Laxmikant Pyarelal- Dominance in Binaca Geetmala

 

Binaca Geetmala was the first and the most popular countdown show of Hindi Film songs from 1953 to 1993. The program played a plethora of popular songs, flooding the airwaves of our childhood and youth. We used to wait eagerly to every Wednesday at 8 PM, to tune in to what would be a nonstop one hour feast of music fiesta.

In an interview, Laxmikant told that it was their desire that their song is played in this program. It became their goal to achieve this feat. In the third quarter of 1963, Laxmikant-Pyarelal first ever songs Hasta Hua Noorani Chehra form “Parasmani”  hit the “Binaca Geetmala”.  It appeared on the Number 06 position in the finals. Number  15  also acquired by Woh Jab Yaad Aaye, from the same film.

Binaca Geetmala was a weekly program and in the last Wednesday of the year, Binaca Geetmala used to broadcast annual (Varshik) program giving the orders of the top ‘Final Songs”  songs of the year, at the end of every year. The success of a music director , lyricist or singer was judged on the performance of their song in the annual program.

If we look into the 40 years journey of this show, the total number of songs that appeared were 1259. Out of these, 245 songs were composed of them, highest of all music directors followed by Shankar Jaikishan (144 songs). 

The popularity of their songs was so high that on many occasions, more than half the numbers of the songs were of the duos.  There are certain weekly Binaca Geetmala programs in which more than 13 out of 16 songs of Laxmikant-Pyarelal were broadcast when the duo were on right on top of their carrier. 

After appearing for the first time in 1963 they dominated this program.. Not only that, on an average, there used to be at least more than 8 to 10  songs from the desk of the duos, that too covering about 50 % of the songs in between top to first ten positions.

In their 30 years journey in Binaca Geetmala, their composition topped for Eleven years including four times in a row in  1967, 1968, 1969, and 1970. In this blog, I am posting these Top Songs (11)

1967 — Sawan Ka Mahina .… Lata – Mukesh,  “Milan”          

Song of Milan 1967

1968 — Dil Vil Pyar Vyar …. Lata,   “Shagird”  

Song of Shagird 1968

1969 — Kaise Rahoon Chup …. Lata, “Intequam”        

               Song of Intequam 1969     

                 

1970 — Bindiya Chamkegi ….. Lata, “Do Raaste”     

Song of Do Raste 1970

1975 — Mehangai Mar Gayi ..Lata Jani .”Roti Kapada Aur Makan”

Song of Roti Kapda Aur Makan 1975

1980 — Dafliwale Dafli Baja … Lata-Rafi, “Sargam” 

Song of “Sargam” 1980

1984 — Tu Mera Janu Hai … Anuradha-Manhar  “Hero”

Song of Hero 1984

1986 — Yashoda Ka Nandlala …. Lata, “Sanjog”

Song of Sanjog 1986

1987 — Chitthi Aayi Hai ….Pankaj Udhas, “Naam”

Song of Naam 1986

1989 — My Name Is Lakhan …. M. Aziz, “Ram Lakhan”

Song of Ram Lakhan 1989

1993 — Choli Ke Peeche ….Alka Yagnik-Ila Arun “Khalnayak”

Song of Khalnayak 1993

Sadhana - The Story of Famous "Sadhana Cut'

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No doubt she was a Style icon of the 60s. Her hairstyle and her dresses were copied by the girls. There was a time when mothers taking their little girls to the hairdresser for a ‘Sadhana cut'. She created a fashion of the fusion churidar-Kurtis and Mojris she wore in Waqt(1965). In an interview, Sadhana told about her famous Sadhana Cut Hairstyle.

She narrated how she got the famous ‘Sadhana fringe’. “I had a broad forehead, which showed prominently in photo tests. It would then be covered with a patch of hair. When we were about to start Love In Simla, the director RK Nayyar said the patch wouldn’t do. Those days Audrey Hepburn’s Roman Holiday (in which she sports a fringe) had just released. So I was promptly rushed off to a Chinese hairdresser and given a fringe.

Regarding her Churidar Kurtas, she told that she wore those conventional Kurtas in the 1963 film Mere Mehboob which were liked by the girls but she now wanted some changes in her wardrobe. She asked Bhanu Athaiya, the Oscar-winning costume designer to create a fusion of the traditional churidar and modern Kurti for my personal wardrobe. One day Yashji (Chopra) happened to come home to discuss my costumes in Waqt when I walked in wearing a sleeveless, gold-embroidered Kurti, churidar, and Mojris and a chic hairstyle, he went, ‘Wow! What you’re wearing is exactly what I want for my film.’ “The style went on to become a craze.”

Sadhana (2 September 1941– 25 December 2015) started her career with a Sindhi film titled

 Abaana (1958) playing the sister's role of the heroine. Very few know that In 1955 she got her first little break. She played a chorus girl in the song "Mud mud ke na dekh... mud mud ke" in Raj Kapoor's Shree 420. She got her first Hindi film Love In Simla released in 1960 but she played a simple girl in her next film Parakh of Bimal Roy. Recall the popular song of this film 'O Sajna Barkha Bahar Aayi'. 

In 1961's other hit, Hum Dono released, she played the love interest of Dev Anand.  The song 'Abhi Na Jao Chhod Kar' remains the most romantic song to date. In 1962, she was again paired with Dev Anand in Asli-Naqli by director Hrishikesh Mukherjee. The same year saw director-screenwriter Raj Khosla cast her opposite Joy in Ek Musafir Ek Hasina. Khosla would again work with Sadhana to make a suspense thriller trilogy  Woh Kaun Thi 1964,  Mera Saaya (1966) and Anita (1967) thus making her famous as the "Mystery Girl". Sadhana was the highest-paid actress of her time. During a career spanning over two decades, Sadhana starred in over 30 films.   

Sadhana got married to R K Nayyar, the director of her first film in 1966. After marriage, Sadhana worked sporadically and went on to do Ek Phool Do Mali, Intaqam , and Geeta Mera Naam (she even directed it). She quit after Geeta Mera Naam. she was not keeping good health (she was suffering from a thyroid disorder). She was diagnosed with cancer in her old age that led her to her death on 25 December 2015. 

Many classic songs were picturized on her, here are a few

Song of Parakh 1960

Song of Hum Dono 1961

Song of Asli Naqli 1962

Song of Mere Mehboob1963

Song of Woh Kaun Thi 1964

Song of Rajkumar 1964

Song of Aarzoo1965

Song of Mera Saya 1966

Song of Inteqam 1969

 

KN Singh- The Looks That Sent Shivers to Audience

 

Recall the personality on the Black & White screen, immaculate in his dress - a suit, overcoat, hat, and cigarette. A peculiar style of his own, raising his bushy eyebrows, tough looks, loud and nasty talk, and horrible laugh, cultured, and soft exterior.  He appeared in over 250 Hindi films over a long career stretching from 1936 to the late 1980s.

Yes, I am talking about K. N. Singh (1 September 1908 – 31 January 2000) who was a prominent villain and character actor of Hindi films. He appeared in several iconic movies in the 40s and 50s including Sikandar (1941), Jwar Bhata (1944) (Dilip Kumar's Debut film), Humayun(1945),, Awara (1951), Baazi(1951) Jaal (1952), CID (1956), Howrah Bridge (1958), Chalti Ka Naam Gaadi (1958), Amrapali (1966) and An Evening in Paris (1967).

He was selected to represent India in the 1936 Berlin Olympics before circumstances compelled him to go to Calcutta to attend on his ailing sister. There he met his family friend Prithviraj Kapoor, who introduced him to director Debaki Bose, who offered him a debut role in his film Sunehra Sansar (1936). According to his nephew in an interview, his first film was Hawai Daku where he was the protagonist. No records exist of this movie now.

After that, he appeared in Karodpati(1937), Vidyapati (1937), Anand Ashram, and Milaap, all these films he did in Calcutta. He came to limelight after the release of Baghban 1938  in which he played the antagonist. The movie was super hit and his role also became super hit. His suave style, baritone voice, and menacing eyes became legendary.KN Singh and his friends Prithviraj Kapoor and KL Saigal were considered the pioneering stars of the Bombay talkies.

He appeared in many R K Films and Navketan films. He was in Barsaat(1949) as Bholu, Awaea(1951) as Jagga. He was in Baazi as Rajni's father, in Jaal as Carlo, in House No 44 as captain. He was in Aandhiyan, Funtoosh, and almost all the earlier films of Dev Anand. He was also a favorite actor of Guru Dutt, who took him in Baazi, Jaal, Baaz, and CID. He played General Barborosa in Baaz(1953)

As an actor, Singh's thirst for learning was legendary. For example, he studied the style and mannerisms of carriage riders to prepare for the role of a horse carriage driver in Inspector (1956).He played prominent roles in movies such as Jhoota Kahin Ka (1970), Haathi Mere Saathi (1971) and Mere Jeevan Saathi (1972). His last prominent role was in the 1973 film Loafer.

He had the distinction of working with three generations of the Kapoor family. He acted with Patriarch Prthiviraj Kapoor in Bidyapati (1937), with Raj Kapoor in Awara (1951) and Rishi Kapoor in Rafoo Chakkar (1975).

Kishore Kumar made him sing and dance in his film Badhti Ka Naam Dadhi in 1974. This is a rare occasion we see K N Singh in a cameo role.

Song of Badhti Ka Naam Dadhi in 1974.

K.N. Singh turned completely blind in his last years. He died in Mumbai on 31 January 2000 aged 91 was survived by his adopted son Pushkar, who is a producer of television serials.

A scene from Awara 1951

Scene from Baaz 1953

The Power & Magic of Shailendra's Lyrics

 

Shailendra's (30 August 1921 – 14 December 1966), forte was his ability to write songs that were easy to sing but had a hook that led you to a deeper meaning. The finesse with which he could switch from the philosophical to the trivial is extraordinary. Initially, he was inclined towards Left, some of his film songs had a socialist theme 

Take 'Dil Ka Haal Sunay Dil Waala' for instance. It talks about class struggle, exploitation, and nepotism. In another song, Suraj Zara Aa Paas Aa, Aaj Sapno Ki Roti Pakayenge Hum, he talks about hunger—not bitterly but in a jovial manner.  His soulful song, Musafir Jaaye Ga Kahan, is one such philosophical gem from Guide (1965).

He created the famous slogan —  “Har zor-zulm kee takkar mein, hartal hamara nara ha", this is still used by protesters even today. He used io recite poems in Mushaira and Kavi Sammelan. One of his poems 'Jalta Hai Punjab' attracted the filmmaker Raj Kapoor to have this in his debut directorial film Aag. 

He was one of the pillars of the great songs of the Golden Era of Bollywood. Although other contemporaries like Majrooh, Sahir, Kaifi, Shakeel, Jan Nisar Akhtar were regarded as poets who drifted from literature to film songs, Shailendra was generally thought primarily as a lyricist. His sheer diversity of thought is quite unique. 

His songs reflect his keen observation of life, culture, relations and emotions and his hope for a fair and just world Let's look into some of his songs.

There was an anecdote told by his son in an interview that Raj Kapoor took Shailendra to introduce him to K A Abbas who was his main scriptwriter for the narration of the script. , Abbas ignored him. After two-and-a-half hours of narration, Raj Kapoor asked, “Kuchh samajh mein aaya Kaviraaj?” Shailendra replied, “Gardish main tha, par aasman ka taara tha. Awaara tha.” A shocked Abbas finally noticed the stranger in his room for he had summarised his two hours of effort in one line. The three together with Shankar Jaikishen made a formidable team in the years to come.

The first song he wrote for Barsat(1949) was- 'Patalii kamar hai, tirachhii najar hai patalii kamar hai, tirachhii najar haikhile phuul-sii terii javaaniiko_ii bataa_e kahaa.N kasar hai' the other song was 'taak-dhinaa-dhin dhinaa-dhin taak-dhinaa-dhin barasaat me.n taak-dhinaa-dhin barasaat me.n hamase mile tum sajan, tumase mile ham barasaat mein'. This song was super hit and created a trend of Title sons in Hindi songs.

 Some of his songs were romantic (‘Yeh raat bheegi bheegi’, ‘Tere mere sapne’), some metaphysical (‘Wahan kaun hai tera’, ‘Zindagi khwab hai’, ‘Sajan re jhoot mat bolo’, ‘Jao re Jogi’) others of longing (‘Aja re Padesi’, ‘Oh jaanewalae ho sake’, ‘O basanti pawan pagal’) anguish (‘Kya se kya ho gaya’, ‘Dost dost na raha’, ‘Sajanwa bairi ho gaye’), abandon (‘Mud mud ke na dekh’, ‘Suhana Safar’, ‘Aaj phir jeene ki’), or even nonsensical (‘Tin kanastar’, ‘Chuhe mama’).

.He was a complete lyricist in all genres of lyricism: serious, funny, spiritual, romantic, sad, happy, and angry. Gulzar called him the greatest lyricist in Hindi films. He shaped his songs to suit the characters and through his lyrics added other dimensions to the story."

Har zo zulm ki takkar mein hartal hamara nara hai
Tumne mangen thukrai hain, tumne toda hai har wada
Chhini hamse sasti roti, tum chhatni par aamada ho
Toh apni bhi tayyari hai, toh humne bhi lalkara hai
Har zo zulm ki takkar mein hartal hamara nara hai

Song of Awara 1951

Song of Daag 1952

Song of Do Bigha Zamin 1953

Song of Shree 420 (1955)

Song of Chori Chori 1956

Song of Madhumati 1958

Song of Anari 1959

Song of Kala Bazar 1960

Song of Bandini 1963

Song of Sangam1964

Song of Guide1965

Song of Teesri Kasam 1966

Last song of Shailendra 

Song of Door Ka Rahi 1971

Song of Madhumati 1958

50 Years of Gopi

 

Recall the song 'Gentleman Gentleman Gentleman' sung by Mahendra Kapoor. Yes, this was a very popular song of 1970, picturized on Dilip Kumar in the film Gopi. This film was released on 28th Aug 1970. It stars Dilip Kumar, Saira Banu, Pran, Om Prakash, Durga Khote, Farida Jalal, Johnny Walker, Lalita Pawar, and Aruna Irani. The film was a Jubilee Hit with hit music by Kalyanji Anandji. The film had 5 songs, all the songs were very popular. "Ramchandra Keh Gaye Siya Se" and  "Ek Padosan Peechhe Pad Gayi" were very popular. 

According to film expert Rajesh Subramanian, Rajendra Kumar was first signed for the film. The producers felt Saira Banu and Dilip Kumar would make a perfect pair and requested Rajendra Kumar to return the signing amount and quit the film.

Dilip Kumar plays Gopi, who is a simpleton of a village. He lives with his elder stepbrother played by Om Prakash, bhabhi played by Nirupa Roy and younger sister played by Farida Jalal. Om Prakash works for a local Lala played by Pran. Om Prakash keeps all his savings with Pran so that in future he needs for the marriage for Farida Jalal.

 Saira Banu along with her aunt comes to their home for a few days, Saira Banu fell in love with Dilip Kumar. There are a few songs picturized on them'

Farida Jalal's marriage got fixed so Om Prakash goes to the landlord Lala (Pran) to take back money, which he had saved for Nandini's wedding but gets thrown out of the house. Gopi forcibly gets the money but is accused by the landlord of stealing. Sent out of the house by Girdhari, Gopi leaves for the city and vows to come back only after making enough money for Nandini's wedding.

The highlight of the film was the acting of Dilip Kumar and Om Prakash. It is said that when Dilip Kumar heard the script of gopi he felt only Om Prakash could play his older brother. When Om Prakash was offered this movie as Dilip Kumar wanted only him to play this role Om Ji agreed on one condition that he would be paid 1 rupee more than Dilip Kumar. Dilip Kumar gladly accepted his condition. And what a performance by both actors.

The film's music is by Kalyanji Anandji and the lyrics were penned by Rajinder Krishan.

Song	Singer
"Akele Hi Akele Chala Hai Kahan"	Lata Mangeshkar
"Ramchandra Keh Gaye Siya Se"	Mahendra Kapoor
"Gentlemen Gentlemen"	Lata Mangeshkar, Mahendra Kapoor
"Ek Padosan Peechhe Pad Gayi"	Lata Mangeshkar, Mahendra Kapoor
"Sukh Ke Sab Saathi, Dukh Mein Na Koi"	Mohammed Rafi

Song of Gopi 1970

Song of Gopi 1970

Song of Gopi 1970

Song of Gopi 1970

Song of Gopi 1970