New Delhi, May 1 (Ians) More than three decades before Aamir Khan’s train stunt in “Ghulam” (1998), this actor, renowned for his natural performances, had already done such a hazardous exploit, not just a daredevil challenge on the screen, but to inject reality into the scene and save the filmmaker the “bother of back projection”.
Balraj Sahni also involved Meena Kumari in his risky ruse in “Pinjre ke Panchhi” (1966), which — in another strange resemblance with Aamir’s film — was shot at Khandala. The scene had her walking on the rail tracks in a bid to commit suicide, even as he ran after her and managed to pull her aside from the rushing train at the last minute.
The filmmaker only wanted shots of him running after her and pulling her away; those of the were to be juxtapositioned. Sahni, however, knew that a train would pass the spot soon, and if they moved fast,...
Balraj Sahni also involved Meena Kumari in his risky ruse in “Pinjre ke Panchhi” (1966), which — in another strange resemblance with Aamir’s film — was shot at Khandala. The scene had her walking on the rail tracks in a bid to commit suicide, even as he ran after her and managed to pull her aside from the rushing train at the last minute.
The filmmaker only wanted shots of him running after her and pulling her away; those of the were to be juxtapositioned. Sahni, however, knew that a train would pass the spot soon, and if they moved fast,...
- 5/1/2024
- by Agency News Desk
- GlamSham
New Delhi, April 11 (Ians) Soon after he revolutionised Indian film music with ‘Babul mora naihar’, top classical musicians, meeting in Calcutta, decided that Ustad Faiyyaz Khan, who had sung the thumri earlier, should tie a ritual thread to K. L. Saigal to signify discipleship. The Ustad wanted to meet the singer alone first, and after an hour, someone checked to find that both, in high spirits, were insisting on calling each other their ustad.
This was revealed by santoor maestro Pandit Shivkumar Sharma, who heard it from music director S. D. Burman, a disciple of top ustads then and an eyewitness, but a more attested incident is of the Ustad, doyen of the Agra Gharana, telling Saigal that he had nothing to teach him that would make him a greater singer.
Then, Ustad Abdul Karim Khan, of the Kirana Gharana, visited a cinema hall for the first time only to...
This was revealed by santoor maestro Pandit Shivkumar Sharma, who heard it from music director S. D. Burman, a disciple of top ustads then and an eyewitness, but a more attested incident is of the Ustad, doyen of the Agra Gharana, telling Saigal that he had nothing to teach him that would make him a greater singer.
Then, Ustad Abdul Karim Khan, of the Kirana Gharana, visited a cinema hall for the first time only to...
- 4/11/2024
- by Agency News Desk
- GlamSham
It was still some years before he attained iconic status as a Bollywood villain while revealing his real identity to the bemused hero in his trademark soft yet menacing drawl, but before Ajit, whose birth anniversary falls on January 27, became the “Loin”, he had to receive a salutary lesson in dealing with big cats onscreen – from Balraj Sahni.
Ajit recalled they were shooting for costume swashbuckler “Dharti” (1970) – a remake of Tamil film “Sivandha Mann” with Rajendra Kumar stepping into the shoes of Sivaji Ganesan, and a scene had him, as the evil Diwan, coming down on a lift with a tiger on a leash to where Sahni was waiting.
However, Sahni refused to go along, noting that he had agreed to “work with humans, not beasts”, and the scene had to be shot without him.
After this, Ajit, in an article for Urdu film magazine ‘Shama’ in 1975, said that he...
Ajit recalled they were shooting for costume swashbuckler “Dharti” (1970) – a remake of Tamil film “Sivandha Mann” with Rajendra Kumar stepping into the shoes of Sivaji Ganesan, and a scene had him, as the evil Diwan, coming down on a lift with a tiger on a leash to where Sahni was waiting.
However, Sahni refused to go along, noting that he had agreed to “work with humans, not beasts”, and the scene had to be shot without him.
After this, Ajit, in an article for Urdu film magazine ‘Shama’ in 1975, said that he...
- 1/27/2024
- by Agency News Desk
- GlamSham
Sonu Nigam’s voice when harbouring sadness and the feeling of pure morose needs little compliments. Bringing forth a heart-wrenchingly painful song of grief in the ‘Shastry Virudh Shastry’ song ‘Khushi Ke Bahane’, the singer’s voice passionately brings about the soul of the movie in audio.
A song of how loved ones are left fighting one another, and leaving each other behind in their infighting, ‘Khushi Ke Bahane’ drives home the feeling of broken trust and the sorrow of what may just be damage that is now beyond repair.
Composed by Anupam Roy, the track is done in a very classic Bollywood style but not in the modern way. Rather, it sounds like the iconic singer K.L Saigal has been brought back to life as this tonally shifts to his old ‘40s songs.
The composition is very much classic old-school Bollywood music-oriented but has a modern production and new...
A song of how loved ones are left fighting one another, and leaving each other behind in their infighting, ‘Khushi Ke Bahane’ drives home the feeling of broken trust and the sorrow of what may just be damage that is now beyond repair.
Composed by Anupam Roy, the track is done in a very classic Bollywood style but not in the modern way. Rather, it sounds like the iconic singer K.L Saigal has been brought back to life as this tonally shifts to his old ‘40s songs.
The composition is very much classic old-school Bollywood music-oriented but has a modern production and new...
- 11/9/2023
- by Agency News Desk
Sonu Nigam’s voice when harbouring sadness and the feeling of pure morose needs little compliments. Bringing forth a heart-wrenchingly painful song of grief in the ‘Shastry Virudh Shastry’ song ‘Khushi Ke Bahane’, the singer’s voice passionately brings about the soul of the movie in audio.
A song of how loved ones are left fighting one another, and leaving each other behind in their infighting, ‘Khushi Ke Bahane’ drives home the feeling of broken trust and the sorrow of what may just be damage that is now beyond repair.
Composed by Anupam Roy, the track is done in a very classic Bollywood style but not in the modern way. Rather, it sounds like the iconic singer K.L Saigal has been brought back to life as this tonally shifts to his old ‘40s songs.
The composition is very much classic old-school Bollywood music-oriented but has a modern production and new...
A song of how loved ones are left fighting one another, and leaving each other behind in their infighting, ‘Khushi Ke Bahane’ drives home the feeling of broken trust and the sorrow of what may just be damage that is now beyond repair.
Composed by Anupam Roy, the track is done in a very classic Bollywood style but not in the modern way. Rather, it sounds like the iconic singer K.L Saigal has been brought back to life as this tonally shifts to his old ‘40s songs.
The composition is very much classic old-school Bollywood music-oriented but has a modern production and new...
- 11/9/2023
- by Agency News Desk
- GlamSham
He is the only actor who has played the roles of Rama (twice) – and of Raja Dashrath, Arjuna – and Karna, Vikramaditya, Harishchandra, Emperors Akbar and Shah Jahan, Alexander the Great – and a quarter-century later, his determined Indian opponent, Raja Porus, and for good measure, Persian strongman Rustom, and Hannibal of Carthage.
With his chiselled looks, strapping figure and emoting abilities, which made him consummate performer on stage, screen, and in his own life, Prithviraj Kapoor was a patriarch in all senses, be it with a range of regal roles in a career spanning silent films to the technicolour era, and in bequeathing Indian filmdom its most famous family, whose fourth generation is still flourishing.
As part of the latter, he is possibly the only Indian actor who has appeared in two films featuring three generations of a family – with his father and sons in “Awaara” (1951) and his son and grandson...
With his chiselled looks, strapping figure and emoting abilities, which made him consummate performer on stage, screen, and in his own life, Prithviraj Kapoor was a patriarch in all senses, be it with a range of regal roles in a career spanning silent films to the technicolour era, and in bequeathing Indian filmdom its most famous family, whose fourth generation is still flourishing.
As part of the latter, he is possibly the only Indian actor who has appeared in two films featuring three generations of a family – with his father and sons in “Awaara” (1951) and his son and grandson...
- 11/3/2023
- by Agency News Desk
He is the only actor who has played the roles of Rama (twice) – and of Raja Dashrath, Arjuna – and Karna, Vikramaditya, Harishchandra, Emperors Akbar and Shah Jahan, Alexander the Great – and a quarter-century later, his determined Indian opponent, Raja Porus, and for good measure, Persian strongman Rustom, and Hannibal of Carthage.
With his chiselled looks, strapping figure and emoting abilities, which made him consummate performer on stage, screen, and in his own life, Prithviraj Kapoor was a patriarch in all senses, be it with a range of regal roles in a career spanning silent films to the technicolour era, and in bequeathing Indian filmdom its most famous family, whose fourth generation is still flourishing.
As part of the latter, he is possibly the only Indian actor who has appeared in two films featuring three generations of a family – with his father and sons in “Awaara” (1951) and his son and grandson...
With his chiselled looks, strapping figure and emoting abilities, which made him consummate performer on stage, screen, and in his own life, Prithviraj Kapoor was a patriarch in all senses, be it with a range of regal roles in a career spanning silent films to the technicolour era, and in bequeathing Indian filmdom its most famous family, whose fourth generation is still flourishing.
As part of the latter, he is possibly the only Indian actor who has appeared in two films featuring three generations of a family – with his father and sons in “Awaara” (1951) and his son and grandson...
- 11/3/2023
- by Agency News Desk
- GlamSham
Like many other starstruck youths, he came to Bombay with dreams of becoming a hero, banking on his imposing stature, rough-hewn looks, and a baritone voice. He did succeed in his aim, but only partially, for most of his films sank without a trace, and playing second leads was no consolation.
It was only by crossing the moral line – onscreen – didAjit make his name in Hindi films – of a larger than life, deep-dyed, but suave and sophisticated villain. He was always clad in the height of fashion – with accessories like outsized sunglasses, accompanied by glamorous molls, and scorned to do the dirty work himself, relying on a cohort of henchmen.
He complemented the entire package by lowering his trademark voice to a beguilingly softer, yet with sinister undertones, conveying both menace and mockery.
Be it the nasal languid drawl call out to moll “Mona Darling” or henchman “Raabatt” (Robert), telling...
It was only by crossing the moral line – onscreen – didAjit make his name in Hindi films – of a larger than life, deep-dyed, but suave and sophisticated villain. He was always clad in the height of fashion – with accessories like outsized sunglasses, accompanied by glamorous molls, and scorned to do the dirty work himself, relying on a cohort of henchmen.
He complemented the entire package by lowering his trademark voice to a beguilingly softer, yet with sinister undertones, conveying both menace and mockery.
Be it the nasal languid drawl call out to moll “Mona Darling” or henchman “Raabatt” (Robert), telling...
- 10/22/2023
- by Agency News Desk
- GlamSham
Like many other starstruck youths, he came to Bombay with dreams of becoming a hero, banking on his imposing stature, rough-hewn looks, and a baritone voice. He did succeed in his aim, but only partially, for most of his films sank without a trace, and playing second leads was no consolation.
It was only by crossing the moral line – onscreen – didAjit make his name in Hindi films – of a larger than life, deep-dyed, but suave and sophisticated villain. He was always clad in the height of fashion – with accessories like outsized sunglasses, accompanied by glamorous molls, and scorned to do the dirty work himself, relying on a cohort of henchmen.
He complemented the entire package by lowering his trademark voice to a beguilingly softer, yet with sinister undertones, conveying both menace and mockery.
Be it the nasal languid drawl call out to moll “Mona Darling” or henchman “Raabatt” (Robert), telling...
It was only by crossing the moral line – onscreen – didAjit make his name in Hindi films – of a larger than life, deep-dyed, but suave and sophisticated villain. He was always clad in the height of fashion – with accessories like outsized sunglasses, accompanied by glamorous molls, and scorned to do the dirty work himself, relying on a cohort of henchmen.
He complemented the entire package by lowering his trademark voice to a beguilingly softer, yet with sinister undertones, conveying both menace and mockery.
Be it the nasal languid drawl call out to moll “Mona Darling” or henchman “Raabatt” (Robert), telling...
- 10/22/2023
- by Agency News Desk
Three-fourth of his 88-year-long life was spent in acting and of these, six and a half decades, over half, had Dev Anand playing the lead (romantic) role, even as his peers and even several of his leading ladies had moved on or out. In the process, Dev Anand ended up being paired against at least three generations of heroines, if not four, as he transitioned from his early days where his female co-lead was the bigger star to a time when most actresses were keen on working with him as he sauntered from success to success with that charming demeanour and the winning smile.
While most of his early heroines, say, Kamla Kotnis, who was cast against him in his debut “Hum Ek Hai” (1946), Kamini Kaushal, the heroine of his first hit “Ziddi” (1948), Khursheed Bano or Nimmi or Shakila will only be familiar to hardcore film buffs or movie historians,...
While most of his early heroines, say, Kamla Kotnis, who was cast against him in his debut “Hum Ek Hai” (1946), Kamini Kaushal, the heroine of his first hit “Ziddi” (1948), Khursheed Bano or Nimmi or Shakila will only be familiar to hardcore film buffs or movie historians,...
- 9/24/2023
- by Agency News Desk
- GlamSham
Three-fourth of his 88-year-long life was spent in acting and of these, six and a half decades, over half, had Dev Anand playing the lead (romantic) role, even as his peers and even several of his leading ladies had moved on or out. In the process, Dev Anand ended up being paired against at least three generations of heroines, if not four, as he transitioned from his early days where his female co-lead was the bigger star to a time when most actresses were keen on working with him as he sauntered from success to success with that charming demeanour and the winning smile.
While most of his early heroines, say, Kamla Kotnis, who was cast against him in his debut “Hum Ek Hai” (1946), Kamini Kaushal, the heroine of his first hit “Ziddi” (1948), Khursheed Bano or Nimmi or Shakila will only be familiar to hardcore film buffs or movie historians,...
While most of his early heroines, say, Kamla Kotnis, who was cast against him in his debut “Hum Ek Hai” (1946), Kamini Kaushal, the heroine of his first hit “Ziddi” (1948), Khursheed Bano or Nimmi or Shakila will only be familiar to hardcore film buffs or movie historians,...
- 9/24/2023
- by Agency News Desk
Veteran writer and lyricist Javed Akhtar said on Thursday evening that Indian films have been faithfully reflecting the sentiments of the society. “Indian films have always depicted and reflected what is happening in our society. The cinema comes from the society. It is the same with dreams. What is there in the conscious and subconscious mind will get reflected in dreams as well,” Akhtar said at the launch of his book, ‘Talking Life: Javed Akhtar in Conversation with Nasreen Munni Kabir’.
Akhtar said that in the 1930-1940s, when K.L Saigal essayed Devdas’s role, the ‘khansi’ (cough) had become a virtue and fashion. “Self-destruction had become a virtue because of Saigal. However, as the society grew, this self-destructive virtue also vanished,” he said.
“When the Nehruvian era came, everyone thought that soon things would be fine,” Akhtar continued. “But as people felt that not much was changing, cinema gave...
Akhtar said that in the 1930-1940s, when K.L Saigal essayed Devdas’s role, the ‘khansi’ (cough) had become a virtue and fashion. “Self-destruction had become a virtue because of Saigal. However, as the society grew, this self-destructive virtue also vanished,” he said.
“When the Nehruvian era came, everyone thought that soon things would be fine,” Akhtar continued. “But as people felt that not much was changing, cinema gave...
- 9/22/2023
- by Agency News Desk
Veteran writer and lyricist Javed Akhtar said on Thursday evening that Indian films have been faithfully reflecting the sentiments of the society. “Indian films have always depicted and reflected what is happening in our society. The cinema comes from the society. It is the same with dreams. What is there in the conscious and subconscious mind will get reflected in dreams as well,” Akhtar said at the launch of his book, ‘Talking Life: Javed Akhtar in Conversation with Nasreen Munni Kabir’.
Akhtar said that in the 1930-1940s, when K.L Saigal essayed Devdas’s role, the ‘khansi’ (cough) had become a virtue and fashion. “Self-destruction had become a virtue because of Saigal. However, as the society grew, this self-destructive virtue also vanished,” he said.
“When the Nehruvian era came, everyone thought that soon things would be fine,” Akhtar continued. “But as people felt that not much was changing, cinema gave...
Akhtar said that in the 1930-1940s, when K.L Saigal essayed Devdas’s role, the ‘khansi’ (cough) had become a virtue and fashion. “Self-destruction had become a virtue because of Saigal. However, as the society grew, this self-destructive virtue also vanished,” he said.
“When the Nehruvian era came, everyone thought that soon things would be fine,” Akhtar continued. “But as people felt that not much was changing, cinema gave...
- 9/22/2023
- by Agency News Desk
- GlamSham
"I found Bimal Roy at his desk, writing something, when I entered his cabin. As he stopped writing and looked up, he appeared to be taken aback. He fixed me with a steady gaze and kept staring at me in silence… After a while, he turned to the people seated at the rear end of the cabin and said to them in Bengali: ‘Is this the man you had in mind? What sort of a joke are you playing on me?’
"Apparently, he wasn’t aware that I knew Bengali. Without even offering me a seat, he said to me, ‘Mr. Sahni, my men have made a mistake. I can see that you are totally unsuited to play the sort of role I wish to present in my film’," Balraj Sahni wrote in his autobiography ‘Meri Filmi Atamkatha’.
A shattered Sahni managed to ask what role it was and Roy...
"Apparently, he wasn’t aware that I knew Bengali. Without even offering me a seat, he said to me, ‘Mr. Sahni, my men have made a mistake. I can see that you are totally unsuited to play the sort of role I wish to present in my film’," Balraj Sahni wrote in his autobiography ‘Meri Filmi Atamkatha’.
A shattered Sahni managed to ask what role it was and Roy...
- 5/1/2023
- by Agency News Desk
- GlamSham
Yet, ‘Akbar Allahabadi’ does not enjoy the place he deserves in the pantheon of Urdu poets.
Called "Lisan-ul-Asr" (‘Voice of the Time’) in his heyday, he is not entirely unknown due to ghazals like "Duniya mein hoon, duniya ka talabgar nahi hoon…", as rendered by the immortal K.L. Saigal, and "Hangama kyun barpa, thodi si jo pi li hain..", performed by Ghulam Ali, with that line reflecting Descartes’ ‘cogito ergo sum’ ("… har saans ye kahti hai ham hai to Khuda bhi hai"), as well as many more couplets on a range of issues and themes.
Take "Falsafi ko bahs ke andar Khuda milta nahi/Dor ko suljha raha hai aur sira milta nahi", or the rather sarcastic "Chorh ‘literature’ ko apni, ‘history’ ko bhool ja/Sheikh-o-masjid se ta’alluq tark kar ‘school’ ja/Char din ki zindagi hai koft se kya fayda/Kha ‘double-roti’, ‘clerki’ kar, khushi se phul ja...
Called "Lisan-ul-Asr" (‘Voice of the Time’) in his heyday, he is not entirely unknown due to ghazals like "Duniya mein hoon, duniya ka talabgar nahi hoon…", as rendered by the immortal K.L. Saigal, and "Hangama kyun barpa, thodi si jo pi li hain..", performed by Ghulam Ali, with that line reflecting Descartes’ ‘cogito ergo sum’ ("… har saans ye kahti hai ham hai to Khuda bhi hai"), as well as many more couplets on a range of issues and themes.
Take "Falsafi ko bahs ke andar Khuda milta nahi/Dor ko suljha raha hai aur sira milta nahi", or the rather sarcastic "Chorh ‘literature’ ko apni, ‘history’ ko bhool ja/Sheikh-o-masjid se ta’alluq tark kar ‘school’ ja/Char din ki zindagi hai koft se kya fayda/Kha ‘double-roti’, ‘clerki’ kar, khushi se phul ja...
- 4/1/2023
- by News Bureau
- GlamSham
In Urdu poetry, this ‘shair’ can be credited for not only using more simple — and natural — language to broaden his art’s appeal but also went on to initiate its enduring tryst with Hindi films.
‘Arzoo Lakhnavi’ was, if not the first, among the leading mainstream poets to begin writing lyrics for the fledgling film industry — beginning with Calcutta’s New Theatres in the 1930s before shifting to Bombay in 1942 — recognising how this association would preserve — and extend — the reach of Urdu poetry beyond its organic followership.
Much before Majrooh Sultanpuri, Sahir Ludhianvi, or Shakeel Badayuni became known, he was crafting lyrics for Indian cinema’s first superstars — K.L. Saigal and Kanan Devi as well as for emerging stars like Madhubala, and more.
An outstanding standard-bearer of ‘Dabistan-e-Lakhnau’ or the Lucknow School of Urdu poetry, Syed Anwar Hussain ‘Arzoo Lakhnavi’ seemed destined to be a poet.
Both his father Mir...
‘Arzoo Lakhnavi’ was, if not the first, among the leading mainstream poets to begin writing lyrics for the fledgling film industry — beginning with Calcutta’s New Theatres in the 1930s before shifting to Bombay in 1942 — recognising how this association would preserve — and extend — the reach of Urdu poetry beyond its organic followership.
Much before Majrooh Sultanpuri, Sahir Ludhianvi, or Shakeel Badayuni became known, he was crafting lyrics for Indian cinema’s first superstars — K.L. Saigal and Kanan Devi as well as for emerging stars like Madhubala, and more.
An outstanding standard-bearer of ‘Dabistan-e-Lakhnau’ or the Lucknow School of Urdu poetry, Syed Anwar Hussain ‘Arzoo Lakhnavi’ seemed destined to be a poet.
Both his father Mir...
- 3/19/2023
- by News Bureau
- GlamSham
"Bhagne ki koshish mat karna. Humne tumhe chaaron taraf se gher liya hai. Bhalai isi mein hai ke tum apne aap ko kanoon ke hawaale kar do," or its near variants, became the template for the denouement of scores of action Hindi films from the 1950s to the 1980s, as a pistol-toting Iftekhar, usually accompanied by a squad of policemen, reached the spot to rescue the hero and heroine and/or round up the villains.
While his near-contemporary Jagdish Raj (Khurana) holds the record of maximum outings as a police officer in Hindi films (144), Iftekhar was not far behind with 75-odd such roles, playing an Inspector/Dsp/Sp/Commissioner in top films like "Ab Dilli Dur Nahin" (1957), "Guide" (1965), "Teesri Manzil" (1966), "Do Dooni Char" (1968), "Ittefaq" (1969), "Johny Mera Naam" (1970), "Hare Rama Hare Krishna" (1971), "Zanjeer" (1973), "Majboor" (1974), "Fakira" (1976), "Don" (1978) and "Krodhi" (1981), among others.
His performances were so convincing that several times, he was saluted...
While his near-contemporary Jagdish Raj (Khurana) holds the record of maximum outings as a police officer in Hindi films (144), Iftekhar was not far behind with 75-odd such roles, playing an Inspector/Dsp/Sp/Commissioner in top films like "Ab Dilli Dur Nahin" (1957), "Guide" (1965), "Teesri Manzil" (1966), "Do Dooni Char" (1968), "Ittefaq" (1969), "Johny Mera Naam" (1970), "Hare Rama Hare Krishna" (1971), "Zanjeer" (1973), "Majboor" (1974), "Fakira" (1976), "Don" (1978) and "Krodhi" (1981), among others.
His performances were so convincing that several times, he was saluted...
- 2/22/2023
- by News Bureau
- GlamSham
No doubt there was some rivalry between Zauq and Ghalib, as is between leading practitioners of any craft, but it did not lend itself to such snide behaviour from him as in the serial. His depiction in the film "Mirza Ghalib" is more balanced, where he does not lose his equanimity as audience beating him to complete some of his best known shers, and then, goes on to introduce Ghalib when the latter’s turn comes.
Sheikh Mohammad Ibrahim ‘Zauq’ (1789/90-1854) hailed from modest circumstances, being the son of a mere soldier in what was left of the once-glorious Mughal Army. His elementary education was at the house of a nearby cleric, who also wrote poetry and was consulted by aspiring poets. Their discussions made an impression on young ‘Zauq’.
"As I used to hear them, many verses stuck in my memory. My heart received a sort of spiritual pleasure...
Sheikh Mohammad Ibrahim ‘Zauq’ (1789/90-1854) hailed from modest circumstances, being the son of a mere soldier in what was left of the once-glorious Mughal Army. His elementary education was at the house of a nearby cleric, who also wrote poetry and was consulted by aspiring poets. Their discussions made an impression on young ‘Zauq’.
"As I used to hear them, many verses stuck in my memory. My heart received a sort of spiritual pleasure...
- 2/19/2023
- by News Bureau
- GlamSham
Rai Chand Boral, widely considered the father of Hindi film music, composed a superb soundtrack for Lagan. It will be remembered for the superlative singing by lead actors K L Saigal and Kanan Devi...
- 9/12/2017
- Film Companion
Music composer Pankaj Mullick’s key contributions to Hindi film music was enabling the rise of singer K L Saigal. Their most popular creation was So Ja Rajakumari from the 1940 film Zindagi...
- 8/24/2017
- Film Companion
The central hall on the ground floor of Gulshan Mahal is where visitors can discover this early part of our Cinema history including a replica of the Magic Lantern
If you want to watch clips from the silent era of Indian cinema or listen to the audio samples of legendary singer K.L. Saigal, or simply wonder how lip-syncing and playback singing came into practice, then head to the National Film Museum, nestled within the present campus of Films Division in Mumbai, which will soon open its gates to the general public.
The film museum, a mega project with a budget of Rs. 122 crores ( nearly 20 million Usd) was first conceptualized in 2006 to document, chronicle and commemorate the 100 years of Indian cinema. It consists of 2 phases and is spread over a total area of 60,000 sq feet.
V.S. Kundu, the Director General of Films Division, gives an account, “The overall structure, planning...
If you want to watch clips from the silent era of Indian cinema or listen to the audio samples of legendary singer K.L. Saigal, or simply wonder how lip-syncing and playback singing came into practice, then head to the National Film Museum, nestled within the present campus of Films Division in Mumbai, which will soon open its gates to the general public.
The film museum, a mega project with a budget of Rs. 122 crores ( nearly 20 million Usd) was first conceptualized in 2006 to document, chronicle and commemorate the 100 years of Indian cinema. It consists of 2 phases and is spread over a total area of 60,000 sq feet.
V.S. Kundu, the Director General of Films Division, gives an account, “The overall structure, planning...
- 3/29/2014
- by Anu Rangachar
- DearCinema.com
A still from “The Eclipse of Taregna”
What: Documentary and short film screenings in Mumbai
Organizers: The Indian Documentary Producers’ Association (Idpa), Dada Saheb Phalke Film City and P.L. Deshpande Maharashtra Kala Academy, Mumbai
Program:
Aakhri Munadi(The Last Announcement) / Dir – Ahsan Bakhsh / 15mins
The story is about a town announcer named Puran Singh, who with his voice helps the town by spreading the word of the municipal corporation. On the day of his retirement he realizes the injustice done to his fellow villager by the chairman of the municipal corporation. Thus when given his last announcement before retirement day, he decides to help his village one last time….
Cobra – God at Mercy / Dir – Balkrishna Damle / 22mins
This documentary takes you to Battis-Shirale village in Maharashtra and shows you how the live cobras are caught from the agricultural fields, how they are kept, what kind of food is given to them,...
What: Documentary and short film screenings in Mumbai
Organizers: The Indian Documentary Producers’ Association (Idpa), Dada Saheb Phalke Film City and P.L. Deshpande Maharashtra Kala Academy, Mumbai
Program:
Aakhri Munadi(The Last Announcement) / Dir – Ahsan Bakhsh / 15mins
The story is about a town announcer named Puran Singh, who with his voice helps the town by spreading the word of the municipal corporation. On the day of his retirement he realizes the injustice done to his fellow villager by the chairman of the municipal corporation. Thus when given his last announcement before retirement day, he decides to help his village one last time….
Cobra – God at Mercy / Dir – Balkrishna Damle / 22mins
This documentary takes you to Battis-Shirale village in Maharashtra and shows you how the live cobras are caught from the agricultural fields, how they are kept, what kind of food is given to them,...
- 8/7/2013
- by NewsDesk
- DearCinema.com
Shamshad Begum, who happens to be one of the legendary singers of the yesteryears, has passed away. She can be credited as one of the earliest playback singers in the Indian film industry. As per the reports, Shamshad Begum was a huge fan of the (late) K.L. Saigal and had watched his film Devdas a whopping 14 times! Reports also state that Begum not only earned Rs. 15 per song, but was also awarded Rs. 5,000 on the completion of Xenophone's (a then music recording company) contract. Buzz is also that since she was very conscious of her face, she never posed for any pictures. Songs that had been sung in her mellifluous voice include 'Meri Jaan...Sunday Ke Sunday', 'Leke Pehla Pehla Pyar', 'Kabhi Aar Kabhi Paar Zara Dere Chalo', 'Kahin Pe Nigahen Kahin Pe Nishana', 'Mere Piya Gaye Rangoon', 'Kajra Mohabbatwala Akhiyon Mein Aisa Dala' (Duet With Asha Bhosle), 'Saiyan Dil Mein Aana Re' etc.
- 4/24/2013
- by Bollywood Hungama News Network
- BollywoodHungama
The script has changed in Bollywood in the last 60 years - the women are more worldly, the men more macho and the cinema itself more techno-savvy, almost as good as Hollywood, says veteran cinema writer and critic Bhaichand Patel..The women in Hindi cinema are more assertive though no less beautiful (than yesteryear ones), they often smoke on screen and they are equal to men. Mainstream cinema has been a good trend-setter for equality of gender - it is happening now,. Patel told us..The hero, however, has not changed as much as women though they - the crop represented by Salman Khan, Ajay Devgn and Amitabh Bachchan - are a little more physical and action-oriented than the early superstars like Dilip Kumar and Raj Kumar..A former Un official, Patel studied filmmaking at New York University.His new book, Bollywood.s Top 20: Superstars of Indian Cinema launched Monday,...
- 3/28/2012
- Filmicafe
New Delhi, Nov 7: Legendary singer Lata Mangeshkar will be honoured with the K.L. Saigal award by Savitri Vikas Samiti here on Nov 17.
According to Anita Srivastava, from Savitri Vikas Samiti, Lata will receive the award from music legend M.Z. Khayyam, at a ceremony to be held at Siri Fort Auditorium.
The 82-year-old will also be felicitated with lifetime achievement award along with her brother Hridaynath Mangeshkar and the brother-sister duo will be present to receive their awards.
Others to be honoured for their achievements by Savitri Vikas Samiti are veteran actor Jeetendra, Prem Chopra and Sanjay Kapoor;.
According to Anita Srivastava, from Savitri Vikas Samiti, Lata will receive the award from music legend M.Z. Khayyam, at a ceremony to be held at Siri Fort Auditorium.
The 82-year-old will also be felicitated with lifetime achievement award along with her brother Hridaynath Mangeshkar and the brother-sister duo will be present to receive their awards.
Others to be honoured for their achievements by Savitri Vikas Samiti are veteran actor Jeetendra, Prem Chopra and Sanjay Kapoor;.
- 11/7/2011
- by Lohit Reddy
- RealBollywood.com
Legendary singer Lata Mangeshkar will be honoured with the K.L. Saigal award by Savitri Vikas Samiti here on Nov 17.According to Anita Srivastava, from Savitri Vikas Samiti, Lata will receive the award from music legend M.Z. Khayyam, at a ceremony to be held at Siri Fort Auditorium.The 82-year-old will also be felicitated with lifetime achievement award along with her brother Hridaynath Mangeshkar and the brother-sister duo will be present to receive their awards.Others to be honoured for their achievements by Savitri Vikas Samiti are veteran actor Jeetendra, Prem Chopra and Sanjay Kapoor; composer Ravindra Jain, singers Penaz Masani, Jagjit Kaur, Sonu Nigam and Aakriti Kakkar; and late filmmaker Surendra Kapoor.The event will have musical performance by Prem Bhatia and Group..I am glad to be able to organise this programme. It is a magical evening with legends like Lataji. K.L Saigal awards are given in...
- 11/7/2011
- Filmicafe
Bollywood legends Lata Mangeshkar and Dev Anand paid tribute to singer, actor, musician and director Kishore Kumar on his 81st birth anniversary Thursday. .Namaskar, aaj Kishore-da ka janam din hai. Meri Kishore-da ki mulaqat 1948 mein hui aur Kishore-da aur mera pehela duet .Ziddi. film ke liye record hua (Today is Kishore-da.s birthday. We met in 1948 and we recorded our first duet for film .Ziddi.),. Lata posted on her Twitter page. .I think as a playback singer, it was his first movie and his solo .Jagmag jagmag karta nikla chand. was a huge hit that time,. she added. Together, Lata and Kishore have given hits like .Aaj madhosh hua jaye re., .Aap ki aankhon mein kuchh., .Achha to hum chalte hain. and many more. The 81-year-old Lata recollected that despite being so multi-talented, Kishore was a down-to-earth man. .Kishore-da was an excellent singer but he was a good director, music director,...
- 8/4/2011
- Filmicafe
Composer Ram Sampath, who created a stir with the song "D.K. Bose" in the forthcoming film "Delhi Belly", says he wanted to reinvent the way music is used in Hindi movies.<div>Adult comedy "Delhi Belly", an Aamir Khan production venture that stars Imran Khan, Vir Das and Kunal Roy Kapoor, offers other experimental tracks like "Jaa chudail", "Nakkaddwale disco, udhaarwaley khisko", "Saigal blues" and "Switty tera pyaar chahida".</div><div>"It was a conscious effort to have a soundtrack that is a little different as this is not a conventional Bollywood film. We were also trying to reinvent the way we use music in our films," Sampath told Ians.</div><div>"I was also looking for an opportunity to move away from Bollywood's typical synthesised sound and this movie gave me the perfect opportunity to do something new," he added.</div><div>The other songs are also gaining popularity, but the instant fame that "D.
- 6/16/2011
- Filmicafe
Indian artist M.F. Husain.s undying passion for art was also manifest in a long love affair with cinema. From painting billboards to designing movie invitations to making films, he had a colourful tryst with Bollywood.<p /><p>Husain, who died in London Thursday, came to Mumbai in 1935 in search of a career in art and ended up painting movie posters to earn livelihood. That was his first brush with cinema and the fascination was to last 75 years.</p><p>.He probably made the billboard for K.L. Saigal.s (1935) .Devdas.. After that he associated himself with New Talkies and then took off independently,. K. Bikram Singh, who has written a book on the painter titled .Maqbool Fida Husain., told Ians.</p><p>.His experience in billboard-making art reflected in his later paintings. He used broad strokes and strong colours, usually used in hoarding paintings,. he added.</p><p>Mumbai-based film historian S.M.M. Ausaja said, .Mf designed invites for several movies.
- 6/9/2011
- Filmicafe
New Delhi, April 7 – Some voices refuse to fade from memory. Legendary musician K.L. Saigal, the musician of the masses and the enduring face of ‘Devdas’ on the Hindi screen, remains one of them even 63 years after his death.
‘Saigal’s greatest contribution was that he brought music to the masses. Before he arrived on the musical centrestage, music was meant for the elite who either enjoyed it at the salons of professional.
‘Saigal’s greatest contribution was that he brought music to the masses. Before he arrived on the musical centrestage, music was meant for the elite who either enjoyed it at the salons of professional.
- 4/7/2011
- by realbollywood
- RealBollywood.com
The gods of cinema gave scripts and technology to Hollywood, and song and dance to Bollywood. Aren’t we glad for that? It lets us thrust our sanskriti (culture) and parampara (tradition) in the face of all comers, and at the same time allow us to thrust our pelvis at head-shaking purists. More importantly, they let our films have a life beyond moving images. What Holly has been doing with coffee mugs and t-shirts over the past decade, Bolly has been doing with songs from the time Kundan Lal Saigal first lent his nose to film music. And I bet a copy ...
- 2/26/2010
- Hindustan Times - Cinema
New Delhi, Jan 21 (Ians) Even 63 years after his death, actor-singer Kundan Lal Saigal is remembered for his haunting voice and inspires many. But his daughter Bina Chopra was so fed up with showbiz that she kept her two sons far away from singing even though she married a ghazal singer herself.
‘We haven’t done any serious singing. My mother actually kept us away. She said ‘I don’t want to get back to that life. I’ve seen enough of that.’ She said no (to singing),’ Rabinder, Chopra’s younger son, told Ians.
‘She never stopped us from doing anything but she never even encouraged us to take up singing..
‘We haven’t done any serious singing. My mother actually kept us away. She said ‘I don’t want to get back to that life. I’ve seen enough of that.’ She said no (to singing),’ Rabinder, Chopra’s younger son, told Ians.
‘She never stopped us from doing anything but she never even encouraged us to take up singing..
- 1/21/2010
- by realbollywood
- RealBollywood.com
Even 63 years after his death, actor-singer Kundan Lal Saigal is remembered for his haunting voice and inspires many. But his daughter Bina Chopra was so fed up with showbiz that she kept her two sons far away from singing even though she married a ghazal singer herself.'We haven't done any serious singing. My mother actually kept us away. She said 'I don't want to get back to that life. I've seen enough of that.' She said no (to singing),' Rabinder, Chopra's younger son, told Ians.'She never stopped us from doing anything but she never even encouraged us to take up singing. She had a different thought process and we respect it,' he said, adding they had nothing to do with singing.Some of Saigal's all-time hits are 'Jab dil hi toot gaya', 'Ek bangla bane nyara', 'Dukh ke din ab bitat nahin', 'Duniya mein hun...
- 1/20/2010
- Filmicafe
New Delhi, Jan 18 (Ians) It was an emotional moment for legendary singer Kundan Lal Saigal’s grandson Rabinder Chopra as he witnessed the re-release of the national-award winning biography on his grand father in a paperback edition Monday.
‘It is a great honour to be his grand son and be part of the family tree of a legend. Though I could not meet my ‘nanaji’ (maternal grand father), I feel proud to be associated with him,’ said Rabinder Chopra, son of Saigal’s late daughter Bina Chopra. The re-release of the singer’s biography also marked his 63rd death anniversary.
Titled ‘Kundan’, the book has been.
‘It is a great honour to be his grand son and be part of the family tree of a legend. Though I could not meet my ‘nanaji’ (maternal grand father), I feel proud to be associated with him,’ said Rabinder Chopra, son of Saigal’s late daughter Bina Chopra. The re-release of the singer’s biography also marked his 63rd death anniversary.
Titled ‘Kundan’, the book has been.
- 1/18/2010
- by realbollywood
- RealBollywood.com
New Delhi, Jan 17 (Ians) The national-award winning biography of Bollywood’s legendary singer Kundan Lal Saigal will be re-released in a paperback edition on his 63rd death anniversary Monday.
Titled ‘Kundan’, it has been penned by Sharad Dutt, a former director of the Delhi Doordarshan Kendra.
First released in hardbound on Saigal’s birth centenary in 2004, the 2005 national award winning book in a paperback edition by Penguin will be unveiled by former information and broadcasting minister Vasant Sathe at the Films Division Auditorium here.
A documentary on Saigal entitled ‘Saigal.
Titled ‘Kundan’, it has been penned by Sharad Dutt, a former director of the Delhi Doordarshan Kendra.
First released in hardbound on Saigal’s birth centenary in 2004, the 2005 national award winning book in a paperback edition by Penguin will be unveiled by former information and broadcasting minister Vasant Sathe at the Films Division Auditorium here.
A documentary on Saigal entitled ‘Saigal.
- 1/17/2010
- by realbollywood
- RealBollywood.com
Panaji, Nov 22 (Ians) Musical great like Ustad Bismillah Khan, K.L. Saigal, Mohammed Rafi will continue to enthrall the audiences at the 40th International Film Festival of India (Iffi), long after they passed into history.
A novel and new section called ‘Moments with the Maestros’ will present audio-visual documentaries on a cross section of musical greats, depicting their life and work.
The seven-day segment will be inaugurated by chief minister Digambar Kamat Tuesday and the inaugural documentary will be ‘Rafi - We Remember You’, directed by Kuldeep Sinha.
The documentary on Rafi is the latest.
A novel and new section called ‘Moments with the Maestros’ will present audio-visual documentaries on a cross section of musical greats, depicting their life and work.
The seven-day segment will be inaugurated by chief minister Digambar Kamat Tuesday and the inaugural documentary will be ‘Rafi - We Remember You’, directed by Kuldeep Sinha.
The documentary on Rafi is the latest.
- 11/23/2009
- by realbollywood
- RealBollywood.com
Call it a casting coup or a thunder of sorts but Bollywood director Satish Kaushik and Rajshri Productions have made the impossible possible!
The latest buzz has it that 'Tansen', touted to be one of the costliest Hindi films to be ever made, will star Abhishek, Aishwarya, Anil Kapoor and none other than Vivek Oberoi.
‘Tansen’ is said to be based on the life of the famous Mughal court singer by the same name and will see Abhishek playing the lead role.
The much talked about film is set to be shot in Bangkok first and then at other international locations such as Australia and New Zealand. The shooting of the flick is reported to be beginning from next month itself.
Incidentally, the last film based on musician-singer prodigy Tansen dates back to pre independence era in 1943, when Kl Saigal played the role of Tansen and eternalised it...
The latest buzz has it that 'Tansen', touted to be one of the costliest Hindi films to be ever made, will star Abhishek, Aishwarya, Anil Kapoor and none other than Vivek Oberoi.
‘Tansen’ is said to be based on the life of the famous Mughal court singer by the same name and will see Abhishek playing the lead role.
The much talked about film is set to be shot in Bangkok first and then at other international locations such as Australia and New Zealand. The shooting of the flick is reported to be beginning from next month itself.
Incidentally, the last film based on musician-singer prodigy Tansen dates back to pre independence era in 1943, when Kl Saigal played the role of Tansen and eternalised it...
- 4/26/2009
- by mihirkula
- India.com
After the lukewarm response to ‘Ek Aur Vivah’, Sooraj Barjatya is all set to return with his grandiose project – a Satish Kaushik directed bio-pic based on the life of Tansen, a musician-singer who entertained Emperor Akbar during 16th century.
Incidentally, the last film based on musician-singer prodigy Tansen dates back to pre independence era in 1943, when Kl Saigal played the role of Tansen and eternalised it with his impressive screen presence and vocals in Jayanti Desai directed film.
In today’s scenario, the only singer who acts is Himesh Reshammiya and news has it that Kaushik did consider Himesh for the project but Barjatyas, who are known as sticklers to custom, shot down the idea. With this, the mantle fell on the shoulders of junior Bachchan – Abhishek.
Explaining Abhishek as the final choice for Tansen, Satish said, “He has the look and intensity. He also has the dialogue delivery of his father.
Incidentally, the last film based on musician-singer prodigy Tansen dates back to pre independence era in 1943, when Kl Saigal played the role of Tansen and eternalised it with his impressive screen presence and vocals in Jayanti Desai directed film.
In today’s scenario, the only singer who acts is Himesh Reshammiya and news has it that Kaushik did consider Himesh for the project but Barjatyas, who are known as sticklers to custom, shot down the idea. With this, the mantle fell on the shoulders of junior Bachchan – Abhishek.
Explaining Abhishek as the final choice for Tansen, Satish said, “He has the look and intensity. He also has the dialogue delivery of his father.
- 4/4/2009
- by mihirkula
- India.com
There’s a major difference between K.L. Saigal, Dilip Kumar, Shahrukh Khan and Abhay Deol’s Devdas. The first three films were faithful to Sarat Chandra’s legendary novella, while Anurag Kashyap’s deviant take on Devdas is contemporary and in the process, differs from the original work.
Anurag Kashyap’s Dev D, Dev is into drugs and vodka. Paro sends her nude pic to Dev via email and later, wants Dev to have sex with her in the fields. Chanda, a hooker, indulges in phone sex mainly. Clearly, Kashyap’s Dev, Paro and Chanda are audacious and rebellious.
The.
Anurag Kashyap’s Dev D, Dev is into drugs and vodka. Paro sends her nude pic to Dev via email and later, wants Dev to have sex with her in the fields. Chanda, a hooker, indulges in phone sex mainly. Clearly, Kashyap’s Dev, Paro and Chanda are audacious and rebellious.
The.
- 2/10/2009
- by realbollywood
- RealBollywood.com
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