Posts Tagged ‘Shankar Jaikishan’

Rafi fest – Birthday Special (I)

December 27, 2011

Dharmendra (8th), Dilip Kumar (11th), Raj Kapoor (15th, 14th), Biswajeet (15th), Naushad (24th, 25th), Rafi (24th), Rajesh Khanna (29th) – This post and the ones that will follow are dedicated to all these birthday boys.

My initial plan was to do one song with lyrics per day, whole of this month. But work demanded more of me, so couldn’t stick to the original plan.

I wont say all the songs that I’m posting here today are the ones that I have come across recently. They are just relatively less heard of. And some of them are songs which I’ve heard pretty often but noticed only now.

1. Na jaane kyun hamare dil ko tumne dil nahin samjha (Mohabbat Zindagi Hai, 1966) : I had first heard this song long long ago (dont remember where exactly, either we had a cassette/LP record at home or had heard it on radio) but had first seen it’s video when I had read the review of this movie on memsaab’s blog. And then had completely forgotten about it until I heard it on radio couple of weeks back. And now all of a sudden it’s pouring in everywhere! I dont know how I could forget such a great song in the first place! Though I wouldn’t call the video great, the song itself is amazing -with all chhed-chhad, haseen gile-shikwe wala lyrics and music. S.H Bihari is the lyricist and O.P Nayyar the music director. And all the songs featuring here this month are sung by Rafi! So that doesn’t even need to be explicitly mentioned.
Totally love  Tumhi ne jaan le li aur tumhe qaatil nahin samjha – the way it’s sung and picturized!

2. Tumhari mulaquat se (Mohabbat Zindagi Hai, 1966) : A more subdued one but so highly romantic!  If Dharam was trying to force himself too much on her in the previous song, in this he appears to have fallen for her at the very first sight. It’s such a beautifully written song – The way it describes the realization of one’s own emotions on meeting someone is so sweet. And it has more of happiness and acceptance to it than awe, making not just Dharmendra but even the one watching the song feel so good about him finding his love. He’s following her everywhere, holding her handbag and even sandals! His antics are really cute and adorable 🙂
Dharam looks even more garam in his shorts! Love Rafi’s restrained rendition inspite of all the paagalpan that goes on in the song, even the ‘hoye’ is sung with so much of control.

3. Yakeen karlo mujhe mohabbat hai tumse (Yakeen, 1969) : Sounds more like a Shammi Kapoor/Joy Mukherjee type song. This time around it’s our glam queen in shorts and uff her adas and nakhras! It’s as though Dharam is on patao-the-heroine spree. Watching the video makes me feel like they are playing catch-me-if-you-can!  But he does get lucky in this one towards the end. Like harvey mentioned, Dharmila jodi is so awesome! They share such a cute chemistry! Apart from being fun,  it’s such a catchy song. The magic of Rafi, Shankar-Jaikishan and Hasrat Jaipuri! I love the rise and fall of notes especially in ‘Tumhari tasveer hai nazar mein, charag jaise ho rehguzar mein‘…the way mein part suddenly drops down.

4. Baharon ki baarat aa gayi (Yakeen, 1969) : No, I wasn’t actually planning to do Ek Hi Film se, but it just sort of happened. Though I had heard both these songs before, I had never paid much attention to them. I heard Gar tum bhoola na doge from this movie on radio sometime back and then checked it out on youtube. I had no idea it was picturized on Dharmila. And I found these in the related links section. Surprisingly these two songs didnt gain the popularity of Gar tum bhoola na doge. This song does remind me of Kaun hai jo sapno mein aaya (Jhuk Gaya Aasmaan) and Chala jaata hoon kisi ki dhoon mein (Mere Jeevan Saathi). Must be the picturization but am wondering if Dharam too meets with an accident after the song. I didnt quite like this song when I saw  it the first time but it has grown on me. I really like the way ‘Suno toh mere dil, suno toh meri jaan, hothon pe dil ki baaaaaat aa gayi‘ is sung. The type puncture sequence is funny. The last antara is different in video and audio. Audio version has –
Honge muthi mein dono jahaan, jis ghadi main unhe paunga
Chaand suraj ke dole mein phir, apne ghar par unhe launga

5. Dil kahe ruk ja re ruk ja (Mann Ki Aankhen, 1970) : I heard this on radio few days ago and instantly fell in love with it. It wasn’t the first time I had heard it. I find it so strange that there are some songs which I have  heard all my life but never noticed. And one fine day, I hear it on radio and suddenly realize how good it is and get addicted to it. Wonder if the mood that I’m in has anything to do with it. But I saw the video for the first time last week. It reminded me a little of Suhana safar aur yeh mausam haseen and a little of Yeh kaun chitrakaar haiThis lovely song is written by Sahir and composed by Laxmikant-Pyarelal.
Ruk ja re ruk ja makes me want to stop doing whatever I’m doing and just let the song take over.

Songs picturized on other actors (birthday boys) will come up in a day or two, as and when time permits.

R.I.P Dev Anand

December 4, 2011

I went to office this morning, totally unaware of Dev Anand’s demise. I was little early today and only one of my teammates was in.  The conversation that followed was –
Me : Hi, Good Morning
Him : Good Morning. How was your weekend?
Me : It was great! Couldn’t have asked for a better one. How was yours?
Him : Was working both the days. Watched any movies? Saw Desi Boys?
Me : Nahhhh….I watch very selected new movies. I’m happier with my old black and white collection
Him : Is it?
Me : Yup and the next new movie I’m gonna watch is Don 2
Him : Ok…if you are so much into old films then there’s a sad news for you
Me : Sad news? What happened?
Him : Dev Anand is no more
Me : What? How can that be….When? How?
Him : I dont know the details

By then I had switched my laptop on and the first thing I did was to read the news. All that I could say was – this year’s been so unfortunate! Coming to think of it, they had turned old and fragile, were suffering and in pain. They’ve been relieved from all the worldly sufferings and have gone to be reunited with their old friends. But it’s not that easy to accept it, though we all know that death is the final destination, that all our lives come to an end someday. We’ve seen them and known all our lives,   ever since we can remember and all of a sudden we read that they are no more. It’s like losing a family member.

The only movie of Dev Anand that I have with me at the moment is Namoona but it was late by the time I got back home from work, so couldn’t watch it. May be some time later during the week…I had made a list of 10 songs but it’s already past midnight and it’ll take time to search for youtube links. So, keeping up the trend of last 3 days, here’s one song picturised on Dev sahab in Rafi’s voice.

I didn’t know that this song existed until I watched the movie and saw the song. And had completely forgotten about it until I heard it again on Vividh Bharati this afternoon on Dev Anand special Sadabahar Nagme. It has it’s own charm and it’s cute.

It’s from Love Marriage (1959), written by Shailendra, composed by Shankar Jaikishan, sung by Rafi and picturised on Dev Anand and Mala Sinha.

Lara lara la  
(Kahan jaa rahe the, kahan aa gaye hum – 2
Kisi ki nigahone se – 2
Takra gaye hum – 2) – 2

Kho chale saare nishan, main yahan dil hai kahan – 2
Soye hai ke jaage, chakra gaye hum – 2
Kisi ki nigahone se – 2
Takra gaye hum – 2
Kahan jaa rahe the

Lara lara la  ho ho ho….. Lara lara la  

Yeh subah masti bhari, yun hanse jaise pari – 2
Kismat ko shayad, yaad aa gaye hum – 2
Kisi ki nigahone se – 2
Takragaye hum – 2
Kahan jaa rahe the

Ajnabee apna hua, sach mera sapna hua – 2
Saare jahan pe, lo chha gaye hum – 2
Kisi ki nigahone se – 2
Takragaye hum – 2
(Kahan jaa rahe the, kahan aa gaye hum – 2
Kisi ki nigahone se – 2
Takra gaye hum – 2) – 2
Kahan jaa rahe the

Lara lara la  ho ho ho…..hmm hmm hmm….. Lara lara la  Lara lara la

You will live in our memories forever! RIP, Dev Anand!

Ten of my Favourite Mukesh Songs

August 29, 2010

When dustedoff had done a post on Mukesh on his Birth Anniversary, this is what I had said :

“I don’t know how exactly to put my feelings for Mukesh in words….it’s kind of confusing. Not that I dislike him…he has a wonderful voice and he has sung some of my favourite songs. But I’ve never been a great fan of his either.
1. Majority, at least the most popular songs of his, are usually so sad and full of despair that I try avoiding them.
2. My dad is a big big fan of Mukesh….and he has some of the saddest songs ever in his collection
3. A cousin of mine had once told me that when someone gets hooked on to old songs, it usually begins with Kishore, then gets into Rafi mode and eventually ends up liking Mukesh better. And when I initially started listening to Hindi songs, it was Kishore Kumar’s. Now I’m in Rafi phase but I never want to get over Rafi. 🙂 Since half of his prediction came true, I guess I am scared of getting into the final phase.

Frankly speaking, I never gave it much thought, but looking back, I have been subconsciously avoiding Mukesh’s songs. Though I would like to believe that it’s because most of his songs are sad, I’m yet to figure out the real reason behind it. I agree that just because I like Rafi so much doesn’t mean I shouldn’t like any other singers. And that’s never been the case, in fact. I am extremely fond of Talat, Hemat, Manna Dey etc. Anyways, more thoughts on that later. When I discovered it was Mukesh’s Birth Anniversary today, and started thinking of his songs, I realized that I love quite a lot of them. I really wanted to do a post but was very very busy. I was kind of feeling guilty about it and was hoping somebody else would so that I could at least list down my favourite songs here in the comment section. But now I have changed my mind…like you quoted And for all those years I failed to recognise your genius : I am also going to dedicate a post to Mukesh Chand Mathur.”

It’s over a month since I said that and I have been listening to a lot of Mukesh’s songs since then. And before long I found out that  there are hundreds of his songs that I really really adore. Like dustedoff rightly said,  Mukesh is one of those voices that grows on you –  it has definitely grown on me. I have learnt to appreciate his singing better now.

I can completely relate to what Harvey had said :  “I started off as a Kishore fan, went through Rafi phase, came back to KK and then again to Rafi and now I luv both! Have turned bigamist 😉 and am regularly unfaithful to them with Talat, Hemant, Manna and Mukesh and not necessarily in this order!” And this is a blisfful state!

I just realized I am a polygamist and it’s indeed a blissful state! 😀 😀

After having consciously explored his songs regularly for over a month, it’s very tough to list just 10 songs of his. So, as usual I have put some filter criteria to make my job easier. As Mukesh was the voice of Raj Kapoor and Manoj Kumar, I am intentionally ruling out their songs. Or else I will end up listing only 10 RK songs or 10 MK songs.

With my newly found fondness for him, there’ll be many more posts dedicated to Mukesh in the months to come. Will cover some of his rare gems in my later posts. For this one, my focus is on songs he sang for the actors who were generally associated with other singers.

So, on his Death Anniversary (27th Aug), in fond memories of Mukesh, here are my ten favourite songs of his –

1. Kahin door jab din dhal jaye (Anand, 1971) : This is one of my all time favourite songs from my all time favourite movie. Out of the few songs that Mukesh has sung for Rajesh Khanna – Jis gali mein tera ghar na ho (Kati Patang), Maine tere liye hai saat rang ke (Anand), Haan toh main kya keh raha tha (Raja Rani), Kahin door jab din dhal jaye etc, this one tops my list. When he sings tabhi machal ke pyaar se chalke, chhue koi mujhe par nazar na aaye – I can actually feel the song caressing me. The deep longing in mere khayalon ke aangan mein koi sapno ke deep jalaye and the sense of loss in  kho gaye kaise mere sapne sunhere…yeh mere sapne yehi toh hai apne…is simply mindblowing. Touching lyrics (Yogesh), beautiful picturisation, soothing music (Salil) and sensitive and poignant rendition makes this song a masterpiece. Only Mukesh could build this atmosphere of a deep longing. I never tire of listening to this song.

2. Phool tumhe bheja hai khat mein (Saraswati Chandra, 1968) : It was the songs that tempted me into watching this movie. Had it not been for Nutan and the songs, I would never have seen it. Now that I’ve seen the movie, I would rather forget about it…it was a torture. But I still love the songs – this, Chandan sa badan and Main toh bhool chali. Another iconic chitthi song picturised on Nutan and Manish…it’s very sweet and overflowing with love. Penned by Indeevar, composed by Kalyanji Anandji and rendered by Mukesh and Lata, it’s beautiful in every sense,  one of my favourite romantic duets. Sweet lyrics, music with just the right ambience and listening to it one can feel the nervousness, anticipation and love in it. This shows the level of involvement that everybody has put in creating this gem.

 3. Yaaron surat hamari pe mat jao (Ujala, 1959) : A delightful Mukesh-Rafi duet brimming with bromance – both in singing and in picturisation. It’s the carefree attitude with which these two dashing dudes – Raj Kumar and Shammi Kapoor run around and jump and dance and sing to this song that it scores over Duniyawalon se door for me from the same movie. Shailendra’s lyrics and Shankar-Jaikishan’s tunes are simple and sweet. It’s an absolute delight listening to and watching this song!

4. Kisi nargise nazar ko (Main Nashe Mein Hoon, 1958) : The fun quotient in this song is simply superb. Maruti dancing to Hasrat Jaipuri’s lyrics and Shankar-Jaikishan’s music, this lovely song somehow reminds me of Lakhon hai nighahon mein. I first heard this song on Vividh Bharati. And was pleasantly surprised to hear Mukesh singing a fun song!

5. Chal ri sajni ab kya soche (Bombai Ka Babu, 1960) : Picturised on Dev Anand, Suchitra Sen, Nasir Hussain and Achala Sachdev, it’s one of the most emotional songs ever. Mukesh has never been more suited to a song…there’s so much emotion in his voice – it looks like the song was tailor made for him. Majrooh Sultanpuri’s lyrics, SD Burman’s composition, Mukesh’s rendition and the vidai scene…everything is just perfect!

6. O jaane wale  ho sake toh laut ke aana (Bandini, 1963) : Very rarely did SD Burman use Mukesh. But when he did, the affect was truly magical and soul-stirring. Chal ri sajni and O Jaane wale are two such live examples. I love Mukesh’s voice here. Shailendra’s lyrics is touching and SD Burman’s music is classic. This song has something extremely melancholy and a sense of deep longing about it – something which only Mukesh could create. It takes me into a trance. Picturisation is equally beautiful.

7. Aaya hai mujhe phir yaad woh zaalim (Devar, 1966) : Another gem of a song picturised on my favourite jodi – dashing Dharmendra and enticing Sharmila. His rawness and her sophistication – simply an amazing combination. And Mukesh’s pathos leaden voice adds to the magic. When I first saw this film, it was Kaajal wale nain that stole my heart away but the next time I saw it, it was this song that captivated me. Fabulous composition from Roshan. Anand Bakshi’s childhood beckoning lyrics , Mukesh’s rendition, Dharmendra and Sharmila’s story in the movie everything put-in together, really takes me back to those carefree childhood days.  

8. Sambhal ke karna jo bhi karna (Ek Phool Char Kaante, 1960) : Each song in this movie is a masterpiece. And I had a real tough time choosing one. But the Shammi-Rafi-sque feel of this song just wins over the rest for me. A beautiful flirtatious melody picturised on Sunil Dutt and Waheeda Rehman. You can feel both Mukesh and Sunil enjoying the song to the fullest singing and portraying it.

9. Tu kahe agar (Andaaz, 1949) : Suhana safar aur yeh mausam haseen, Dil tadap tadap ke and Yeh mera deewanapan hai are more popular Mukesh songs picturised on Dilip Kumar. And I do love all these songs. I haven’t seen Yahudi yet, and the Madhumati songs are too popular. So my vote goes for Tu kahe agar.  Mukesh’s voice brimming with love and Dilip Kumar’s expression singing it onscreen as Nargis leans over his piano, it’s just amazing! Also, it’s one of those few compositions of Naushad that has Mukesh as the playback singer. Majrooh’s lyrics is very sweet and romantic.

10. Dil jalta hai toh jalne de (Pehli Nazar, 1945) : This is a historic song…historic as in, it brought Mukesh to limelight. It was his first hit song. It’s a known fact that it was Motilal who first noticed Mukesh and brought him to Bombay. He got his break as a playback singer in 1945 with the film Pehli NazarDil jalta hai toh jalne de was composed by Anil Biswas and lyrics penned by Aah Sitapuri. It was incidentally picturised on Motilal himself. He was such a big fan of K. L. Saigal that in his early years of playback singing he used to imitate his idol. He does sound so much like Saigal here. In fact, it is said that when K. L. Saigal first heard this song, he said “That’s strange, I don’t recall singing that song”.

It’s ten songs already. And I had so many other songs in my mind 😦

Dekho mausam kya bahar hai, khayalon mein kisike,Tumse hi meri zindagi, waqt karta jo wafa aap hamare hotey, Mein to har mod par thujko doontha chala, Gardish mein ho taare, Yeh sehar bada albela, Mile na phool, Kabhi kabhi mere dil mein, Jinhe hum bhoolna chahe, Kahin karti hogi woh mera intezaar, Tere hothon ke do phool pyaare pyaare, Oh re taal mile, Yeh kaun chitrakar hai, Hum toh tere aashiq hai, Aye dil na mujhse chhupa, Mujhe raat din yeh khayal hai, Jaaoon kahan bata aye dil, Tum ruthi raho main manata rahun etc….

For someone whom I have subconsciously ignored all these years, I spents hours devoted to him on the eve of my birthday. And now that I have finally done a post on him, I am feeling really very happy! 🙂

May your soul rest in peace Mukesh Chand Mathur! Though quite late in life, I have finally realized how much I love your voice.

Ten of my Favourite Saira Banu Songs

August 23, 2010

Here’s wishing Saira Banu a very very Happy Birthday! (23rd August). I am not a big Saira Banu fan. I find Saira Banu very screechy most of the time – but that doesn’t mean I don’t like her at all or don’t watch her movies. I liked her in movies like Shagird, Aayi Milan Ki Bela, Jhuk Gaya Aasmaan etc. And she has some great songs picturised on her….such good songs that I couldn’t resist myself from doing this post (knowing that it’s her Birthday).

So, here are few songs of hers that I like the most, not in any particular order.It’s a random list of first 10 or rather 15 songs that came into my mind.

One more thing before I start with the songs. How could I not mention Vividh Bharati? I was listening to VB in the afternoon and they played all Saira Banu’s songs in one of their programs. It was then I checked and confirmed her birthday.

1. Aap naraaz khuda khair (Pyaar Mohabbat, 1966) : This is one of my all time favourites and I love everything about this song. Rafi’s singing goes without saying. Shankar-Jaikishan’s music is amazing. Dev Anand is great but it’s Saira who steals the show for me. She looks very beautiful, charming and elegant. Her expressions are simply awesome!


2. Main chali main chali (Padosan, 1968) :  Rendered by Lata and Asha, this is a very masti-bhara number! It has something very refreshing and carefree about it. Rajendra Krishan’s lyrics and R.D’s music is very very cheerful and pleasing. Bhai batur is another typical Saira Banu song, in her signature style. And I really like it but there’s another signature song coming up next. So this was showcasing a different mood of Saira. I like her chilled out character here – that carefree  and eco-friendly attitude.

3.  Unse mili nazar (Jhuk Gaya Aasman, 1968) : This is what I call Saira Banu’s signature style. Penned by Hasrat Jaipuri, composed by Shankar-Jaikishan, sung by Lata and picturised on our B’day girl, this is one of my all-time favourite songs. It’s such a catchy song – everything about it is lovely – the tune, lyrics, singing and Saira looks gorgeous. Picturisation is very very cute, romantic and sensuous. Saira’s expressions of self-confession are so innocent and sweet. I find this and Bhai batur pretty similar – picturisation wise.

4. Kanha kanha (Shagird, 1967): This has Saira in a different avtaar altogether. I initially thought of including my favourite number from this musical blockbuster – Woh hai zara khafa khafa, but felt Dil vil pyar vyar and Ruk ja aye hawa are more like typical Saira Banu songs. But this one is different from other songs of hers, spiritual and magical at the same time. I find her extremly beautiful here. Lata is terrific and Laxmikant-Pyarelal’s music is fantastic!

5. Kashmir ki kali hoon main (Junglee, 1961) : My favourite song from this movie is Ehsaan tera hoga mujh par, but I like the Rafi version more than Lata version. Saira’s expresssions are not all that great in it. It’s Rafi’s voice topped with Shammi Kapoor’s expressions and eyes that has made the song what it is. Ja ja ja mere bachpan is sweet but it’s Saira, looking like a Kashmiri doll in Kashmir ki kali hoon main that makes it to this list – her looks, the Kashmiri attire, angry and khadoos look of Shammi Kapoor (with a pout)…everything about this song is so lovely in a typical Hindi Film style. Again, this song reminds me a bit of O mere sona re from Teesri Manzil.


6. O sanam tere ho gaye hum (Aayee Milan Ki Bela,  1964) : Another musical blockbuster. Each and every song in this film is a masterpiece. I had thought of including Tum kamseen ho first and then realized that I hadn’t put a duet (with a male singer) yet and I’m already half-way through. And also, I have already included a paean to her above and there will be few more by the time I reach the end of this post. So here goes one of my favourite Lata-Rafi romantic duets. Lovely tune from SJ camp and highly romantic lyrics by Hasrat Jaipuri. I like Rajendra Kumar-Saira Banu pairing, they look good together and they share a good chemistry. And I love everything about this song, including Rajendra Kumar’s dance 😀


7. Unki pehli nazar kya asar kar gayi (April Fool, 1964) : Talking about musical blockbuster, here’s one more. After battling between Tumhe pyaar karte hai, Mera naam rita chirstina and Unki pehli naazar ka, I chose this over the other two – Tumhe pyaar karte hai is a lovely song, no doubt about it but didn’t want to put two romantic duets in a row (if that can be called an excuse). Mera naam rita christina – everytime I see this song, I keep wishing  it had Helen in it. It definitely portrays Saira in a different avtaar again but I like this song better.  It does sound like a sober and more Bolly-Bharatiya-Naari version of Unse mili nazar. Lata is mindblowing in it and so is Saira. Truly amazing song!


8. Tum akele toh kabhi baag mein (Aao Pyaar Karen, 1964) : I find songs and movies more charming and fascinating when they are in Black & White than in color. May be because all the people whom I like so much looked much better in B&W days. Both Joy Mukherjee and Saira look so gorgeous in this one. This movie again has some lovely songs – be it Tum akele toh kabhi, Dil ki aaine mein, Yeh jhuki jhuki or Tammannao ko khilne do. Tum akele toh is very entertaining. Hats off to the lyricist for penning down this duet – a true battle of words. Usha Khanna’s music as always is lively and peppy. Lata and Rafi are at their best. Saira looks very young and pretty. Though the set looks artificial, I love the song. It’s such a lovely song and with Joy and Saira on screen, I just can’t complain about anything. The full song’s video is not on youtube yet. The link above has only half of the song. However, the audio is available.


9.  Hum bhi agar bachche hote (Door Ki Awaaz, 1964) : I almost put Husn se chaand bhi sharmaya hai but as this is a Birthday special post and it’s Saira’s birthday, here’s this all-time favourite birthday song dedicated to her. Not a great movie, but Joy-Saira pairing always promised some great songs.

10. Husn chala kuch aisi chaal (Bluffmaster, 1963) : Not a movie that I remember fondly, except for few songs and this happens to be one of them. What an eye-candy! Now that I have seen Shammi Kapoor in his true Shammiesque style, (unlike the one in Kashmir ki kali hoon main, though he looks cute there as well) I can sleep peacefully. Ok, I shouldn’t be changing focus. Saira looks very pretty and like I keep saying, B&W movies have a different charm. With Shammi on screen, it’s difficult to concentrate on somebody else. So I better end it here.

Here’s wishing the lady a great year and a healthy life ahead!

Ten of my Favourite Manna Dey Songs

May 1, 2010

I’ve been away from the blogworld for quite sometime now. Lots of other things kept me extremely occupied – I was looking for a change in job, so to start with, I was busy attending interviews. When I got a new job, I resigned from my previous company and was serving notice period for a month, and that just flew away in giving trainings. And now that I have finally joined the new place, I’m trying to get used to the atmosphere here.

So, I hardly had time to watch movies or post something here for the last one month. Now that life has come back to normal again, when the weekend approached I was glad that I could watch movies and get back to blogging again. Thanks to Vividh Bharati that I came to knnow it’s Manna Dey’s birthday today. So here I am with some of my favourite Manna Dey songs.

Born on 1 May 1919, Prabodh Chandra Dey is better known by his nickname, Manna Dey. As he celebrates his 91st birthday today, here’s wishing him a very very happy birthday and a wonderful year ahead!

1. Laaga chunri mein daag (Dil hi toh hai, 1963) :  This is a real masterpiece, one of my all time favourites and one of the most popular Manna Dey songs. Roshan’s music, Sahir Ludhianvi’s lyrics, Manna Dey’s voice, Priyadarshini’s dance and Raj Kapoor’s screen presence – everything is just so superb. And this song has such a spiritual feel to it.

2. Yeh raat bhegi bheegi (Chori Chori, 1956) : Along with Mukesh, Manna Dey was also Raj Kapoor’s voice in many movies. And this movie is one of my favourite Raj Kapoor films. Raj Kapoor is undoubtedly one of the finest actors we’ve ever had and a great director too, with an amazing sense of music – all his films have such lovely songs. But his movies are usually so socially awakening that they leave me emotionally, morally and socially depressed. So I don’t re-watch many of his movies but this is an exception. It’s such a fun movie and has wonderful songs (Hasrat Jaipuri’s lyrics and Shankar-Jaikishan’s music) – be it Jahan mein jaati hoon, Aaja sanam or Panchhi banoo udti phiroon.

3.  Gori tori baanki (Aadhi Raat Ke Baad, 1965) : Manna Dey had a very strong classical base and was usually roped in to sing semi-classical songs. And this song, penned by Prem Dhawan and composed by Chitragupta is a semi-classical song set on Western music – a fun number picturised on Aagha where he tries to impress girls with his magic tricks.

4. Ae bhai zara dekh ke chalo (Mera naam Joker, 1970)  : One more Manna-Raj duo and Manna Dey won the Filmfare best Playback singer award for this song.  This movie marks the debut of Rishi Kapoor. Raj Kapoor spent so much of his own fortune in making this movie, that when it flopped at the box office, Raj came close to being totally bankrupt. I had watched this film on Doordarshan during my school days but they had to cut it short to fit in the allocated 3 hours. But my dad says that this was almost 5 hours long and when he had watched it in a theater, it had 2 intervals.

5. Yeh dosti hum nahin todenge (Sholay 1975) : IMDB’s tagline for Sholay reads : “The greatest star cast ever assembled…….The greatest story ever told”. I doubt if there’s any Bollywood fan who has not seen this movie but I wont get into the details of the movie, let Raju Shrivastav do that. This Manna Dey-Kishore Kumar duet is one of the most popular songs on dosti – be it any occasion/event…this song is always played/sung.

6. Ek chatur naar karke (Padosan, 1968) :  A musical battle where both Mehmood and Sunil Dutt lip-sync to Manna Dey and Kishore Kumar respectively as they try to win over Saira Banu. The singing by both the artist is sheer madness at its best.

As per wiki –  “Reportedly the song ‘Ek Chatur Naar’ (a duet by Kishore Kumar and Manna Dey) was partly improvised by Kishore Kumar at the time of recording and Manna Day, determined to show Kishore Kumar how he would sing the duet better (since Kishore had not been trained classically), got into the mood of the song and immortalized ‘Ek Chatur Naar’. Legend also has it that Manna Dey was upset by the fact that in the picturisation of the song, the singing competition between the two heroes (Dutt and Mehmood) was won by Dutt, for whom the background singing was done by Kishore. Dey didn’t like the fact that a classically trained singer like himself would have to lose, though only on-screen, to an un-trained singer (Kishore). In the song, at a couple of times Mehmood had to say “sur gadbad jee” against Sunil Dutt where Kishore was singing hence Dey refused to say those words so Mehmood gave his own voice for the same.”

But this is what Manna Dey had to say about this song in – “Memories Come Alive: An Autobiography” :
“I was especially cautious when asked to sing for Mehmood in Ek chatur naar with Kishore Kumar. The latter had a unique and unaffected style of singing which tended to eclipse the subtleties of classical music, and place his singing partner, in a duet, at a disadvantage. To be put in the shade by Kishore’s flamboyant style of singing was a distinct possibility and, to counter the risk, I decided to work with Pancham, striving to build on my strengths and find a way of holding my own.”
“On the day we were to record Ek chatur naar, the entire staff at the studio stood outside the glass-door to watch Kishore and me sing. For the two of us, the session had taken on the magnitude of a duel. It took us 12 hours – the recording started at 9 am and ended at 9 pm – to complete it, and I must admit, Kishore was in his element that day. Out of this tough battle to outshine one another, would emerge a new star in the world of music.”

7. Ae meri zohra zabeen (Waqt, 1965) : Another gem of a song – picturised on one of my favourite actors, Balraj Sahni;  sung by one of my favourite singers, Manna Dey and from one of my favourite movies. This is just amazing! 

8. Pyaar hua hai ikraar hua (Shree 420, 1955) : Yet another Raj Kapoor-Manna Dey duo. I think of Raj Kapoor and Nargis and this song is the first thing that comes to my mind. I think of a rain song, I think of this song. I remember reading that this song is one of the top ten romantic songs in Bollywood.

9. Tum bin jeevan kaisa jeevan (Bawarchi, 1972) : There are some songs which I just cant imagine anybody else singing, and this is one of them. Directed by Hrishikesh Mukherjee, Rajesh Khanna playing the All-rounder Bawarchi is one of my favourite films too. And this film had a different music altogether, not the usual romantic numbers, as per the prevailing trend.

10.  Jhanak jhanak tori baje payaliya (Mere huzoor, 1968) : Its a great song, great composition and great singing by Manna Dey – simply superb.

And there I go as usual, I was just getting into the flow and I have reached 10 songs already. There are so many other songs of his – Chalat musafir (Teesri Kasam), Jeewan chalne ka naam (Shor), Door hai kinara (Saudagar), Na maangoo sona chandi (Bobby), Kaun aaya mere mann ke dware (Dekh Kabira Roya)…….to name a few.

Singapore (1960)

January 29, 2010

I accidentally came across a song Tum lakh chhupana chaho on youtube few months back and with Shammi in it I had to watch this movie. Till then, I didn’t even know that a movie named Singapore existed. I had Bigflix (Movie Rental) subscription back then, so I ordered for it and sat down to watch but there was some problem with their DVD and I couldn’t watch the whole thing. And it being a pretty mysterious movie, I was too restless till I got hold of it and watched it fully.

Directed by Shakti Samanta, it’s an Indo-Malaya production.

Ramesh (Rajan Kapoor) and Shobha (Shahikala) are in love. They meet at a club for dinner where they are followed by two men – Chang (Madan Puri) and his aide, who eavesdrop them. Shivdas (K.N. Singh) even taps their table to find out what they are talking about.

We learn that Ramesh is in charge of the Singapore office that deals with Rubber export. He was planning to sell the firm and come to India, as per Shyam’s (Shammi Kapoor)  advice. Shyam is his friend cum employer who lives and takes care of the rest of the business in India. But now he says he has come across something and he might change his mind about leaving Singapore. He also mentions that he might even call Shyam there to Singapore. But he changes the topic when Shobha enquires about what he’s upto, saying he doesn’t want to talk business over dinner.

As it turns out, Shivdas is Shobha’s father. And when he sees Ramesh and Shobha leaving the club he says that Lata (Padmini), his neice is alone at home waiting for Shobha. He invites Ramesh to join him after Shobha leaves but Ramesh says he has booked a call to Bombay at 9 and goes to drop Shobha home.

Lata is worried because it’s so late and tells Shobha to keep track of time when she goes out in the night. Shobha tells her that Shyam, whom she introduces as Ramesh’s boss, is very good looking and is coming to Singapore. And she worries Lata saying once he comes and she meets him, she also might lose track of time.

Ramesh goes back to his office to take the call. He tells Shyam that he’s convinced about  some hidden treasure in their estate and he has also found a map that would lead them to it. Shyam is rather surprised. He thinks Ramesh is drunk and is talking rubbish. When Ramesh asks him why he didn’t reply to his letters, Shyam says he never got any letters from him.

It looks like it’s a trend between them that Ramesh always records his conversation with Shyam. This entire thing is getting recorded when Ramesh sees shadow by his door. He puts the map in his musical cigarette case, the VAT 69 bottle on his table and hides it in the drawer. Then he gets up and goes to the door. He’s hit on his head by two faceless men making him unconscious and then Ramesh disappears.

Shyam, unable to understand what happened to Ramesh who left the call abruptly and went, gets worried. He decides to go to Singapore and check it out for himself when he’s not even able to reach Ramesh again.

He meets Maria (Maria Menado) in the flight to Singapore and they become friends.

One of Shyam’s employees Cha Choo (Agha) comes to the airport to receive him, takes him to his office and gets him introduced to all the other employees. Cha Choo takes him around and they sing and dance to Yeh shehar bada albela.  Next, they go to police and report Ramesh’s disappearance.

On their way back, Cha Choo tells Shyam about a girl named Shobha, who Ramesh was in love with, thinking she might know of his whereabouts. But he doesn’t know where Shobha lives. All he knows is that she is Shivdas’s (proprieter of another Rubber estate) daughter. And on a second note he adds that she’s a very good dancer and is performing at New India Club that evening. So, off they head to New India Club. Unfortunately or fortunately, it’s Lata performing at the club that night and not Shobha but Shyam is unaware of this fact. She dances to Aane laga jeene ka mazaa.

Shyam follows her to the greenroom after the dance and after learning who he is she invites him home. After a lot of confusion he finally figures out that she’s Lata and not Shobha. And he sees Chin Chin Choo (Lilian), one of his employees with Shivdas just as he’s leaving.

He summons Chin Chin Choo to his cabin the following morning and tries to find out indirectly where she was the previous night. She makes up a story and Shyam is convinced that he was mistaken and it was someone else who he ad seen with Shivdas.

He’s still confused about it when he gets a call from Maria who wants to meet him. After noting down the address, he leaves. Maria reveals her feelings for him (I’ve added that part also in the video) and then they sing to Dekho ji dekho sunlo yeh baat.

They go to Maria’s house for dinner and somebody attacks Shyam there – he’s shot at. He’s more surprised than worried thinking about why anyone would want to kill him.

He comes back to his office and narrates everything to Cha Choo. They find the tapes of his conversation with Ramesh and play it. With its help they find the musical Ciagarette case and hence the map.

He meets Lata, and offers her a lift one evening. They are attracted to each other (how could they not be?). They flirt a little and end up singing Hat jao deewane aaye.

He suspects Shivdas is upto something, so he makes a copy of the map to find out his intentions. The next day, he sets out on a picnic with Shivdas, Lata and Shobha. But before leaving he shows the map (duplicate) to Shivdas, puts it in a file and takes it along saying he’s going to the police station with it directly afterwards.

Shobha leaves the two lovebirds together and goes on her own. Shivdas tries to steal the map from Shyam’s file, which he has left in the car and Shobha witnesses this.

Shyam and Lata, on the other hand, are busy singing  Tum lakh chupana chahoge. This is followed by lots of twists and turns. Shivdas is shot dead, Shobha goes missing and Chang and his men are behind Shyam’s life.

Running from them, Shyam reaches a village where the villagers are dancing. Disguised as one of them, he joins lovely Helen and dances to Rasa sayung re rasa sayung sayung re. He somehow escapes from them and goes home.

Lata is desparately waiting for him, unaware of what happened. She asks him about Shivdas and Shobha. She’s grief stricken to learn that her uncle is no more.

At this very moment police come to arrest Shyam. They are informed that it was he who had killed Shivdas. They search the house and find Shivdas’s deadbody in the bathtub. Lata is so shocked that she passes out. She is convinced that Shyam killed Shivdas and asks the police to take him and go.

Maria comes just in time to hear and see Shyam accused of Shivdas’s murder. He’s thus arrested. When police start investigating the case, they find Cha Choo locked in office washroom, gagged and tied. Even the original map goes missing!!!

Cha Choo is taken to the police station where he narrates how few people locked him up in the washroom and raided Shyam’s cabin.  Even police find everything fishy and suspicious. Maria comes to Shyam’s rescue and bails him out.

There’s one more number which Lata dances to Tu kahan kho gaya.

Maria manages to bail him out, but is he really innocent? How did Shivdas’s deadbody end up in the bath tub? What happens to Ramesh and Shobha? Who is Chang? Who does he work for? Who’s Chin Chin Choo? Was it really her with Shivdas that night? Why is Lata so much against Shyam? Is she also a part of the conspiracy? And who’s Maria? What’s she actually upto?

What I liked the most about the movie –  Shammi, of course!!! He was such a feast to the eyes 🙂 This must have been one of his best looking roles.  Shankar Jaikishan’s music – though it sounded a little wierd listening to Mukesh singing for Shammi in Yeh shehar bada albela.

Helen…in the little role she has, it’s not even a role, she’s there just in that one song, but she looks so gorgeous and adorable! And the song Rasa sayung re rasa sayung sayung re is such a catchy number.

Pretty and elegant Padmini, charming Shashikala,  mysterious Maria, K.N. Singh and Madan Poori (in chinky getup), wonderful Agha, missing Rajan Kapoor and lovely Lilian 🙂

Not to forget, the lovely and petite ladies dancing in the background (if only I could have been one of them…*sigh* ) clad in such beautiful attires. I loved their dresses.

Most of the characters are well sketched and significant, but the story goes haywire, especially towards the end. I didn’t like the way they reveal the mystery, in fact, it’s not even kept a big secret in the first place. It could have been done better. Not something that would keep one on the edge but it’s a fun watch.

on the whole, it’s an entertaining package. If not for anything else, I could watch this movie again for Shammi and one glimpse of Helen.

Boyfriend 1961

December 29, 2009

Before I start with Rajesh Khanna special this week, there are two movies that have to write about. They have been pending for more than two weeks now.

After I read memsaab’s review of Aakhri Khat, I went to all the video stores in the city hunting for it and finally found it in one. There I saw Boyfriend (though it was a VCD and not a DVD). Not that I need an excuse to buy a Shammi Kapoor film, but doesn’t this look tempting?

The movie begins with a little boy running on the street in a dark night with few men behind his heels. He halts to catch his breath just below this notice on a wall.

An elderly couple visit a temple. One of the pujaris enquires as to who they are and why they come to visit the temple every year on the 2nd of January. The elder pujari introduces them as Thakur Harcharan Singh (Shivraj) and his wife, Rajni Singh (Amirbai Karnataki) from Ambala.  22 years ago, they had lost their son elder son, Madan. So they come every year on that day with a hope of finding him someday.

In Shimla, Madan aka Shyam is being released from  jail after being arrested for the second time for petty theft. First time he was arrested as Madan and later on as Shyam. Inspector returns him his gold locket and sends him off with a piece of advice on leading a good life ahead.Also says no matter how many times he changes his name, but he’ll get caught everytime he does something wrong.

In Thakur Harcharan Singh’s house in Bombay, they are talking about Madan. Even after all these years Rajni feels that they will find him someday. Their younger son Sunil (Dharmendra) makes an entry at this point. He’s a Police Officer and says he is working on a murder case and wont be returning home that night. Rajni is diappointed the he goes around solving everybody else’s problems but doesnt put in enough effort to find Madan. Then in typical filmy ma style she says : Na jane mera Madan kahan hoga, kis haal mein hoga  (Don’t know where my Madan is, how he is).

At this, the scene shifts to the scenic beauty of Shimla and finally we get a proper glimpse of Madan/Shyam’s (Shammi Kapoor) singing Mujhe apna yaar banalo .

Enroute to Bombay, Shyam meets Shantilal in the train. When Shantilal addresses him as Madan, he says he’s Shyam and not Madan. They were together in Shimla jail during Shyam’s first sentence. Shantilal is ill and he tells Shyam about his daughters – Sangeeta and Sushma who live in Bombay.  He had left his family and fled Bombay after taking Rs. 50,000 from Thakur Harcharan Singh.

Shyam tells him they will go together to Bombay and find his daughters. But the following morning he gets up to find Shantilal gone. As he had given a word to Shantilal that he would find Sangeeta and Sushma, he sets out on his mission the moment he reaches Bombay. He asks every girl he meets if her name is Sangeeta/Sushma. Finally he bumps into Sushma (Nishi) but by the time he realizes it’s her, it’s too late, she’s already gone.

Thakur Harcharan Singh is the owner of Stage Center. And Sangeeta does dance shows for him. Shyam reaches the stage and stands outside. Thakur and his wife pass by him.

They see Sangeeta (Madhubala) practicing dance inside and praise her for all the hard work she’s putting up for the show. Sangeeta says she’s dancing so that she can earn enough to pay her father’s debts to him. That’s the Director/Dance Master of Thakur’s shows in the picture.

There’s this guy hiding in the shadow and eyeing Rajni’s necklace. He manages to steal it when she is leaving Stage Center.

Sunil arrives at that very moment and seeing Shyam there he suspects him of stealing the necklace. He takes Shyam’s talashi but doesnt find anything on him and lets him go. When police arrives the real theif  puts the necklace in Sangeeta’s makeup box kept in a taxi and runs away. But Shyam sees him putting the necklace.

So Shyam goes to Sangeeta’s house in the night and steals the necklace from her makeup box. He battles against his will to sell it and finally decides to return it to Sunil the following morning hoping it would give him a chance to prove him that he’s innocent. When he’s still making up his mind on the next course of action, a Hawaldar on duty spots him and asks him what he’s doing there so late in the night. He says he came in search of Sangeeta. On being asked if Sangeeta knows him, he tells the Hawaldar to take him to Sangeeta and he could see it for himself. The moment Shyam tells he knows Shantilal, Sangeeta calls him in. Hawaldar now convinced that he had actually come to meet her, leaves assured.

Both Sangeeta and Sushma are delighted to hear about Shantilal but are hurt at the sametime that he himself didnt come to meet them. As it starts raining very heavily outside, they ask Shyam to stay back that night. Seeing Sangeeta sleeping, he sings Salaam aapki meethi nazar ko.

The sisters get up in the morning to find him gone. Shyam goes to Thakur’s house early the next morning to return the necklace.  But he is stopped by Sampat (Dhumal), Thakur’s man servant. When Sampat learns that Shyam has come to return the stolen necklace he flicks it off from Shyam’s pocket. Unaware of this Shyam goes to Sunil but is surprised himself when he finds the necklace gone from his pocket.  Anyways, he tells Sunil that he has changed now and will find some proper job soon.

Sunil and Sushma are in love. Sushma has a pic of Sunil inside her book and is busy talking to his pic when the phone rings.

It’s Sunday, the only day when Sunil’s off. He tells her he’s coming to her house to meet her. But she has a prior commitment of going shopping with Sangeeta. She makes up an excuse and manages to send Sangeeta alone.

Here Shyam goes to Sethji (who seems to be extremely fond of Shyam) to clear his earlier debts. Shyam owns a room in Bombay and Sethji says he’s planning to get his son married that year and asks if Shyam could give his room to his son. During the conversation Shyam discovers that Thakur and Director are in search of a tall, fair and handsome hero (there’s so much stress on this – 6 foot ka lamba, khubsoorat sa naujawan) for their play “Boyfriend” to cast opposite Sangeeta.

Off he goes to meet Thakur who approves of him at first sight itself. But they still ask him to give an audition and he dances to Mujhe apna yaar banalo and bags the role. He’s introduced to the entire unit including Sangeeta but she puts up her price and doesnt even talk to him properly because he left home that morning without even telling them and she’s angry with him! But not for long (And I dont blame her for that. How could anyone resist his charm for long?)

They sing Aaigo aaigo yeh kya ho gaya on their way home. He drops her at her place and goes to his room. Shantilal comes to see him. He says he doesnt have the courage to face his daughters after all that they have had to go through because of him and the debts he had taken. He is very ill and knows he’s dying. He gives Bhagwat Geeta to Shyam, tells him to give it to his daughters and dies.

The sisters are devastated by the news. And Shyam consoles them.

The all leave for Shimla for a Stage show there. Their show in Shimla “Miya Biwi”  – Dekho Na Jaao Ae Jaan E Man  proves to be a huge success.

After the show is over Shyam and sangeeta go skating. Sangeeta falls down and breaks her leg. This accident leaves her crippled and she can’t dance anymore. Shyam holds himself responsible for it.

She’s all sad and depressed thinking that Shyam may not like her anymore. But Shyam says he’s in love with her soul and she’ll always remain the same for him. But she says she can never dance with him again.  To which he says he had joined the theatre for her and not because he enjoys dancing and acting.
 Sangeeta : You are god to me

Shyam :  What do you know about me to treat me as your god?

Sangeeta : You think I need to know you more than what I already do? What I know of you is more than enough and I trust you more than anyone else

Once they are back in Bombay, Shyam goes to Banwarilal to buy a gift for Sangeeta. He says he needs something that will cheer her up. And Banwari shows him a necklace. Shyam feels it’s similar to Rajni’s necklace that was stolen but Banwari argues that there can be more than one necklace of the same design.

Now that Sangeeta can no longer work for him, Thakur sends his manager (Moolchand) to Sangeeta’s place asking them to either pay his debt of Rs. 50,000 or to vacate the house. He says if they can arrange for Rs. 2,000 (i.e., the interest amount) in 2-3 days, then he can convince Thakur to give them a time of one month to pay the remaining amount. He even gives them a court notice.

Shyam is shocked by Thakur’s behaviour. 

Thakur on the other hand is looking for a heroine for his play. He wants a girl to cast opposite Shyam in “Boyfriend”. But Shyam arrives at that very moment and says he wont work with Thakur anymore. He has an argument with Thakur on how he has treated Sangeeta. Shyam challenges Thakur that a day will come when he’ll have to beg Sangeeta for help and that day he would think of him(there’s so much of stress on 6 foot ka haseen naujawan again. In fact this is how Thakur addresses him throughout the movie).

Sangeeta, Sushma and Shyam are desparately in need of Rs. 2,000 so that they dont lose their shelter at least. Shyam sets out to sell the necklace he had bought for Sangeeta. But since he asks only for Rs. 2,000 for it, everyone feels there’s something fishy about it and nobody buys it.

Tensed that he couldnt arrange for money, he sings Mujhe apna yaar banalo once again (this looks like an all-purpose song ;-)). He gets an idea. He goes to Sethji, gives his room to Sethji’s son and takes Rs. 2,000 in return.

Then he goes to Thakur, deposits Rs. 2,000 and takes a receipt. Now the sisters won’t have to leave the house at least. But Sunil comes and asks him where he got the moeny from. He still feels that Shyam has stolen it. Thakur offers Shyam to come back to stage but Shyam says if he comes back on stage it’ll be with Sangeeta. He again says the 6 foot ka haseen naujawan dialogue – in short, every dog has its day!

Shyam goes to consult a doctor. After seeing Sangeeta’s reports he says she can be cured and she’ll be able to dance again. But he says he will have to do a major operation and that will cost Rs. 5000. Shyam says he’ll arrange for the amount and fixes an appointment with the doctor.

He goes back home to find Sangeeta sleeping (which she’s only pretending to). He sings Dheere Chal Dheere Chal Ae Bheegi Hawa (asks hawa to dheere chal meri bulbul ki hai neenden jawaan and he himself sings so loud :-D)
He keeps the necklace that he had bought for her on her neck. At the end of the song, she wears the it and comes out.
Sangeeta : You think I’ll look good if I wear this?
Shyam : No, now that you’ve finally worn it I feel the necklace looks beautiful. I bought it from the footpath for Rs. 2.25 but it has become priceless

Sangeeta : You are not a human, you are god!
Shyam : Call me whatever you want but dont ever call me god

Sangeeta : If that’s the case shall I tell you the truth?

Shyam : What truth?

Sangeeta : The truth is that you are a theif!
Shyam : A theif?
Sangeeta : Yes, a theif.
Shyam : What did I steal?
Sangeeta : So you are saying you havent stolen anything?
Shyam : No, I havent stolen anything
Sangeeta : Then why are you getting nervous?
Shyam : I’m not nervous
Sangeeta (laughing) :You have stolen my heart away!

Phew!!!! That was such a releif to Shyam 😀

Sunil comes to Sangeeta’s house, meets Sushma and warns her that Shyam’s not a nice man. Sushma tries to defend Shyam. Sangeeta enters the room and Sunil sees the stolen necklace on Sangeeta’s neck.


He asks her where she got the necklace from. He also tells her that it’s a stolen stuff. He threatens them that if they dont tell him who gave that necklace to her, he will arrest both of them. Finally Sushma admits that Shyam gave it.

Sampat’s dream of robbing Thakur (has been eyeing his safe from the very beginning) finally comes true when he finds out the combination to safe’s lock. But he needs a partner to execute his plan. He tells Sevakram (Maruti Rao) to send someone. Sevakram informs Shyam about it. As Shyam desparately needs Rs. 5,000 for Sangeeta’s operation, he accomapnies Sampat in his mission.

Unaware that Sunil has revealed about him, Shyam comes home to Sangeeta. He’s shocked himself to find that it was the same (stolen) necklace. But there’s no way he can prove his innocence. He says he’s going to surrender himself to police but Sangeeta doesnt let him go. Police siren rings, but he runs away before police could arrive. He manages to escape but leaves his gold locket behind.

Thakur and his wife recognize the locket as Madan’s. And they realize that Shyam is their son. They send Sunil to find Shyam.

Shyam comes to Sangeeta’s house disguised as  Sardar Guruvachan Singh (owner of a theatre company in Shimla who wants to cast her in his next play). He takes her to the doctor (with whom he had fixed an appointment earlier). After an operation Sangeeta is cured. She can walk and dance now.

Someone’s been following Guruvachan Singh. Thinking it’s Sunil’s trick to arrest him, he tries to mislead his follower that leads to a hilarious sequence. And this ends with Kyon Jee Mujhe Pehchaa.

Sunil makes a masterplan to arrest Shyam. And when he finally succeeds in doing so Shyam tells Sunil : “It’s my misfortune that I can neither convince you nor Sangeeta that I am innocent.” There’s one more song here – Dekho na jao ae berehem

When Rajni sees Shyam, she hugs him tight and says : Madan beta, where were you all these years? Pagla kahin ka!!! But the twist here is that he refuses to admit he is Madan.

What happens next? Will they ever find the real Madan? Will Sampat get caught? What happens to Sangeeta?

I enjoyed watching the movie but there was nothing wow about it (except for Shammi)! Definitely not one of his best movies either but entertaining enough to keep one glued to his/her seat esp if you are a Shammi Kapoor fan.

I didn’t find Madhubala all that great like in her other movies. She looked kind of exhausted throughout. Chirpy and feisty, Nishi is good but her dialogues get irritating at times. It being one of Dharmendra’s earlier movies, he looks and sounds  novice. I just couldn’t  imagine him screaming “Kutte, Kamine…main tera khoon pee jaaunga” at this point of time.

But it isn’t all that bad either 😀 Shankar Jaikishan’s music is good. And as I had mentioned in my earlier post, I have a soft corner for songs the moment I recognize Rafi’s voice.

I would say it’s Shammi’s movie all the way! And if I watch it again it would be only for Shammi Shammi and Shammi (though that was the case now as well).