MILE SUR MERA TUMHARA: GHAZAL SINGER GHANSHAM VASWANI

“MILE SUR MERA TUMHARA” GHANSHAM VASWANI

WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

 EMAIL: sunrise607@rediffmail.com

 Former Prime Minister Manmohan Singh, had quoted two lines from a ghazal when his indifference was challenged during a session of the parliament. They were: Mere khayal se behtar hai meri khamoshi/ na jaane
kitne sawaalon ki aabru rakhli. (I think silence is best/ for it has kept me from answering dishonest questions.) The couplet is part of a ghazal performed by popular Ghazal singer Ghansham Vaswani for the film Banda Nawaz. Ghansham has added weight to the list of Sindhi speaking singers. " There is a lot of Music in Sindh. even the famed Abida Parveen is from the region. I have composed and sung the songs by the Sufi saints like Abdul Latif, Sarmast and Sami . All these saints have helped spread music and philosphy in Sind". says Ghansham.

Ghansham Vaswani who was born and brought up in Mumbai has received initial training in music from Aaftab Ahmed and later studied under Susheela Pohankar and Rajaram Shukla. He won the first place at the Film Music Competition organised by Sur Singar Sansad in 1979. “Among the judges were celebrities like composer Jaidev, Naushad and Raj Kapoor,” smiles Ghansham.             

                           RAJESH GAUR AND GHANSHAM VASWANI

 Impressed by Ghansham ghazal maestro Jagjit Singh took him under his wings. Ghansham sang with Jagjit in several concerts and they recorded music too. When Jagjit composed music for the film Saatwan Aasman, Vaswani recorded a duet with Singh’s wife Chitra. Ghansham created news by composing music for Ghazal album 'Forget Me Not' sung by his mentor the ghazal maestro Jagjit Singh. This was the first time that Jagjit had sung a complete album for an individual composer. He has also sung the popular national integration song “Mile Sur Mera Tumhara” performing the Sindhi and Punjabi lines.        
                                            

                                          

 He has featured in many a TV musical shows like: Arohi, Shaam-E-Ghazal, Ghazal Ke Saaye, etc. He has also rendered songs for Hindi films like Ankush, Kalka, Saatwan Aasman, etc. He has also done many stage shows in places like Hong Kong, Taiwan, Japan, USA etc. Today Ghansham Vaswani is a much sought after singer busy with recordings for TV, AIR concerts, films, TV serials and commercials. His latest album 'Talaash' is now creating waves on the music scene.
                
WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR 



 

A DIVA CALLED MALA SINHA

A DIVA CALLED MALA SINHA

 WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

  EMAIL: sunrise607@rediffmail.com

 Mala Sinha’s exuberant persona glitters bright amongst the galaxy of stars of Bollywood that once held the audiences spellbound in the late 50s to 70s. The icon of Hindi films celebrates her seventy sixth birthday on 11th November.

Mala Sinha had an incredible adaptability and staying power. Nobody could have seemed less destined for stardom than Mala .The only child of parents, Mala shifted with her family to Bombay from Calcutta in search of a career in Hindi films
                                            

                                              
                             Mala Sinha, writer Vrajendra Gaur and Bimal Roy
  
 After a few inconsequential roles she fgot her big break Pyaasa (’57). She left an indeliable mark on the audience with her performance and smouldering looks. Mahesh Bhatt, who saw Pyasa as a child in a theatre said the impact Mala left on him was hypnotic. “Oh my God the sensuality she exuded!” he has raved. Pyaasa turned Mala into a star. Mala's ascending star status was confirmed as she was paired with Raj Kapoor in three films - Parvarish (1958), Phir Subah Hogi (1958) and Main Nashe Mein Hoon (1959). It was however her tear jerkers like Dhool Ka Phool (’59), Hariyali Aur Raasta (’62) and Anpadh (’62), that won her lasting fame.
In 1963, with the role of a straying wife in Gumraah and the buffoon’s wife in Bahurani, she made it to the A-list. Her other films like —Himalaya Ki God Mein (’65), Aasra (’66) and Do Kaliyan (’68) were big hits too.

Other well-known films of Mala Sinha include Bimal Roy's Apradi Kaun, Ujala (1959),Jaasaaz [1959] Love Marriage (1959), , Maya (1961), Dil Tera Deewana (1962), Apne Hue Paraye (1964), Mere Huzoor (1968), Geet (1970) and Lalkar (1972).
                                              
                                       

                         Mala Sinha and Dev Anand in 'Love Marriage'

Mala Sinha had even turned down the Dilip Kumar starrer Ram Aur Shyam as she felt the heroine's role was not pivotal, and also B.R.Chopra’s Waqt where she refused to wear a revealing costume in the film[the role went to Sadhana]. But she willingly worked with lesser names as long as she was the central figure. She scored heavily in films like Humsaya (1968), Do Kaliyan (1968) and Ankhen (1968). By now there were also reports to suggest, she had become a diva.                                                   
                                                
 When the late 60s dictated a rise in the glamour quotient required from heroines, the adaptable Mala acted in films like Aankhen and Maryada. Though well into her 30s, she continued with leading roles into the 1970s pairing with the younger lot of heroes -, Sanjeev Kumar (Kangan (1971)), Rajesh Khanna (Maryada (1971)) and Amitabh Bachchan (Sanjog (1971)) but by now her career as a leading lady was in its last stages. She switched to character roles with films like Rakesh Roshan's Khel 1992 and Zid [1994].

Today Mala Sinha, lives contentedly in retirement in her lavish bungalow at Bandra.

Her greatest achievement lies in holding high, in tumultuous times, the torch of the `women’s picture’.

WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

ALWAYS SUNNY

 ALWAYS SUNNY

WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

EMAIL: sunrise607@rediffmail.com

 Sunny Deol celebrates his 58th birthday on 19th October. Sunny Deol is still one of the the top notch action stars of Bollywood. He made a spectacular debut in Bollywood with the super hit Betaab in 1983 and a new star was born.

Amidst the romantic Hindi films of the 1990s, Sunny Deol struck a blow for action in the form of the super hit Ghayal as well as Damini. He showed that action still held a place in the hearts and minds of audiences. Right from playing a spy to a boxer, Sunny Deol was enough to hook us on to his spicy action movies like Ghayal, Ghatak, , Darr, etc.

It was in 2001, his Gadar: Ek Prem Katha was loved by all and the movie turned into a box office gold mine. There has lately been a lot of talk about the 100 crore club, but Sunny Deol, says the trend has always been there but it was never hyped. "I am not seen around much now because I have not entered this racket. It doesn't bother me," says the actor
                                          

 

RAJESH GAUR WITH SUNNY DEOL

                                         
 His fans have always rooted for his action oriented films and are now awaiting his Mohalla Assi and Bhaiyyaji Superhit. Sunny shrugs, "Mohalla Assi, and Bhaiyaji Superhit do not strictly fall in the action genre. You could say that there is a difference in the films that I was a part of and the ones being made now."

It is being said that he is working on the script of Ghayal Returns which is a sequel to the successful Ghayal "I wish to change the definition of action with this sequel. Ghayal Returns is not about dramatic dialogues. It's about inner strength. I am writing and directing "Ghayal Returns" he smiles.

If the film lovers and critics are considering a change of image for Sunny, then they better dispel the notion.
"Fans keep telling me how desperately they want to see me in action films! They can expect that in my films and at the same time, they will be complete entertainers," he concludes.

WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

SHAHRUKH KHAN'S 'HAPPY NEW YEAR'

                                           
                                                       

by: RAJESH V. GAUR and SUNEEL V. GAUR

EMAIL: sunrise607@rediffmail.com

HAPPY NEW YEAR  is an action comedy-drama film directed by Farah Khan and produced by Gauri Khan under the banner of Red Chillies Entertainment. The film stars, Shahrukh Khan, Deepika Padukone, Abhishek Bachchan, Boman Irani, Vivaan Shah,  and Sonu Sood .
This will be the third film in which Farah Khan will be directing Shahrukh. They previously worked on Main Hoon Na (2004) and Om Shanti Om (2007), the latter of which also featured Padukone as the female lead. The promos of the film revealed that it belongs to a new genre of musical heist. The film is  set to  release on  24 October 2014.
                                              
                                               

RAJESH GAUR, SHAHRUKH, SUNEEL GAUR AND RAJEEV AT THE PRESS MEET OF 'HAPPY NEW YEAR' AT A SUBURBAN 5 STAR HOTEL. BADSHAH KHAN WAS IN HIS ELEMENTS AND SO WAS DEEPIKA. SHAHRUKH LOOKED DASHING WHILE DEEPIKA WAS RAVISHING.

 

HASSLE-FREE AND SINCERE ACTOR: SANJEEV KUMAR

 HASSLE-FREE AND SINCERE ACTOR: SANJEEV KUMAR

WRITTEN BY: RAJESH V. GAUR and RAJEEV V. GAUR

 EMAIL: sunrise607@rediffmail.com

 The birth anniversary of Hindi film industry’s icomic star Hari Jariwala better known as Sanjeev Kumar falls on 9th July. The Surat born Sanjeev had a strong theatre background and was first spotted playing the role of an elderly man when he was just 24 years of age. He was a simple man who cared less about the perception of other people In fact . Sanjeev Kumar arrived for many of his shoots in a kurta pyjama. Can you imagine the stars of today doing that. Many claim that he was famous as 'late latif’ Sanjeev bhai', because of his habit of coming late on the sets. However, his one take performance used to compensate for all. Sanjeev had a very distinct style of working. He never gave a retake, until he wanted to
                                                   

                                    
                                     Sanjeev and Leena Chandavarkar

 Sanjeev Kumar, was first noticed through his riveting performance in Sungharsh [1968]. It is said that he even overshadowed Dilip kumar in the scenes the two shared in the film.
A thinking actor, he proved that the best location for an actor is his face and what happens on it. Sanjeev’s strength, whether in the blockbusters like Khilona , or an experimental Koshish lay in his dogged sincerity. A twitch on his face could convey more than reams of dialogues.
Be it comedy or tragedy, he could do it effortlessly. It is amazing how Sanjeev could skilfully move from a flirtatious husband in Pati Patni Aur Woh to the tearful lover in Anamika. No other actor could excel at comedy like him in Angoor. In Hindi films, the only way to express anger is to scream oneself hoarse and hurl abuses of the Kutte-Kamine variety. One has to remember Trishul when Sanjeev Kumar expresses anger through his eyes. Each time Amitabh Bachchan, (who plays Sanjeev’s illegitimate son), steals a march over him, his rage becomes palpable.
                                                          

                                       
                                      Sanjeev Kumar and Hema Malini
            
 Naya Din Nayi Raat was Sanjeev Kumar’s magnum opus. He performed nine different roles and assayed all of them deftly. In these roles, he mixed and watched nav rasas. The feelings of comedy, humour, pathos, anger, fury, fear, valour, bravery, wonder and peace expressed by him set the screen aflame. This film earned him a permanent place in the Hall of Fame.

Sanjeev Kumar is still remembered for playing a variety of roles on the big screen. He is arguably the best mainstream actor Bollywood has seen so far. The actor played romantic, characters as well as intense roles with ease
The actor is famous for his films like 'Khilona', 'Seeta Aur Geeta', 'Koshish', 'Aandhi', 'Mausam', 'Angoor' and many others. He started his career with 'Hum Hindustani' in 1960. His journey from small budget films to the mainstream cinema is an inspiration for the young actors. His performance as a deaf and mute person in 'Koshish' or the way he played the Thakur in 'Sholay' are perhaps the best of his career Sanjeev Kumar has left behind a legacy of quality cinema.
                                           

                               Sanjeev and Sharmila in "Charitraheen" 
         
 At a time when actors were branded as a romantic hero, action hero or jumping jack, Sanjeev Kumar was one actor who was difficult to typecast. Even from latest lot of Bollywood actors, nobody can match Sanjeev Kumar's charm and acting finesse.

 WRITTEN BY:  RAJESH V. GAUR and RAJEEV V. GAUR

HINDI CINEMA'S AVANT- GARDE MATINEE IDOL: SHAMMI KAPOOR

Hindi Cinema"s Avant-Garde matinee Idol :  Shammi Kapoor

WRITTEN BY: RAJESH V. GAUR and  SUNEEL V. GAUR

 EMAIL: sunrise607@rediffmail.com


 Shammi Kapoor belonged to the sixties generation , those who side-by-side loved Elvis Presley and Cliff Richard. Shammi Kapoor rivalled with another legend Dev Anand. Both actors portrayed, in quite a similar way, the urban debonair icon of Mumbai, with movies that were lighter compared with wholesome family dramas depicting joy and sorrow concurrently. These actors preferred playing in less cumbersome dramas and exploited lighter and easy-to-watch movies filled with comedy, romance and, above all, the most titillating Hindi movie songs that remains unrivalled to date.
One of the first major breaks of Shammi Kapoor was Nazir Husain’s film Dil Dekhe Dekho where he played the role of young musician Rocky with debutant Asha Parekh. .
                                             

                                               
 The success of Shammi Kapoor reached amazing heights with China Town followed by his first colour film, Junglee, released in 1961, which proved a blockbuster hit. Thereafter he starred in more than 100, mostly lightweight, films. His Western-style garb of leather jacket and T-shirt, and catchy, upbeat musical numbers like Suku Suku cemented his appeal among teenage filmgoers.
Kashmir Ki Kali portrayed the star with seducing green eyes and a fair complexion opposite a raw Sharmila Tagore in her maiden film role.
Shammi Kapoor paired with ravishing Saira Banu in Junglee, the performance-conscious Nutan in Laat Saheb and debutante Rajshree in Rajkumar. Alongside, he acted with Kalpana in Professor. Shammi Kapoor’s name guaranteed success for a film. No wonder many heroines made their debut in films starring the ‘yahoo’ star.
                                                        
                                                     

                                                          
 With the most gorgeous heroines of his time, Shammi Kapoor sang some chart toppers tuned with typical musical scores of maestros like Shankar Jaikishan and R.D.Burman.                                                          
                                                   
Shammi Kapoor brought shockwaves to Hindi Cinema by retiring in 1971. After being, for a decade, the nonchalant and charming matinee idol who teased so many belles, Shammi Kapoor grew more serious by enacting in a socially-engaging way in Bramachari (1969) which won him the Filmfare award.
                                                    

                Shammi Kapoor with his friend and writer Of China Town,     
                 Singapore and Jaane Anjane- Vrajendra Gaur.

Andaz was the final movie of Shammi Kapoor in the main lead . He was only forty then.
Shammi Kapoor’s sudden disappearance from movies in 1972 illustrated that Hindi Cinema was then going through a new phase with upcoming action heroes like Dharmendra and, angry young man, Amitabh Bachchan. Shammi seemed to be disenchanted with the glitz of the cinema world.
In 1974, Shammi Kapoor shifted to character roles with Zameer . He also directed the unsuccessful Manoranjan in 1975 which was inspired by the Hollywood hit Irma La Douce,
The twist and turns of an agile but rather corpulent man, the amorous looks of a blue-eyed boy, and the nonchalance of an evergreen hero; has now gone down memory lane.
                                                          
WRITTEN BY:  RAJESH V. GAUR   and  SUNEEL V. GAUR
                     
                                          

THEY SPEAK MY LINES: WRITER VRAJENDRA GAUR REMEMBERED

 THEY SPEAK MY LINES: VRAJENDRA GAUR REMEMBERED.

WRITTEN BY: RAJESH V. GAUR and  RAJEEV V. GAUR

Ace writer VRAJENDRA GAUR's death anniversary will be observed on 7th August.                             
                                              

                                              
Many found it difficult to pronounce his name phonetically correct in the film world so they chose to call him the ‘khaki sherwaniwala writer’. It too quite some time for Vrajendra Gaur, to shed the khaki sherwani and assume the casual wear of shirt and trousers that is so much a way of life in the film industry.

                                                  

 Leaving All India Radio Lucknow which gave him ample scope to exercise his literary flair, Gaur came to Bombay to write dialogues for ‘Sawan’ which starred valuable names like Motilal and Shanta Apte and plunged himself in the throes of creativity. Sawan was followed by the Bharat Bhushan starree ‘Aankhen’ [1949] and the Ashok Kumar starrer “Sangram’. Both the films were hits and Gaur became feverishly busy writing for more and more films.
                                                  

 Since films cater to myriad minds Vrajendra Gaur felt that the screenplay should be fully discussed before it was finalised, but was disappointed that it was never done. Gaur was probably the only writer with such a rich literary background. Many others came but they left no sooner then they arrived because they could not adapt to the technique of film writing. Gaur often used to comment wryly "€œA dialogue writer could be likened to Draupadi with her five husbands. A writer faces a worse situation – he has the producer, director, story writer hero and the heroine to please Sometimes even the financer and distributor"
                                                    
                                                      

     
                                                  
His dialogue stemmed from strong characterization. He often said the reason for herding so many people in a film is to lend colour. And the dialogue writer helps to achieve this by making them speak their language. A male character who has got around in the world will have a more cosmopolitian choice of words than a housewife, who would stick to simple Hindi phrases. Servants would have their own lingo.
                                                   
                                                 

                                                     
In the 35 years Vrajendra Gaur was a part of the film industry, he wrote many superior films like Bimal Roy’s Parineeta, Sangram, China Town, Manzil, Teen Deviyaan, Howrah Bridge, Saraswatichandra, Sharmilee, Lal Paththar, Kati Patang, Anuraag, Geet gaata Chal, Ankhiyon Ke Jharokon Se, The Great Gambler, Dulhan Wohi Jo Piya man Bhaye, etc. For the last mentioned film he won the Filmfare awards for best screenplay and  dialogue.                                 
                                                

Gaur had also directed a lone film called "€œKasturi"€ in which film maker Shakti Samanta was his assistant. Despite Kasturi doing well Gaur did not direct a film again and returned to his first love writing. He passed on the subsequent offers of direction to Shakti. Shakti often said that he owed his career as a film maker to Vrajendra Gaur. No wonder then that Gaur wrote most of Shakti'€™s films.                                         

VRAJENDRA GAUR AND GURU DUTT

 

                         From the vast majority of stars Vrajendra Gaur, developed a deeper friendship and professional alliance with Dev Anand, who he met on the steps of Bombay talkies studio in Malad. . A long conversation about mutual interests, on those steps, became grounds for a professional and personal alliance that saw Gaur work on an enviable part of Dev Anand’s repertoire. He wrote Dev Anand’s ‘Jaali Note’, ‘Manzil’, ‘Baarish’, ‘Sarhad’, ‘Teen Deviyaan’, ‘Baat Ek Raat Ki’, ‘Mahal’, ‘Duniya’, ‘Pyar Mohabbat’, ‘’Warrant’, etc. He also wrote the lyrics of the Dev Anand starrer ‘Zalzala’.

    

Dev Anand had once said ” There are many writers but Gaur was a rare talent who was exceptionally good at comedy, emotional and crime subjects. He understood the sensitivity of the subject and wrote accordingly, using words that uplifted the scene and the film. He wrote many of my films. Sadly he died young”.
                                                  

           WRITTEN BY: RAJESH V. GAUR and  RAJEEV V. GAUR

HE THOUGHT US HOW TO LAUGH : REMEMBERING MEHMOOD

HE THOUGHT US HOW TO LAUGH - REMEMBERING MEHMOOD

WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

EMAIL: sunrise607@rediffmail.com

 Actor Mehmood’s death anniversary will be observed on 23rd July 2014. RAJESH V. GAUR AND SUNEEL V. GAUR chronicle the life and times of the star.

The inimitable Mehmood was Bollywood’s best-known comedian. Mehmood made the comedian’s role an integral part of the story line. Often the comedian’s plight proved more interesting than even the hero’s romance. Thanks to Mehmood comedy was king in the 1960s and Mehmood was the uncrowned king of this genre.

                                       
 Mehmood was the son of character-actor/dancer Mumtaz Ali and used to tag along with his father to the film studios. He began acting as a (reluctant) child actor in some Bombay Talkies’ films like Kismet Mehmood’s first real role in films, he played a gangster in Guru Dutt’s suspense thriller – CID. After that, Guru Dutt gave him a small part in Pyaasa.

While he was struggling in Bombay Talkies, he made friends with another upcoming actor Kundan. Their friendship lasted through thick and thin and they were friends forever. Kundan was a grea help to him during his days of struggle.
                                                     

 

Mehmood with his dear friend Kundan.

 

Luckily for Mehmood, he got his first noticeable “break” in Parvarish (1958), in which he landed a role as Raj kapoor the lead actor gave him a real tough time, since he was a newcomer. Years later, when Mehmood was at the peak of his career – Mehmood single-handedly spoofed them all in a triple role in the film Humjoli.

                                              

 After Paravrish, Mehmood got meatier roles in films like Gumnam, Pyar Kiye Jaa and Pyar Hi Pyar. In 1961, he played the lead comedian in Sasural. This was followed by – hits like Love in Tokyo and Ziddi etc. Mehmood's his fans just could not get enough of him as a “side-comedian” in the movies. And a time came, when he was so much “in demand” that producers approached him, offering him full-length comedy films.
Mehmood teamed up with another comedian, I. S. Johar, in Namasteji. The comic duo went on to make several more capers – which immortalized them in Bollwood , by incorporating their names in the film’s titles – Johar Mehmood in Goa followed by Johar Mehmood in Hong Kong. By the early 70s, Mehmood was at then at the peak of his comic career. He exhibited a rare ability to gauge the mood of the cinema-going audience – especially the frontbenchers!
Mehmood’s super stardom caused a lot of insecurity and anxiety in Bollywood acting circles as he was a scene stealer and overshadowed even the heroes. After two decades of success, Mehmood’s comedy began to come undone. His caricatures – especially his spoofs on South Indians -- had begun to bore the audiences. Sadly he could not re-invent himself as effortlessly as he had in the past.
                                         

                                               
 Thus Mehmood decided to concentrate on his own production house which made films like Chhote Nawab, Bhoot Bangla, Padosan. Kunwara Baap
, etc. He also made Bombay to Goa and gave the then struggling newcomer Amitabh Bachchan the lead role,thus helping him carve a niche in Bollywood.
In the 1990s Mehmood was keeping indifferent health and he had also lost the ability to feel the pulse of film buffs . He was eventually eclipsed by the new breed of comediens and retired from films.
Mehmood will forever be remembered as he appeared in his heydays – as the King of Comedy. He taught the film buffs the ability to laugh!

                                                     

  WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

PERFECTION WAS NAUSHAD SAHAB'S MOTTO

PERFECTION WAS NAUSHAD SAHAB'S MOTTO

WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR
EMAIL: sunrise607@rediffmail.com

 Music maestro Naushad’s birth anniversary will be observed on 25th December. The Lucknow born Naushad’s orthodox family was against his growing passion for film music and he often got caned due to his love for music. But there was no stopping Naushad saab, the film buff, from pursuing his goal of becoming a music director.After working as an assistant to many music directors of the time Naushad hit big time as an independent music with the successful Premnagar in 1940. But it was the music of Rattan in 1944 that etched Naushad’s name forever in the annals of Indin film music history. The film and the songs are remembered to this day.                                    
                                        
                                           

 

Naushad churned out hit after hit in the 1940s mainly in the films of A.R. Kardar - Shahjehan, Dard, Dillagi, Dulari, and Mehboob Khan - Anmol Ghadi (1946), Anoki Ada, Andaaz,etc.Naushad was among the early composers, who, gave Lata Mangeshkar an opportunity to sing for Andaaz and Dulari which were instrumental in her rise to the top along with Mahal.
But conceivably Naushad`s supreme contribution was to base film songs on Indian Classical Music. Many of his compositions were inspired by Ragas and he even used distinguished classical artistes like Ustad Amir Khan and D.V. Pulaskar in Baiju Bawra (1952) and Ustad Bade Gulam Ali Khan in Mughal-e-Azam (1960). Baiju Bawra demonstrated Naushad`s grasp of classical music. Lata Mangeshkar once said the music Naushad saab composed for Baiju Bawra surprised her as it It was entirely different from what he had done before. The purity of the ragas was maintained to the greatest possible extent.    
                                             
                                          

                          Naushad with friend writer Vrajendra Gaur 

 Naushad used to study every aspect of his tunes thoroughly. If he weren`t contented with even one word, he would ask the lyricist to pen the entire song again, to his satisfaction. It is important to mention here that most of Naushad's songs were written by Shakeel and sung by Rafi. He would take a fortnight to compose a single song. Perfection was his motto.

This condensed workload worked to his advantage as he went on to score the music for perennial classics - Mother India (1957), Mughal-e-Azam (1960), Ganga Jamuna (1961) and Mere Mehboob (1963). In Mughal-e-Azam, Naushad`s musical score was outstanding. S it was indeed scandalous that Naushad lost the Filmfare award that year [1960], to Shankar-Jaikishen for their score in Dil Apna Aur Preet Parayee.
                                                     
                                                

 

NAUSHAD WITH SUNEEL GAUR

With the 1960s and the decline of Dilip Kumar, Naushad who used to compose music for most of the thespian`s film also suffered a reversal of fortune as film after film of theirs came unstuck at the box-office..

It is surprising that Nausahad saab arguably the greatest music director of Hindi films won just a solitary Filmfare award for Baiju Bawra because he deserved a lot more.

                                                    

 WRITTEN BY: RAJESH V. GAUR  and  SUNEEL V. GAUR

REMEMBERING THE LEGENDARY GENIUS : MEHBOOB KHAN

REMEMBERING THE LEGENDARY GENIUS: MEHBOOB KHAN

WRITTEN BY:  SUNEEL V. GAUR  AND  RAJESH V. GAUR

EMAIL: sunrise607@rediffmail.com


Legendary Mehboob Khan who made clssics like Mother India, Anmol Ghari and Andaaz passed away 50 years ago. For a man of humble origins he did very well for himself in life.
Mehboob Khan passed away in May 1964, so this happens to be the 50 death anniversary year of the distinguished film director. He was a man of humble beginnings but despite this handicap , Mehboob became one of India's greatest filmmakers. Mehboob has always been referred to as a legend. But how many movie buffs, really know the vast repertoire of work that Mehboob Khan possessed? Mehboob's craft was learnt in the Film Theatre, the common motif in his films usually being the oppressed poor pitted against the oppressive rich be it the poor tribal against the money-grabbing capitalist in Roti (1942), the commoner against the prince in Aan (1952) or the poor peasant woman against the slimy zamindar in Aurat (1940) and Mother India (1957)
. In 1940, 41 and 42 Mehboob made three of his most important films - Aurat (1940), Bahen (1941) and Roti (1942).
Aurat highlights a peasant's love for his land. The story of a resolute young woman who starts life full of hope and dreams but ends up old and careworn. Bahen was about a brother's obsessive love for his little sister but Roti was unlike anything Mehboob had done earlier. A blistering attack on capitalism and the lust for money. Mehboob then set up his own production house Mehboob Productions.. and came out with a regular output of films like Najma (1943), Taqdeer (1943) and Humayun (1945) they did not do well.

 Anmol Ghari (1946) which starred Suraiyya and Surendranath became a money spinner.The film also had a great musical track by Naushad.
Mehboob's next masterpiece was the super hit Andaz (1949). The volatile triangle to beat all triangles, Andaz remains startlingly modern even by today's standards . Mehboob followed Andaz with Aan (1952), his first film in colour. Amar (1954) ,regarded by Mehboob as his favourite film, flopped, at the box office.
In 1957, Mehboob,remade his earlier hit Aurat as Mother India. This epic saga depicted the sufferings of an Indian peasant woman . So tremendous was its success that the film is in fact a reference point in the long-suffering mother genre. After the high of Mother India , Mehboob’s next Son of India (1962) was a big disappointment and, in fact, his weakest film. This was his last directorial venture as Mehboob Khan died in 1964.
Mehboob was a filmmaker who mixed commerce with message and comes across as a man deeply rooted to the art of filmmaking.

WRITTEN BY:  SUNEEL V. GAUR AND  RAJESH V. GAUR

ONE OF A KIND : AMITABH BACHCHAN

ONE OF A KIND: AMITABH BACHCHAN

WRITTEN BY: RAJESH V. GAUR and  SUNEEL V. GAUR
 EMAIL: sunrise607@rediffmail.com

                                                  

 Amitabh Bachchan who turns 72 on 11th October once said, "Everyone must accept that we will age and age is not always flattering."
Though he mouthed the words himself, his very success contradicts the very notion. Amitabh Bachchan may be growing old but he has shown no signs of slowing down and has indeed been the perfect example of 'aging gracefully'. In an era starkly different from his time, the seventies and eighties Bachchan still holds a firm place in the industry and commands a sense of power and respect that is unmatched till date.

Amitabh Bachchan, despite his unconventional looks managed to make a mark for himself and stand out in the glamour world of Bollywood, on the basis of his immense talent and the need he fulfilled in the changing society of his times. Though Amitabh is the favourite of the majority of cinegoers , Amitabh has often said " my favourite actors remain Dilip Kumar and Waheeda Rehman".

                        Writer Vrajendra Gaur and Amitabh Bachchan         

 It was in 1973 that Prakash Mehra, after being rejected by the top actors of that time like Dev Anand, Raaj Kumar, etc. went to Amitabh Bachchan and offered him the role of Inspector Vijay for the film Zanjeer. This revenge saga, came like a blast of fresh air in the midst of the popular romantic films and established Amitabh as the ‘Angry Young Man’. One can see a certain grace about that character. So many other actors have tried to ape Amitabh, but they've failed.

 It has been 40 years since the film released and Amitabh has not looked back since then and is still a force to reckon with. In the ensuing period he gave film lovers great hits like Don, Trishul, Sholay, Majboor, Mr.Natwarlal, Naseeb, Coolie, The Great Gambler, Amar Akbar Anthony, etc.etc. Though some of his films may not have done well Amitabh has never failed as an actor.

                                              

 With Kabhie Kushi kabhie Gham, Amitabh was freed from the shackles of playing the lead actor. Amitabh took on different shades of characters in movies like Aks and Black .Director Sanjay Leela Bhansali gave him a complex character in Black. The nuances of the character were so well brought out by Amitabh that it turned out to be an award winning performance. He was also greatly appreciated in films like Baabul in 2006, Cheeni Kum in 2007 Paa in 2009.

The hallmark of this actor lies in his consistency of churning out one great performance after another. Amitabh is also involved in a lot of humanitarian activities and does a lot of charity work. On the personal front he has been a great son, a loving husband a doting grand father and an inspirational father. Reams and Reams can be written about Amitabh but it would still not do justice to the man’s great talent and humility.

WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

 

 

CHETESHWAR PUJARA ARTICLE PUBLISHED IN MUMBAI NEWSTIME ON 8TH TO 14TH  DECEMBER 2013.

 

WRITTEN BY: RAJESH V. GAUR and SUNEEL V.  GAUR

 

EMAIL: sunrise607@rediffmail.com

 

IAN BISHOP INTERVIEW PUBLISHED IN MID BOMBAY.

IAN BISHOP INTERVIEW PUBLISHED IN MID BOMBAY ON  17TH DECEMBER 1998.

WRITTEN BY: RAJESH V. GAUR  and  SUNEEL V. GAUR

EMAIL: sunrise607@rediffmail.com

VIVIAN RICHARDS ARTICLE PUBLISHED IN MID BOMBAY

VIVIAN RICHARDS INTERVIEW PUBLISHED IN MID BOMBAY  ON 7TH  JANUARY 1999.

WRITTEN BY: RAJESH V. GAUR  and  SUNEEL V. GAUR

EMAIL: sunrise607@rediffmail.com                                                       
                                                         
                                                    

 

SACHIN TENDULKAR ARTICLE: CRICKETER NO 1. PUBLISHED IN MID BOMBAY PAPER.

 

SACHIN TENDULKAR ARTICLE

 IN MID BOMBAY PAPER " CRICKETER NO 1"PUBLISHED ON 21ST JANUARY 1999.

 

WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR

 

EMAIL: sunrise607@rediffmail.com

 

THE DIGNIFIED AND TALENTED ACTOR KUNDAN MALLIK

 

THE DIGNIFIED AND TALENTED ACTOR KUNDAN MALLIK

                   WRITTEN BY: RAJESH V. GAUR and RAJEEV  V. GAUR

 EMAIL:  sunrise607@rediffmail.com

                                                       

Kundan Mallik may not have been a big star but he was a very competent actor who acted in about 60 Hindi films. Born on August 8th 1932 in Sargodha, then a part of India, the acting bug had bitten Kundan at a very young age. He used to save money and run away from school to watch films starring his favourite stars. These films and film stars made him dream of a career on the silver screen, so much so, that he even ran away from home at a young age to try his luck in films but was caught and handed over to his parents, by a relative. His father did not just give him a verbal lashing but also a physical bashing.                                                                
                                                   

                                                
                         KUNDAN AND KISHORE KUMAR IN 'NAUGHTY BOY'          
 
      Though born in an affluent family, nothing could stop Kundan from dreaming of an acting career. He used to write fan mail to his favourite actors and even sent his photos to them. When he got a reply from the likes of Motilal his joy knew no bounds and he became delirious with happiness. His family shifted to Lucknow from Sargodha and he acted in the local Ram Leela stage programmes every now and then. This was perhaps his only experience in acting before landing in Bombay. It so happened that his father suffered a paralytic stroke and he being the eldest in the family came to Bombay to try his luck in films and earn a livelihood for himself.
                                                              

                                    Shakti Samanta and Kundan                                     

 Kun dan landed a role in the Sajjan and Nimmi starrer “Kasturi” (1954) and even changed his name for the screen and became Nakul Mallik. At the premiere of “Kasturi” he met his idol Motilal ji and touched his feet with reverence. Motilal was pleasantly surprised and smiled “Ama tu Bombay aa gaya, Tu to mujhko chittiyan likhta tha apni photos ke saath Lucknow se. Yahi umeed karta hoon ki jo sapne tu dekh kar yahan aaya hai woh pure hon”. Kundan told Motilal ji that needed his good wishes and blessings.

                                                

After Kasturi he went back to his original name Kundan, and signed some more films like Shakti Samanta’s “Howrah Bridge” (1958), “Jaali Note” (1960), “Naughty Boy” (1962), “Baarish” (1957), “Manzil” (1960), “Insaan Jaag Utha” (1959), “Post Box 999” (1958), “Isi Ka Naam Duniya Hai” (1962), “Aadhi Raat Ke Baad” (1965), etc. He also acted in a Hollywood film called “Nine Hours To Rama”. Things were looking rosy and he called his family comprising of his Mother and siblings to Mumbai. His dad had in the meanwhile succumbed to his illness in Lucknow. He struck a great friendship with actor Mehmood a struggler then, and the two became inseparable pals with Mehmood spending most of his time at Kundan’s home. Kundan’s mother used to even give them money to sustain themselves during their struggling days. But somehow despite good performances and films coming his way Kundan could not attain the heights of stardom.

                                                          

Kundan and Om Prakash in "Eent Ka Jawab Paththar"

Kundan acted in many films in the ensuing years. Films like “Pagla Kahin Ka” (1970), “Amar Prem” (1972), “Sharmeelee” (1971), “Do Yaar”, “Kati Patang” (1970), “Shankar Shambhu” (1976), “Khoon Aur Paani” (1981), “Balam Pardesiya” {Bhojpuri], “Yaarana” (1981), etc. His dialogue  ‘Kachcha Papad Pakka Papad’ from the film “Yaarana”  is popular to this day.

                                                     

The industry believes in ‘maska’ and sweet talks, but Kundan being a self respecting man never begged for roles and the work that came his way started reducing. Its surprising that Kundan and Mehmood though friends, never worked together. When Mehmood made it big and started making his own films he conveniently forgot his old buddy Kundan and  he was sadly never seen in a Mehmood made film. Kundan remained friends with Mehmood but never ever asked him for work as he thought it to be below his dignity to do so.                                              
                                        

Ashok Kumar and Kundan in "Aadhi Raat Ke Baad"

                                                                               
Kundan eventually retired from films while still active and passed away suddenly on 25th November 2007 at the age of 75 Kundan’a passing away came as a surprise as he led a healthy lifestyle and did not have any any ailment. . Amongst his very good friends in the industry were Ram Mohan, Subhiraj, director Chand, Madan Puri, Chandrashekhar and Mehmood, who stood by him through thick and thin and vice versa . Even, today, film buffs remember his performances and dignified and decent lifestyle.

WRITTEN BY: RAJESH V. GAUR and RAJEEV V. GAUR

Email: sunrise607@rediffmail.com

 

RAJESH V. GAUR                                    RAJEEV