Surojit Guha and Sangeeta Melekar performing during our Best Of Hemant Kumar Show on 16th Aug 2013 at Tejpal Auditorium
Song -Sawle salone Leke
Film - Ek Hi Rasta(1956)
Lyrics -Majrooh Sultanpuri
Music - Hemanth Kumar
Original singers: Hemanth Kumar-Lata Mangeshkar
Song -Sawle salone Leke
Film - Ek Hi Rasta(1956)
Lyrics -Majrooh Sultanpuri
Music - Hemanth Kumar
Original singers: Hemanth Kumar-Lata Mangeshkar
- Movie - Ek Hi Rasta - Sawle Salone Aaye Din Baharke - sung by ...
www.youtube.com/watch?v=C32BoIfYNhYMay 27, 2013 - Uploaded by Lathamusic2Song -Sawle salone Leke Film - Ek Hi Rasta(1956) Lyrics -Majrooh ... Movie - Ek Hi Rasta - Sawle ...
Lyrics of Ek Hi Raasta (1956) Movie in Hindi
www.hindilyrics.net/.../hindi-lyrics-of-Ek%20Hi%20Raasta%20(1956).ht...Hindi lyrics of all songs of movie Ek Hi Raasta (1956)
Ek-Hi-Rasta (1956)
Director:
B.R. ChopraWriters:
Mukhram Sharma (dialogue), Mukhram Sharma (screenplay),Storyline
Amar, Malti, and their young son, Raja, live a middle-class, but very harmonious life. Both Amar and Malti were brought up in an orphanage, and are always ready to help other orphans. Amar works for a kind-hearted and generous employer named Prakash Mehta, who is envious of their lifestyle, and would himself like to get married. Then one day Amar intercepts some criminal activity, which results in two employees losing their jobs, with one ending up in prison. When the prison term gets over, he runs over Amar under his truck, killing him instantly. Devastated and heart-broken, Malti hides this news from Raja and tells him that Amar is hospitalized and unable to return home. Then the towns folks start linking her with Prakash, leading to rumors being spread about their intimacy, finally resulting in Prakash proposing to her and both getting married. This settled, the two hope that life will continue and wounds will heal. But Raja expects his dad to return home, starts hating Prakash - ... Written by rAjOo (gunwanti@hotmail.comclick:-Hindi Film Songs - Ek Hi Raasta (1956) | MySwar
myswar.com/album/ek-hi-raasta-1956
5+ items - Ek Hi Raasta (1956) by Hemant Kumar - Complete information ...
Chali Gori Pee Se Milan Ko
Hemant Kumar.
Saanwale Salone Aaye Din Bahaar Ke
Lata Mangeshkar, Hemant Kumar.
Ek Hi Raasta
Album Category: Hindi, FilmYear: 1956
Music Director: Hemant Kumar
Lyricist: Majrooh Sultanpuri
Label: Saregama
Overall Rating:
My Rating:
Credits: Assistant Music Director: Ravi Shankar Sharma
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| Saanwale Salone Aaye Din Bahaar Ke | |||||||
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| Chumka Ban Kar Aman Ka Tara |
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| Bade Bhaiya Laye Hain London Se Chhori |
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| Bhola Bachpan Dukhi Jawani (Male) |
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| Kaisi Lagi |
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| Bekas Ki Aabroo Ko |
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Lata Mangeshkar,Hemanth Kumar, Song : Sawle Salone Aaye Din Baharke, film:Ek hi Raasta 1956.(H.Q)
Ek hi Raasta 1956, cast:Sunil Dutt, Meena Kumari, Sawle salone aaye din bahar ke, singers : Lata Mangeshkar, Hemanth Kumar, ... -
''Kaisi Lagi'' (Ek Hi Raasta)
Song: Kaisee Laagi Kaisee Laagi Jaaye Toh Jaaye Jiya Cast: Kum Kum, (another unknown dancer?) Music: Hemant Kumar ... -
Ek Hi Rasta (1956) - Daisy Irani & Ashok Kumar
For information about Daisy Irani, visit the following link http://maitrimanthan.wordpress.com/2012/01/16/child-star/...
=========================
Daisy Irani – Memories
Daisy Irani
I don’t remember how I got my first break because I was very small. But they say that on the ground floor of our building lived this director called Bipin Gupta. He was on the lookout for a small boy to act in his movie. I was wearing my brother’s shirt and playing in the building compound and he mistook me for a boy. So they approached my mother to cast me in the movie. My dad was very strict. He was against my joining movies. But my mother was adamant, and so I had no choice but to join films. I signed my first film. Then others like Satyen Bose, B.R. Chopra and others came forward and I was hot property. My first release was Taksal.
After I’d played a boy in films, they never let me become a girl. But I enjoyed myself. I was never frightened by the camera or all the attention. My co-stars were fantastic. Dada Moni, Balraj Sahni and Nirupa Roy. Nirupa aunty used to always take care of me. I guess the attachment was because we could relate better, as we were both females. I always worked with big stars, so I had no complaints. Kids love attention and I took all the attention beautifully. It never went to my head.
I was told so many times never to look into the camera, never to touch my face when makeup had been applied. So one day, I went up to Dada Moni and told him, “Don’t look into the camera, and don’t touch your face when your makeup is on!” He started giggling. I made him feel as though it was his first day of shooting.
Slowly, I started becoming busy. I used to do three shifts. I remember in those days we used to travel in huge cars, and since I was so small, I used to stand up to see where we were heading. And because I used to be so tired I used to go to sleep standing up! So people started saying I was like Bhagwan Dada. Even he used to have this habit of standing up and dozing off to sleep.
I used to enjoy myself on the sets playing pranks and being my mischievous self. Everybody used to talk of me. Everyone would want to carry me on their shoulders. The only thing I missed was my studies, and a childhood with children of my own age. On the sets, I was always thrust onto adults.
Suddenly the fun part disappeared, and the tiring part started. If for a scene I was required to cry and I wouldn’t, they were not ready to sacrifice their movie just because I was not in a mood to cry. So they would pinch me, they would hit me, give me two or three slaps till I cried. In those days most of the movies were tear jerkers and I was required to cry in most of them. This became quite irritating.
I did Hum Panchhi Ek Dal Ke in which we had Jagdeep, Mohan Choti and it was great fun doing that movie. The movie got a National Award and we were invited to Delhi for the awards function. We went to meet Nehru chacha. He was very sweet and gave us presents. When we were leaving, my mother asked me to go and thank him for all the trouble he went through to make time for us. I went and made a mess of it. I went and said, ‘Sorry for the trouble’. He was stunned. He called my mother and asked her if I went to school. She said I didn’t because I was so busy doing movies.
Nehru chacha gave me a letter to get me admission. But in spite of that, no school was willing to take me on. I was nine years old by that time and I was too big for standard one. Finally, one school gave me admission, and I joined the fourth standard. And for three years I was in the same class!
The other day I met Mukul Anand. He told me that he was in my class in the fourth standard. I asked him which year and he was puzzled. Then I explained to him that since I was in the same class for three years, I wanted to know which year he was with me. He laughed! Actually I was like a permanent fixture in the class!
After being three years in the same class I discontinued my studies. Actually, even if I wanted to continue, I’m sure my teachers wouldn’t have allowed me. I was too mischievous. My brothers helped me a lot in learning English. They gave me comics to read and they would insist that I speak to them only in English. That’s why today I can speak it fluently.
Naya Daur days were fun. Since I was like a boy, I never had a separate room. Ajit saab and Yusuf saab would fight over whom I slept with. I would always chose Yusuf saab. But years later, after he had got married to Saira, he really embarrassed me. He was introducing me to Saira and said, ‘You know I used to sleep with this girl’. She was taken aback. I didn’t know where to look. But he just never realised his faux pas. When he finally did, he quickly said, ‘No, no, not like that! I meant when she was a kid!’
Meena Kumari, Madhubala, Lalita Pawar; I always worked with the cream of stars. I was very frightened of Lalita Pawar, because if she was in the movie, then she would be playing the souteli maa and would have to hit me. One day we were shooting in Prabhat Studio where there was a swimming pool. I loved to swim even though I didn’t know how. So I just jumped in the pool. Lalitaji was sitting beside the pool and reading her lines. She noticed that I was drowning and jumped in and rescued me. Once we got out however, she gave me a good thrashing!
Meena Kumari was a very sensitive person. When she was required to slap me in a shot, she would hesitate because she could see that I was frightened. Every time she lifted her hand I would move back. So after many retakes she held my hand and promised me that she would not hurt me. When the shot was taken she hit me. I was shocked and hurt. After the shot she hugged me and asked for my forgiveness. She thought I would never trust her again.
I also remember that she had a very costly carpet in her house. One day, Tajdar, her step son, and I together poured sugar all over it, I don’t remember for what, probably for the ants to eat. In those days there were no vacuum cleaners, so the whole thing was a big mess. But she just couldn’t get angry with us.
During the shooting of Ek Hi Raasta there was this scene I had to do. It had to be shot at a particular time when a train passed by. Suddenly, I developed a taste for a certain fruit and I decided that if I didn’t get the fruit, I wouldn’t shoot. They were tearing their hair in frustration, but I was adamant. In the end I got my way. That was the only time I recall throwing a tantrum. Otherwise, till today, people come and praise me for being very professional. It was my sister Honey who was very troublesome. She would demand grapes, 12 rasgullas and all that…
Suddenly I grew up and the offers stopped coming. I reached this funny age when nobody likes you. The attitude of people started changing. No longer did people pamper me. Before, during Diwali, I used to be flooded with sweets and crackers. All this stopped. This was when I realised I was going down. I was in a way glad because I was very tired of going three shifts. I started doing stage shows. Then my mother made a movie called Bachpan and launched my elder sister opposite Salim Khan – Salman’s dad. The movie flopped and my mother was heavily in debt. We used to have seven cars and suddenly everything started getting sold. I could feel the pressure on the family. To top it all, my roles stopped coming. I was entering puberty. People could make out that I was a girl. They would tie a cloth on my chest so no one could make out the difference. It was all very silly and idiotic.
Mentally I was never set to become a heroine. But again my mother who was very keen pushed me into it. I started doing Gujarati and Punjabi movies. I started looking out for lead roles in Hindi films. Those who I worked with as a child artiste, were not willing to give me a break. Today, when I look back, I realise that it’s because I wouldn’t fit into these roles. But at that time it was all very frustrating. I became rebellious. I started smoking and back answering people. I became very rowdy. I remember when I was shooting at Ranjit Studio for Pehchan, some lightmen whom I knew from childhood came upto me and said, ‘Do whatever you want, but don’t smoke in front of us’. From that day I never smoked on that set. But because my career was not taking off, I was kind of angry at the whole system.
There were some producers who were not at all sensitive to my feelings. They would say, ‘beti beti’ and touch me all over. I then went to people I knew, and they would say I was too small, which frankly, I was. My mother wanted to make me a heroine when I was 14 years also. It was very silly on my mother’s part. A child cannot give her lover a look or play a woman at that age. My mother also had this very conservative attitude ‘You cannot look at any boys, you can’t talk to anyone.’. Yet at the same time, she wouldn’t mind me doing love scenes. In the acting classes I run today, I had a student whose mother was like that. I called her mother up and told her, ‘If you are so strict then don’t put her in this profession’. I told her that even I had been through such a phase. One must make up their mind about what they want from their children. Whether you want them to study or earn. It’s not like yeh bhi karo our woh bhi karo!
My mother was always after money! She had developed a lifestyle and she wanted to maintain it. To be known as the mother of a heroine was a big thing. And you know most of our heroines have this mama problems – uneducated mothers tagging along, for shootings, interfering in everything, eating the producer’s head for every small thing. Thank God for Zeenat Aman’s mother, who was so liberated that she changed the whole scenario.
My father on the other hand never took a penny from my earnings till the day he died! His restaurant was doing very well, and he always looked after my needs.
I was to do a dance sequence in a movie to be directed by K.K. Shukla. When we met, we fell in love and decided to get married. Around this time, I was offered a lead role in a movie called Tarzan Ki Beti or something like that. For me, at that time, it was a big movie. I had to choose between the film and my marriage. Luckily, I chose the latter. There was big crisis in my family. My mother was very upset, so our plan was to run away and get married. But my father intervened and said that if I wanted to get married, I should get married like a decent girl. We were Parsis and my husband was a Hindu, so we got married at the Arya Samaj.
I settled down as a housewife. I have three children. But sitting at home doing nothing, got me really bored. So I started moving around. I got to see some acting classes. That’s when I realised how bad these classes were, and that students actually learned nothing from them. They only paid exorbitant entry fees. So I decided to start my own class. I opened my class in 1990 and now it’s doing very well. My students like Farheen and Ayub have just got noticed. And I am sure that there are better things to come…
I have not seen all my movies, but of the ones I have, I liked Bandish and Ek Hi Raasta. All my old films were gutted in the fire that took place at the lab at Tardeo. But now I am trying to get as many prints as I can get my hands on. Sometimes when I meet my fans, they name movies that even I didn’t know about. I just nod my head and say yes. Today however, I am very content with my work. It keeps me busy and gives me a chance to guide these newcomers, which is all so satisfying. (As told to Vijay in 1992)
Daisy Irani (actress)
Daisy Irani (born 1952) is a famous former Bollywood and Kollywood child artiste in the 1950s and 1960s. Born into a Zoroastrian family, she is the sister of writer director Honey Irani.
During the Golden Age (1950s 70s) of Hindi cinema some child stars had great visibility. The Irani sisters Daisy Irani and Honey Irani, who generally played cute boys with curly hair, became household names [1]and some of their films fetched the biggest openings. The Irani sisters, Daisy and Honey, became household names: The films that had both fetched the biggest openings. Stories were re-written to include them in the cast or increase their footage in the films, and they were prominently publicized in the promos of their movies. Their most-remembered movies, together or separate, include Bandish, Jagte Raho, Bhai Bhai, Naya Daur, Hum Panchi Ek Dal Ke, Musafir, Sahara, Quedi No. 9211, Duniya Na Mane, Do Ustad, Dhool Ka Phool, Soorat Aur Seerat and Chandi Ki Diwar. Daisy Irani, who was more popular than her younger sister as a child artiste, continued to act after growing up, though not in any significant roles.
Irani was a heavy smoker of cigarettes. One report claims that she gave up smoking after she became a Christian. She is a member of New Life Fellowship Mumbai.
Meena Kumari (1 August 1932 – 31 March 1972), born Mahjabeen Bano,
was an Indian movie actress and poetess. She is regarded as one of the
most prominent actresses to have appeared on the screens of Hindi Cinema.
During a career spanning 30 years from her childhood to her death, she
starred in more than ninety films, many of which have achieved classic
and cult status today. With her contemporaries Nargis and Madhubala she is regarded as one of the most influential Hindi movie actresses of all time.
Kumari gained a reputation for playing grief-stricken and tragic roles, and her performances have been praised and reminisced throughout the years. Like one of her best-known roles, Chhoti Bahu, in Sahib Bibi Aur Ghulam (1962), Kumari became addicted to alcohol. Her life and prosperous career were marred by heavy drinking, troubled relationships, an ensuing deteriorating health, and her death from liver cirrhosis in 1972.
Kumari is often cited by media and literary sources as "The Tragedy Queen", both for her frequent portrayal of sorrowful and dramatic roles in her films and her real-life story.
Her father, a Shia Muslim, was a veteran of Parsi theater, played harmonium, taught music, and wrote Urdu poetry. He played small roles in films like Id Ka Chand and composed music for films like Shahi Lutere.
Her mother was the second wife of Ali Baksh. Before meeting and then marrying Ali Baksh, she was a stage actress and dancer, under the stage name, Kamini and earlier in her life related to the well known Tagore family of Bengal.
As Mahjabeen embarked on her acting career at the age of 7, she was renamed Baby Meena. Farzand-e-Watan or Leatherface (1939) was her first movie, which was directed for Prakash Studios by Vijay Bhatt. She became practically the sole breadwinner of her family during the 1940s. Her early adult acting, under the name Meena Kumari, was mainly in mythological movies like Veer Ghatotkach (1949), Shri Ganesh Mahima (1950), and fantasy movies like Alladin and The Wonderful Lamp (1952).
Meena Kumari highly successfully played the roles of a suffering woman in Parineeta (1953), Daera (1953), Ek Hi Raasta (1956), Sharda (1957), and Dil Apna Aur Preet Parayi (1960). Though she cultivated the image of a tragedienne, she also performed commendably in a few light-hearted movies like Azaad (1955), Miss Mary (1957), Shararat (1959), and Kohinoor (1960).
One of her best-known roles was in Sahib Bibi Aur Ghulam (1962), which was produced by Guru Dutt. Kumari played Chhoti Bahu, an alcoholic wife. The film was a major critical and commercial success, which was attributed by critics to Kumari's performance, which is regarded as one of the best performances of Hindi Cinema.[3] The role was famous for its uncanny similarity to Meena Kumari's own life. At that time, she herself was on a road to gradual ruin in her own personal life. Like her character, she began to drink heavily, though she carried on. In 1962, she made history by getting all the three nominations for Filmfare Best Actress Award, for her roles in Aarti, Main Chup Rahungi, and Sahib Bibi Aur Ghulam. She won the award for Sahib Bibi Aur Ghulam. Upperstall.com wrote about her performance,
Kumari's heavy drinking had badly damaged her liver, and in 1968 she fell seriously ill.[1][5] She was taken to London and Switzerland for treatment. Back home, she started settling her debts and made peace with her estranged sister, Madhu, whom she had not spoken to for two years.[5] Because of her heavy drinking, she increasingly lost her good looks, and when she returned, she began playing character roles in movies like Jawab (1970) and Dushmun (1972).[1]
She developed an attachment to writer-lyricist Gulzar and acted in his directorial debut Mere Apne (1971). Kumari presented an acclaimed portrayal of an elderly woman who got caught between two street gangs of frustrated, unemployed youth and was killed, her death making the youth realise the futility of violence.
Pakeezah, starring Kumari and directed by her ex-husband Kamal Amrohi, took 14 years to reach the silver screen. First planned by Amrohi in 1958, the film went on the studio floors in 1964, but the shooting came to a standstill after their separation in March 1964, when it was more than halfway complete.[5] In 1969, Sunil Dutt and Nargis previewed some reels of the shelved film and convinced the estranged Amrohi and Kumari to complete it.[1] Hindustan Times described the meeting which Dutt had organised between the two:
Throughout her life, Kumari had a love-hate relationship with movies, and besides being a top-notch actress, she was a talented poetess, and recorded a disc of her Urdu poems, I write, I recite with music by Khayyam.
It is said that Amrohi did not want children with Meena Kumari because she was not a Syed. They raised Kamal Amrohi's son, Tajdaar, who was greatly attached to his chhoti ammi (younger mother).
Due to their strong personalities, however, Meena Kumari and Kamal Amrohi started to develop conflicts, both professionally and in their married life. Their conflicts led to separation in 1960, and ultimately divorce in 1964. Highly affected Meena Kumari, who, once a happy woman, became depressed and found solace in heavy drinking. They remarried, but Meena Kumari had become an alcoholic by then.
She expressed her sorrows prominently in her poetry. About Kamal Amrohi she wrote:
Date of Birth: 6 June 1930
Birth Place: Jhelum
Death: 25 May 2005
Death Place: Bandra, Mumbai
Address: 58 Smt. Nargis Dutt Road, Pali Hill, Bandra, Mumbai 400 050
Wife: Nargis
Son(s): Sanjay Datta
Daughter(s): Priya Dutt, Namrata Dutt
Zodiac Sign: Gemini
Debut Film: Railway Platform
Sunil Dutt was born on 6th June 1930 in Jhelam which is in British India (now it is called as Pakistan). At the 1947 when partition of India was happened, his whole family shifted to India and they lived in one small village in Haryana district. Then he shifted to Mumbai and admitted into Jai Hind College and then joins one job.
Sunil starts his career by doing job in radio. In the South Asia, he was a famous announcer of Radio Ceylon. From the radio he moved towards acting. His first film in the Bollywood was "Railway Platform" which was released in 1955. In the year 1957, he did the film "Mother India" with Nargis for the first time. In this film he performed role of son of Nargis. At the time of shooting of this film, fire accident was occured on the set. Sunil saved to Nargis from this accident and from that both of them in love.
Sunil Dutt then got married with Nargis. They had one son and two daughters named as Sanjay Dutt, Priya Dutt and Namrata Dutt. Sunil Dutt was famous actor during 1960s. He gives many hit films such as Sadhana released in 1958, Sujaata in1959, Mujhe Jine Do in 963 and Padosan released in 1967. His role from Padosan film was much hit.
From the acting he turned towards production. His first film as a producer was "Man Ka Meet" which was released in 1964 and first film as director, producer and actor was "Reshma Aur Shera" released in 1971. This was a big budget film but failure on box office. From that failure, he back into acting only and gave the films such as Pran Jaye Par Vachan Na Jaye released in 1974, Nagin in 1976 and Jani Dushaman in 1979.
In the year 1981, he launched to Sanjay Dutt through the film "Rocky". After release of the film, Nargis was died because of the pancreatic cancer. Sunil starts "Nargis Dutt foundation" for cancer patients in memory of Nargis.
His political career was started from year 1982. He assigned as "Sheriff of Mumbai" and this position was given by government of Maharashtra. He then performed character roles in the films Paramparaa released in 1992 and film Kshtriya in 1993. After that he took the break from acting and moved towards politics
His comeback into the acting with film "Munna Bhai M.B.B.S" released in 2003. In this film he played a role of father of Sanjay Dutt. But this was his last film. He died in the year 2005 because of heart attack in his home, Bandra. After his death, his daughter Priya Dutt was member of the Parliament.
Sunil Dutt - Awards:
From Wikipedia, the free encyclopedia
| Daisy Irani | |
|---|---|
Irani in 2012
|
|
| Born | 1950 |
| Occupation | Actor |
| Spouse(s) | late K.K. Shukla (1971–present) |
During the Golden Age (1950s 70s) of Hindi cinema some child stars had great visibility. The Irani sisters Daisy Irani and Honey Irani, who generally played cute boys with curly hair, became household names [1]and some of their films fetched the biggest openings. The Irani sisters, Daisy and Honey, became household names: The films that had both fetched the biggest openings. Stories were re-written to include them in the cast or increase their footage in the films, and they were prominently publicized in the promos of their movies. Their most-remembered movies, together or separate, include Bandish, Jagte Raho, Bhai Bhai, Naya Daur, Hum Panchi Ek Dal Ke, Musafir, Sahara, Quedi No. 9211, Duniya Na Mane, Do Ustad, Dhool Ka Phool, Soorat Aur Seerat and Chandi Ki Diwar. Daisy Irani, who was more popular than her younger sister as a child artiste, continued to act after growing up, though not in any significant roles.
Personal life
She married movie Writer K.K. Shukla (on January 21, 1971 at age 19) and has three children: Kabir, Varsha and Ritu. She is maternal aunt to Farhan and Zoya Akhtar (son and daughter of her sister Honey Irani) and Sajid and Farah Khan (son and daughter of sister Menaka).Irani was a heavy smoker of cigarettes. One report claims that she gave up smoking after she became a Christian. She is a member of New Life Fellowship Mumbai.
=========================
Meena Kumari
From Wikipedia, the free encyclopedia
| Meena Kumari | |
|---|---|
Meena Kumari
|
|
| Born | Mahjabeen Bano 1 August 1932 Mumbai, Maharashtra |
| Died | 31 March 1972 (aged 39) Mumbai, Maharashtra, India |
| Occupation | Actress |
| Years active | 1939–1972 |
Kumari gained a reputation for playing grief-stricken and tragic roles, and her performances have been praised and reminisced throughout the years. Like one of her best-known roles, Chhoti Bahu, in Sahib Bibi Aur Ghulam (1962), Kumari became addicted to alcohol. Her life and prosperous career were marred by heavy drinking, troubled relationships, an ensuing deteriorating health, and her death from liver cirrhosis in 1972.
Kumari is often cited by media and literary sources as "The Tragedy Queen", both for her frequent portrayal of sorrowful and dramatic roles in her films and her real-life story.
Early life
Meena Kumari was the third daughter of Ali Baksh and Iqbal Begum; Khursheed and Madhu were her two elder sisters. At the time of her birth, her parents were unable to pay the fees of Dr. Gadre, who had delivered her, so her father left her at a Muslim orphanage, however, he picked her up after a few hours.Her father, a Shia Muslim, was a veteran of Parsi theater, played harmonium, taught music, and wrote Urdu poetry. He played small roles in films like Id Ka Chand and composed music for films like Shahi Lutere.
Her mother was the second wife of Ali Baksh. Before meeting and then marrying Ali Baksh, she was a stage actress and dancer, under the stage name, Kamini and earlier in her life related to the well known Tagore family of Bengal.
Career
Early work
When Mahjabeen was born, Ali Bakhsh aspired to get roles as an actor in Rooptara Studios. At the urging of his wife, he got Mahjabeen too into movies despite her protestations of wanting to go to school. Young Mahjabeen is said to have said, "I do not want to work in movies; I want to go to school, and learn like other children."As Mahjabeen embarked on her acting career at the age of 7, she was renamed Baby Meena. Farzand-e-Watan or Leatherface (1939) was her first movie, which was directed for Prakash Studios by Vijay Bhatt. She became practically the sole breadwinner of her family during the 1940s. Her early adult acting, under the name Meena Kumari, was mainly in mythological movies like Veer Ghatotkach (1949), Shri Ganesh Mahima (1950), and fantasy movies like Alladin and The Wonderful Lamp (1952).
Breakthrough
Meena Kumari gained fame with her role as a heroine in Vijay Bhatt's Baiju Bawra (1952). This heroine always negated herself for the material and spiritual advancement of the man she loved and was even willing to annihilate herself to provide him the experience of pain so that his music would be enriched. She became the first actress to win the Filmfare Best Actress Award in 1953 for this performance.Meena Kumari highly successfully played the roles of a suffering woman in Parineeta (1953), Daera (1953), Ek Hi Raasta (1956), Sharda (1957), and Dil Apna Aur Preet Parayi (1960). Though she cultivated the image of a tragedienne, she also performed commendably in a few light-hearted movies like Azaad (1955), Miss Mary (1957), Shararat (1959), and Kohinoor (1960).
One of her best-known roles was in Sahib Bibi Aur Ghulam (1962), which was produced by Guru Dutt. Kumari played Chhoti Bahu, an alcoholic wife. The film was a major critical and commercial success, which was attributed by critics to Kumari's performance, which is regarded as one of the best performances of Hindi Cinema.[3] The role was famous for its uncanny similarity to Meena Kumari's own life. At that time, she herself was on a road to gradual ruin in her own personal life. Like her character, she began to drink heavily, though she carried on. In 1962, she made history by getting all the three nominations for Filmfare Best Actress Award, for her roles in Aarti, Main Chup Rahungi, and Sahib Bibi Aur Ghulam. She won the award for Sahib Bibi Aur Ghulam. Upperstall.com wrote about her performance,
"While each of the performances are spot on, if there is one person who is the heart and soul of the film, it is Meena Kumari. Her portrayal of Chhoti Bahu is perhaps the greatest performance ever seen on the Indian Screen. The sequence where Chhoti Bahu dresses for her husband singing Piya Aiso Jiya Main is a poignant exploration of a woman's expectations and sexual desire, and later on when she has become a desperate alcoholic, you cannot help but cry with her in the sequence where she pleads with her husband to stay with her and then angrily turns on him to tell him how she has prostituted her basic values and morals to please him. However the common factors between the actress's life and Chhoti Bahu are too dramatic to be merely coincidental - The estranged marital relationship, the taking of alcohol, turning towards younger male company, the craving to be understood and loved - all elements evident in Meena Kumari's own life."
Later work
For four more years, Kumari performed successfully in Dil Ek Mandir (1963), Kaajal (1965), and Phool Aur Patthar (1966), all of which earned her Filmfare nominations, with Kaajal garnering her a fourth and last win of the Best Actress award. However, after divorcing her husband in 1964, her addiction to alcohol became stronger, and she often dulled her senses with liquor. She also relied more and more on intimate relationships with younger men like Dharmendra. Her subsequent releases, including Chandan Ka Palna and Majhli Didi did not do well.Kumari's heavy drinking had badly damaged her liver, and in 1968 she fell seriously ill.[1][5] She was taken to London and Switzerland for treatment. Back home, she started settling her debts and made peace with her estranged sister, Madhu, whom she had not spoken to for two years.[5] Because of her heavy drinking, she increasingly lost her good looks, and when she returned, she began playing character roles in movies like Jawab (1970) and Dushmun (1972).[1]
She developed an attachment to writer-lyricist Gulzar and acted in his directorial debut Mere Apne (1971). Kumari presented an acclaimed portrayal of an elderly woman who got caught between two street gangs of frustrated, unemployed youth and was killed, her death making the youth realise the futility of violence.
Pakeezah, starring Kumari and directed by her ex-husband Kamal Amrohi, took 14 years to reach the silver screen. First planned by Amrohi in 1958, the film went on the studio floors in 1964, but the shooting came to a standstill after their separation in March 1964, when it was more than halfway complete.[5] In 1969, Sunil Dutt and Nargis previewed some reels of the shelved film and convinced the estranged Amrohi and Kumari to complete it.[1] Hindustan Times described the meeting which Dutt had organised between the two:
"Not much was said, but streams of tears were shed... Amrohi greeted her with a token payment of a gold guinea and the promise that he’d make her look as beautiful as the day she had started the film."[5]Gravelly ill, Kumari was determined to complete the film and, well aware of the limited time left for her to live, went out of her way to complete it at the earliest. Despite her rapidly deteriorating health, she gave the finishing touches to her performance. Initially, after its release in February 1972, Pakeezah opened to a lukewarm response from the public; however, after Meena Kumari's death less than two months later, people flocked to see it, making it a major box-office success. The film has since gained a cult and classic status, and Kumari's performance as a golden-hearted Lucknow prostitute drew major praise. She posthumously received her twelfth and last Filmfare nomination.
Throughout her life, Kumari had a love-hate relationship with movies, and besides being a top-notch actress, she was a talented poetess, and recorded a disc of her Urdu poems, I write, I recite with music by Khayyam.
Death
Three weeks after the release of Pakeezah, Meena Kumari became seriously ill, and died on 31 March 1972 of liver cirrhosis. At her death, she was in more or less the same financial circumstance as her parents at the time of her birth: It is said that when she died in a nursing home, there was no money to pay her hospital bills. She was buried at Rahematabad Qabristan located at Narialwadi, Mazgaon, Mumbai.Relationship with Kamal Amrohi
In 1952, on the sets of one of her films, Meena Kumari fell in love with and married film director, Kamal Amrohi, who was fifteen years elder than her and was already married. She wrote about Amrohi:"Dil saa jab saathi payaSoon after marriage, Kamal Amrohi and Meena Kumari produced a film called Daera (1953), which was based on their love story. They also planned another film, Pakeezah. However, it took sixteen years (1956 to 1972) before Pakeezah reached the silver screen. (The scenes in Pakeezah's popular song, Inhi logon ne, were originally filmed in black and white, and were later reshot in color.)
Bechaini bhi woh saath le aaya"
(When I found someone like my heart
He also brought sorrow with him)
It is said that Amrohi did not want children with Meena Kumari because she was not a Syed. They raised Kamal Amrohi's son, Tajdaar, who was greatly attached to his chhoti ammi (younger mother).
Due to their strong personalities, however, Meena Kumari and Kamal Amrohi started to develop conflicts, both professionally and in their married life. Their conflicts led to separation in 1960, and ultimately divorce in 1964. Highly affected Meena Kumari, who, once a happy woman, became depressed and found solace in heavy drinking. They remarried, but Meena Kumari had become an alcoholic by then.
She expressed her sorrows prominently in her poetry. About Kamal Amrohi she wrote:
"Tum kya karo ge sun kar mujh se meri kahaniAt the time of the divorce, she wrote:
Bay lutf zindagi ke qissay hain pheekay pheekay"
(Why do you want to listen to my story:
Colourless tales of a joyless life)
"Talaaq to day rahay ho Nazar-e-qehar ke saath
Jawani bhi meri lauta do Mehar ke saath"
(You are divorcing me with rage in your eyes
Return to me, also, my youth along with the alimony!)
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Sunil Dutt
Birth Name: Balraj DuttDate of Birth: 6 June 1930
Birth Place: Jhelum
Death: 25 May 2005
Death Place: Bandra, Mumbai
Address: 58 Smt. Nargis Dutt Road, Pali Hill, Bandra, Mumbai 400 050
Wife: Nargis
Son(s): Sanjay Datta
Daughter(s): Priya Dutt, Namrata Dutt
Zodiac Sign: Gemini
Debut Film: Railway Platform
Sunil Dutt was born on 6th June 1930 in Jhelam which is in British India (now it is called as Pakistan). At the 1947 when partition of India was happened, his whole family shifted to India and they lived in one small village in Haryana district. Then he shifted to Mumbai and admitted into Jai Hind College and then joins one job.
Sunil starts his career by doing job in radio. In the South Asia, he was a famous announcer of Radio Ceylon. From the radio he moved towards acting. His first film in the Bollywood was "Railway Platform" which was released in 1955. In the year 1957, he did the film "Mother India" with Nargis for the first time. In this film he performed role of son of Nargis. At the time of shooting of this film, fire accident was occured on the set. Sunil saved to Nargis from this accident and from that both of them in love.
Sunil Dutt then got married with Nargis. They had one son and two daughters named as Sanjay Dutt, Priya Dutt and Namrata Dutt. Sunil Dutt was famous actor during 1960s. He gives many hit films such as Sadhana released in 1958, Sujaata in1959, Mujhe Jine Do in 963 and Padosan released in 1967. His role from Padosan film was much hit.
From the acting he turned towards production. His first film as a producer was "Man Ka Meet" which was released in 1964 and first film as director, producer and actor was "Reshma Aur Shera" released in 1971. This was a big budget film but failure on box office. From that failure, he back into acting only and gave the films such as Pran Jaye Par Vachan Na Jaye released in 1974, Nagin in 1976 and Jani Dushaman in 1979.
In the year 1981, he launched to Sanjay Dutt through the film "Rocky". After release of the film, Nargis was died because of the pancreatic cancer. Sunil starts "Nargis Dutt foundation" for cancer patients in memory of Nargis.
His political career was started from year 1982. He assigned as "Sheriff of Mumbai" and this position was given by government of Maharashtra. He then performed character roles in the films Paramparaa released in 1992 and film Kshtriya in 1993. After that he took the break from acting and moved towards politics
His comeback into the acting with film "Munna Bhai M.B.B.S" released in 2003. In this film he played a role of father of Sanjay Dutt. But this was his last film. He died in the year 2005 because of heart attack in his home, Bandra. After his death, his daughter Priya Dutt was member of the Parliament.
Sunil Dutt - Awards:
- 1963 - Filmfare Award for Best Actor (Mujhe Jeene Do)
- 1965 - Filmfare Award for Best Actor (Khandaan)
- 1967 - BFJ Award for Best Actor (Milan)
- 1995 - Filmfare Award for Lifetime Achievement
- 1998 - Star Screen Award for Lifetime Achievement
- 2001 - Zee Cine Lifetime Achievement Award
- Sunil Datta awarded with Padma Shri
- 1955 - Railway Platform
- 1956 - Ek hi Raasta
- 1957 - Mother India
- 1958 - Sadhana
- 1959 - Insaan Jaag Utha
- 1959 - Sujata
- 1960 - Ek Phool Char Kaante
- 1960 - Hum Hindustaani
- 1960 - Usne Kaha Tha
- 1961 - Chhaya
- 1962 - Main Chup Rahoongi
- 1963 - Gumrah
- 1963 - Mujhe Jeene Do
- 1963 - Yeh Raastein Hain Pyaar ke
- 1964 - Ghazal
- 1964 - Yaadein
- 1965 - Khandaan
- 1965 - Waqt
- 1966 - Amrapali
- 1966 - Gaban
- 1966 - Mera Saaya
- 1967 - Humraaz
- 1967 - Mehrbaan
- 1967 - Milan
- 1968 - Padosan
- 1969 - Chiraag
- 1969 - Pyaasi Shyam
- 1971 - Reshma aur Shera
- 1972 - Zindagi Zindagi
- 1973 - Heera
- 1974 - Chhattis Ghante
- 1975 - Zakhmee
- 1976 - Nagin
- 1976 - Nehle pe Dehla
- 1980 - Shaan
- 1982 - Dard ka Rishta
- 1985 - Faasle
- 2003 - Munnabhai MBBS
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