak Akademi Award in 1986.

Biswas was first married for love, and much against the wishes of his own family, a Muslim actress who was four years older than him.

This was Mehrunnisa (born 17 October 1910, died 1992), who had adopted the screen-name 'Ashalata' for work purposes.

Upon her marriage, Mehrunnisa assumed the name Ashalata as her one and only name.

Ashalata worked as an actress during the 1930s and 1940s, a period during which acting in films was considered disreputable and few women entered the industry; she also owned Variety Pictures, a film-making company.

The couple became the parents of three sons and a daughter, named Pradeep, Amit, Utpal and Shikha.

Their son, Utpal Biswas, also worked as a music composer, as part of the Amar-Uptal duo team which composed the music for a few films including Shahenshah (1988), Main Azaad Hoon and Aaja Meri Jaan (1993).

Biswas's daughter, Shikha Vohra, is the mother of the well-known documentary film maker, Paromita Vohra.

Biswas and Ashalata were divorced in 1954; Ashalata Biswas died in 1992.

In 1959, five years after his divorce, Anil Biwas married the playback singer, Meena Kapoor, daughter of actor Bikram Kapoor. Meena Kapoor did not have any children.

Meena was most noted for singing hit 1950s songs like, "Rasiya re man basiya re" in Nargis starrer Pardesi (1957) and "Kachhi hai umariya" picturised on Meena Kumari in Char Dil Char Raahein.
Anil Biswas died in New Delhi on 31 May 2003.

He was survived by his wife Meena Kapoor, sons Amit Biswas and Utpal Biswas, and daughter Shikha Vohra, his son Pradeep Biswas having predeceased him.

01/06/2025

Meena Kumari, often called the “Tragedy Queen” of Indian cinema, was born Mahjabeen Bano in 1933. She rose to fame in the 1950s and 60s with her soulful portrayals of sorrowful and emotionally complex women. Her poetic beauty and melancholic screen presence made her an unforgettable figure in Hindi films. Starting her career as a child artist, she quickly emerged as a lead actress known for her nuanced performances and strong screen presence. Meena Kumari was not only an actress but also a poet, often expressing her inner turmoil through her writing, which added layers to her cinematic roles.

Some of her most memorable films include Pakeezah (1972), Sahib Bibi Aur Ghulam (1962), and Baiju Bawra (1952). In Sahib Bibi Aur Ghulam, she portrayed Chhoti Bahu, a lonely wife trapped in a patriarchal society, with heartbreaking depth and subtlety, which won her critical acclaim and cemented her reputation. Her tragic personal life, marred by loneliness and ill health, added a poignant dimension to her screen characters, many of whom struggled with love, loss, and betrayal. The interplay of her real-life pain and on-screen emotions created a deeply affecting connection with the audience.

Meena Kumari’s career was marked by a tragic decline, as she battled alcoholism and health problems. She died at the young age of 38 in 1972, shortly after the release of Pakeezah, which was a major success and is now considered a classic. Despite her relatively short life, Meena Kumari left an indelible mark on Indian cinema with her intense portrayals of vulnerability and despair, elevating tragic roles to an art form. Her legacy endures as a symbol of beauty, sorrow, and unparalleled talent.

01/06/2025

THE FIRST LADY OF RK — WHEN RAJ & NARGIS RULED THE REEL

He was the Showman. She was his muse. For nearly a decade, Raj Kapoor and Nargis lit up the silver screen with a chemistry that was both electric and eternal. She wasn’t just another heroine — she was the face of RK Films, the very soul behind that now-iconic logo of a man with a violin and a dream.

From Barsaat to Awaara to Shree 420, they crafted a cinematic language of romance that felt intimate, poetic, and heartbreakingly real. No duo danced in the rain like them, no eyes locked on screen with that kind of quiet thunder. Together, they weren’t acting — they were alchemy.

Even decades later, when we talk of legendary pairs, it’s always Raj and Nargis — in that order, in that aura. A timeless emblem of love, art, and everything in between.

14/05/2025

महान संगीतकार और पार्श्व गायक हेमंत कुमार (1920-1989)

" ईश्वर यदि गाता होता तो उसकी आवाज हेमंत की तरह ही होती" - संगीतकार सलिल चौधरी

" हेमंत दा को सुनते हुए हमेशा ही यह लगता है कि जैसे कोई साधु मंदिर में बैठ कर गीत गा रहा हो" - महान गायिका लता मंगेशकर

हेमंत दा का पूरा नाम हेमंत कुमार मुखोपाध्याय था। शुरू में हेमंत दा का रुझान लेखन में था, वे लघुकथाएं लिखा करते थे और लघुकथाएं बंगाली पत्रिका 'देश' में भी प्रकाशित हुआ करती थीं, पर धीरे धीरे इनका लगाव संगीत से हो गया। संगीत के प्रति प्रेम के कारण इन्होंने इंजीनियरिंग की पढ़ाई बीच में ही छोड़ दी और अपने को पूर्णतः संगीत के लिए समर्पित कर दिया।

हेमंत दा ने संगीत की प्रारंभिक शिक्षा बंगला संगीतकार शैलेश दत्त गुप्ता से ली और शास्त्रीय संगीत की शिक्षा उन्होंने उस्ताद पैयाज खान से ली।

हेमंत दा ने गायक बनने के लिए कई रेकॉर्ड कंपनियों में ऑडिशन दिए थे, सभी म्यूजिक कंपनियों ने यह कहकर उन्हें वापिस भेज दिया था कि उनकी आवाज गायन के लिए उपयुक्त नहीं है। बाद में कोलंबिया म्यूजिक कंपनी ने हेमंत दा की आवाज से प्रभावित होकर गुरुदेव रविंद्र नाथ टैगोर के गीत उनकी आवाज में रिकॉर्ड करके बिक्री के लिए लोगों के बीच उतारे। जो लोगों द्वारा बहुत पसंद किए गए।

हेमंत दा को पहली बार पंडित अमरनाथ के संगीत निर्देशन में हिंदी फिल्म 'इरादा'(1944) के लिए गायन का अवसर मिला था परंतु उन्हें संगीतकार के रूप में पहचान दिलाने वाली पहली फिल्म 'आनंद मठ'(1952) रही। इस फ़िल्म में लता मंगेशकर की आवाज मैं गाया गीत "वंदे मातरम" आज भी श्रोताओं के मन में राष्ट्रभक्ति का भाव ला देता है। इस फिल्म की सफलता के बाद हेमंत दा बतौर संगीतकार फिल्म इंडस्ट्री में स्थापित हो गए। इसके बाद 1954 में आई फिल्म 'नागिन' की सफलता के बाद हेमंत दा सफलता के शिखर पर पहुंच गए। इस फिल्म का गीत 'मन डोले मेरा तन डोले' आज भी बहुत लोकप्रिय है। एक साक्षात्कार में हेमंत दा ने कहा था कि नागिन फ़िल्म के गानों के लिए मैं बीन का इस्तेमाल नही करना चाहता था इसलिए मैंने हारमोनियम और clavioline के द्वारा बीन की आवाज निकाली थी। इस फिल्म के लिए उन्हें 'सर्वश्रेष्ठ संगीतकार' के फिल्म फेयर पुरस्कार से भी सम्मानित किया गया था।

सबसे पहले हेमंत दा ही देवानंद की रोमांटिक आवाज़ बने थे। देवानंद के लिए फ़िल्म 'सोलवां साल' के लिए उनका गाया " है अपना दिल तो आवारा" आज भी उतना ही लोकप्रिय है जितना उस समय था। यह गाना 1958 में पूरे साल बिनाका गीतमाला में शीर्ष पर बना रहा था। इसी तरह फ़िल्म 'कोहरा' का विश्वजीत और वहीदा रहमान पर फिल्माया गीत ' ये नयन डरे डरे, ये जाम भरे भरे' आज भी हर संगीत प्रेमी के दिल मे जगह बनाये हुए है। उन्हें दो बार बेस्ट प्लेबैक सिंगर का नेशनल अवार्ड मिला था।

हेमंत दा ने फिल्मों का निर्माण भी किया। उनके द्वारा निर्मित प्रमुख फिल्में थीं :- बीस साल बाद, कोहरा, बीवी और मकान, फरार, राहगीर और खामोशी।
फ़िल्म खामोशी का संगीत तो लता जी, गुलज़ार, किशोर कुमार और हेमन्त दा द्वारा तैयार किया एक ऐसा म्यूजिकल गुलदस्ता है जिसकी खुशबू अभी तक महक रही है। ऐसा कहते हैं कि राजेश खन्ना के कहने पर ही हेमंत दा ने फ़िल्म खामोशी में किशोर दा से, "वो शाम कुछ अजीब थी", गवाया था।
हेमंत दा अपने कपड़ों को लेकर खासे सजग रहते थे और हमेशा पारंपरिक सफेद कमीज और धोती पहनते थे। काले रंग का चश्मा लगाते थे।

संगीत के इस महान पुरोधा को शत शत नमन🙏🏻

13/05/2025

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●● बीनाराय, खूबसूरती का पर्याप्य ●●
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हिंदी सिनेमा में ख़ूबसूरती को लेकर कई मत हैं। कोई मधुबाला को नंबर वन पर रखता है तो किसी की नज़र में श्यामा के चुलबुलेपन का जवाब नहीं था। लेकिन आल टाइम खूबसूरती का जब ज़िक्र होता है तो बीनाराय छोड़ दिया जाता है, जबकि पचास के सालों में उनकी खूबसूरती के चर्चे जन-जन की ज़ुबां पर थे। वो रीयल ब्यूटी थीं।
13 जुलाई 1932 को लाहोर में जन्मी कृष्णा सरीन उर्फ़ बीनाराय की पढ़ाई लखनऊ के आईटी कॉलेज में हुई। यहीं उन्होंने एक विज्ञापन देखा जिसमें किशोर साहू को 'काली घटा' के लिए एक खूबसूरत चेहरे की तलाश थी और साथ में पच्चीस हज़ार का ईनाम भी। बीना ने अपनी तस्वीर भेज दी जिसे पसंद कर लिया गया। लेकिन परिवार ने मना कर दिया। बीना ने भूख हड़ताल कर दी। आख़िर परिवार को झुकना पड़ा।
'काली घटा'(1951) फ्लॉप हो गयी, लेकिन फिल्मिस्तान के नंदलाल जसवंतलाल को बीना के रूप में 'अनारकली' (1953) मिल गयी, ये ज़िंदगी उसी की है जो किसी का हो गया...सुपर हिट हुई ये। लगा अनारकली होती तो बीना जैसी ही दिखती। हालांकि इस मिथक को बाद में मधुबाला ने मुगले आज़म में तोड़ा। इसी दौर में उनकी ज़िंदगी में प्रेमनाथ मल्होत्रा आये, जो एक बड़ा नाम थे। उन्होंने बीना के साथ हॉलीवुड की सुपर हिट 'सेमसन एंड डिलेला' का हिंदी संस्करण बनाया 'औरत'(1953), जो चली भले नहीं, लेकिन उनका रोमांस ज़रूर परवान चढ़ा। झट-पट शादी भी हो गयी। प्रेमनाथ और बीना की जोड़ी ने शगूफा, प्रिज़नर ऑफ़ गोलकुंडा, समुंद्र और चंगेज़ खान में काम किया। लेकिन रीयल लाइफ रोमांस परदे पर फ्लॉप रहा।
जैमिनी की 'इंसानियत'(1955) में वो दिलीप कुमार और देवानंद के साथ दिखीं। मगर आश्चर्य की बात है कि बीना के 'अनारकली' के हीरो प्रदीप कुमार के साथ उनकी सभी फ़िल्में हिट रहीं, दुर्गेश नंदनी, हिल स्टेशन, घूंघट और 'ताजमहल'(1963) जिसमें वो मुमताज़ महल थीं, पाँव छू लेने दो फूलों को इनायत होगी...ज़ुल्मे उल्फ़त पे हमें लोग सज़ा देते हैं...सुपर हिट के बावज़ूद बीना इसके बाद गायब ही हो गयीं। सिर्फ़ तीन फ़िल्में आयीं, दादी मां(1966), रामराज्य(1967) और अपना घर अपनी कहानी(1968). लगभग सत्रह साल के कैरीयर में सिर्फ इक्कीस फ़िल्में। कुछ अन्य यादगार हैं, मैरीन ड्राइव, वल्लाह क्या बात है, शोले, सरदार और मद भरे नैन।
'घूंघट' (1960) में उन्हें शानदार एक्टिंग के लिए बेस्ट एक्ट्रेस का फिल्मफेयर अवार्ड मिला। इस पर विवाद भी खूब उठा। दरअसल मुद्दा ये था कि 'मुगले आज़म' की मधुबाला पीछे कैसे छूट गयी? दो राय नहीं कि मधुबाला ने बहुत मेहनत की थी। लेकिन अवार्ड बांटने वाले पैनल के अपने कुछ पूर्वाग्रह होते हैं। हर क्षेत्र में होता रहता है ऐसा।
बीना-प्रेमनाथ की निजी ज़िंदगी में हर वक़्त सब ठीक-ठाक कभी नहीं रहा। लेकिन अच्छी बात ये हुयी कि उन्होंने कभी घर नहीं टूटने दिया। बीनाराय के प्रेमकिशन ने 'दुल्हन वही जो पिया मन भाये' में डेब्यू किया, जो सुपर हिट हुई लेकिन प्रेमकिशन नहीं चल पाया। पोती आकांक्षा को दूसरी बीनाराय बता कर लांच किया गया, लेकिन वो भी नहीं चली। पोता सिद्धार्थ मल्होत्रा टीवी की दुनिया में एक्टिव है। 2004 में उसने डॉक्टरों की ज़िंदगी पर सीरियल 'संजीवनी' बनाया था। पति प्रेमनाथ की 1992 में मृत्यु के बाद बीना अधूरी रह गयीं थीं। 6 दिसंबर 2009 को 78 साल की आयु में खूबसूरती का पर्याय रही बीना बड़ी ख़ामोशी से इस फानी दुनिया से रुखसत हो गयीं।
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भूले बिसरे नगमे #भूलेबिसरेनगमे #गीत

10/05/2025

46 Years of NOORIE :-
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NOORIE is a 1979 romance family drama film produced by Yash Chopra, and directed by Manmohan Krishna. It stars Farooq Shaikh, Poonam Dhillon, Madan Puri, Iftekhar, Gita Siddharth, Padma Khanna, Javed Khan, Khairoo (Dog) and Bharat Kapoor.The music is by Khayyam and the lyrics by Naqsh Lyallapuri & Jan Nisar Akhtar. The film has beautiful & popular songs. It became a Huge Box Office Success.

05/05/2025

1965 में फिल्म 'जब फूल खिले' में लिखे गीतों से आनंद बक्शी को पहचान मिली। यहीं से आनंद बक्शी की कामयाबी का सफर शुरू हुआ।

अभिनेता दिलीप कुमार से लेकर सदी के महानायक अमिताभ बच्चन तक आनंद बक्शी के गीतों के मुरीद हैं। भारत रत्न स्वर कोकिला लता मंगेशकर ने एक बार खुश होकर आनंद बक्शी को एक कलम भेंट की। इसी कलम से आनंद बक्शी ने 'जिंदगी के सफर में गुजर जाते हैं जो मुकाम वे फिर नहीं आते' जैसा सदाबहार गीत लिखा।

जीवन के दर्शन को समेटे इस गीत को सुनने के बाद मशहूर गीतकार, गजलकार, पटकथा लेखक जावेद अख्तर इतने प्रभावित हुए कि आनंद बक्शी से वही कलम मांगी। आनंद बक्शी ने उस कलम को देने से इंकार करते हुए जावेद अख्तर से बड़ी विनम्रता से कहा कि भाई यह कलम इसलिए नहीं दे सकते क्योंकि यह कलम लताजी ने उन्हें दी है। लेकिन आनंद बक्शी ने उसी तरह की एक कलम बाद में जावेद अख्तर को उनके घर पर भिजवायी।

आनंद बक्शी ने सबसे ज्यादा काम संगीतकार लक्ष्मीकांत-प्यारेलाल के साथ किया। इस मशहूर जोड़ी के लिए आनंद बक्शी ने 304 फिल्मों के लिए 1200 गीत लिखे। उनकी लोकप्रियता का अदांजा इसी बात से लगा सकते हैं कि फिल्मफेयर पुरस्कार के लिए आनंद बक्शी का नामांकन 40 बार किया गया। आनंद बक्शी को चार बार फिल्मफेयर का पुरस्कार मिला।

1972 में फिल्म 'मोम की गुड़िया' के एक गाने बागों में बहार आई के लिए उन्होंने आवाज दी। लता मंगेशकर ने भी इसमें आवाज दी। यह गीत बेहद मशहूर हुआ। राजेश खन्ना को सुपर स्टार बनाने में आनंद बक्शी के गीतों का बहुत बड़ा योगदान है। आराधना, अमर प्रेम, कटी पतंग जैसी दर्जनों फिल्मों के गीत आज भी पूरी शिद्दत से सुने और गुनगुनाए जाते हैं।

Classic melodies collection by Meena Sheth

11/06/2025

10/06/2025

01/06/2025

01/06/2025

01/06/2025

14/05/2025

13/05/2025

10/05/2025

05/05/2025

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