Remembering Tragedy Queen Meena Kumari on her death anniversary.

Remembering Tragedy Queen Meena Kumari on her death anniversary. The viewers of bollywood films remember Tragedy Queen Meena Kumari on her death anniversary on 31st March, 2011. Meena Kumari can be considered as the greatest actress of Bollywood during the golden age who had portrayed images and characters showing complexity of the mind of the Indian women and the social ostentations that they had faced during different periods of time. Meena Kumari, born on 1st August, 1932, known as Mahjabeen Bano, stormed into the Indian silver screen in 1952, with the sublime performance in Baiju Bawra. Although the film had been renowned for everlasting composition of Hindustani ragas by Naushad and supreme performance of Mohammad Rafi, with songs like “man tarpata”, “woh duniya ke rakhwale”, etc., Meena Kumari’s performance opposite Bharat Bhushan showed the filmlovers that she had come to conquer Bollywood with her soft style of acting. In the 50s Meena Kumari’s performance in films like Parineeta, 1953, Footpath, 1954, Yahudi, 1958, etc. were appreciated by critics, but she had created her image of martyr in the film Sharda, 1957, where even after having an affair with Raj Kapoor, in the film she had to sarcrifice her affection to marry Raj Mehra, his father, who was much older than her. In Dil Ek Mandir, 1963, Meena Kumari after having affair with Rajender Kumar in her youth had to marry Raj Kumar, due to social pressure. But from the time she had married Raj Kumar, she fulfilled all the duties of a middle class Hindu woman, and brought her sick husband to the hospital at the mercy of Rajender Kumar. She prayed to God, for the recovery of Raj Kumar. Rajender Kumar sacrificed his life to treat her husband and died at the end of the film. The songs composed by Shankar Jaikishan and sung by Rafi and Lata, had not lost their significance even today. In 1962, Meena Kumari, performed the role of choti bahu, in Guru Dutt’s Saheb Bibi aur Ghulam, the film showing the zamindari raj (dominance of Feudal lords) existing in the British capital in India, that is Kolkata. She was married to the youngest son in a family of zamindars who used to attend mujras in Jaan bazaar, in Kolkata, where performers from Lucknow, Benaras used to come and exhibit their skills of singing classical songs. She tried to retain her husband Rehman at home, and through her conversation, Guru Dutt, the observer came to know about the history of the family. Meena Kumar’s performance opposite Pradeep Kumar, used to create a different dimension, as her pardanashin image had matched with royal style of acting of Pradeep Kumar. After the success of Aarti, 1962; Meena Kumari, acted in the blockbusters Bheegi Raat, 1965, and Bahu Begum, 1967, opposite Pradeep Kumar and Ashok Kumar. In Bheegi Raat, she loved Pradeep Kumar, yet due to an accident which made her legs paralysed she could not attend the engagement and worked in the house of Ashok Kumar as governess. When society boycotted Ashok Kumar, she agreed to marry her, but presence of Pradeep Kumar at the end of the film in the song “dil jo na keh saka” compelled Ashok Kumar to sacrifice his affair and go back to London. It was a film where, Rafi, Lata, Roshan and the actors all had provided their best performance possible. Meena Kumar’s other film with Pradeep Kumar titled Chitralekha was also successful. Meena Kumari had become immortal with her classic performance in the film Pakeeza, 1971, opposite Raj Kumar, which took around 10 years to be completed. It was created on a subject related to women brought up in kotha and exhibited the class of women who could not give the recognition to their next generation as their father’s are not known. The music composed by Ghulam Mohammad, Lata and Rafi’s songs, Kamal Humrohi’s direction (the husband of Meena Kumari) all complemented each other, and the film became historical piece of document. The greatest hallmark of Meena Kumari lied in her ability to depict the helplessness of Indian women existing specially in the 50s and 60s, when the patriarchal society dominated them and they had no independent income to live separately against the pressure of society. In her performances, beauty, aristrocracy, tragedy, personality all blended into one. Whenever we think about cine-classics like Dil Apna aur Preet Parayi, 1960, or Ghazal, 1965, Meena Kumari’s image automatically comes in our mind. She died in 1972, only at an age of 41. Meena Kumari’s films should be restored in an archive for future generations to learn the art of understanding the characters from the core of the heart the way Meena Kumari had done during the golden age of Indian cinema.

Pradeep Kumar - Meena Kumari - the most royal pair of the millennium.

Pradeep Kumar – Meena Kumari – the most royal pair of the millennium.

Whenever the elegant pair of actors and actresses of bollywood films are thought about the combination of Raj Kapoor and Nargis, and Dilip Kumar and Vaijayantimala gets the privilege. Their combination gave the greatest hits of bollywood history and Dilip Kumar and Raj Kapoor being stars, their stardom reached Europe and Middle-East, so their hit films were the most famous films in the 50s and 60s like Awaara or Madhumati.

But whenever reference comes about the most royal pair of bollywood films, Pradeep Kumar and Meena Kumari’s name comes at the beginning. Pradeep Kumar acted in around 6 films with Madhubala, including Rajhath (1956), Yahudi Ki Ladki (1957), Gateway of India (1957), Police (1958), Mahlon Ki Khwab, (1960) and Passport (1961). But other than Rajhath and Gateway of India the other films did not do impressive business.

In the early 50s, he acted opposite Meena Kumari in the film Bandhan. They also acted in the film Adil – e – Jahangir. But the pair actually got accolades from refined viewers with the film Aarti in 1962 under Rajashree Productions. In the film, their characters were noble, they came together to serve the poor. Ashok Kumar played the role of materialistic doctor who came in the way for his affection towards Meena Kumari. From that time the combination of Pradeep Kumar, Meena Kumari, Ashok Kumar, composer Roshan Lal Nagrath and singer Mohammad Rafi resulted in magic. All the songs of Aarti composed by Roshan and sung by Rafi were majestic in nature catering to the tastes of cultured audience including “ab kya misaal doon mai tumhare shabab ki”, “baar baar tohe”, “aap ne yaad dilayatha to mujhe yaad aya”, etc.

Pradeep Kumar and Meena Kumari acted together in Kidar Sharma’s Chitralekha in 1964. Pradeep Kumar played the role of royal Samanta Beejgupta during the famous Gupta age. Roshan and Rafi combination again created magic with the legendary bhajan “man re to kahe na dheer dhare”.

Pradeep Kumar, Meena Kumari and Ashok Kumar came out with another triangular love story in the film Bheegi Raat in 1965. It was Kalidas’s film. The film had powerpact performances of all the three. The Roshan Rafi combination again created gold with the songs “jane yeh kaun hai”, “dil jo na keh saka”, etc., which became super hit. Singers in the 80s and 90s who sang Mohammad Rafi's songs used to make a point of singing "dil jo na keh saka" which just grew in popularity with passage of time.

In 1967, Pradeep Kumar and Meena Kumari acted in two films of M. Sadiq, namely Bahu Begum and Noorjahan. Again Roshan Rafi combination was at their best. In Bahu Begum, along with Rafi’s “hum intezar karenge”, Manna Dey showed his brilliance in the qawallis picturised in dargas, and Lata was brilliant in the song “duniya kare sawal”. Ashok Kumar was sublime in performance in a sacrificing role opposite Pradeep Kumar and Meena Kumari. Pradeep Kumar balanced Meena Kumari with his orthodox urdu talafoos which learned and adapted with time.

In the 70s, with the death of Meena Kumari, and the retirement of Pradeep Kumar from lead roles, the royal style of romantic stories faded away which were prevalent during the golden era. All the films of Pradeep Kumar and Meena Kumari combination require preservation and restoration for the romantic appeal, royal style of performance, elegance and superlative class of music.

Revisiting film Mahabharat on Krishna - Janmashtami.

Revisiting film Mahabharat on Krishna-Janmashtami.

Indians have a separate religious sentiment associated with Lord Krishna, the renowned avatar of God Vishnu. The film Mahabharat made in 1965 is revisited on the eve of Krishna Janmashtami to be celebrated all over India tomorrow on 1st September, 2010.

The film Mahabharat was directed by director Babulal Mistry in 1965. Actor Abhi Bhattacharya played the celebrated role of Lord Krishna in the film. He had the challenging task of chanting the slokas from Bhagwat Geeta, which moulded Arjun in the battle of Kurukshetra and led to victory of the Pandavas. Very significantly Pradeep Kumar played the epic role of Arjun in the film.

Actor Dara Singh played the role of Bhima in the film, while Jeevan played the role of Shakuni. Actress Padmini played the notable role of Draupadi in the film. Composer Chitragupt composed the music of the film, and the songs sung by Rafi in the film were very memorable.

In the late 80s and early 90s, eminent filmmaker BR Chopra made Mahabharata in Doordarshan, and as TV serial had remained extremely successful. Nitish Bharatdwaj played the role of Lord Krishna in the serial. All the episode related to the birth of Lord Krishna flabbergasted the audience. His mama’s role was played by Goga Kapoor. The viewers saw the battle between Lord Krishna and Mama Kanghs was very well depicted by BR Chopra.

Nitish Bharadwaj studied Bhagwat Geeta, very well and his performance in the battlefield of Kurukshetra where he persuaded Arjun to fight the battle had remained matchless. The character of Arjun was played by Feroz Khan. The pandavas were heavily dependent on Lord Krishna in their war against the kauravas. Lord Krishna only asked Bhima to hit Duryodhana on his uru, meaning the thigh, which led to his victory. Lord Krishna asked Arjun to throw his arrow at Karna when his chariot got stuck in mud and he tried to release it. The same Lord Krishna, provided cloth to Draupadi, at a time when Duryodhana asked Dushshashan to take away her clothes.

Lord Krishna is worshipped as God by numerous hindus all across the world, and the effort of filmmakers in reaching the epic related to Lord Krishna had always been considered noble and appreciated. Both the film Mahabharata and the serial Mahabharata should be restored.

Rafi and Roshan created history with melody in 60s.

Rafi and Roshan created history with melody in 60s.

Roshan Lal Nagrath, better known as Roshan was born in Gujranwala on 14th July, 1917. His lessons from Ustad Allauddin and Sarangi King Bundu Khan transformed himself into regular composer of All India Radio in the 40s.

He started his career as composer in bollywood films with the film Neki Aur Badi in 1949. In the early 50s Mukesh and Talat Mehmood featured in most of the films of Roshan. Some of the hit songs included “khayalon me”, “sun bairi balam” from Bawre Nain, “tare toote duniya dekhe” from Malhar. Although he had success in the films Shisham, Anhonee, Malhar, etc., his immense talent did not get recognition until he used the man with the golden voice Mohammad Rafi.

Roshan stormed bollywood music with brilliant composition in the film Barsaat Ki Raat. The romantic film of Bharat Bhushan and Madhubala did fantastic business. Roshan’s brilliant use of sarangi was evident in Rafi’s song “zindagi bhar nahi bhulenge woh barsaat ki raat”. The song was sung by Rafi and Lata at different time in the film. Barsaat Ki Raat was also known for the famous qawalli “na to karwaki talash hai” and “yeh ishq ishq hai isqh ihqh” where Rafi and Manna Dey were equally brilliant. Sahir Ludhiyanvi also made brilliant use of words in the songs of the film.

In 1962 Roshan amazed the listeners with the brilliant composition in the film Aarti. Pradeep Kumar, Ashok Kumar and Meena Kumari played the lead roles in the film. The film had every type of song including folk song and ghazals. The song “baar baar mohe kya samjhaye” sung by Rafi and Lata had complete balance of melody and rhythm. The slow numbers in the film like “ab kya misaal doon mai tumhare shabab ki” sung by Rafi and “aapne yaad dilaaya to mujhe yaad aya” sung by Rafi and Lata can be considered to be some of the best ghazals in the entire 60s. Lata’s song “baharon ki manzil rahi” was equally brilliant.

Roshan used Mukesh and Manna Dey in Raj Kapoor’s film Dil Hi to Hai. The song “laga chunari me daag chupayun kaise” was a fine example of classical excellence in the film where Manna Dey showed his class.

Roshan received filmfare award for the best composer for his landmark creation in Pradeep Kumar’s Taj Mahal. All the songs of the film displayed the royal andaz of songs sung during the mughal period. Pradeep Kumar played the role of Shahjehan and Bina Roy played the role of Mumtaz Mahal. Rafi’s duet with Lata “jo wada kiya hai nibhana parega”, was as outstanding as Rafi’s song “paon chulenedo phoolon ko inaayat hogi”. The use of sarangi require special mention in the song “jo baat tujhme hai teri tasveer me nahi”.

The Rafi Roshan magic continued in the film Chitralekha in 1964. Rafi’s song “man re tu kahe na dhir dhare” is still considered to be one the most landmark bhajans of all times. Roshan was at his best in the film Bheegi Raat. Rafi made the audience stand up on their feet with the song “dil jo na keh saka”. The same song was sung by Lata too in the film. Rafi presented the other ghazal in the film in style titled “jane woh kaun hai kya naam hai in ankhoka”.

The Rafi Roshan combination continued to produce evergreen gems in the films Noorjahan and Bahu Begum. All the songs of Bahu Begum were masterpieces including Rafi’s “hum intezar karenge”, Lata’s “duniya kare sawal to hum kya jawab de”, Asha’s “niklete kahan janeke liye”, to mention a few. Roshan Rafi combination was also evident in the film Mamta. Rafi’s song “in baharon me akela na phiro” was as brilliant as “rahe na rahe hum” sung by Lata.

It is not possible to highlight the significance of Rafi Roshan combination of the 60s in a small article. Separate articles can be written on the music of the films Surat Aur Seerat, Dooj Ka Chand, Bedaag, etc. It was very amazing that Roshan had just received only one filmfare award in his illustrious career. The music of Taj Mahal, Bheegi Raat, Barsaat Ki Raat could qualify for national awards in the respective years. Roshan died in 1969 and the royal combination of Rafi and Roshan also ended with it.

The films and the songs require re-examination, restoration and preservation.

Aarti was a musical blockbuster of early 60s.

Aarti was a musical blockbuster of early 60s.

Bollywood films reached its zenith during the 60s. Director Phani Majumdar directed a classic film Aarti in the early 60s with Pradeep Kumar, Ashok Kumar and Meena Kumari.

Meena Kumari and Ashok Kumar became doctors together. Ashok Kumar went abroad for further studies and after return opened a clinic in West Bengal. Pradip Kumar saved Meena Kumari when she fell in a river in West Bengal while going to a relief camp after a natural calamity. From that time Meena Kumari was impressed with Pradeep Kumar.

Meena Kumari married Pradeep Kumar even after knowing that she had to live in a joint family along with Pradeep Kumar’s father played by Jagirdar and brother played by Ramesh Deo. Ashok Kumar wanted to marry Meena Kumari but due to disinclination showed by Meena Kumari the relationship did not mature.

At the end of the film Pradip Kumar met with a serious accident and required operation. Ashok Kumar was the only competent surgeon in the region to do the operation. Meena Kumari inspite of her differences relied on Ashok Kumar. Ashok Kumar had the scope of showing negligence and killing Pradeep Kumar. Instead he fulfilled the liabilities and responsibilities of a responsible doctor. As part of consideration she asked Meena Kumari to live happily with Pradeep Kumar and his family.

The most striking feature of the film included its superlative music. Roshan composed the tunes and Majrooh Sultanpuri wrote the lyrics. Rafi’s songs “ab kya missal doon mai tumhari shabab ki”, Rafi Lata’s duets like “baar baar mohe kya samjhaye” and “aapne yaad dilaya to mujhe yaad aya” stormed bollywood in the early 60s. Rafi was at his best and the lyrics were written by Majrooh Sultanpuri.

Pradeep Kumar was known for acting in historic films like Taj Mahal, Anarkali, Anandmath, etc. When he was cast in a social drama, Pradeep Kumar depicted the character of a middleclass Indian very well. He later got a job and showed his submissiveness before Meena Kumari. Meena Kumari was probably the most powerful actress of the classic age, that is the 50s and 60s. She as usual reached the depth of the character. Ashok Kumar was sublime in his individual role. The character artists in the film like Shashi Kala, Rajender Nath, Mehmood played their role in style. The film did great business. The film should be restored for its superlative music and powerful performances of the artists in the film.